Coming from a native japanese person, this game is oblivious to actual japanese history. It dances with fantasies of japanese stereotypes like "honor" while ignoring the undercurrent of actual samurai life, which is both far less honorable and far more mundane than depicted. It would be one thing if this was designed to be fantastical, but it isn't. Sucker Punch designed this game with the goal of accurately portraying Japan's culture and history, and they failed at that. To say otherwise would be a disservice to the memory of the samurai themselves.

Besides, the game is just bland open world AAA kitsch with a big map and picturesque locations made by crunching underpaid developers and artists. Which is to say, it's a game that isn't bad, but isn't memorable either. A game that entices the senses but never the imagination, that gives the illusion of enjoyment while leaving you empty in the end. It's a AAA game in 2020 and that's all I really have to say.

I was a little worried that this game was dropping so soon after the first Voice of Cards game, but luckily my worries were misplaced! Pretty much everything positive I said about The Isle Dragon Roars also applies to The Forsaken Maiden - the presentation is great, the simple combat system is fun and addictive, and the writing is of the high quality you expect from a Yoko Taro project.

The thing that elevates The Forsaken Maiden above its predecessor is Laty. The entire story here is a character study of Laty, and it's phenomenal. Laty is mute so seeing her relationship grow with every character she meets gives you a really interesting look into her personality and character development without ever hearing her speak. Honestly one of the best character arcs I can think of in a JRPG, and its worth playing the game for even if it doesn't seem appealing to you otherwise.

5/10
o verdadeiro potencial, ainda não foi atingindo....
gostei de tudo, mesmo a historia sendo simploria, os personagens tbm, um charme fascinante me prendeu nesse game e as osts, depois de terminar o jogo eu pude observar as referencias do jogo, é uma carta de amor aos classicos, principalmente dragon quest, porem melhor, como nao demorei muito e o jogo não é longo a minha experiencia foi razoavelmente boa, foi um tempo gasto de maneira correspondente ao produto, gostaria de muitas e muitas coisas serem mais trabalhadas.
no fim do dia o coração das cartas, a voz delas foi gentil e com isso digo acho que posso recomendar para pessoas que buscam um experiencia similar a um rpg de mesa ou rpg de carta bem "feitinho", foi um jogo legal e "bom".

Notes on Stray forcefully anti-intellectuals because it is necessary to think about video games outside the logic of video games or something like that

-I talk too much about spaces, their construction and exploration and I barely realize how important the height and size we use to move through it is, but I have always felt that small avatars are a little more interesting. Maybe because I'm 1.85, I have no idea.

-When Stray was released I saw a tweet that said something like "it's a game about being a cat but in BoTW you move more like a cat" or something like that. I found it a bit ridiculous because it seemed to disdain Stray's navigation based on pseudo-realistic logic, but in BoTW almost any surface is "sticky" and you can scale it like a lizard. That's not very catty bro

-The environments are excellent on their own, but they also seem to me to be an excellent architecture that reflects the dilemma of the automata.
There is a lot of beauty in walking around the district and just sitting next to any inhabitant, a robot, an npc, a mannequin. an inhabitant.

Why fool ourselves, if the game had been a cat Playground most of GamersTm would have been annoyed for not having objectives, "nothing to do".
goodoo.

-The complaint of many is that the game should have been a playground instead of a directed adventure with some freeform moments. I think so too, but against everything I believed, I ended up liking the direction, despite being quite conventional.

-Creating a fictional world through the aesthetic and cultural appropriation of countries with problematic political pasts (is there a country that does not have it?) can be problematic, but it is true that many countries have done it to a greater or lesser extent. It doesn't matter how; Turbo-capitalist revisions of Marie Antoinette of Austria, JRPGs with bucolic aesthetics or those martial arts movies where completely anachronistic techniques and movements are shown. Perhaps it would matter more WHO takes that culture to use it as background and decoration

-Alexis Ong's text isn't bad to be honest


-Sisi Jiang's text wouldn't be bad either. But back to the same.
It's not that I want to play the parry that we should be permissive with the romanticization (and appropriation) of a problematic aesthetic and culture for the sake of a freer and more experimental fiction... But if I'm doing it a little?? maybe?
Why complaining about the appropriation of pizza or the word (k)Otaku would be silly but doing it about Hong Kong architecture is smart?

-In the past, some Asian countries, by necessity or imposition, have also absorbed too much Western culture, now they appropriate it and, by necessity or because of the turbo-capitalism in which we live, they market their own culture.
I apologize if this may offend anyone but it is something that I see very real.