Playing Vanquish is like having three seizures at the same time, all while jumping with a parachute from a skyscraper. It's up to you to figure out if it's a bad thing or a good thing.

I'm 100% sure that this is exactly how Shinji Mikami and all of Platinum Games percieve the United States and americans, and I'd say it's about 90% accurate. This game was made by (talented) monkeys, for monkeys, so it's just my thing. The story is stupid, and most of it is told through goddamn loading screens, that last about 2 seconds, so you better read fast. But of course it's not about the story, but the incredibly realistic and absolutely not charicaturised cast of characters; from the top of my head i can't remember a single name, but there was the dude that looked like Raiden who was really cool and smoked like 4 packs of cigaretts in a 7 hour game, the old bionic commando, who's sometimes an asshole and sometimes a little puppy sweetheart, the hot lady, who was there because she's hot, and the russian guy with the same name as the italian volleyball guy (big fan). I'd say that's about it.

The gameplay is fun even though it's pretty unpolished, and it's really easy to see that at higher difficulties (you get one-shotted sooo many times without knowing how you actually died that it's hard to count).The shooting is simple but fun, the cover system surprisingly works pretty well, most weapons are fun to use and there's a good enough enemy variety for a game of this lenght. The bossfights are really cool when they're not completely unfair, with 10000 bullets flying everywhere and 0 covers (but this may be a problem of higher difficulties), and there are a couple that stand out (like when you have to kill dr Manhattan twice). The game works best when you're moving everywhere at the speed of sound, but i'd hoped that there would have been more mechanics related to the dash, other than the slowmo. The highlight of the game though are the cutscens; you can smell Shinji Mikami a mile away.

It's dumb fun, but I think this will appeal only to a certain kind of public. It's roughnessess are forgiven only because this feels like an indie project without an indie budget (and I say this in the most positive way possible). Surely not the game of life, but you'll play this with a big, stupid smile on your face most of the time (when you're not trying destroy your room cause of the oneshot deaths). It also has the greatest end credits of videogame history.

I'm not a big fan of the rogue lite/like genre, but I have to admit that this surprisingly works pretty well! I enjoyed the experience and I think it takes the biggest strenght of the core game (the combat system) and brings it in a very different context, but it still doesn't feel forced at all.
The thing I was most interested in though was the story, and even if it didn't deliver the ending to Ragnarok i would have hoped for, it still brought a satisfying sense of conclusion to Kratos' story and struggles. I appreciated it a lot, but I think this will hit much harder for those who have played the og games.
Most impressive thing is they decided to give this DLC for free; it feels criminal to play this without paying for it

I know this won't mean much since almost noone reads my reviews, but I really enjoy writing them and thinking about what I like and what I don't like in the games I play, so I put quite some effort in it. God of war ragnarok was the first game in a while that made me completely forget about reviews, and I think this means something.

Despite being a cross gen title I was pretty surprised about how well it runs on old hardwares, but it has some problems with textures taking a while to load, and the game starting brief loading screens a bit randomly (also the teleport takes 5 years each time you use it). Aside from technical problems which comes from the platform it plays on being a bit old nowdays, I think GowR is what a modern AAA game should be. There is so much care put in everything, starting from ambient sounds, environmental details and character design. Usually after a while of playing a game I'd just start to listen to other stuff while playing, but here I never got tired of the sounds of nature, machines and people. The music is once again beautiful, with a couple of tracks that really stand out, even if it's very similar to its predecessor's. Despite it being a revamped 8th generation game, on a graphical standpoint I think it's still incredible, expanding on what Gow 2018 did, and giving its best in larger and fuller environments, like some parts of Svartalfheim or Vanheim.

I really, really liked the gameplay of Gow 2018, and I'm really glad there was an effort to expand it further. The biggest crime of the game is probably not having a combo meter or something like that, because the combat system is so weighty and satisfying that it never gets boring, even though it shows its weaker side when there are a lot of enemies. The rpg elements are still boring but fortunately very limited, the crafting is just ok but the skill trees were a lot of fun to complete and really do improve your enjoyment of the game. Even though Atreus' parts of the game may not be the best in term of gameplay, i think it's a nice addition for variety and differentiating it from its predecessor, as is the new weapon for Kratos, that doesn't break the game in any way but it makes it more diverse and let's you be more creative with combos. GoWR fixes a lot of the main issues I had with the previous game: it has a lot more enemy variety, it has a lot more minibosses and boss battles without exchanging them for quality and epicness (some of these are just fantastic and almost each one has something unique), and it has a lot more subquests, with a lot of these being really fun and interesting side content that adds a lot to the main game, but also a lot of fetch quests and generic stuff. I started playing in hard but after a while I switched back to normal, not because I'm a little bitch, but because while the main game isn't really hard, the side stuff is soo much harder in comparison that it doesn't make any sense (not that I don't like a challenge but jesus it's like a complete 180°).

Now me along with a lot of other people have gotten a bit tired of the Sony AAA formula, with the over the shoulder camera and a high emphasis on story and graphics, but when it works it works. It doesn't mean that the story here is the best thing ever nor some gamechanging stuff, but it's still a solid story that mainly plays on a very interesting and well constructed cast of characters who interact in a very natural and fun way between them. Almost every single one has a defined personality which is still dynamic throughout the events and this makes them feel like human beings; the development of a couple of characters expecially really got me (starting with Kratos himself, and also unexpectedly Sindri). Admittedly some of the dialogues have a bit of a dumb aura around them which doesn't always fit the game, but I didn't mind them too much. I loved listening to all the interactions on the boats or the dialogues between fights. They make you feel like part of the group and often do really expand on each character's intentions, histories or beliefs. The game has a bit of a pacing problem, and I felt it since this is a big ass game, but I think that the biggest problem on a narrative point of view is the ending. I still haven't played Valhalla, so I don't know if I'll be satisfied with that as a new finale, but the last battle is soo hyped that it falls short almost right away. It's underwhealming in the last assault and even the last bossfights, which aren't bad perse but they pale in comparison with Baldur's last fight. Seeing how strongly the game started, with the encounter with Thor and Odin in Kratos' house, it's a bit of a pity how it ends. Aside from the final battles there are also some story points that don't work at all, like Ragnarok himself, some secondary characters behaviour and some other plot armor, which is fine I guess, but not what I expect from a game of this caliber.

In the end Gow Ragnarock is a massive game, big enough to be split in two, and it's easy to tell when you look at its shortcomings. It's everything the previous game was but bigger, Which is great in some aspects, but not as good in others (the story is more complex, but it has a lot more problems). I truly believe this is one of the best games released in the last generation of consoles (since it's hard to consider it as a pure 9th gen game), but I also believe that it could have been some of the best ever, given some more attention in certain aspects.

This is a game I really wanted to like, but for some reason it never clicked with me.

Axiom Verge's best is in its graphics and NES inspired atmosphere. There is some really great pixel art here, expecially in the bigger beings, so the bosses and the big machine lady thing (she kinda bad tho ngl): I really liked the cutscens too. Not all the areas had the same quality in the design and atmosphere department, with certain much more inspired than others. The music can go from generic to wack, but the general quality is at the very least decent.
It's a solid metroidvania, with some interesting ideas for power ups and weapons, but a lot of them are very situational, so I generally used the same two or three, even though I unlocked most of them. I'm not the biggest fan of the level design, and the enemy placement often feels very annoying, but I don't know how much this was influenced by the fact that i was playing on hard. I'm not a fan of the enemy design either and a lot of them felt like they were there just to annoy moreso than giving you a challenge. Before beating the last boss I wanted to renavigate the whole map to see what i had missed, but traversal is a slog even though there is some kind of fast travel ( a better one would have been very much appreciated), so I just gave up. As far as difficulty goes, it isn't easy, but most of the challenges I had were with normal enemies and my lack of patience (the last boss is tough too).
The core gameplay isn't bad at all, and I also liked the little story beats, but too often going forward it felt more like work than pleasure, expecially in the first and last part of the game. It's a shame I didn't really enjoyed it but I'm sure Axiom Verge has an heart, and will be appreciated by a lot if people.

I don't know if I'm starting to get a bit burnt out of yakuza games but this one was a bit of a slog to get through.

I have to admit that I've never played the original yakuza games for ps2, but playing 3 after the Kiwamis and 0 was really tough. It lacks so many QoL improvements the remakes have (starting from buying weapons and not knowing their damage, or eating in restaurants where you can't understand how much life you'll recover, to even the use of the map and how the subquests are managed and signaled), and it generally feels like a lesser experience under every single point of view. I still like the core of yakuza games, so it wasn't that bad for me but it is the yakuza game i played and enjoyed the least (so far).

The combat here is the most barebones yet, and so is the new leveling system, which feels really generic and kinda boring. Here moreso than in the other games the combat is reduced many times to simple button mashing, at least until you get a couple of abilities that change it very slightly. Playing on hard diffiulty, it was never really that tough, but some of the boss fights or encounters take forever to complete thanks to overinflated hp bars. Also with bosses, the very little liberty you're given to do combos, is almost completely taken away. Weapons aren't really interesting and I never got into modifing them, considering that it often never gives you important improvements.

But the combat has never been the sole focus of Yakuza; we're all here for the story and the side activities, right? Well then get ready to be disappointed. There are (at least) 5 chapters out of 12, that are the most boring and uninteresting shit ever concieved. I was hoping to get new locations with newer yakuza games, but holy shit Okinawa sucks dick. The story there is just based on a couple of cool characters and dealing with those damn kids. I really don't understand why there was soo much focus on that (almost half of the damn game!). The town offers very little to complement that, and almost no side activities (except golf). Subquests here are almost always boring and lack that classic Yakuza foolery (there are still a couple that were fun though). I never would have expected to be so happy to come back to Kamurocho, where the game definitely took a turn for the better. Both the story and the sidemissions got at least a bit back on track, but the biggest flaw here is that the town is nearly the same as always. No new activities (excluding the running minigame and massages) and still a lot of lacking subquests; I also don't understand why there was sooo much attention given to hostess club (there's like a whole dating sim here but to me it's fun if you play it for half an hour while there are many hours of this kind of content). The best new thing in the game is definitely the Mack qts, no doubt, because they perfectly capture the spirit of the series. In the end the story, excluding the first 5 chapters of pain and misery, just isn't that interesting. It has a couple of fun turns, but the main villain is kinda dumb and a lot of the anticipation played on a particular reveal that in the end felt a bit disappointing. Barely a fine story for this kind of game.

I don't know, this whole game felt like filler. I came in expecting not the best, but I was disappointed nontheless. I talked a lot of shit about Yakuza 3, but in the end I honestly think it's just a fine game, and I still like the core gameplay and feel. If I had played this as the first game in the series I probably would have had a lot of fun, but after the ps4 games it feels like 12 steps back. Definitely expecting a lot more from the next one.

RE3 remake is a bit of a disappointment, but i firmly believe it is over hated.

It often feels more like a long dlc more so than an indipendent game or sequel, not only because it's not very long , but also because you play in some of the same locations with very similar gameplay mechanics (inventory system, a lot of the same weapons...). This is not a bad thing per se, but togheter with the absence of some levels from the original game it feels as lost opportunity.

The start of the game is really, really strong, taking a bit from RE7, and making the game feel more horror than it actually is. And then the Nemesis comes. I haven't played the original game, so i thought that he would have been the perfect stalker enemy, but most of the encounters are either heavily scripted or just a bit annoying. As a concept it works beautifully, and its first design is simply legendary, but I though that Mr. X in RE2R worked much better and was a lot scarier. The bossfights are fun though and he really feels like an unkillable menace, so in the end I don't feel like 100% trashing him. The story as always is silly and fun but I wasn't as engaged as in RE2R; both protagonists are fun but Carlos feels a bit out of place, and Jill... is just a less (accidentally) funny Jill.

This gameplay formula works perfectly, so I enjoyed playing the game very much. I'm not the biggest fan of the more action approach with the dodge and that kind of stuff, because I think it deprives the game of a certain degree of carefulness that's very much appreciated in a survival horror. It also feels like in some sections of the game there are way more zombies than needed, but I guess that's also because of the more action oriented approach, which comes also with a lot more ammos. Despite all of this I had a lot of fun playing through the game, which offers a decent ammount of locations in its short duration, even if not as inspired as in its predecessor. I find scavenging for resources while shooting spongey zombies strangely addictive, thanks also to the weapon variety. Carlos' part of the story plays a bit differently and even more like an action tps, so that's a plus for variety .

Despite all its (very evident) shortcomings, I had a lot of fun with RE3R, but I think that it mostly derives from its gameplay loop Which is almost completely taken from its predecessor. It definitely made me want to play the original, but I don't know if I'm ready to use those damn controls again and suffer with some of the most aged mechanics in videogames history. But who knows what the future has in store...

Ghostrunner makes you feel really cool, at least until it doesn't because you get stuck somewhere or every enemy becomes a decorated US army sniper.

It's a pretty straight forward game, it offers exactly what you'd expect in a very decent way, but I honestly hoped there would have been a bit more to it. On a graphic level it is very pleasing and the environments feel very curated, even if in the end it is basically cyperpunk city 101, so good but not very inspired. Same thing with the music; it feels very often too much generic, almost like cyberpunk white noise (again, it isn't bad but there are only one or two tracks that stand out at least a tiny bit from the rest). The story too is pretty simple and without much pretenses: it's predictable but still entertaining, with a couple of ideas, like the Architect character.

Playing ghostrunner in my experienced had two very distinct sides. When it works you feel like god on earth slashing enemies, destroying robots and everything on your path, and even though not every power up or ability feels equally useful, just slashing everyone with the katana is satisfying enough. Unfortunately the game feels really rough around the edges though, with enemies that sometimes feel really unfair with the greatest aimbot ever, or really annoying attacks (goddamn robots and the katana guys with the worst fake japanese voice acting ever) or even messy boss battles (there are three and the first two feel really unpolished, like with the parrys and the screenshakes in the second one). The cyber levels kinda suck and are either tutorials (the last one is like one hour before the last boss wtf) or really boring puzzles.

Ghostrunner lives on its best moments: some platforming sequences, whenever you can clean every enemy on the map without interrupting the flow, and the general aesthetic and atmosphere of the game. All its faults feel like corners not rounded of an otherwise solid game.
I had a really fun time in the end, despite everything!

Ace Attorney is the fun kind of visual novel. In the last couple years I've played a handful of them, but this one still feels unique and like its own thing.

The trials are definitely the highlight here; they're always a lot of fun and surprise you every time at least a little, even in a really really dumb way (it happens often, but with how lighthearted the games are. it doesn't really feel like a downside). They're simple mechanically but sometimes you have to really think out of the box or try everything because nothing makes sense (or maybe i'm just stupid, just maybe). The investigation are fun too, but they feel more like a big build up, and sometimes they have the same problem of the trials, where you'll have to try a bit of everything when you're stuck.

Being the games built on cases, each one is a bit of its own world. There are some really good ones and some really stupid ones, but in any case (uh), at least for me, they end up being at the very least enjoyable (the best one for me was the last one in justice for all). The characters are great, and so is their design and characterization, so i got really attached to most of them (most, fuck you Oldbag).

As a collection/remaster it's good and it fixes some of the issues I had with the original games, but I think there could have still been some improvements (a better dialogue skip or the chance to re-read old dialogues).

It may sound dumb, but I think that the sum of the parts is better than the sum of their sigular values here. I have to admit I really love this franchise and its characters now, and even though I got a bit fatigued by the end, after completing the last game I felt kinda sad that the next day I wouldn't have seen the usual faces and their dumb shenanigans.

I found Oxenfree OSTs on spotify by complete chance, and I absolutely loved it. At first I didn't even know it was from a videogame, but once i found out I knew I had to try it out.

I absolutely love the vibe that Oxenfree gives starting from the first moments. As I said scntfc's music is great, but it's also complemented by an art direction that really fits the theme. I'm a fan of the artstyle, but it doesn't always feel right; there are some moments or some locations that feel less inspired than most of the game, but overall i really liked it.

I think that Oxenfree is one of the directions in which modern graphic adventure can go. Of course it's really simplified, and it sometimes has the limit that all the games with this kind of dialogue choice options have, so you don't always answer as you'd expect, but it doesn't hurt the whole experience. Some of the choices you make don't really matter (maybe a bit too many don't impact the game), but I kinda liked the little differences in every ending you can get and how the game remembers you've already played it. The movement system is fucked though.

I have to admit that I reallly enjoyed the story; it feels like a good teen movie with some really cool paranormal elements and an equal amount of slightly disturbing moments (in a teen movie way), and goofy moments. Most of the voice acting performances were great and definitely contributed to the atmosphere and my affection towards the characters. I found myself to be quite attached to them towards the end and it kinda hurt whenever I picked the wrong answer and hurt them (keep in mind that i'm a bitch in these situations); gotta admit my favourite of the bunch is Jonas and Clarissa can fuck off.

I like whenever some piece of media can give me a feeling of nostalgia for something I haven't actually lived through, so I probably enjoyed this much more than how good it actually is, but whatever.

Super Meat Boy is one of those games that feel so specific to a certain, short period of time, that it almost feels like a crime playing it today.

The aesthetic is the biggest jump back in time, and it's almost inevitable to feel at least a little bit nostalgic playing it, doesn't matter if you've already played it in the past; everything here screams flash animation (of course), and the gameplay too is a refelction of what was once popular on youtube. It's a very simple platform (simple, not easy) with sooo many levels that can vary from pure rage game magic, to some really good design choices and ideas. Blasting through levels is the best feeling, expecially once you understand how to beat the hardest ones.
Some levels feel impossible to beat, so i have to thank my ocd for being able to complete (almost) each and every one of them. I know it may sound silly, but I almost felt like there were too many, and the game regressed too often into a rage game, more so than a really tough platform. Completing this game in 100% is a bitch, but it isn't impossible. Most of the unloackable characters feel nearly the same and have minimal changes between them, but maybe it was inevitable, so not to destroy the game from the inside. Also, don't know if it was just me, but some of the hitboxes felt a bit strange and sometimes the controls don't feel as responsive as they should be (expecially when going faster in hard levels).

This is a simple, good, early 2010s platformer. It doesn't pretend to be anything else, and it definitely delivers in what it wants to. At the same time it probably is pleasantly remembered more for the context in which it was released rather than for the game itself.

Eveyone has their "game of life". For me that game is Metroid Fusion, so I have to admit that it'll be hard to be completely unbiased this time.

Starting Metroid Dread brought me right back where I left it's predecessor all those years ago, and that already felt like a surprise. The story won't make much sense to those who haven't played any other game of the series, but you won't lose too much this way; it's a fun and enjoyable story with some fan service and some twists for those who know the games though.

I Think Metroid is at its best when it's in pixel art, but I was pleasantly surprised with the art direction here. It captures perfectly what metroid is all about: exploring scary alien places, and disintegrating monsters. The cutscenes were really, really good and fun to watch/interact with. The sense of dread and exploration is accentuated by some great background art. It never feels scary as its predecessor, but the atmosphere is there (probably, again, this depends on my preference of pixelart over 3d). The ost is good but not memorable, and only a few of the tracks captivated me.

Metroid Dread is as much metroid as you can be. The game isn't too long, but it's so fine tuned as a metroidvania that it doesn't feel unsatisfying for being too short nor diluted. The enemies are all fun to destroy and even when you don't have many abilities, the general flow of the game feels fantastic. Speaking of the abilities, you'll be equipped with all the classic metroid ones, and some new ones that don't revolutionize the formula, but make it a bit fresher. All the bosses are a lot of fun to beat, and the recurring ones change that tiny bit everytime so that they don't become boring (The E.M.M.I.s are a bunch of bitches but their sections of the game always put you on edge). Upgrading samus is always the best feeling, and as i play more metroidvania I came to the conclusion that Metroid games still are the very best ones in that specific aspect. The shooting is a lot of fun, and you're equipped with a lot of abilities that often change how you play. There' also a billion little secrets, that always reward you with more life or ammos (often understanding how to get to a certain reward is better than the reward itself). Not everything is this good though: I really don't like how the map works, and it often feels confusing. Travelling from place A to B is always an hassle, and as much as I like the movement in the game, some kind of fast travel would have been very much appreciated. Also the level desing, while not bad per se, is very weird. In the first half of the game you aren't able to explore as much as you'd like, and if you make the wrong turn, you'll be blocked from accesing that certain area for quite a while. I don't really understand the reasons behind this choice, and much less i understand why the world is separated in watertight compartments from which you can move only with predifined routes, expecially since thery're never easy to access.

This is not a perfect game, not the best Metroid or Metroidvania, but I very much enjoyed it. The flow of the game and general movement feel so good that you can forgive its faults. In the end I found what i had hoped, i.e. a really fun, and a bit nostalgic and old designed, game with a lot of heart but also a lot of Game.

The first few minutes of Ori are just incredible. You get one of the most emotional cutscens in all of gaming history, told in a way that reminds me of the Disney classics, both in the sweetness, music, and in the wonderful aesthetic of the game, which resembles fairy tales. This fairytale-like atmosphere never leaves the experience, thanks also to the occasional narration of the event from an outside perspective. The events told are very simple (suited for fairytales indeed), but never stop being engaging, even if for large parts of the game they feel absent.

The best part of Ori for me though is the animations and movements of the protagonist. Going around the map is simply a pleasure, and it gets even better whenever you get a new upgrade based on your movement (dashes, higher jumps, bouncing on enemies...). On the other hand though i didn't like the "action" part of this metroidvania; while the exploration of the map and the whole movement system is a joy to the eyes (and to the gamepad), the shooting mechanics are just boring, and slow down the rhythm of the game, expecially on higher difficulties, where enemies can be very spongy. This isn't helped by the fact that leveling up can feel like an ordeal (mostly in the middle part of the game), and leveling up also means reducing the time to kill enemies and the fluidity of the gameplay. This was really nagging the experience during the first half, but it got better towards the end.
The exploration is really rewarding, but i didn't find as many secrets as i had hoped (even comparing to other metroidvanias). Somehow I think that the game would have been better as an "open platform" and not as a more classic metroidvania (so less shooting and more moving).

My opinions on Ori changed a lot while playing it, but i never thought it was a bad or mediocre game. In the end I think that the strongest parts of the game get dragged down a bit by some more annoying elements. This could have been a real masterpiece, but eventually it's "just" a really good game.

For some reason I always felt intrigued by this series, and for some even more obscure reason this game in particular caught my attention. This says a lot about how I choose what game to play.

On a technical standpoint this game looks and feels like a lazy hd remaster of a ps2 game, and the fact that the artstyle is often very uninspired and so "anime" that it's also uninteresting doesn't help. There's a lot of pop-ups, a lot of the environments are really big but also almost completely empty, the same assets are reutilised many times and the character animations outside of battle are really clunky. The cities are sometimes big sometimes not, but they are always empty, and completely useless outside of the shop and inn, and the sporadic story event or subquest. Almost all the dungeons look and play the same, just with different skins. Even the music feels really generic (not bad per se but not that good also).

Even after finishing the game i still don't know if i liked the combat system; at least it feels different from all the others jrpgs. At the beginning of the game it's very limited and you'll have to use always the same couple of combos, but at least you can play with 6 (technically 7) different characters, that all feel different from one another. As you advance in the game though, you'll have a lot more choices, but it always feels like you're limited to using the same ones over and over. A lot of the battles after the first half of the game get really messy, and this is not helped by the fact that a lot of enemies (mostly bosses but not exclusively) have moves or combos that can oneshot you and/or your whole team. These difficulty spikes feel really artificial in a game that is not really that hard (i played in Second difficulty), but it gives you this illusion by throwing at you a lot of spongy enemies that take forever to kill (some encounters even took me tens of minutes!), and this gets worse towards the end of the game. There are also a lot of mechanics that can get really deep and can be fun (like fusions) or just boring or even annoying (the dominus and the fast travel; whose idea was to have to pay it each time a percentage of all your money??).

The story of Tales of Zestiria feels very generic when you look at it as a whole (chosen one has to save te world with friends), but there are a lot of things about the lore i really enjoyed: the eternal conflict between the shepard and the lord of calamity, the concept of hellions and serphs, the lords, and the conflict between the two big nations. On the other hand all of this is told in such a boring way that it is painful to endure. 90% of the cutscenes really suck, and this is a problem since this game has around a billion of them. It will also often happen something like [end of cutscene - walk 3 meters - start of new cutscene], expecially in the beginning of the game, so it takes a while to gain a decent rhythm. At least there is a good chemistry between the main cast, and i really liked some of the main characters. Also, my enjoyment of the game increased a lot when i turned on the english dub. Unfortunately there's still some anime bullshit in the character interactions, and expecially in some characters, which were the ones i liked the least. One thing I didn't understand is that the stories of some of the main characters wasn''t completed with the end of the main quest. I completed most of the subquest but they aren't managed really well, with the game not telling you almost anything about them (where to go, what to do, who gave you the quest...).

Even after talking this bad about this game, i can't say this is an inherently bad game and there are some things i actually liked: it has some good ideas, and some interesting story points, that are not well executed imo, and the cast works well togheter. Half a star less because the last boss was completely bullshit on the gameplay side.
So, in the end you may ask, why did you play 50 hours of a game you don't really enjoy? Because I'm fucking stupid, that's why.