tem varias das qualidades do primeiro mas com algumas mudanças chatas, tipo os inimigos que só podem ser derrotados com armas especificas. a exploração desse segura ainda mais sua mão que o primeiro e é bem chatinho.

Ainda tem aquilo das armaduras serem só versões mais fortes das anteriores mas aqui é pior pq as armaduras são feias.

A história é arrastada em alguns momentos mas ainda assim ela é MUITO BOA, o Odin é um dos melhores vilões manipuladores que eu já vi, até eu comecei a questionar se ele era de fato malvado, e todo o tema de destino é mto legal.

Unfortunately, the new GoW fails. Of course, it's still a good game that seduces with one-shot narration, and during the fight scenes it can provide a real epic and monumental feast. Kratos is still absolute GOAT, and Bear McCreary creates a fantastic soundtrack again. In addition, the game is nice, and the action itself is efficient and quite nicely using the possibilities of Ragnarok and the mythology of Loki. In addition, he gives us a successful plot twist, and the finale is satisfying. But..

Everything seems to be fine, exactly as it should be, but on the other hand there is no freshness, something new. And this is where some repetition creeps in. A lot of mechanics or these puzzles (eh) quickly become irritating and boring. The story itself is also not as engaging as in the first part. It can be boring, and I personally just don't like the Atreus plot and each time I wanted to go through it as soon as possible to play Kratos again. Plus, we were promised Ragnarok, upping the ante, and even more epic, and it's so mediocre. Apart from the final itself, to be honest, I was a bit lacking in effectiveness in the fights. And the mechanics themselves can be overcomplicated. So much of it all here, and it could be simpler, but with more bullshit.

Also a game worth playing. There are a few cooler boss fights and some settings have a really good atmosphere, but the plot fails a bit, and the gameplay (surprisingly) can tire with repetition and overcomplicating.

En el año 2019 llegaba a la plataforma Stadia en forma de juego exclusivo GYLT, una aventura de exploración llena de horror y puzles, desarrollada por Tequila Works. El pasado 6 de julio de este año hacía lo propio en PlayStation 4 y 5, Xbox One y Xbox X/S.

Cuando me ofrecieron analizar este título no pude decir que no, me gusta lo que hace Tequila Works desde que jugué a Deadlight y quería ver si mantenían el nivel de calidad al que nos tienen acostumbrados. Aunque reconozco que soy novato en el género del horror y no sabía si me iba a gustar lo que GYLT nos propone. Así que os cuento mis sensaciones en estas líneas de abajo.

Déjate atrapar por la historia de GYLT

Eres Sally y tu prima Emily ha desaparecido. Vives en el pequeño pueblo de Bethelwood y llevas semanas empapelando todo con carteles de la desaparición y buscando a tu prima sin descanso. Esta es la premisa con la que arranca la aventura de GYLT y que nos sirve de tutorial para aprender los movimientos de nuestra protagonista. Se está haciendo de noche y unos matones nos persiguen mientras nos amenazan y amedrentan y debemos escapar.

Por fin nos ponemos a salvo, pero la única forma de regresar a Bethelwood y evitar a nuestros acosadores es el teleférico de la vieja fábrica. Lo tomamos y aquí empieza la verdadera historia que me ha tenido enganchado de principio a fin. Llegamos al pueblo pero parece que haya habido un desastre natural, todo está destruido excepto la escuela y no hay nadie en las calles. Al entrar al colegio vemos a nuestra prima Emily y empieza nuestra odisea por encontrarla.

Pero el viaje para conseguir salvarla nos hará enfrentarnos a nuestros miedos, a los horrores de una pesadilla en la que parece que hemos entrado. No me gusta hacer spoilers y por ello no entraré en detalles. La historia te mantiene en tensión aunque en ocasiones es previsible, pero aún así merece mucho llegar al desenlace.

Un survival horror con mensaje de fondo

En GYLT tenemos una aventura 3D basada en la supervivencia, la exploración y el sigilo donde cobra mucha importancia el miedo y mantener la tensión. Como Sally deberemos explorar la escuela y los alrededores para hallar a nuestra prima Emily. Mientras investigamos las instalaciones encontraremos enemigos a los que podremos enfrentarnos o evitaremos mediante el sigilo y maniobras de distracción.

Al principio nuestra protagonista, una niña de 11 años, se ve indefensa y la mayoría de enemigos nos harán sentirnos desprotegidos hasta el punto de tener que huir o escondernos en varias ocasiones. A medida que avancemos en el juego y consigamos algunos objetos como una linterna o un extintor podremos pasar a la acción y podremos hacerles frente, aunque el sigilo sigue siendo nuestro principal recurso.

A medida que avanzamos en GYLT, podemos encontrar un fuerte mensaje anti-bullying, ya que la trama de fondo se centra en los abusos que se producen en el colegio y en como eso afecta a la mente de las víctimas. Un mensaje fuerte que cala y que es necesario en esta sociedad. Un acierto por parte de Tequila Works y que le da a la historia un argumento potente.

Rompecabezas sencillos y combates muy originales

Los puzles que nos plantea esta aventura son divertidos y asequibles, es difícil que te quedes atascado y permiten avanzar. Al principio se sienten originales y aunque van aumentando en dificultad, su resolución es sencilla hasta en el tramo final. Quizás he echado de menos un poco más de variedad y un pelín más de desafío en su resolución, pero lo importante es que los disfrutas.

Aunque en GYLT falta variedad de enemigos, ya que casi siempre son los mismos 4 o 5, si que es cierto que tienen un diseño muy bueno y que te hacen sentirte en tensión en muchas ocasiones. Además he disfrutado muchísimo de los originales combates contra los jefes finales que vamos encontrando, y que mezclan el ingenio y la lógica con la habilidad. ¡Me hubiese encantado que hubiese 4 o 5 combates más!

El toque artístico de Tequila Works

No sé si son las cinemáticas en plan comic, o las magníficas ambientaciones que consiguen pero el sello de Tequila Works es reconocible en cada uno de sus títulos. Y en GYLT vuelven a lograrlo, la ambientación tanto sonora como gráfica es excelente. El entorno te hace sentirte nervios en cada habitación y a cada paso. El diseño de escenarios y personajes es muy bueno y está muy cuidado, derrocha originalidad e imaginación a partes iguales. ¡Que bien se ve!

En el apartado sonoro nos ocurre lo mismo, melodías realmente bien hechas y que le dan un toque fantástico a la experiencia. Sonidos que te mantienen en tensión constantemente. Unos pasos, una muñeca hablándote, el ruido de una puerta,… simplemente magníficos.

Conclusión

En conclusión, GYLT es una aventura en 3D tipo survival horror llena de acción y donde tiene un gran peso el sigilo y la resolución de puzles. Unos rompecabezas que son bastante asequibles y que no te harán devanarte mucho los sesos. La historia te engancha y te hace querer ayudar a la protagonista hasta el final, ya que es profunda e interesante y además tiene un fuerte mensaje sobre el bulling en las escuelas. Un gran acierto.

Tequila Works cumple su objetivo de hacerte sentir indefenso en el papel de una niña de 11 años, gracias a una magnifica ambientación que destaca por su estética tipo cartoon y unos sonidos aterradores. Las 6 horas largas que he disfrutado hasta terminarlo han merecido mucho la pena.

Full review: https://gameluster.com/gylt-review-not-so-little-nightmares/

GYLT does a number of things very well, and even reminds me of masterpieces like Little Nightmares and INSIDE when it is at its best. The music is simultaneously gripping and haunting, the controlled atmosphere is intense, the 3D environments are dreadfully beautiful, and the few monsters that inhabit this world are either terribly interesting or just flat out scary. The stealth is fairly fun, although the enemy AI detection could use some tweaking, and the environmental puzzles are just challenging enough to be entertaining. I don’t know that there is one singular thing that GYLT does better than any other game, but outside of the poor story and theme exploration, it does everything else at least very well. Playing alongside a good friend so I didn’t get too scared resulted in a wonderful few nights, and if any of what I’ve said here sounds appealing, I heartily recommend GYLT.

Gylt, a Stadia (RIP) exclusive upon release, is a stealth game in a similar vein to Alan Wake. You play as a little girl trying to save her cousin Emily from monsters in a strange town, and you don't know where you are on top of all this. You slowly get introduced to new gameplay mechanics and fight a couple of bosses.

Gylt's short length means there's pretty much no story or character to capture your interest or care about. In the four hours it takes to complete the game, there is zero world-building. There's even a creepy old guy that we never find out what his purpose is or why he's even present. We don't know anything about the main character or Emily. It's like starting 1/4th through a book and ending at the halfway point. I felt like there was a lot missing. There is no context, exposition, or anything like that. You can go around collecting journals, birds, and whatnot, but what's the point? I won't collect things in a game if I don't feel connected to the world in some way. There's no motivation to push me to want to find out the small details. Gylt has pretty much none of that.

When it comes to gameplay, Gylt is a run-of-the mill stealth action game. The puzzles are elementary, giving no challenge to the players at all. You have two tools at your disposal. A flashlight and a fire extinguisher. The flashpoint can not just light your way, but a focused beam can remove objects, bust pustules on enemies to kill them, and the extinguisher can freeze enemies, freeze water, and put out fires. This is all fine and dandy, but there's nothing challenging to go along with these tools. You will be plopped into a room with a single moveable ladder. It's obvious from one glance around the room that it goes against the wall with the vent. However, you must destroy three eyes with your light to unstick the ladder. It's pointless filler gameplay. Even the light-switching puzzles are dull and simple.

Unlike Alan Wake, the focused flashlight to kill enemies just doesn't feel as fluid, and I understand combat isn't the main focus of Gylt. You are supposed to use it as a last resort—if you get caught at all. Most of the enemy patrols are easy to bypass as there are a ton of objects to hide around, and the game pretty much points a finger at your most direct path. There is a central hub with buildings that connect, and these are your main levels. Each level usually requires some sort of master key to get to its boss, and this is the only time the game was challenging or changed the pace. There are two bosses, and one focuses on combat and the other on stealth. I wanted more of this, but as the game dragged on, it never got more challenging.

The voice acting is good, the cut scenes are hand drawn, and overall, the visuals are nice. Pick any 3D animation studio in the last 20 years, and that's how your game looks. It's dark and moody, but never scary. A few monster designs are a little interesting and different, but nothing crazy. Also, don't expect the game to push your systems to their limits. This game may look nice artistically, but technically it's nothing special, and that's also okay.

Overall, by the end of the game, I had no reason to care for anything I came across. The characters aren't fleshed out, there's no back story to any single thing in the game, and I'm left just moving on from this game and will most likely forget about it in an hour. I love indie games that are short and sweet, but many are forgettable with passable gameplay and mostly decent visuals. This is becoming a trend lately, and it's kind of scary. I can't really recommend Gylt unless you want a short, spooky evening, but don't expect anything but average gameplay.