There is absolutely nothing like Illbleed.

Illbleed is an absolute achievement. Bonkers. Wild as hell. Absolutely unpredictable in everything its doing. Designed to entertain and fuck with you to a degree I haven't seen a horror comedy joint ever really quite do and only really in the way that a video game can.

Illbleed is a reminder of the kinds of things only video games as a medium can do in the ways in which they interact and interface with the player and the way the player interacts and interfaces with the game. You could adapt The Last of Us, Dead Space, God of War and Final Fantasy XV into a series or film or something. You could NOT adapt Illbleed into anything else.

You could not remake Illbleed and get the same result. You could not make a sequel to Illbleed and have it work the same at all. This is a culmination of absolutely deranged ideas all culminating into a beautiful package at one specific time by one specific team at one specific moment. This shit is special.

Illbleed frankly is fuckin peak. The more I played the more I fell in absolute love with it. It trolled me, it baffled me, it knocked me on my ass and every twist and turn had me waiting for where the fuck this thing was gonna go next.

Sorry to be vague but you should really just play it for yourself and see what this has to offer. I want people who experience it to have the raw experience I had with it. I really wish there was some Eternal Sunshine of the Spotless Mind type procedure so I could wipe my memory and play this shit fresh cause it is such a transcendent and wild experience. I will absolutely never forget it. Don't be afraid to use a guide if ya need to, it's absolutely worth experiencing.

Make sure ya invest in them worm stocks alright?

Thank you @Eggsandwhich for recommending I play this after my month of NieR. Also a shoutout to @ptcremisi cuz he loves this game too. I'm happy to say, despite some issues I had that do hold it back from me rating it higher, I really enjoyed this game a lot.

Though tbh, at first I wasn't really enjoying it all too much. The beginning cutscene really got me interested but by the time I got to the first level in the game, I started noticing issues I had. First off, I don't think the first level is that great of an introduction. I found the level design to be too simple and it's definitely my least favorite stage in the game. That plus some other issues I had while playing, really didn't help my engagement. I found the combat just okay, it got the job done but it wasn't great. The platforming too could be a little wonky. I found the ledge grab really inconsistent (tho I got used to it later on). The figments were hard to see a lot of the time and they seemed like they'd be quite annoying. It also didn't help that I played this on my PS2 and it ran poorly a lot of the time and even rarely slowed to a crawl. That combination of things, plus the poor intro level, it just wasn't doing it for me. Also later on, you start to fight bosses. While it's cool to find out how to beat them, they're often not that fun mechanically because of the clunky combat and are usually too easy on top of that.

As I played on tho, a lot of these issues were lessened a bunch cuz I blew them out of proportion. Because of this, I learned to really love the fantastic things in this game. Probably my absolutely favorite aspect would be just the game concept as a whole. Going into people's minds is just so awesome, and they really utilize it to it's fullest. Your collectibles are absolutely brilliant. Figments of your imagination, emotional baggage, cobwebs (in your head). It's just all so good and really makes the world feel so well thought out. Like the health pickups are literally called mental health, that's amazing!

The other best thing this game has going for it are the quirky/funny moments and it's memorable cast. I couldn't even count just how many times this game made me chuckle, it's so weird and I love it. It really felt like a Cartoon Network or Nickelodeon show from the early 2000's which is great because that's the era I grew up with. Feels like the love child of Billy and Mandy and Invader Zim if I'm being real. As for the cast of characters, most of kids were whatever (tho I did like Dogen and Lili) but the main cast of Psychonauts were all great. I do wish they had more screen time, because in the 2nd half due to certain events they're mostly absent, but what we do get is great. Also, a shoutout to Raz himself, what a great protagonist. He's so quirky and sassy yet likeable.

At first I was a bit iffy on the camp setting but once I explored the overworld, I really enjoyed it. It feels a bit nostalgic for some reason, and I never even went to camp as a kid. I also think the overworld had overall better level design than the actual levels. The levels are cooler and more out there than the camp setting but the level design is more linear, while the camp is more open and explorable which is fun.

Another thing I enjoyed were the Psi badges. While I wouldn't say most of them were super fun to actually use, a lot of them were used on puzzles throughout the game and are just cool conceptually. I will say though, levitation is an absolute blast and is easily the best badge in the game. Glad you get it early on because from then on, I used it all the time.

Idk why I thought this was a kids game all this time (I probably would've loved this as a teenager) but it definitely isn't considering they cuss throughout the game and the game can get pretty dark. Seriously, some of the mental illness stuff can get pretty realistic even if there is a goofy undertone, but it's still handled with tact. The vaults are another collectable in the game and they hold some of the darkest shit I swear. Milla's hidden vault 😢. But I really love how they flesh out each character even more.

I said the figments were annoying because they're hard to see, and while that is still a criticism of mine, they weren't annoying enough to the extent I didn't want to get them all. So I went and 100%ed the game and that was mostly hassle free. Some stray figments here and there and some of the milkman's conspiracy gave me trouble but that's about it.

So overall, while the actual gameplay is usually just acceptable to subpar, the charm this game has with it's cast of characters, it's quirky humor and just the awesome concept of going into people's minds won me over. This game is flawed but really enjoyable. I'm giving this a 7.5 rn only because the sequel seems to fix the gameplay issues I had. From what I've heard, 2 starts off right where 1 ended and that's just so cool I can't wait. Anyways, on to my Secret Santa game next...Metroid Prime 2!

7.5/10

Shook at how many stupid ass notes n disruptive cutscenes u gotta read and watch. They were so excited to cook up that boring ass story that they forgot to make it an actual game. Fuck. I'm not against reading n notes n cutscenes in stuff but video game narratives can be so strong bc of how you personally interact with them thru the gameplay. Get OVER urself

EDIT: I def was coping rly hard at this game, I feel I was a lil too harsh. Definitely not my cup of tea but might be someone else's if they want super story focused horror.

Really good game that shouldn't be a game. Even in a gameplay video, you can feel the sluggishness of this game—and it's infinitely worse when the controller is in your hands. With that said, though, Rule of Rose excels at damn near everything else it does. Haunting music, Fantastic presentation, and absolutely jaw dropping storytelling. If you're playing this game, you're doing it for the story, and it does not disappoint. The big 'oh shit' moment near the game's end where everything comes together is just tremendous. I'll be thinking about this one for a while.

I had 'this is a little Utena-esque' in my head from the jump and as time passed the game only proved me more and more right. This is high praise.

I actually really liked this game, I had fun with the puzzles and the game actually pushed me to the point of actually having to write things down on pieces of paper to figure things out, I think it's cool that the puzzles in this game are actually kinda clever, like having to tilt your head upside down to figure out the pass code to a key in one section.

There's a lot more of an emphasis on running away than fighting since the dinosaurs contain much smarter AI than the standard zombies of Resident Evil but it was pretty up my alley. If you like classic RE I recommend it

In a 1999 developer interview. Keiichiro Toyama says “What is it that sets Silent Hill apart from other games? If I had to answer that question in a nutshell, it would be the atmosphere, which I suppose is vague and ambiguous. However, if you play the game, I think you will understand. Silent Hill is an orthodox game with no outlandish or innovative gameplay mechanics, but it is suffused with a unique atmosphere and mood, not only in its appearance but also in the story and sound.” - Director of Silent Hill 1(SH1).

I couldn’t help but come to the same conclusion as Toyama’s answer of ‘atmosphere’ as the final credits rolled in my blind playthrough of Silent Hill 1. The atmosphere permeates throughout my time running through the titular town full of dense fog. As I controlled the main character. Harry Mason. An everyman who has no special titles, or special powers, is neither rich nor an individual who has super connections of note. He is simply a regular dad desperately searching every house and street for any clue, to recover his missing daughter Cheryl after a car crash gone wrong. And so begins our journey, as he battles/evades otherworldly creatures all while unknowingly trying to survive in this horror-filled place.

Storywise, I found his journey to be a cross between safe storytelling mixed with a jigsaw puzzle. Looking back I can construct how the narrative is achieved by effectively omitting key details. By the time I had all the pieces, I could complete the ‘puzzle’ so to speak. In doing so I was treated to a relatively safe journey in regards to not throwing my suspension of disbelief into smithereens while spreading the plot breadcrumbs interesting enough to lure me further into the mystery. In spite of the slow threads in the beginning. Be that as it may, once I hit my stride in schools and hospitals my will to continue deepened further. Enabling me to question everything and everyone within the bounds of not delving too outside the box to conjure. The regular who, what, where, when, why whodunit. Kept my brain tingling for morsels of information to seek the answer to my relentless inquiries. And thankfully the ending I received satisfied me to a measure I cannot help but applaud for. Well at least for receiving the ‘G+’ ending. And while there are other endings I’ve seen on YouTube. The overarching narrative felt uncommonly used amongst the other horror games I've played thus far. I wish I could give more concrete examples, but that would inadvertently lose the magic and surprise.

The atmosphere toes the line between the unknown and frightening to an absurd, but realistic degree. As I traveled deeper into the mist surrounding the locations of Silent Hill. Taking inspiration from Stephen King's The Mist among other influences. And to its credit, the close draw distance to maximize fog nearly in our faces works cleverly to hide the technical limitations of the PS1 era. The missing inhabitants while replicating a small town out in the country oozes with mystery in a sort of “Will there be something?” is teased mercilessly. I enjoyed exploring to my delight and wasn’t scared too much despite the oppressive silence and lack of inhabitants. Instead, I found otherworldly creatures prowling the dead of the day. Hairless malformed dogs prowling the streets, as winged creatures fly indiscriminately above Mason’s head to claw at him. To the nurses and doctors who are out of their freaking mind looking like a zombie at times. I admit to being scared and simply ran away from these ghastly enemies. The dense fog adds to the intrigue with incessant questions in the back of my mind. “What's happening? Where is Cheryl? What should I do? Why is this happening? How can I survive? Am I dreaming? Is this real?” These questions and more will inevitably pop up as you stumble & struggle.

The struggle is real. As I cautiously checked for enemies in rotten corridors, clean hallways, and entering empty rooms splitting the real and unreal. Confusing me, yet a handy map can be found nearby upon entering a new location. Making backtracking painless. Allowing me to easily strengthen my will, admire the presentation and reference what I had already been to. The map updates as you explore making it a vital tool to utilize. Reinforced by how simple the mechanics are. Mason can run, walk, use guns, and melee weapons, and interact with objects in the environment. The radio too helps as a sort of sound radar for nearby enemies. Helping us to prepare for what's to come. As a result, no gimmicks or very innovative systems at work as Toyama stated above. Focusing on other elements brings the core strengths to the front and center for players to devour. Grayish mist compliments well with the dead air of the soundtrack while feeding breadcrumbs to the player early on to piece and make their deductions. It is fascinating if not slightly stressful since I am playing a survival horror game. Yet I wasn’t all too bothered by the gameplay formula.

Puzzles felt adequate without being too complex. The simple systems lend themselves again and again. Becoming cyclical as you progress further in new buildings without feeling like a drag. Encounter a mysterious item? Maybe we can use this later to open a door or slot into a mechanism to open a path. Hmm, bottle? Must be some liquid I need. Keys? Oh, a locked door I couldn’t enter before surely will this time. Every puzzle I found difficult had a nearby solution to help players give off clues to solve their current dilemma. And usually, they may connect to another component, solving a dilemma could be a key to finally removing an obstacle. Out of all the puzzles I encountered. Only one of them is incredibly difficult. This was the only time I felt compelled to check a walkthrough and once I found the solution I couldn’t help but smack myself silly. So here’s a helpful tip. Check your surroundings to make sure of any missing pieces, having a separate monitor or paper on hand to visualize text hints can offer a different point of view. There are puzzles here without a hint so visuals and any patterns as delicately as I can vaguely say will prove invaluable to the naked eye. Don’t overthink, sometimes the easiest and most gut feeling may prove to be the right one.

Combat I wasn't fighting every step of the way like tank controls. Instead I embraced the simple fighting system and abused them to my advantage. Harry can equip one weapon at a time. Utilizes a multitude of melee and ranged weaponry. From pipes to knives to a pistol, shotguns, etc. The armaments helped tremendously like a hammer and the shooting mechanics aren’t all too complicated due to the absence of a reticle. As long as you focus in the direction of the enemy. You can shoot them with extreme prejudice. And man does it feel good to lay them out on the floor and kick em when they're down. Go close to an enemy? Eat a full round from my shotgun. Enemy closing in? NOPE. Time to run in a zigzag and not look back. Dying in about one blow? Excuse me while I chug a kit and some bottles without a required animation to take effect. See several mobs? Yeah forget that, Ima run past them. Pick your battles, don’t fight everything, to conserve ammo.

Felt the resource collection and using my stockpile satisfactory. Supplies are spread throughout the town so you’ll have to do some exploring off the beaten path to see any health kits or bottles to replenish your vitality. I had a surplus of bullets and avoided combat where I could to save ammo. Didn’t need to heal every time, only when I needed to. I wasn’t hindered by any inventory limit, nor was there any sort of stamina meter. He does have a health meter once you enter the menu with a press of the button. Making the lack of any real user interface where you would traditionally see one noticeable, albeit not necessary to see. I didn’t find any major issues with finding resources.

I’ll talk more about this later, but for now, I'll praise the tank controls. The mechanic where you move the player is similar to the process of how a tank moves. And this is a process you’ll need to contend with throughout the entirety of a playthrough. Nevertheless, as I became more familiar with tank life(This was my first time experiencing the phenomenon.) I found it weirdly satisfying to look at the element from a different angle. The controls accentuate certain camera angles to invoke a sense of anxiety and unease. The combat adds to this which I didn’t mind at all considering the game doesn’t shout to the high heavens to play for the fighting module. This in turn creates anticipation and tension adding to the already unsettling atmosphere. So I like it. For adding depth to the combat and fleeing.

Honestly, this emphasizes cutscenes when they play by displaying different camera angles while the dialogue occurs. And boy do I have some good news. I’m surprised by how little text there is in the conversations. Thereby not slobbering players with text logs or lore logs. Though as a lore nut, I firmly believe as long as you have enough relative lore in hand it could prove beneficial. But that is neither here nor there. Words and phrases are used sparingly as if to uphold a sacred tenet that fewer words equals good. SH1 for example follows this rule to a T. I did not see any wasted text. Puzzles and hints are included. It's like a subtly minimalist Chekhov's gun here. And oddly enough I am praising the usage of short conversations between Harry and whoever is speaking to him to excellent effect. Why? This adds mystery and intrigue to the central locations while increasing tension, fear, etc. Reinforcing the enigmatic atmosphere Toyama envisions. Seriously this is great stuff preserving minimal, but essential text to have players piece their own conclusions. Showing us, but not telling us.

In a 2015 interview from Factmag Akira Yamaoka(composer of a majority of the Silent Hill series) talks about the franchise's soundtracks and why it continues to be as influential as ever. “One of the greatest ways that Yamaoka enhanced Silent Hill’s fear building is by using music and effects in ways that run against what you’re expecting. “I wanted it to be unpredictable: maybe during a big scare I cut everything out, and maybe if nothing was happening at all there would be a lot of sound.” You have an empty hallway? Layer a few sirens and mix it in the red. You have an establishing moment with a villain or environment? Use only the sound of a sharpening knife.”

This unpredictability by Yamaoka works to an impressive degree throughout the entire soundscape. Where I felt the absence of regular conventional instruments in favor of creepy silence, air vibrations, the beating of unconventional items like banging of doors, the scrapping of blades, and the heart-pumping scratches and fluctuating radio frequencies awakens dread. Some examples I’ll pull from the OST have silence integrated well such as: ‘Downtime, never end, never end, never end, alive, nothing else, justice for you, heaven give me say, far.’ These tracks accompany many of the gameplay segments and cutscenes in a congenial manner yet interlaced wonderfully facilitating differences from the usual effects we often hear. Creating an unsettling tone to repeat for days on end as you boot up the game. Not to the point of over-use since a lot of tracks differ in tempo, rhythm, and how untraditional sound works. Seriously listen to any of those tracks and see how it differs from classical instruments. The names of these tracks also share similar connotations. Giving off a break if you will. Or time of rest. By comparison, there is another layer. And that is the panic tracks. Imagine low drums combined with a background of haunting wails or cries of ghastly echoes.

While the foreground is immersed with a layer of banging utensils harshly being hit on steel walls in a pattern that evokes slow encroaching terror. Yeah, terrifying isn’t it? Try listening to these tracks: Die, ain't gonna rain, half day, dead end, ill kill you, bitter season, don’t cry, for all, devil’s lyric, over, until death. I had to stomach through the OST again and it is incredible if not spooky. Yet thankfully enough here’s a secret to lessen the tension and anxiety. Lower the volume, no shame in doing so. I admit to doing so! The naming sense also is interesting to note again, with most of the tracks I chose from a small sample conveying notions of death, threats, and bittersweetness. I could’ve added more, but you can see the rest here and suit the tracks in other patterns. Regardless, I want to focus on a pattern. The silence tracks and panic tracks from the ones I listed earlier follow a theme, eh? The former inhabits an eerie vibe throughout yet doesn’t go to the steep lengths of making the player run to the hills. In my ears, I felt they were used to excellent effect, conveying a tingle of mystery as I ran to new rooms and buildings. By comparison. The latter displays the rush, the unbearing suspense mixed with a persistent rhythm forming an incessant need to get out. Run faster and get the hell out of traps and dead-ends. As a result, the panic tracks I think work in its favor and complement the silence to a proportion, I find myself fascinated by the two accompanying themes.

However, a third and smaller portion of tracks not of the two kinds emerges. And this brings to the forefront the classical tracks to a shotgun-filled bar full of emotions and relief. These tracks finally make use of classical instruments like the guitar strings. For example in the track ‘She’ I felt they provide a profound degree of closure. Some may see this as an abrupt slap of whiplash, on the other hand, I found it comforting. In the near silence and panic-filled corridors of ambiance. I found at the end of my main character’s journey and to my great satisfaction a longing feeling of contentment and tranquility. It is apt and so powerful to hear classical instruments shine so bloody hard. I am amazed how different Yamaoka's style conveys so uniquely and so beautifully to listen to. Granted, the effects on the unused may be perceived as annoying to hear repetitive noise effects. Although, I think it works to its benefit. Complementing the game to magically transport the player into the Yamaoka’s soundscape. Like a puppet master controlling how we feel. Just wow. Very different from other Japanese composers I'm familiar with listening such as Nobou Uematsu, Keiichi Okabe, Yasunori Mitsuda, Yoko Shimomura, Hitoshi Sakimoto, Masashi Hamauzu, Masayoshi Soken, Keiki Kobayashi, Kota Hoshino, Falcom Sound Team jdk, and Xenoblade composers. The OST manages to ride the fine line of not being either bombastic or slamming us with gentility. Filling the player with enough suspense to not overflow in sheer terror while giving enough intrigue to the limit of genuine courage. It is as Yamaoka talks about earlier. Unpredictable in building fear.

As much as I could continue praising and analyzing every morsel. I must talk about my mixed feelings. These are neither positive nor negative, but simply some things that gave me pause, could be better and perhaps a hot take down below.

First tank controls for the unused can make it difficult to achieve the right balance in the beginning. When Harry moves in a single direction, turning becomes difficult. So you’ll have to swerve to the right or left before coming around. Takes some getting used to. I was never familiar with these types of old movements and considering it was my first foray into it. My first 15 minutes were clashing onto walls. I understand it's a product of its time. And while some may say it adds tension and anxiety, which I agree to a certain extent. More often than not I crashed into walls and wished it controlled better. Could be a dealbreaker for some. I’ve heard the newest entries after the first have better controls. Though for a first entry, it's not something I'll judge too harshly. Once an hour passed by I became used to them. To help, quick-turn using L1+R1. Helped immensely for my playthrough and thankfully the game’s runtime isn’t too long or medium to deal with. HLTB estimates put this at a short length.

Second, this might be a hot take. But I think going into the game blind completely would be a mistake. I tried playing blind for 95% of my experience and while I did have a good time, once I removed some tips to know beforehand along with some of my friend's advice I would’ve unknowingly struggled. Please check out some tips. I'll put some links further below to help newcomers. Therefore to prevent further suffering. Not required, but it doesn’t hurt to know ya know? For example, Running away from enemy mobs in the streets to conserve ammo. Quickturn if you hit a dead-end and I abused the hell out of that to counter the rough tank controls. Furthermore, going blind may inadvertently cause players more trouble when trying to achieve certain endings. They can be strict. Without going into concrete details of spoiler territory. To get the G+ ending, players need to somehow pick up a liquid in a hospital and use it in a boss fight. Not the last one. There’s a bit more, but I'll let Before I play handle that. Highly recommend referencing that in hand while you play. I hope that’s vague enough to say. I am not advocating for everyone to achieve that outcome, rather I think it would help in the long run when thinking about the game as a whole. It is simply a suggestion.

Third, boss fights I think could’ve been improved a little more to induce more puzzley in design without reverting into too gimmicky territory. As vaguely as I can say. I usually evaded their attacks, then shot bullets during appropriate moments. I’m torn on this point since I think this ties into the combat not being a true highlight to look forward to. I didn’t come to SH1 to be amazed by fighting. Yet unironically Toyama in another interview back in 1999 echoes similar sentiments by saying how “The action part of the game is really just something to create the horror.” A medium to enhance the horror if you will. Although, I still can’t help but add my suggestions on how this could be remedied to make boss fights more horrory. Off the top of my head: More on escaping, instead of traditional fights. Destroying objects in surrounding environments then switching to a different weapon like melee. Surprise me with dialogue maybe and if I answer wrong, game over. Taunt me while chasing me. I wouldn’t say they're bad by any means. The first, second to last boss and final boss do a decent job.

Fourth, I wish there was more interaction in the environment instead of literal observations anyone can make. When exploring anything of relative interest in his surroundings. Harry will make a direct, blunt phrase. “No useful books.” “Nothing unusual.” “Drugs? Better leave it.” “Just a wall.” Granted, there are plenty of notes, diaries, letters, and documents to give some relevant lore or plot hooks so it’s not all bad. Feels weird though. Why not have him say different lines like “Cheryl would’ve loved this book.” or “Ah I remember this drug from long ago my wife used to use.” See how those suggestions would’ve changed some of the stale observations? Makes me wonder if the other installments made some changes to his inspection.

Ultimately I found Silent Hill 1 to be largely a leap of faith as one Ubisoft franchise likes to say. While it does have some dated mechanics like the tank controls which may vary from person to person. And the story may not resonate with everyone. Along with my other mixed feelings. In the end, hidden beneath these varying qualities I found the everyman plot to be equally as satisfying as my time in Signalis. I can only leave pretty positive after my ten hour playthrough. And oddly enough, I regret not playing this title back then in my childhood. Never played any other entries in the series either. And yet for a PSX title released in 1999, I am pretty impressed how much it holds up. Stands tall amongst the other horror games I played. Sure the title doesn’t boast the Lovecraftian edge Bloodborne grasps. The excellent pacing of The Last of Us. Great lessons from Omori or hitting the fine balance of horror and action in the Evil Within series and Metro 2033. Nor does it provide richly diverse cast to the gills like Shadow Heart and Koudelka.

Rather, Harry Mason’s troubled venture to recover his daughter is a powerful incentive to keep in mind. And the feelings of “annoyance, anger and incredible kind of powerlessness” evoked by the protaganists voice actor Michael Guinn moved me enough to see what happens in the end. Strong to witness amongst the clever backtracking, colliding with interesting and well-thought-out puzzles. Constant showing, not telling, and remarkable use of minimal dialogue I found in contrast to Parasite Eve. Demonstrating how much this little gem can achieve in a concise manner without padding. I wasn’t bombarded by useless cutscenes or tearing my suspension of disbelief a new one. Beyond the palpable unique atmosphere, intriguing everyman story and excellent sound design lies something special to anyone who has never played Silent Hill 1. I’d even go as far as to say the game has made me appreciate horror much more than I thought.

8.5/10

References & Additional Material:
1st interview - Shmuplations translated the 1999 interview with Toyama and others
Wiki links - Everyman - Inspirational works of Silent Hill - Tank Controls - Chekhov’s Gun - SH1 OST - Soundscape
2nd interview - Akira Yamaoka interview
3rd interview - Another interview with Toyama back in 1999. Different from 1st.
4th interview - a 2018 interview with none other than the original Silent Hill voice actor for Harry Mason. Michael Guinn. Fair warning does contain spoilers for SH1 & SH3. I only read the SH1 portions.
Silent Hill 1 Before I Play Tips
Silent Hill 1 manual
A short history article on the origin of Tank Controls - Cool TIL tidbits.
My spoiler thoughts on Silent Hill 1 - Heavy spoilers from beginning to end of the game

This was a real fun game to play on stream really. The game felt a lot like a resident evil clone, but unlike those terrible ones, this one was really cool with dinosaurs being a big reason, but it was also well made with decent puzzles and they added a bleeding mechanic that makes avoiding the dinosaurs far more desperate.

Whilst writing this, I am certainly considering replaying this, but taking a different path to try to get a different ending and see what else could happen.

A classic survival horror game that should never be forgotten.

Stream + gameplay

"Once you’re at rock bottom, the only way forward is up.
But the bottom doesn’t have to be all dark and gloomy.
If you can stand and look up, you’ll see the light of hope there."

Esse que foi o game escolhido pela RGG pra um soft reboot na série, trazendo um novo protagonista e mudando assim seu nome no ocidente para "Like a Dragon", determinando uma nova era para a franquia.

Após 15 anos acompanhando a história do Dragão de Dojima é difícil acreditar que teríamos um novo protagonista a altura, mas felizmente Ichiban não deixa a desejar em nenhum aspecto.

Passando o bastão (literalmente ), de lenda para herói, Ichiban Kasuga é um personagem repleto de muito carisma, bom humor e personalidade. Diferentemente de Kiryu que serve de inspiração por ser uma potência inalcançável, Ichiban é aquele protagonista no qual nos identificamos. Um sonhador, o herói viciado em Dragon Quest que junto de seus amigos combatem a vilania de Isezaki Ijincho; com seus trabalhos remunerados é claro.

Falando em combater, diferenciando-se drasticamente de seus antecessores, o game segue utilizando de combates por turno como mecânica de batalha. Aqui também não temos mais posturas e sim empregos, denominados "ocupações". O game é extremamente autêntico no quesito classes, ridiculamente divertido, e foi aqui que vi pela primeira vez em um turn based com botões de interação (como defender ou fortificar o golpe) em meio ao combate. Agora você também não está mais sozinho! O nosso herói conta com a ajuda de sua trupe, que aumenta com o desenrolar da história, sendo a party composta por 4 membros (Ichiban e mais 3) . Apesar de polêmico e arriscado, penso que foi uma mudança saudável para a série, pois define um novo começo para a franquia e facilita a entrada de novos jogadores, principalmente se esse for um amante de JRPG.

Apesar de tais mudanças, o game se mantém fiel às raízes da franquia. A narrativa segue sendo novelão clássico da franquia, com tramas sobre violência, política e desigualdade social, assim como incontáveis reviravoltas. A história é contada de forma lenta, sendo até meio maçante em certos momentos, mas a reta final é faz tudo valer a pena.

A exploração continua excelente também, com alguns minigames novos como:
Corrida das latas - onde você compete com outros catadores de latas para trocar por recompensas;
Dragon Kart - sem mais autoramas! agora você pode correr de verdade em disputa de karts estilo Mario Kart mesmo;
Confeitaria do Ichiban - esse que junto do famigerado minigame do cabaret, se tornou um dos meus favoritos da franquia. Nele você gerencia empresas, isso mesmo, você é simplesmente um CEO onde seu objetivo é gerar lucros e vencer batalhas argumentativas contra acionistas;
Cinema Gaivota - nesse você precisa lutar contra o sono enquanto assiste filmes chatos, apertando os botões que aparecem na tela para acabar com os homens carneiros, mas cuidado, não ataque o homem galinha ele é gente boa!
Exame de proficiência Ounabara - como se não bastasse estudar na vida real, pq não nos jogos de video game também? afinal você precisa aprimorar os status de personalidade do protagonista (copia barata de Persona, shame)

Além desses e outros minigames, acrescentaram métodos de aumentar o relacionamento com seus membros de party. O evento parceiros de copo, onde você troca ideia com seus companheiros enquanto conhece mais sobre a história deles. E claro, eventos de romance também estão presentes.

É importante ressaltar que Like a Dragon é o primeiro da franquia Yakuza a receber uma tradução completa em português! Gratidão eterna, SEGA.

Bom, eu poderia me estender ainda mais pq esse game é incrível, mas vou apenas finalizar com esse convite;

Venha se tornar um caçador Sujimon também, temos que pegar!