Jerychon
67 reviews liked by Jerychon
This game was a big surprise. An emotionally gripping journey through the tragedies of World War I that uses beautiful art style, captivating storytelling and immersive gameplay mechanics.
The story of Valiant Hearts excels in capturing the human side of war, focusing on the experiences of ordinary people caught up in horrors of war. It's a deeply moving story, with great characters and each one has their own personal narrative.
I really loved this game, can't wait to try the new one someday.
The story of Valiant Hearts excels in capturing the human side of war, focusing on the experiences of ordinary people caught up in horrors of war. It's a deeply moving story, with great characters and each one has their own personal narrative.
I really loved this game, can't wait to try the new one someday.
Splinter Cell: Pandora Tomorrow is a respectable sequel to the first game, but still retains all of its jank, making it equally frustrating despite its magnificent ideas.
There are some meaningful improvements from Splinter Cell 1. The swat turn is invaluable for staying unnoticed in certain indoor situations, and there is now an indicator for whether it's safe to hide a body. The laser sight on the pistol allows you to see exactly where your shot will land with the tradeoff that it's also visible to enemies. It's still ultimately a bandaid solution to the problem with Splinter Cell's shooting, though. The unpredictable bullet trajectory, which seems to exist to discourage shooting willy-nilly, can also completely blow your cover when you line up a seemingly accurate shot only for it to come out of your gun sideways and alert everyone nearby. Adding a sight made this issue less frustrating, but it just didn't need to be there in the first place and it took until the third game for Ubisoft to finally do away with it.
The lighting and atmosphere are superb as ever, and the level variety is much better than in Splinter Cell 1, with much more diverse and memorable locations.
Unfortunately the action sequences from the first game have been forced in again, though thankfully slightly fewer in number and I found them less annoying. But they also just didn't need to be there and it once again took until the series' third attempt to understand this. And even then, Chaos Theory didn't completely learn from the mistakes of its predecessors.
The detection system is incredibly janky, much like Splinter Cell 1, and was by far the most frustrating issue I had with this game. Even the tiniest movements could make the enemy turn around and start blasting while alerting everyone around immediately. This is the main reason, along with the bad combat sequences, that I can rarely recommend the first two Splinter Cell games.
There are some meaningful improvements from Splinter Cell 1. The swat turn is invaluable for staying unnoticed in certain indoor situations, and there is now an indicator for whether it's safe to hide a body. The laser sight on the pistol allows you to see exactly where your shot will land with the tradeoff that it's also visible to enemies. It's still ultimately a bandaid solution to the problem with Splinter Cell's shooting, though. The unpredictable bullet trajectory, which seems to exist to discourage shooting willy-nilly, can also completely blow your cover when you line up a seemingly accurate shot only for it to come out of your gun sideways and alert everyone nearby. Adding a sight made this issue less frustrating, but it just didn't need to be there in the first place and it took until the third game for Ubisoft to finally do away with it.
The lighting and atmosphere are superb as ever, and the level variety is much better than in Splinter Cell 1, with much more diverse and memorable locations.
Unfortunately the action sequences from the first game have been forced in again, though thankfully slightly fewer in number and I found them less annoying. But they also just didn't need to be there and it once again took until the series' third attempt to understand this. And even then, Chaos Theory didn't completely learn from the mistakes of its predecessors.
The detection system is incredibly janky, much like Splinter Cell 1, and was by far the most frustrating issue I had with this game. Even the tiniest movements could make the enemy turn around and start blasting while alerting everyone around immediately. This is the main reason, along with the bad combat sequences, that I can rarely recommend the first two Splinter Cell games.
Pseudoregalia
2023
As a 3D platformer, this game is fantastic. Beyond the movement being extremely fluid and responsive it has an aspect that I seek out of 3D platformers, expressing yourself with said movement. You can, in a way, sequence break levels, which I did a lot by abusing the wallkick, to the point that the bounce jump was the very last upgrade I got. It's the perfect combination of letting you go crazy with the sandbox of movement, but also incentivizing you to do so.
However, as a metroidvania, ehh...
The combat just sort of exists and while the lack of a map is a problem the real issue the lack of direction. It never actually feels like any of the areas are connected, so a lot of time I got this feeling of "Oh, I'm here?" At the very least I appreciate the game's direction of "Just go find these 5 thingamagigs and get to the end."
The foundation is more than great, so I'm hoping a sequel comes one day to polish the rough edges.
However, as a metroidvania, ehh...
The combat just sort of exists and while the lack of a map is a problem the real issue the lack of direction. It never actually feels like any of the areas are connected, so a lot of time I got this feeling of "Oh, I'm here?" At the very least I appreciate the game's direction of "Just go find these 5 thingamagigs and get to the end."
The foundation is more than great, so I'm hoping a sequel comes one day to polish the rough edges.
Crysis 3 Remastered
2021
(reposting as I reviewed a different version of the game from the one I played)
A middling end to a middling series.
The first few hours of Crysis 3 were the most fun I had in any of the Crysis games. (Note that at the time of writing this review, I have not played Crysis Warhead.) The predator bow is awesome and the levels are well designed for creative gameplay approaches. The game fully embraces a sneaky hit-and-run disappearing into the shadows style of combat which is where this series is strongest. After Crysis 2's sharp turn into linearity, it seems the developers listened and brought back some of the sandbox creativity from Crysis 1. On top of that, it all takes place in beautiful overgrown ruins of New York, totally dripping with atmosphere. It's tremendous fun.
For a while.
Then the game's hurried development rears its ugly head. Crysis 3 is much shorter than Crysis 1 and 2, and it seems the developers knew this because the back half of the game mostly consists of large swathes of land with objectives plonked at opposite ends, which you just sprint or drive across with no actual content in between. It's a very obvious attempt to pad the game's length for as long as possible because it would otherwise be about four hours long. The last level turns into a corridor but still blatantly tries to delay the game's conclusion with pointless objectives and it plays like discount Halo, with a terrible final boss to boot. But desperately trying to stretch the game's length like this only served to make the game's final act more exhausting to get through, despite it still being shorter than its predecessors.
The Crysis series was built on a fine premise of a sandbox shooter with stealth-infused predator style combat. But somehow it let a mountain of potential slip through its fingers and each game fumbled the premise in unique ways. I still think the series deserves a revival, but only if it seriously takes its failures into account and properly builds on its strengths. There is definitely room in the market for a sandbox shooter that isn't Far Cry. A new Crysis would only have to stick to its guns and avoid trading player freedom for linear corridor levels, and ideally drop its nonsensical plot. But as it is, this series will probably be forgotten except for how amazing the first game's graphics looked in 2007.
A middling end to a middling series.
The first few hours of Crysis 3 were the most fun I had in any of the Crysis games. (Note that at the time of writing this review, I have not played Crysis Warhead.) The predator bow is awesome and the levels are well designed for creative gameplay approaches. The game fully embraces a sneaky hit-and-run disappearing into the shadows style of combat which is where this series is strongest. After Crysis 2's sharp turn into linearity, it seems the developers listened and brought back some of the sandbox creativity from Crysis 1. On top of that, it all takes place in beautiful overgrown ruins of New York, totally dripping with atmosphere. It's tremendous fun.
For a while.
Then the game's hurried development rears its ugly head. Crysis 3 is much shorter than Crysis 1 and 2, and it seems the developers knew this because the back half of the game mostly consists of large swathes of land with objectives plonked at opposite ends, which you just sprint or drive across with no actual content in between. It's a very obvious attempt to pad the game's length for as long as possible because it would otherwise be about four hours long. The last level turns into a corridor but still blatantly tries to delay the game's conclusion with pointless objectives and it plays like discount Halo, with a terrible final boss to boot. But desperately trying to stretch the game's length like this only served to make the game's final act more exhausting to get through, despite it still being shorter than its predecessors.
The Crysis series was built on a fine premise of a sandbox shooter with stealth-infused predator style combat. But somehow it let a mountain of potential slip through its fingers and each game fumbled the premise in unique ways. I still think the series deserves a revival, but only if it seriously takes its failures into account and properly builds on its strengths. There is definitely room in the market for a sandbox shooter that isn't Far Cry. A new Crysis would only have to stick to its guns and avoid trading player freedom for linear corridor levels, and ideally drop its nonsensical plot. But as it is, this series will probably be forgotten except for how amazing the first game's graphics looked in 2007.
Crysis 2 Remastered
2021
(reposting as I reviewed a different version of the game from the one I played)
It's one of the seventh gen shooters of all time.
Given the resounding disappointment surrounding Crysis 2 after Crysis 1 was such a boundary pushing game for the time, I expected a lot less of this game. But while it does feel stripped back compared to its predecessor, there is still merit in this game's ideas.
It's certainly nothing to write home about, and could easily get lost in the seventh gen sea of brownish shooters, but it's a fairly solid campaign with some fun setpieces that make it feel like an action movie. And the remastered graphics look excellent. Somehow this game got a much better remaster than Crysis 1 did, despite that game having a legendary reputation for its graphics.
While Crysis 2 lacks the open world design of Crysis 1, the levels are still built to allow multiple approaches. I found the cloak to be much more useful and fun in Crysis 2, but in both games I found armour mode underwhelming. I rarely used it tactically; it was more of a necessity to not die in a matter of seconds against certain enemies.
The much maligned aliens are back in Crysis 2, but I found them to be a lot more enjoyable to fight this time around because they're on the ground and use tactics like cover and cloaking, rather than flying space jellyfish that you just empty endless rounds into with little strategy or creativity involved. I got the feeling that the developers may have taken some inspiration from Halo for the aliens in this game. One thing that was not inspired however, was the AI. Both the aliens and humans have really stupid AI and it feels like a missed opportunity to make firefights more dynamic and tactical. Sometimes they would just stand there trying to figure out where I went.
Though I did find the remaster job better this time around, one issue I ran into was some severe slowdowns in the level Masks Off. It was only limited to this level, but it affected the gameplay experience quite badly.
There isn't really anything wrong with Crysis 2; it only suffers from sharing a name with a much more ambitious and unique game. Though it didn't reach the highs of Crysis 1, it avoided the lows and was a more consistent experience overall. The last third or so of Crysis 1 severely loses steam. The story and setting of Crysis 2 are unremarkable and feel very characteristic of the era, which was dominated by brown and grey shooters, but it was decent enough for me to finish. It's a perfectly average shooter.
It's one of the seventh gen shooters of all time.
Given the resounding disappointment surrounding Crysis 2 after Crysis 1 was such a boundary pushing game for the time, I expected a lot less of this game. But while it does feel stripped back compared to its predecessor, there is still merit in this game's ideas.
It's certainly nothing to write home about, and could easily get lost in the seventh gen sea of brownish shooters, but it's a fairly solid campaign with some fun setpieces that make it feel like an action movie. And the remastered graphics look excellent. Somehow this game got a much better remaster than Crysis 1 did, despite that game having a legendary reputation for its graphics.
While Crysis 2 lacks the open world design of Crysis 1, the levels are still built to allow multiple approaches. I found the cloak to be much more useful and fun in Crysis 2, but in both games I found armour mode underwhelming. I rarely used it tactically; it was more of a necessity to not die in a matter of seconds against certain enemies.
The much maligned aliens are back in Crysis 2, but I found them to be a lot more enjoyable to fight this time around because they're on the ground and use tactics like cover and cloaking, rather than flying space jellyfish that you just empty endless rounds into with little strategy or creativity involved. I got the feeling that the developers may have taken some inspiration from Halo for the aliens in this game. One thing that was not inspired however, was the AI. Both the aliens and humans have really stupid AI and it feels like a missed opportunity to make firefights more dynamic and tactical. Sometimes they would just stand there trying to figure out where I went.
Though I did find the remaster job better this time around, one issue I ran into was some severe slowdowns in the level Masks Off. It was only limited to this level, but it affected the gameplay experience quite badly.
There isn't really anything wrong with Crysis 2; it only suffers from sharing a name with a much more ambitious and unique game. Though it didn't reach the highs of Crysis 1, it avoided the lows and was a more consistent experience overall. The last third or so of Crysis 1 severely loses steam. The story and setting of Crysis 2 are unremarkable and feel very characteristic of the era, which was dominated by brown and grey shooters, but it was decent enough for me to finish. It's a perfectly average shooter.
Buckshot Roulette
2023
It's like if the blackjack DLC from RE7 was made into a standalone game.
Strider
2014
the map design is somewhat linear but enjoyable but it's dragged down by the boss fights being annoying with ever increasing HP bloat with your damage output not increasing while their output does got to tedious so I abandoned it after the penultimate boss fight
This game is the perfect example of "damn, if it were 2/3's as long it'd be pretty good", first bits are pretty fun and the story is interesting but by the last 3 chapters I was extremely tired of the annoying ass gimmicks and go-fuck-yourself level design.
Hotline Miami
2012
Half of the game is an addicting gameplay loop which constantly makes you go "just one more", the other half is some of the jankiest shit in any game, from shooting your gun through enemies to doors that are always interested in fucking you over.
No More Heroes
2007
This review contains spoilers
NOTE:EMULATED ON DOLPHIN. THE PC PORT IS A FUCKING DISASTER DO NOT RECOMMEND.
While it is messy in a lot of places, No More Heroes 1 is an entertaining enough time thanks to its unique style and entertaining premise.
For a game that released on the Wii I was shocked as to just how well the game held up graphically. This is mainly because of how unique it looks for the console, featuring a lot of impressive shadow work and characters that really pop (though the open world can look a bit dull). Speaking of characters that's another spot where the game absolutely shines, with Travis Touchdown being a fun protagonist (who's also an absolute fucking dork) and each of the assassins being entertaining encounters (my favorite being Dr Peace). The engaging combat definitely helps in this regard, never getting repetitive due to just how satisfying it becomes, with the combination of the Katana stances and wrestling moves creating an experience that I can say is truly unique (also getting those multi kills is satisfying as all hell). Last thing to mention is the absolute banger of an OST, with special mention going to the phenomenal main theme N.M.H.
As fun as general combat can be, it's ironic to say that NMH1s biggest issue IS the bosses themselves. While they're all oozing charm and remain a highlight, actually fighting them is a mess. A combination of way too much health and some truly abysmal gimmicks (I fucking despise Holly Summers) makes getting to these bosses more a letdown than an actual reward. Out of the 10 bosses I only really enjoyed Shinobu (a satisfying duel with an amazing setting) and the true final boss Henry (an even better duel which really tests your knowledge of the game). Not helping manners is just how fucking GRINDY the game is, with a majority of the game being spent grinding money to even access these fights. In a shocking twist the actual shitty jobs weren't an issue, as most of them are really easy and don't waste much time (besides Bomb Collecting and Scorpion hunting). The bigger issue is the assassination jobs having dogshit payouts until super late in the game alongside an open world that feels absolutely terrible to navigate (get sprint ASAP). Combine that with all the upgrades and you will be forced to grind for a solid chunk of the 12 hour runtime (I would estimate about half my time was spent grinding). Last thing to note is the actual story, or moreso a lack thereof. Travis for sure grows as a character and his relationship with Sylvia does get pretty interesting near the end but besides that you are left with crumbs for a good majority. Not until the literal LAST TWO BOSSES does the game decide to dump a truckload of backstory that I honestly did not care for because of how late it occurred.
Despite those myriad of issues the first No More Heroes is still a decent time all around. Suda 51 isn't a creator I absolutely adore but I do understand why so many flock to him because of this game (and also Killer 7). A solid start to a cult franchise.
7/10
While it is messy in a lot of places, No More Heroes 1 is an entertaining enough time thanks to its unique style and entertaining premise.
For a game that released on the Wii I was shocked as to just how well the game held up graphically. This is mainly because of how unique it looks for the console, featuring a lot of impressive shadow work and characters that really pop (though the open world can look a bit dull). Speaking of characters that's another spot where the game absolutely shines, with Travis Touchdown being a fun protagonist (who's also an absolute fucking dork) and each of the assassins being entertaining encounters (my favorite being Dr Peace). The engaging combat definitely helps in this regard, never getting repetitive due to just how satisfying it becomes, with the combination of the Katana stances and wrestling moves creating an experience that I can say is truly unique (also getting those multi kills is satisfying as all hell). Last thing to mention is the absolute banger of an OST, with special mention going to the phenomenal main theme N.M.H.
As fun as general combat can be, it's ironic to say that NMH1s biggest issue IS the bosses themselves. While they're all oozing charm and remain a highlight, actually fighting them is a mess. A combination of way too much health and some truly abysmal gimmicks (I fucking despise Holly Summers) makes getting to these bosses more a letdown than an actual reward. Out of the 10 bosses I only really enjoyed Shinobu (a satisfying duel with an amazing setting) and the true final boss Henry (an even better duel which really tests your knowledge of the game). Not helping manners is just how fucking GRINDY the game is, with a majority of the game being spent grinding money to even access these fights. In a shocking twist the actual shitty jobs weren't an issue, as most of them are really easy and don't waste much time (besides Bomb Collecting and Scorpion hunting). The bigger issue is the assassination jobs having dogshit payouts until super late in the game alongside an open world that feels absolutely terrible to navigate (get sprint ASAP). Combine that with all the upgrades and you will be forced to grind for a solid chunk of the 12 hour runtime (I would estimate about half my time was spent grinding). Last thing to note is the actual story, or moreso a lack thereof. Travis for sure grows as a character and his relationship with Sylvia does get pretty interesting near the end but besides that you are left with crumbs for a good majority. Not until the literal LAST TWO BOSSES does the game decide to dump a truckload of backstory that I honestly did not care for because of how late it occurred.
Despite those myriad of issues the first No More Heroes is still a decent time all around. Suda 51 isn't a creator I absolutely adore but I do understand why so many flock to him because of this game (and also Killer 7). A solid start to a cult franchise.
7/10
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