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Makes sense that most of the communist-chanting options are played almost as jokes, because no one believes those grand statements anymore. More than that, they can't believe. They almost lost their meaning. This town is more complicated than all of that.
The sense of longing and the pain that comes from nostalgia are not enough: the world, the people, society, they have layers and layers. Reality is broken, and the past holds too many traumas for everyone. But you can still peel most of those layers, and get to the bottom of the heart. It doesn't feel like a task or a chore in any moment, it's like the answers are always driving you forward in such a small and concrete environment. You HAVE to keep going!! Be the detective, untangle every mess in your life and roll those dice!!!

It almost feels silly to call anything else an RPG now that this exists. It's a perfect culmination of the idea of stats and rolls and modifiers into a game that actually lets you play a role, to define who this amnesiac man is and how he relates to the world he inhabits.
And what a world: broken and tragicomic, Revachol comes off at first glance as a bitter satire written by a disillusioned leftist. But the deeper you dive, the more it opens up into something haunting and beautiful in its own right, with even a faint glimmer of hope hidden among the ruins. No people is truly broken, argues Disco Elysium, while they still have hearts to care for one another and arms to link against their oppressors.

an even better version of an already 5/5 game. an adventure game, a crpg (in the vein of planescape: torment), a detective sim, a sprawling choose-your-own-dementia jamboree, a dreary mucking-around in self-destruction, inner dreams, despair, love, hope (?!), and loads of politics. you're the sorry cop, the hobocop, the broke-dick disco king of dire debauchery. an absolute scumbag who, just maybe, wants the world to be better. you have the coolest partner, kim kitsuragi: a moral anchor of sorts—sympathetic, albeit amply capable of becoming... displeased with you. it all depends. there are many ways to blaze your trail through revachol. in the milieu of computer games, disco elysium is a rare flower reeking of human life, history, and the yearning of loneliness in a capitalist shit-world. breathe in the stink and let the heartless wind run its fingers through your hair.

YOU -- "But what if humanity keeps letting us down?"
STEBAN, THE STUDENT COMMUNIST -- "Nobody said that fulfilling the proletariat's historic role would be easy. It demands great faith with no promise of tangible reward. But that doesn't mean we can simply give up."
STEBAN, THE STUDENT COMMUNIST -- "I guess you can say we believe it *because* it's impossible. It's our way of saying we refuse to accept that the world has to remain... like this..."
A 2 week old fetid corpse hangs from a tree, a ghastly sight; a human life reduced to a macabre piñata for small children to pelt stones at in a twisted idea of entertainment. The children themselves, a hopped-up junkie and a nameless orphan respectively, both the result of a broken system that has unequivocally failed them. The district of Martinaise, pockmarked by the remnants of revolutionary war, abandoned by the world at large, it and its people subject to the pissing contests of petty government officials to see who is lumped with the task of looking after the place, the site of a months-long, on-the-brink-of-warfare labor dispute that's about to boil over with the lynching of a PMC soldier who was meant to "defuse" the situation. All of this, left to the hands of a suicidal, vice-riddled husk of a cop who can barely get his necktie down from the ceiling fan without potentially going into cardiac arrest. Disco Elysium is an undeniably depressing experience that isn't afraid to cover the messy spectrum of humanity, from insane race-realist phrenologists to meth-addled children to every kind of ghoulish bureaucrat under the sun. The district of Martinaise, as fictional as it is, is a place I've seen before, reflected in the streets, reflected in the people, reflected in the system; an undeniably full-faced look at the horrors faced by those below, and the resulting apathy expressed by those above.
SUGGESTION -- Brother, you should put me in front of a firing squad. I have no words for how I failed you.
Every aspect of Disco Elysium reflects its overall theme of "failure". Martinaise itself has been failed by the institutions meant to help it, abandoned by the powers that be, who only intervene when it looks like anyone is trying to enact change. NPCs can reminisce on days gone by, of the tragedies in their past, or of their cynical rebuke of the future. The various schools of political thought you can adopt and their representatives are mercilessly picked apart, from the Communists too entrenched in theory to take notice of the suffering around them, to the frankly pathetic fascists who use their prejudiced beliefs to shield themselves from their own flaws. Our protagonist is constantly haunted by his past and even starts the game recovering from his own self-destructive ways, and on a gameplay level, the way that our intrepid detective can fumble the bag in nearly every way imaginable and still be allowed to make progress in investigations and sidequests is commendable. Failure is so integral, so vital to Disco Elysium that it's not only an aspect deeply ingrained in its story, but also its very gameplay.
VOLITION [Easy: Success] -- No. This is somewhere to be. This is all you have, but it's still something. Streets and sodium lights. The sky, the world. You're still alive.
And yet, despite this cloying cynicism and acknowledgement of the ugliness of reality, Disco Elysium is magical because of the fact that it ultimately believes that there is a world worth fighting for in the end. It would be incredibly easy to be defeatist in the face of such constant, institutional and societal failure we are presented with in Revachol, to be ceaselessly apathetic in the face of your own overwhelming shortcomings, to fall back into the comfort of old vices instead of facing our problems head on. Still, Disco Elysium has that fire inside of it, an untapped hatred for fence-sitting, for passivity in the face of oppression and valuing the status quo over any meaningful change. Roll up your sleeves and fight for a better future.
RHETORIC -- "You've built it before, they've built it before. Hasn't really worked out yet, but neither has love -- should we just stop building love, too?"
STEBAN, THE STUDENT COMMUNIST -- "In dark times, should the stars also go out?"
RHETORIC -- "Say one of these fascist or communist things or fuck off."
Disco Elysium believes in the people. It believes in humanity, no matter how messy our supposed paragons are, or how flawed our beliefs and values can be, or how cyclical we can be in the face of it all. In a city plagued by an inability to move on, Disco Elysium says that there is always a possibility of change. If two broke Communists and a junkie wino can defy the very laws of physics in a slummy apartment, no matter how briefly, with the power of their faith and co-operation; imagine what we could do as a group. As a city. As a species.
Disco Elysium says that the cup is half full. Even if we won't see the own fruits of our labor in our lifetimes, it still looks you in the eyes and says:
"The only promise it offers is that the future can be better than the past, if we're willing to work and fight and die for it," a conviction belted out by the youths of tomorrow.
"Un jour je serai de retour près de toi", written in bright burning letters across a market square.
"TRUE LOVE IS POSSIBLE/ONLY IN THE NEXT WORLD--FOR NEW PEOPLE/IT IS TOO LATE FOR US," painted on the side of an eight-story tenement.
"Disco Inferno...," a lone voice belted out through a boombox's speakers across a frost-bitten sea.

This review contains spoilers

Having played the original release of this game, I enjoyed this remake/remaster. However, I feel it falls short in some places where the original didn't. Most people with this opinion will point to the fact that the playable character is different, and while I DO prefer the father version of the titular character Nier, playing as brother Nier is not one of my big issues with this game. If anything, it was more incentive to play it, since the original PS3 version of NieR Replicant was not released in the West, and instead Square opted to release NieR Gestalt featuring father Nier for both consoles the game released on.
My issues instead lie with a number of other more specific things, the first being the voice acting. Liam O'Brien, Laura Bailey, and Julie Ann Taylor deliver a stellar performance in Replicant ver. 1.22, though all three of their performances feel a bit weaker and less emotional than in the PS3 version of the game. Despite liking his performances elsewhere, I was not impressed with Zach Aguilar's delivery while playing the younger version of brother Nier. Many lines lacked emotion and urgency where they would be appropriate. Ray Chase as the adult version of brother Nier, on the other hand, did a very good job with the character and in one instance even surpassed Jamieson Price's outstanding voice work as father Nier in the PS3 release. As a whole though, Price's voice work was irreplaceable and it saddens me to see him only get a single line of dialogue in this release.
Slight script changes were made, and I dislike a lot of them. I realize this is unavoidable as the protagonist is an entirely different character, but some of them are questionable and didn't need to be changed. Brother Nier as a whole seems to have a lot less personality than father Nier, which is strange as the game was originally written with only brother Nier in mind. I'm unsure of whether or not these script changes are more faithful to the Japanese dialogue, but if they are, the localization changes were minor enough that I feel they should have been left alone.
The gameplay, despite being "improved", is really no different and is even worse off in some cases. Combat is virtually the same outside of being flashier, which causes no real improvement in quality of the combat and makes attacks feel like they have less weight to them. Enemies seem to be spongier than the original release, and seem to abuse annoying attacks with the potential to stunlock the player way more often. Boar riding controls differ, and are less simple and efficient than they previously were. Bosses take significantly less damage than normal while dialogue is playing during boss fights, presumably to make sure you don't miss dialogue by killing a boss too quickly. Missing dialogue like this was an annoying issue in the original, but making bosses take almost no damage while characters are talking is a horrible compromise. This is especially irritating in subsequent playthroughs while trying to get other endings. Facade is also more difficult to traverse, as jump height and object heights differ between releases.
Graphics are an "improvement" but cause the game to lose the unique look the original release had. Lighting is less colorful and causes some objects to stand out awkwardly due to their colors. Character models (particularly Kaine, who even had a change in eye color, and Grimoire Weiss, who looks flatter and less metallic) look wildly different from the originals, Devola and Popola are much harder to tell apart. Grimoire Noir's magic is an odd Mountain Dew yellow-green color instead of its original gold. Text is also noticeably smaller in this release, which makes it difficult to read if playing on a TV as opposed to a computer monitor.
Most of the remade soundtrack is unnecessary and inferior to the original. Many songs feel exactly the same aside from the addition of new instruments that ruin the feel and flow of the originals.
The new content is a welcome addition, and what I was most interested in upon purchasing the game. However, some of it does break the flow of the game and as much as I enjoyed playing through Ending E as Kaine, I miss having the bittersweet/outright sad ending D as the definitive ending of the game. Being able to restore your save file gets rid of the weight that the decision to delete it in the first place held, and the connection to Automata felt more like cheap fanservice than actual interesting lore. Having Kaine playable in this ending also means the opportunity to have her playable in Route B, which the game tells you is "Kaine's Story", is wasted. Similarly, I feel an opportunity to have father Nier selectable whether it be in the base game or as DLC was missed considering they went through the effort to model him and bring in his voice actor for one single line.
As a whole, I realize this is an incredibly nitpicky and negative review. I enjoyed the game and recommend it to anyone whose only option to play it is this. I just prefer the original and wanted to make this disorganized ramble of a review explaining why. I strongly suggest playing the PS3/360 release first, though I recognize that this isn't feasible for everyone. Many of the original game's strengths are retained in this release, and much of my complaints likely come from my familiarity with the original, which is easily one of my favorite games of all time. If you actually took the time to read all this, haven't played either version, and have no way to play the PS3 version, pick this one up anyway. The story and characters are still excellent and you'll have a good time.

Knights of the Old Republic will probably always be the best Star Wars narrative and one of the best narratives of all time. The world building, the societies, the fractions, the quests, the characters, the plot, the twists, the soundtrack and the atmosphere. Impeccable.

The Witcher 3 is, now that I've played it, officially a part of the Holy Trinity of Western RPG's with Red Dead Redemption 2 and Mass Effect 3 due to its tremendous character writing, unparalleled world building and lore, and overall style. Seriously, there is not one thing about this game that after completion, I felt it needed.
Characters in the Witcher, be it in the games, show, or books, are the definitive strongsuit and most important aspect as set in place by Andrzej Sapkowski way back in the 90's when first creating the story of Geralt that would eventually sweep the world by storm. Everybody in the series matters, nobody is intrinsically good, nobody is faultless. Geralt of Rivia, who is probably the greatest protagonist in video game history is a man of imperfection, a mutated shell of a human whose history is marred with bloodshed and tragedy. Geralt never looks back though, he is a pragmatist with a heart. I've never encountered a character in a series who is as multi-faceted and believable as Geralt. He bows to nobody and adheres to his own code, owes no alleigances to men of state or people of power, loves those who he wants to love, and is confident in his staggering ability in combat. One beautiful aspect of the series is how often you split between fighting and conversation, as the history of the continent and people within are decided by Geralt's words, which he carefully must pick and cater to those he speaks with. He is a sly and cunning man, and always cognizant of the intentions of those around him, he is no fool. He knows his love for Ciri, Yennefer, and Vesimir can lead him astray, but his abilties make up for it.
The protagonist Geralt takes center stage as the player character and decision maker within the story, but every single character within the world crafts what is the greatest low-fantasy adventure and most well fleshed out world in video game history. Secondary characters like Yennefer, Triss, Vesimir, Ciri, Dandelion, Zoltan, Keira, Djikstra, Ehmyr, and many more add an invaluable amount to not only the story, but the passion behind the player's actions. Each character has their own unique motives, their own special relationship to Geralt and the others around, their own piece that fits together for the final puzzle. You spend hours seperately with each of these characters, disputing romance, debating politics, bargaining, and laughing in good faith. The depth that The Witcher 3 goes in to with your supporting cast, without ever overstaying its welcome is only paralleled with one game, Red Dead Redemption 2. I only want to spend MORE hours with the Witchers of Kaer Morhan, with the two beautiful Sorceresses in Triss and Yennefer learning about their world and complicated relationships with Geralt, with the beautiful and evasive Cirilla, and countless others. Few games are like the Witcher 3 and have you smiling when you reunite with characters from previous games or books, when I met with Roche for the first time I jumped with joy, same as with the lovable duo of Dandelion and Zoltan. I can not drive the point home enough, these side characters are some of the most fleshed out peers and comrades of any video game ever. Even the more minor characters, involved in singular quest chains like the Bloody Baron, Cerys, or [REDACTED DUE TO SPOILERS] leave a mark that you shant forget, as their memories and experiences add an extreme amount to the overall journey.
Now, this is clearly evident to anybody who has seen the show or read any of the books, but aside from the characters, the thing that lays the groundwork for the Witcher's success as a game franchise is the beautiful worldbuilding by Andrzej Sapkowski. EVERYTHING from the Eastern-European influenced folklore to the medieval European architecture and setting is meticulously laid out with extreme thought and care. The cities withing the Witcher 3 feel like real Medieval cities reflecting of their culture. The royal castle of Vizima feels like that befitting of a grand emperor, the free city of Novigrad is one of the most impressive and fleshed out cities in any video game in the history of the medium, and the multiple communities within Skellige are a thing of Scandinavian beauty. The towns and world were so beautiful to traverse, many a moment was spent stopping and staring at the colorful countrysides. Disclaimer, I did play this game with a 4K texture pack enabled to make the pretty things more pretty. But man, I could speak for days about how REAL this felt as a fantasy setting. There is a perfect balance of power within the universe of the Witcher, and that is evident in its third entry. Sorceresses are extremely powerful, yet their volatility is too high for excessive power usage. The Wild Hunt are an impressively scary force, however they are kept in check by certain abilities that will be explained. Geralt and the Witchers themself are the strongest of human warriors, however they are the last of a dying breed. The power in the Witcher series is kept in check by wit and chess-like geopolitics, as it would be in an actual medieval setting. Not by a superhero or undefeatable protagonist. The Witcher is a carefuilly crafted universe of lore that has been in motion for nearly thirty years, culminating with the effort that it took to get to The Witcher 3: Wild Hunt. Each narrative empowering, passionate, and given an incredible amount of thought.
The music of the Witcher 3 is something of note as well, and those who have played this game can easily find a common ground in this aspect, whether they liked the other aspects or not. These songs are long and drawn out, borrowing aspects from Medieval instruments and fantasy choruses and sounds. Each song, whether its for a specific zone or character, couples with the mood and settings perfectly without any shadow of a doubt. I paused when I was riding the trusty steed Roach through the winding hills of Skelige as the beautiful soundtrack played and looked at the open ocean. I was in awe, completely lost in the world. I felt like Geralt, wind howling and hitting my face on a horse looking over a familiar crag. It's moments that games like this and RDR2 nail that have the player completely divulged into the immersive nature that they put forth.
The only knocks I can give the Witcher 3 is the combat being far less than stellar in difficult and rigidity, and the ham-fisted relationship with Yennefer that is more of a qualm I have with the series as a whole. The former is excusable with the addition of the points I made above, however the latter irked me to a fairly large degree. I don't like Yennefer, full stop, which is interesting because she is clearly Geralt's canon love interest if you know anything about the series or have played even a few minutes of this game. The topic of whether I like her or not is strictly an opinion of subjective nature and each player is left to their own vices in that regard, however my qualm for this post is moreso how the game deals with that if you pick Triss as your romantic option. The game does a mostly great job in dealing with this, even hiding nuggets of voice lines in conversation about the awkwardness of having Yennefer around when you're romantically involved with the sorceress you spent time with in the last few games. It does get a little awkward sometimes when there are plot elements that pair you with Yennefer and imply that she is your betrothed, but as this review is a five star review, that is clearly not enough to detract any major points away from the game.
I had not played the Witcher 3 until now because I was not a fan of the low-fantasy medieval setting. Once I played the Witcher 2, I became invested and watched the show, read some books, and became completely enthralled in the world of Geralt. With the Witcher 3: Wild Hunt you have a tremendously crafted narrative, flawlessly written memorable and diverse characters, a lively fleshed out world with a cavernous lore and history, and a magnificent soundtrack that thrusts immersion into the the player.
I strongly recommend The Witcher 3 to those who are looking for a narrative video game journey that they will not forget.

The Witcher 3 is a grandiose and emotional story of a man looking for his daughter. Because finding said daughter takes time and a man's gotta sit down and rest every now and then, in a more immediate sense The Witcher 3 is a game about Geralt stumbling on all of his old friends who all happen to be in the same corner of the world at the same time and going for a drink and catching up with all of them.
You may think that this is a role-playing game because of the RPG tag but actually the G in the RPG here stands for Geralt, so you're Role-Playing Geralt, who is, lucky for you, one of the most terrific video game protagonists that you'll ever meet (you're also him in this game!)
The writing is all-around great here, which makes even all the side-quests worth experiencing too. Many times the smaller stories will surprise you and blow your mind. Different outcomes in quests based on your choices mean there's plenty of replayability here too.

A charming and simply magical experience, a game everyone needs to play

The best version of the game regarded as one of the best games of all-time. The enhanced graphics bring more life in the games visuals and make it more beautiful. The 3d is also pretty impressive in this game too. It also adds Master Quest from the GameCube version that adds more longevity to the game and a good challenge and a boss challenge mode for those who might want to fight the bosses again. Not only was this the 3ds's first killer app, but also the definitive version of a fantastic game that anybody who has ever touched a controller should play.

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