Limp_Mantis
2005
-major 2000's filter
-multiple branching story paths
-utterly insane
-Panzer Dragoon stages
-large variety of weapons
-edgy protagonist obsessed over a woman
Babe this isn't your average Sonic game this is fucking Drakengard
-multiple branching story paths
-utterly insane
-Panzer Dragoon stages
-large variety of weapons
-edgy protagonist obsessed over a woman
Babe this isn't your average Sonic game this is fucking Drakengard
2001
This review contains spoilers
The story is predictably boring and shallow, any form of depth that could be perceived in it has no real basis whatsoever and is only through rigorous over-analyzation by fans who haven’t had a single good Silent Hill release in decades, all the characters with the exception of Mary are badly written, not to mention the dialogue feels as if it’s been jotted down by an emotionless robot, the intrigue is stale and you have no real reason to care for either Mary nor James.
The voice acting is as alive as a fish out of water, it’s completely monotonous, nobody talks like that unless they’re basement dwellers who haven’t had any form of social interaction in decades, no wonder gamers adore it.
The gameplay is awful, it’s existence is a disrespect to any videogame with well thought out and complex mechanics and controls. No. I don’t care for your made-up excuses such as “ B-But James is a civilian who can’t handle weapons!” Not only is that a stupid form of applying logic to video game mechanics where they shouldn’t be applied, like in-gameplay zombie bites in Resident Evil turning you into a zombie, that would be a disastrously boring game and basically what Silent Hill 2 ended up doing, but these design choices are not even intentional, there isn’t a single interview with any developer or director that says they are, you came up with these excuses to protect the game from any form of scrutiny and criticism because you’re manchildren who cannot handle any opposing opinion whatsoever.
The voice acting is as alive as a fish out of water, it’s completely monotonous, nobody talks like that unless they’re basement dwellers who haven’t had any form of social interaction in decades, no wonder gamers adore it.
The gameplay is awful, it’s existence is a disrespect to any videogame with well thought out and complex mechanics and controls. No. I don’t care for your made-up excuses such as “ B-But James is a civilian who can’t handle weapons!” Not only is that a stupid form of applying logic to video game mechanics where they shouldn’t be applied, like in-gameplay zombie bites in Resident Evil turning you into a zombie, that would be a disastrously boring game and basically what Silent Hill 2 ended up doing, but these design choices are not even intentional, there isn’t a single interview with any developer or director that says they are, you came up with these excuses to protect the game from any form of scrutiny and criticism because you’re manchildren who cannot handle any opposing opinion whatsoever.
A visually groundbreaking, thoroughly joyous, and infinitely dazzling game that desires to make the player feel elated and to give them a positive dreamlike ride, which it beautifully orchestrates through crafting a unique and memorable experience that is sure to never leave your mind, the incredible amount of love, passion and creativity this game sports makes it a definite must-play.
2012
The people who rag on this glorious masterpiece are amateurs who don’t even know what a Coup De Grâce Is
2005
A must play for people who consider themselves fans of the horror genre, as creative in it’s approach to the gameplay as it is terrifying, its a real test of mettle and how much you can handle, it tosses away conventional regular enemies to instead focus on a posse of stalker enemies who chase you around as you try to desperately advance through various levels, speaking of those, it’s amazing the amount of interesting environment you can pack with such a simple setting, some later levels are just jaw-dropping in terms of atmosphere and detail. It’s a true spiritual successor to RE1, but you’re not playing a person capable of being able to shoot any threat that comes their away, quite the opposite in fact, Fiona can and will succumb to the stress placed upon her by enemies which leads to a variety of panicked states, she only has her wits and some piss poor attacks to maneuver or defend herself, the German Shepard she rescues, Hewie, does the real carrying but even then he can only temporarily stop enemies and not permanently incapacitate them, add to that the fact that the stalkers in this game don’t have a habit of giving up easily on chasing you and you have a great basis for some truly terrifying moment to moment gameplay.
Oh yeah, the story is also interesting and holds it’s own quite well, Fiona might not say much but her expressions show a sea of emotions, seriously the facial animations for the game are pretty fucking good and they add a lot to the cutscenes, one of the most terrific scenes is pretty dependent on em! As for other aspects I really like how an act of unwarranted kindness from Fiona, even in the depths of hell, is what ends up saving her, I think it’s a neat way to shine a light on an aspect of Fiona’s personality.
Oh yeah, the story is also interesting and holds it’s own quite well, Fiona might not say much but her expressions show a sea of emotions, seriously the facial animations for the game are pretty fucking good and they add a lot to the cutscenes, one of the most terrific scenes is pretty dependent on em! As for other aspects I really like how an act of unwarranted kindness from Fiona, even in the depths of hell, is what ends up saving her, I think it’s a neat way to shine a light on an aspect of Fiona’s personality.
2008
Let’s not pretend as if we can’t put aside shitty story for sick gameplay when RE4 who’s script was written in a matter of weeks is one of the highest rated games on this site. The physics based puzzles shit all over your typical “get object for locked door” survival horror puzzles that are shamelessly spammed all over the place and don’t receive half as much flack, even figuring out fighting the enemies is more puzzle-like as you have to create makeshift weaponry either with actual crafting or grabbing furniture and putting the enemies to sleep with them, it’s all about on the spot improvisation and it’s sick.
I already had a high opinion on the 7th-gen but this game cemented it as one of my favorites, the more I delve into it’s library the more I notice how many elements it shares with the 6th and yet the contrast between their receptions couldn’t be any wider, I am asking this genuinely, where did all the people who enjoyed the 6th-gen go? I feel like if some of the more praised titles from that gen were to release during the 7th they’d face just as harsh of a reception. The most common complaint you hear about the state of gaming now is how everything plays the same and there’s a distinct lack of creativity, well, what the fuck did any of you expect would happen when the moment any game experimented and didn’t go with the design trends of the time, it was met with lackluster reception, one dogged on title after another mixed in with the sharp increase of development costs pretty much killed creativity in this medium for good unless some miracle happens.
I already had a high opinion on the 7th-gen but this game cemented it as one of my favorites, the more I delve into it’s library the more I notice how many elements it shares with the 6th and yet the contrast between their receptions couldn’t be any wider, I am asking this genuinely, where did all the people who enjoyed the 6th-gen go? I feel like if some of the more praised titles from that gen were to release during the 7th they’d face just as harsh of a reception. The most common complaint you hear about the state of gaming now is how everything plays the same and there’s a distinct lack of creativity, well, what the fuck did any of you expect would happen when the moment any game experimented and didn’t go with the design trends of the time, it was met with lackluster reception, one dogged on title after another mixed in with the sharp increase of development costs pretty much killed creativity in this medium for good unless some miracle happens.
2003
a fantastic horror ride that manages to be incredibly human and relatable, a lot of the solutions to puzzles happen to be everyday household items such as air dryers, bleach, detergent, nail polish, clothes hanger, pork liver, matches and etc, this form of progression helps ground the game and give it a sense of realness which in turn enhances its already incredibly executed horror, it knows how to build up jumpscares well and the otherworld being more present and rustier and bloodier than ever also helps. Heather also has human reactions to monsters and the otherworld, not only via story cutscenes but through the feverishly personalized flavor text, contemplating on calling the cops, reactions to the variety of horrors present in the otherworld, etc all of this boils down together to create an amazing experience. The gameplay side of things has been ironed out at last, the weapon variety is appreciated and most importantly the bosses all manage to be engaging and memorable as opposed to the series's previous Mexican standoff battles. Visually its entrancing and mesmerizing, the cutscene direction specifically.
1991
— Replay —
It was a pretty exquisite experience, the way the game was visually coherent in its presentation till the very end is astonishing, especially the forest leading up to the very door of Dracula’s Castle and the castle itself, from a downtrodden, broken down beginning section to an entire stage fully covered in all kinds of treasure, highlighting the vanity of the ever illusive Dracula.
Gameplay wise my complaint is some bullshit in the later stages and the new whip gimmick being just that, a gimmick, it’s never really necessary and if anything kind of breaks the difficulty of the game in earlier stages, don’t get me wrong i like it and i find it fun but it had so much untapped potential and that aspect leaves me disappointed. The game overall felt like a worse version of Rondo of Blood, especially the Dracula boss, I love it lots but it just doesn’t compare to Rondo. Music was fantastic and visuals were superb.
It was a pretty exquisite experience, the way the game was visually coherent in its presentation till the very end is astonishing, especially the forest leading up to the very door of Dracula’s Castle and the castle itself, from a downtrodden, broken down beginning section to an entire stage fully covered in all kinds of treasure, highlighting the vanity of the ever illusive Dracula.
Gameplay wise my complaint is some bullshit in the later stages and the new whip gimmick being just that, a gimmick, it’s never really necessary and if anything kind of breaks the difficulty of the game in earlier stages, don’t get me wrong i like it and i find it fun but it had so much untapped potential and that aspect leaves me disappointed. The game overall felt like a worse version of Rondo of Blood, especially the Dracula boss, I love it lots but it just doesn’t compare to Rondo. Music was fantastic and visuals were superb.
Strongest and most consistent atmosphere in the series besides RE1. The sound design, heralded by none other than Nobuyoshi Sano himself is nothing short of masterful and haunting, ambience and subtlety are a horror strength oft ignored. What’s already there visually is incredible on its own but with a man of his talent enhancing it through meticulous sound design? Holy shit. I thought the story was alright, it’s mostly carried by its setting and being short and cohesive, the relationship between Bruce and Fongling was neat. The light-gun gameplay mixed into third person was refreshing and fun, i really wish there was more of this. Awesome game overall.
“A “Don-Gua” never abandons a woman.”
“A “Don-Gua” never abandons a woman.”
2016
This review contains spoilers
information overload and the post truth age it causes can and will easily lead one down an existential rabbit hole, a never-ending cycle of unanswerable questions and half-truths, Eden had to suffer through the cold, dour world of logic and pure facts, information overload caused her to snap and fall to a self induced slumber to numb the pain until the player awakened her through making simple contact and touch, a feeling she hasn’t experienced before, which brought her to the ultimate realization, human connection and bonds are what truly matter in the end. Its a tragedy that Eden will only ever experience a fraction of that connection, she’s forever locked within the cold, jagged, emotionless world of truth. post modern existence and the digitization of life would only lead humanity down a terrible road.
the upgrade system dubbed evolution is a unique and genius way of tying the game’s themes into the gameplay as can be seen in how the player constantly evolves and de-volves due to numerous attacks from corrupted data, loss of oneself is quick to happen, and slow to regain.
the upgrade system dubbed evolution is a unique and genius way of tying the game’s themes into the gameplay as can be seen in how the player constantly evolves and de-volves due to numerous attacks from corrupted data, loss of oneself is quick to happen, and slow to regain.
1997
You’re part of Raven’s Nest, a ruthless mercenary group that will do anyone’s bidding so long as they’re willing to pay up, which tends to mostly be doing the dirty work for ever-sprawling soulless corporations that happen to rule over everyone else, the workers are unionizing due to shitty conditions? Send a Raven to squash their heads. A rival corporation is working on brand new technology? Send a Raven to infiltrate their base using any means necessary and destroy it or retrieve information regarding it. Citizens are protesting your area redevelopments by squatting? Send a Raven to kill them all. This is how the cold world of Armored Core operates, there is no right or wrong, there’s only people with money or people to stomp over in your never-ending quest for capital. And all of this lore serves the game perfectly. Thanks to the player being part of a mercenary group, the game ends up having a great deal of mission variety, you’ll hardly ever find yourself getting tired on that front, from missions where you ride flying airships to protect them, or race against corrosive gas that chips away at your AC’a health, to many more missions I won’t spoil. They were all a joy to go through and helped emphasize using different builds for different missions, especially since your sell rate is at 100% so you lose nothing by buying and selling the same parts. And the customizability itself is quite good too as there are multiple builds for multiple play-styles so you’re not boxed into anything specific. The gameplay Itself revolves a bit around management, you have to manage your energy bar, ammo for both weapons, damage received (because fixing your AC takes from your pay) but don’t worry because it’s ultimately not very difficult or tasking to deal with. It’s also worth to note that the game possesses decent enemy variety, from mecha bugs to weak worker MT’s to the other stronger enemies, they do their job well. And last but not least the game is so aesthetically pleasing thanks to the incredible art direction, I was engrossed In all the levels and appreciated how well some of It’s levels captured the sheer lack of soul found In corporate architecture.
1996
𝘛𝘏𝘌 𝘖𝘕𝘌 𝘛𝘏𝘈𝘛 𝘚𝘛𝘈𝘙𝘛𝘌𝘋 𝘐𝘛 𝘈𝘓𝘓
𝘛𝘏𝘌 𝘔𝘠𝘛𝘏
𝘛𝘏𝘌 𝘓𝘌𝘎𝘌𝘕𝘋
𝚁 𝙴 𝚂 𝙸 𝙳 𝙴 𝙽 𝚃 𝙴 𝚅 𝙸 𝙻 (1996)
𝙳𝚎𝚎𝚙 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚎 𝙳𝚎𝚊𝚍𝚕𝚢 𝚂𝚒𝚕𝚎𝚗𝚝™️ 𝚏𝚘𝚛𝚎𝚜𝚝𝚜 𝚘𝚏 𝚝𝚑𝚎 𝙰𝚛𝚔𝚕𝚊𝚢 𝚖𝚘𝚞𝚗𝚝𝚊𝚒𝚗𝚜 𝚝𝚑𝚎 𝚜𝚑𝚊𝚍𝚘𝚠𝚜 𝚝𝚒𝚛𝚎𝚕𝚎𝚜𝚜𝚕𝚢 𝚠𝚘𝚛𝚔 𝚍𝚊𝚢 𝚊𝚗𝚍 𝚗𝚒𝚐𝚑𝚝, 𝚝𝚑𝚎𝚒𝚛 𝚗𝚎𝚏𝚊𝚛𝚒𝚘𝚞𝚜 𝚎𝚡𝚙𝚎𝚛𝚒𝚖𝚎𝚗𝚝𝚜 𝚛𝚘𝚝𝚝𝚒𝚗𝚐 𝚋𝚘𝚍𝚢 𝚊𝚗𝚍 𝚜𝚘𝚞𝚕, 𝚎𝚗𝚜𝚞𝚛𝚒𝚗𝚐 𝚝𝚑𝚊𝚝 𝚏𝚊𝚝𝚎 𝚑𝚊𝚜 𝚋𝚎𝚎𝚗 𝚜𝚎𝚝 𝚒𝚗 𝚜𝚝𝚘𝚗𝚎. 𝚠𝚎𝚕𝚌𝚘𝚖𝚎 𝚝𝚘
𝚃 𝙷 𝙴 𝚂 𝚄 𝚁 𝚅 𝙸 𝚅 𝙰 𝙻 𝙷 𝙾 𝚁 𝚁 𝙾 𝚁
𝙾𝙿𝙴𝚁𝙰𝚃𝙸𝚅𝙴𝚂:
𝙹𝚒𝚕𝚕 𝚅𝚊𝚕𝚎𝚗𝚝𝚒𝚗𝚎: 𝚂.𝚃.𝙰.𝚁’𝚜 𝚟𝚎𝚛𝚢 𝚘𝚠𝚗 𝚎𝚖𝚋𝚕𝚎𝚖𝚊𝚝𝚒𝚌 𝚘𝚙𝚎𝚛𝚊𝚝𝚒𝚟𝚎, 𝚊𝚗 𝚒𝚗𝚝𝚎𝚕𝚕𝚒𝚐𝚎𝚗𝚝 𝚊𝚗𝚍 𝚊𝚌𝚌𝚘𝚖𝚙𝚕𝚒𝚜𝚑𝚎𝚍 𝚠𝚘𝚖𝚊𝚗.
𝙲𝚑𝚛𝚒𝚜 𝚁𝚎𝚍𝚏𝚒𝚎𝚕𝚍: 𝙷𝚎 𝚖𝚊𝚢 𝚋𝚎 𝙸𝚕𝚕𝚒𝚝𝚎𝚛𝚊𝚝𝚎 𝚊𝚗𝚍 𝚕𝚊𝚌𝚔𝚒𝚗𝚐 𝚒𝚗 𝚒𝚗𝚟𝚎𝚗𝚝𝚘𝚛𝚢 𝚜𝚕𝚘𝚝𝚜 𝚋𝚞𝚝 𝚍𝚘𝚗’𝚝 𝚕𝚎𝚝 𝚝𝚑𝚊𝚝 𝚍𝚒𝚜𝚝𝚛𝚊𝚌𝚝 𝚢𝚘𝚞 𝚏𝚛𝚘𝚖 𝚑𝚒𝚜 𝚑𝚘𝚖𝚘𝚜𝚎𝚡𝚞𝚊𝚕 𝚍𝚢𝚗𝚊𝚖𝚒𝚌 𝚠𝚒𝚝𝚑 𝙰𝚕𝚋𝚎𝚛𝚝.
As rain pours and lightning strikes, our heroes inch closer and closer to the Spencer Mansion, within it’s hollowed rooms linger the living dead, the result of man playing God, a very specific, dying, fascist man for whom the mansion was named after, carrying on the pathetic legacy of his Fuhrer and comrades using any means necessary, recruiting fleeing Nazi WW2 scientists In a bid against time to fight against his very own withering mortality which leads to a hare-brained search for the myth of immortality in all it’s forms, the desire to be One and All resulting from his inability to accept death is what essentially kickstarts the entire series.
The tight progression and the gameplay flow is the strongest part of the series and is what makes it so infinitely replayable, it very much is present here in the series’s first outing and it arguably is executed a lot better than most of the later titles too! Getting more and more used to the Spencer Mansion and memorizing it’s every hallway alongside the quirks (like the ruined doorknob) is quite an enjoyable process, you’ll be dashing by every room in the blink of an eye without even knowing it!
𝘛𝘏𝘌 𝘔𝘠𝘛𝘏
𝘛𝘏𝘌 𝘓𝘌𝘎𝘌𝘕𝘋
𝚁 𝙴 𝚂 𝙸 𝙳 𝙴 𝙽 𝚃 𝙴 𝚅 𝙸 𝙻 (1996)
𝙳𝚎𝚎𝚙 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚎 𝙳𝚎𝚊𝚍𝚕𝚢 𝚂𝚒𝚕𝚎𝚗𝚝™️ 𝚏𝚘𝚛𝚎𝚜𝚝𝚜 𝚘𝚏 𝚝𝚑𝚎 𝙰𝚛𝚔𝚕𝚊𝚢 𝚖𝚘𝚞𝚗𝚝𝚊𝚒𝚗𝚜 𝚝𝚑𝚎 𝚜𝚑𝚊𝚍𝚘𝚠𝚜 𝚝𝚒𝚛𝚎𝚕𝚎𝚜𝚜𝚕𝚢 𝚠𝚘𝚛𝚔 𝚍𝚊𝚢 𝚊𝚗𝚍 𝚗𝚒𝚐𝚑𝚝, 𝚝𝚑𝚎𝚒𝚛 𝚗𝚎𝚏𝚊𝚛𝚒𝚘𝚞𝚜 𝚎𝚡𝚙𝚎𝚛𝚒𝚖𝚎𝚗𝚝𝚜 𝚛𝚘𝚝𝚝𝚒𝚗𝚐 𝚋𝚘𝚍𝚢 𝚊𝚗𝚍 𝚜𝚘𝚞𝚕, 𝚎𝚗𝚜𝚞𝚛𝚒𝚗𝚐 𝚝𝚑𝚊𝚝 𝚏𝚊𝚝𝚎 𝚑𝚊𝚜 𝚋𝚎𝚎𝚗 𝚜𝚎𝚝 𝚒𝚗 𝚜𝚝𝚘𝚗𝚎. 𝚠𝚎𝚕𝚌𝚘𝚖𝚎 𝚝𝚘
𝚃 𝙷 𝙴 𝚂 𝚄 𝚁 𝚅 𝙸 𝚅 𝙰 𝙻 𝙷 𝙾 𝚁 𝚁 𝙾 𝚁
𝙾𝙿𝙴𝚁𝙰𝚃𝙸𝚅𝙴𝚂:
𝙹𝚒𝚕𝚕 𝚅𝚊𝚕𝚎𝚗𝚝𝚒𝚗𝚎: 𝚂.𝚃.𝙰.𝚁’𝚜 𝚟𝚎𝚛𝚢 𝚘𝚠𝚗 𝚎𝚖𝚋𝚕𝚎𝚖𝚊𝚝𝚒𝚌 𝚘𝚙𝚎𝚛𝚊𝚝𝚒𝚟𝚎, 𝚊𝚗 𝚒𝚗𝚝𝚎𝚕𝚕𝚒𝚐𝚎𝚗𝚝 𝚊𝚗𝚍 𝚊𝚌𝚌𝚘𝚖𝚙𝚕𝚒𝚜𝚑𝚎𝚍 𝚠𝚘𝚖𝚊𝚗.
𝙲𝚑𝚛𝚒𝚜 𝚁𝚎𝚍𝚏𝚒𝚎𝚕𝚍: 𝙷𝚎 𝚖𝚊𝚢 𝚋𝚎 𝙸𝚕𝚕𝚒𝚝𝚎𝚛𝚊𝚝𝚎 𝚊𝚗𝚍 𝚕𝚊𝚌𝚔𝚒𝚗𝚐 𝚒𝚗 𝚒𝚗𝚟𝚎𝚗𝚝𝚘𝚛𝚢 𝚜𝚕𝚘𝚝𝚜 𝚋𝚞𝚝 𝚍𝚘𝚗’𝚝 𝚕𝚎𝚝 𝚝𝚑𝚊𝚝 𝚍𝚒𝚜𝚝𝚛𝚊𝚌𝚝 𝚢𝚘𝚞 𝚏𝚛𝚘𝚖 𝚑𝚒𝚜 𝚑𝚘𝚖𝚘𝚜𝚎𝚡𝚞𝚊𝚕 𝚍𝚢𝚗𝚊𝚖𝚒𝚌 𝚠𝚒𝚝𝚑 𝙰𝚕𝚋𝚎𝚛𝚝.
As rain pours and lightning strikes, our heroes inch closer and closer to the Spencer Mansion, within it’s hollowed rooms linger the living dead, the result of man playing God, a very specific, dying, fascist man for whom the mansion was named after, carrying on the pathetic legacy of his Fuhrer and comrades using any means necessary, recruiting fleeing Nazi WW2 scientists In a bid against time to fight against his very own withering mortality which leads to a hare-brained search for the myth of immortality in all it’s forms, the desire to be One and All resulting from his inability to accept death is what essentially kickstarts the entire series.
The tight progression and the gameplay flow is the strongest part of the series and is what makes it so infinitely replayable, it very much is present here in the series’s first outing and it arguably is executed a lot better than most of the later titles too! Getting more and more used to the Spencer Mansion and memorizing it’s every hallway alongside the quirks (like the ruined doorknob) is quite an enjoyable process, you’ll be dashing by every room in the blink of an eye without even knowing it!
A vampire game heavy on 2000’s grit and atmosphere, fantastic soundtrack, gameplay that manages to sell you on the fantasy of being a vampire and some of the best writing out there make this title a must play. The characters were all so unique and each had their own distinct mannerisms which I thought was incredible and made them all distinct from one another as opposed to being flat cardboard npc’s that feel like they only exist cause the protagonist does. Not only that but their quests were so refreshing and compelling as-well. Although I think the end-game was fumbled in terms of gameplay, whereas most of the game had intriguing side quests, well designed levels, feasible enemies and generally something else to do rather than fight most of the time, the end-game is the complete opposite, it’s mostly combat with barely any breaks which means you’ll eventually get tired of it, and the level design is quite poor at that, the nosferatu sewers and the hallowed apartments being the highlights. Then the game decides to throw enemies with busted ranged weapons at you (the fucking SMG’s) and its just hell to get through, though I will say that this did not really impact my view on the game much because of how fucking amazing it overall is, especially once you know what went down with it’s development.
2004
To attempt to break down what makes breakdown so good is a hard task for me, maybe it’s the slick, intensely immersive first person presentation that’s further enhanced by being able to utilize the strength from the XBOX, the strongest console at the time, maybe it’s twisty, badass 2000’s sci-fi narrative, or maybe, just maybe, its the fucking BEASTLY combat system, I’m not sure I even know how to put my liking for it into words, but goddamn if it isn’t satisfying and unique then I don’t know what is, you get so many combos and some are better than others at doing specific things like you wouldn’t deal with 1 guy the same way you deal with 3 guys, another thing that enhances the combat is the progression of both enemies and your power, the game does a great deal of work to build up and introduce most enemy types, like those buff dudes at the start, all you’ve been fighting are humans and then these dudes pop out of nowhere and have a horror introduction where you walk through the messes they made and then see them absolutely destroy groups of enemies you’d have trouble with, so now you know they’re not to be messed with and you should run the fuck away, which is a great thing, you simply run away from them until you gain enough power to beat the ever living shit out of them, that’s another thing, the power progression is hands-down the best there is, without spoiling anything, you get stronger and stronger as the game goes on and every single moment is cool as fuck and serves to introduce your abilities well, no limp-dick skill tree bullshit.
BREAKDOWN turns boys into men. And you better play it if you have any ounce of love for action media. Just be open-minded regarding it’s control scheme, and don’t forget to block!
BREAKDOWN turns boys into men. And you better play it if you have any ounce of love for action media. Just be open-minded regarding it’s control scheme, and don’t forget to block!
2000
Every single character is one note, you hear them complain about something once and you get what they’re gonna say for the rest of the game, woah!!! should i serve or not serve the muh queen and muh princess?!? It’s especially bad for the villains cause they’re saturday morning cartoon tier, the combat is dull, un-engaging and horribly slow, it has no merits whatsoever, wow i really needed to see a 15 second camera pan of shitty looking psx environment before every single goddamn fight, this game is redditcore.