I have a love/hate relationship with idle games, and the hate portion can be summed up with my ardent belief that the creator of NGU Idle shouldn't be allowed near a computer ever again. The ideal idle experience for me is one that takes the purity of manipulating numbers that all other genres obfuscate and mashes it with engaging upgrades, strategy, and an endearing concept. First and foremost, Gnorp Apologue is on the good side of incremental gaming. It has a very simplistic art style, with your little hardworking gnorps being like 6x5 pixels, but it's fun and satisfying to see those busybodies busybodying around, doing your bidding. Certain upgrades and gnorp professions have synergies which keep you strategizing and not just blindly clicking upgrades, but at the same time it's relatively forgiving; at worst, a bad strategy will have you waste some time.

Here we come to the elephant in the room: does this game respect your time? Yes and no. I truly believe the ideal idle game not only possesses the qualities I listed above, but can also be completed within less than a day of play. All idle games I've played that pass this time limit I find are extending their length beyond what interesting content they have. Prestiging is a basic concept of the genre, but so many have you go through an hours long cycle to make a tiny upgrade, and then you do it all again. Repeat for weeks of your life. Gnorp Apologue is definitely better than most at this - I still felt that I was experimenting and learning new things with each cycle even if all I got for my troubles was one or two more prestige points - but it's undoubtable that the rate of new content thrown at you lowers dramatically after the first few hours.

Here we come to the elephant within the elephant within the room (the first one was hungry): you have to pay for this game to play it. I think this game is worth the money, but all paid incremental games hit this wall. A game about manipulating numbers can only have so many systems and layers until it becomes ungodly complicated and/or require an unworthy amount of dev time. So the rate at which this content is introduced inevitably slows down at a certain point of complexity until you've prestiged enough times to beat it. It took me just over 17 hours (with a fair amount of idling) to do so. I believe if the numbers were fudged so that it took more like 10 hours instead, it would be a more consistently engaging experience. But I don't regret any time I spent with this game. After finishing, I went back to get some more prestige points to see the endgame of my overarching strategy, then got the rest of the achievements, which I don't do that regularly. So overall it won't change your opinion on idle games but, if your views on them align with mine, I think you'll get your money's worth. End of review. Nothing else to say. Nope.




gnorp

i'd been wanting to try this for a while because i'm curious about the world they created with appalachia; i've heard good things about it and, if nothing else, i love the way bethesda constructs their open worlds. i have to say, this game is incredible. which is to say, it's not credible to me that anyone enjoys this. fallout 4 but with absolutely 0 setup and a 0.5 second delay when shooting or picking up items.

possibly the worst intro to any game. you walk through an empty vault while someone says a few sentences to you over an intercom. you're presented with a bunch of items, then you walk into a white light and you see... a loading screen. then you're outside.

same studio who made the intro to fallout 3 by the way. they can't try to make it as impactful as walking into the capital wasteland for the first time, or even whichever wasteland it was in fallout 4, because you are no one, it doesn't matter, and they want you to get to the cash shop as soon as possible. i'm beyond tired of blank slate main characters who are never filled in. if the intention was for the character to be literally me and the main interactions are with other players, i never saw another player and i wouldn't want to interact with them anyway.

i had an active frown on my face the entire time. immediately they gave me the option of starting at level 20. i didn't pick that option. i wanted the experience of starting from nothing and scrounging for ammo, and food + water with its mandatory hunger/thirst systems, just barely surviving. after finding a bunch of ghouls, i almost ran out of ammo for my pipe pistol and switched to the first thing on my hotwheel. it was a 10mm pistol with 500 ammo. where did i get it? i have no idea. presumably from one of the many challenges that popped up with a completion! notification for doing literally anything. i didn't think pressing E on a pile of wood was such a momentous occasion, but here we are. feel good about it, please. i want you to feel good. buy atoms. a cloying, desperate experience.

i can't even have the satisfaction of scoring sick headshots, because their heads pop about half a second after firing. they made an affectation towards including vats but they may as well not have bothered if time stays in full speed. i finally found a settlement of human NPCs who looked like they were doing something, anything beyond trying to kill me. i looked wearily over the dialogue options and questions i was presented with. i didn't care. i walked for about 15 seconds away from their base, exited to desktop, and uninstalled the game. fallout 76.

For a game that relies on its physics, this really is frictionless nonsense.

A downgrade in every way from the last one, which isn't good because Just Cause 2 was just adequate enough in most areas to let its huge world shine. That's not to discount the effort put into its systems to make causing chaos compelling and satisfying. The weapons, cars, and in-air movement weren't relevatory but, again, the key word is satisfying. Enough so that I came back to it almost a decade after first playing and still found it fun, completing too much of the map frankly.

I never connected with Just Cause 3, which is a shame because I was so excited for it. Buying the second one pre-owned based on watching a couple of Youtube videos on it felt like finding a hidden gem of jank, and here we are, on the PS4/XBONE, for the series' big next gen premiere with the whole world watching! It's a shame that, although JC2 is absolutely fucking ridiculous, the sequel takes one more step into unreality and the house of cards falls down. The first time I faceplanted into the ground from a height and didn't die, well, to quote Gabe "Valve" Newman, it was a narcissistic insult to my brainhole. This was one of the first times when I realised I truly didn't know what I wanted from video games; I'd died so many times in JC2 and endured so many loading screens that I thought I would love surviving those scenarios. In the sequel, I discovered that a playground with too many guardrails might let you leave with less bruises but you won't remember a thing about it the next day.

Jerma told me to play this, so I did.

This is a Match 3 game. It's firmly in the category of the kind of game you'd play on Newgrounds or Kongregate back in the day, with a simple gameplay loop anchored by a couple systems of numerical progression, but it's a tad longer to justify paying money for it. And I don't at all mind paying for this because I think people should get some cash for making a cool thing, but I felt the pacing was elongated a bit unnaturally. My ideal pacing for a game like this has each run feel like I've progressed in some way; here I would hit road blocks where I felt I was doing runs just to grind for gold - which you get too slowly, adding hours to your playtime. You can use potions which add modifiers to increase the rate you get gold, but at the detriment of earning fewer or no other resources, meaning you're going to be left wanting either way.

But most importantly, this game does successfully add more planning and strategy to the Match 3 formula, so if you're a fan I recommend it. Certain panels correspond to physical or magical attacks, to which enemies will have different resistances to, and you get items to be used at strategic points during your run. Your aim is to get the eponymous score of 10000000000000000, which will take you approximately 152704 hours. I think this is a reasonable playtime for a game costing 3 currency.

In conclusion: not as good as Tetris Attack, but it won't make you hate your friends, which counts for something in this harsh world.

I think a big problem for people going back to play an old game is not being able to immediately survey the linear progression in game design between games of the period. I remember when I first got a PC, I was so excited to finally play Half-Life 1 after loving HL2 on The Orange Box, but sadly on first playthrough I totally bounced off. It was very frustrating because I was playing it like I played Half-Life 2: slower, and not using all my resources creatively and appropriately. Way later, I went even further back and played Doom, then Quake, which both directly affected how I played shooters - seeing all my weapons and ammo as necessary resources to be traded for progress, instead of just using the shotgun all the time (i like the hl2 shotgun a lot). Now when I go back to Half-Life 1, I see it as the natural progression of those games and can apply the skills I learned in them.

It's a joy when I do go back to an archaic, hard game, but I don't have to go back further to instinctively understand what the game's design is gesturing towards. In King's Field's case, it's no secret that they influenced the Souls games, and the effect of that is I can see all the strands connecting their game designs together. It's probably incorrect critically to assess the game through that lens - King's Field is King's Field and presumably had no pretentions to have decades of influence - but I can't not love seeing the vestigial elements of FromSoft's later works all the way back here on the PS1, in all its blocky polygonal skeleton glory.

The game starts with you being plonked down on a beach with no fanfare. At this point, your retro games sense may tingle and tell you to read the manual. You read the manual. Ok, I know who I am now. Let's go. The playable space is the most compelling part of this game. Unlike most PS1 games, I can't really say levels because there's no loading screens: every footstep is your own, except for when you engage with its strange teleportation system (which if you haven't figured out within a few hours of playing, you should probably look up because there are totally pits in this game you can get softlocked in and have to load a previous save. really.). The space in this game is pretty inventive for the time, occasionally looping on itself and having a nice amount of traps and intrigue to keep you on your toes. As you're starting out, you may notice that the framerate, for lack of a better word, sucks gorilla donkey dick through the anus of a warthog. It hits 30 sometimes. When it feels like it. But mostly it loves to be around 10-20, depending on how many triangles exist. This is a problem, because the game will often slow down and speed up mid-combat, leading you and the enemies to go from moving through treacle to slipping on custard, with no equally tasty in-between. This makes timing attacks harder, and is easily the game's biggest flaw.

Let's talk about the combat in all its satisfactory glory. In this game, you will see mind-boggling enemies with mind-boggling effects. Oddly enough, approaching enemies is fundamentally the same as a Souls game even though you're in first person. You observe them, bait an attack, move around, know the timings and hitbox of your weapon, and strike until dead. For some reason, it was funny to me how the premium technique for most enemies is to get behind them; years and years before you'd be able to backstab them, stunlocking and staying out of their hitboxes still works beautifully. All this is just far clunkier than it would become, as you'd probably expect. It plays how it looks - very chunky and functional. Chunktional. In addition to straight combat, you have spells and items. I couldn't help but notice how healing is done through consumable grass, refilling flasks with different effects, and spells using an MP system. FromSoft would be doing riffs on these systems for years to come.

The music is fairly standard but moody fare. The game's mood is entirely drab and depressing actually; the colour palette is muted, NPCs have no faces which means you're always emotionally isolated if not physically. This plus the lack of variety in textures became draining for me towards the end. My brain was stretched to the absolute limit of similar looking corridors it could remember. Luckily, the game ended soon after that. And what a truly fascinating ending it was. I have no idea what happened to be honest; I think I broke out of reality in a way I'm 100% certain no future games will ever reference. There are interesting smaller stories within the game though, even if the overarching one never coalesced for me.

I recommend this one if you're interested in old RPGs or are a huge Souls fan. It carries the same flavour of being stranded in a mysterious Western fantasy environment, but through the eyes of Japanese devs. I've put some tips throughout this review, but ultimately when you go into the past like this, part of the fun is discovering all the novel layers of bullshit that newer games have ironed out. Read the manual, look a few things up, use save states to a degree that saves you from tedium but still preserves challenge (it's a learning curve), and you might find it as weirdly compelling as I did.

Nintendo tributes Super Mario Bros. 3, one of the most inventive, joyously meaningful leaps they've ever taken, by taking a bunch of iconography from it for their kinda lame advertisement for a side gimmick most people turned off anyway.

Ok it's not as bad as that makes it sound, but we're scraping the barrel of Nintendo's game design here. Literally one of the first ? blocks has the raccoon suit in it for you to fuck around with. The easy criticism is that they want you to remember old thing to feel good, but the real problem is that this game has a lack of progression. You don't get the cape in Super Mario World until the second area for a reason; that game had design principles and ideas to introduce and wanted you to get to grips with the basic movement before unleashing you with the cool shit. This is so important to the game that when I watched people play that lovely SMW ROM hack where it was remade from memory, one of the first big things that jumped out to people was that they gave you a cape in the first area. And yeah that's because we've all played it 1000 times, but also because it fucks with the progression in a clear way. I shouldn't have this. In 3D Land you get that item within 10 steps because there's nothing they want or need to teach you. We're all on autopilot and everyone knows all you need to do is run and jump.

There's no concept of how the disparate levels fit together through theming or design, just some vague idea of gradually increasing difficulty and making sure there aren't like two Ghonst Houses in a row. It's a linear sequence of level ideas Shigru Miyamo had inbetween giving bad instructions to the Paper Mario guys for fun. The thing is, a lot of those levels are pretty fun, even though Mario's moveset is by far the lamest it's ever been. It turns out the minimum viable product baseline Nintendo platformer is still enjoyable because they know basic movement, momentum, and how to direct you through a level. They know too much to fuck it up but weren't ambitious enough to make it good.

In conclusion: play 3D World instead. I really like that game despite a fair number of these criticisms also applying to that. Does that mean I'm full of shit? Probably. But presentation means a lot. Plus it has more everything AND that more is higher quality. It brings my brain electricity to higher than 0, which is what I want in life and love.

Made my dopamine receptors so tuned to dings I'm considering buying a hotel reception bell as a sexual aid.

Knew this game was gonna be a banger as soon as I recognised Paul Eiding as one of the townspeople. At one point he narrates an ancient tome found in the labyrinth in his serious Colonel Campbell voice and it was just wonderful. Anyway, there's more to this than Paul Eiding. There's other voice actors. And a game around them. That game is good.

I was struck by its simplicity most of all. Straightforward XP and level up system, just 5 stats, non-respawning enemies. The entire game takes place in one town and one labyrinth that descends ever further; as soon as you clear a floor, the difficulty of the next one is solely down to the decisions you've made. No amount of grinding goblins is going to help you. They're not even in the game for one.

The simplicity helps it endure though. How many flash or indie games use this scenario? There's something approachable about these ideas that transcend the basic gameplay, which is largely clicking on skeletons and goat men. There's a wonderful enemy progression through the floors, each floor will typically have at least one new enemy, and they get bigger and cooler the further you go. No longer do I just kill skeletons, I'm killing 50 huge armoured behemoths who explode in a cyclone of fire when they die. It's heartwarming.

The graphics are nicely evocative, particularly the enemy design and animations, but the sound design is what carries. Sound is more important anyway, never skimp on sound, especially when you're making a game in 1996 that'll be played by me in 2023. Get yourself some good voice actors (kinda hit and miss here, the witch's performance is a kind of wooden that loops back round to being animated somehow), good music (the town theme is a tune that totally sets the atmosphere and the dungeon themes continue it), and good sound effects. You know it's a good game when a ring drops and it makes a satisfying ting, because they knew the player should love that ting. You will love the ting.

Most of all, I'm just so glad I actually liked a game in this style because I've been fascinated by them for a while now. This is a focused game with such a grasp on the more alchemical aspects of game design that it really endears you to the company that made it. Blizzard made something timeless here. So excited to see what they'll do next!

It must have been crazy for people in the western world to see Final Fantasy go directly from FF1 to this. Much more emphasis is given to the story over the typical JRPG progression of: starting as a regular guy in a town at level 1, going out and fighting animals, getting lost in the overworld and starting to curse the existence of random battles. This one is far more linear, which sounds like it might go against the idea of a big adventure, but really it just cuts out a ton of bullshit and gives the game more focus. Despite JRPGs being one of the only genres of the time to have big maps to explore, I think those of this era work best with a certain amount of linearity - see Super Mario RPG, Earthbound, probably a bunch more examples when I get round to playing them.

Speaking of Earthbound, my favourite thing about the combat in that game (although it takes ages to get there) is the rolling HP. It's still turn-based, but having your HP gradually decrease after being attacked adds much needed urgency to your heals and finishing off battles as quickly as possible to presumably staunch the bleeding these children are experiencing. Well, thanks to the patented Active Time Battle system, every fight in this game has urgency. Everyone has their own speed stat that determines when they're gonna attack next. Those goblins aren't gonna wait for you to decide to slash them. They're on a schedule. They've got an appointment for gobbling at 2pm and need this fight to be over as soon as possible. Don't think too hard about that last sentence.

A cool intersection of gameplay and story is the sheer number of times your party changes. People move in and out of your party at the whim of the game's story, which I really like because other games would be like "nooooo!!! you can't just add a character 10 levels above everyone else to the party!!!" but FF4 is like, don't worry bro, it'll work out. And it does. I appreciate the willingness to give you fairly overpowered characters when it makes sense to, and then just balance the enemies accordingly. Another advantage to having a revolving door party is that your playstyle and strategies change up every hour or so. You might lose a tank melee character and gain two sorcerers. Better put the remaining tank up front, and use the sorcerers in the back to heal everyone and start focusing more on the elemental weaknesses of enemies. Not to mention all these characters have things to say and things to do in the story, which is normal now but pretty cool for 1991 on a 16-bit console. I wouldn't say the story is particularly high art or technically proficient, but it had Themes, a pinch of meaning, and at least a few characters I did end up caring about. At a bare minimum, it made me want to keep playing to see what it was gonna pull next. That's a low bar, but I've played Breath of Fire so believe me when I say these games can miss that bar.

Now to talk some mad shit about the game since I've been very positive so far. I don't think I'll ever like random battles. Very controversial opinion I know. I just don't vibe with each footstep feeling like playing Russian roulette with the bullet being about a minute of enemies that are the equivalent of Desert Bus - easy enough to coast through but you can't stop paying attention juuuust in case you total the whole thing. Even if you get rewarded for winning, sometimes I just wanna explore and look for chests please. It's a system that I haven't found a satisfying iteration of yet.
Also, the translation in the original NTSC release is a bit sketchy. I usually felt like I at least got the gist of what they wanted to convey, but what hurts it most is the severe text box limitations from differences in how much you can convey in Japanese vs. English within a certain number of characters. It does lead to some lines being slightly baffling. That's what I get for forgetting to do two minutes of research before playing a 20 hour JRPG. A quick look at available translations seems to conclude that the 3D remake has a considerably better script, as well as there being numerous fan translations, so look into it!

I'm not entirely sure why I chose this as the start of my old JRPG expedition over FF6, which was originally the plan, but I'm glad I did. I think this game has less baggage in terms of being an all-timer you have to experience, and to be honest I just wanted something chill to play before TotK comes out. Having looked into how pioneering this game was, I think it was the start of most things I value in this genre. It might be half a star higher with a better translation, but I really enjoyed my time here; it's truly a big hunk of lovely JRPG beef. The story comes at you fast, it's surprisingly investing, and there's plenty of meat and potatoes JohnRingoPaulGeorge mechanics to sink your teeth into. What I'm trying to say is that you should eat The Beatles. And play this game.

They just fucking nailed it. Do I have to say anything else? Well not really but I'm going to.

RE4 is an intensely rare game. I think I'm quoting Noah Gervais here, but it truly did come out fully formed; both a new genre was birthed overnight, but they also got so much so right that it still stands today as a pillar of everything its genre can be.

RE4R is an intensely rare remake. It so deeply understands what makes the original work, and not only recreates all the best parts of the original with a deep love for it, but also has the courage to go beyond and expand upon it in such interesting ways.

The combat still has so much of what you loved, but with all the lovely modern sensibilities from RE2 remake integrated into it. They expanded on the knife in ways I suspect will be controversial amongst diehard fans of the OG, but I love it. Essentially making it way more useful, but also having it be another resource you need to keep track of. Parrying is quite ridiculous but it fits RE4 Leon so well. After all, isn't the biggest change from the old survival horror entries to more modern RE4-likes just how cool Leon is and how eager he is to face his enemies head-on? Let him parry that motherfucking chainsaw. He deserves it.

Speaking of being fucking cool as hell, I was really curious/nervous about how everyone's characterisations would turn out. There was certainly room for improvement in the original (a lot of the characters were likeable but didn't have much actual character to them (Ashley)) but if they went too far into seriousness they would lose what made the original's tone so special. Well, they somehow had their cake and ate that mfer too. Leon is more sad, angry and visibly scarred from the events of RE2R, yet still ready to quip at a moment's notice, and somehow it works so well. I think this is going to end up being quite subjective, but I never thought they were reaching to include certain lines. Leon is less silly action man, and more cop who is so done with these zombies that he's gonna shit-talk them all day. I couldn't stop laughing every time him and Salazar interacted, because Salazar is still a silly little castellan man, but Leon is just that bit more grounded than he was before, allowing him to act as a (somewhat) straight man to this gleeful creepy funhouse castle boy. And I've gotta say I loved every cutscene with Leon and Luis together, and Leon and Ada together. They all have so much charisma and chemistry together. A joy to behold.

Ashley is also a huge improvement. She's still absolutely scared, but has so much courage. Ashley coming to trust Leon is handled quite subtly too, mostly done through gameplay early on. Her questioning certain things Leon asks her to do that would be questionable but eventually seeing his logic, both of them asking the other if they're ok after particularly painful fights, it works.

And I also loved how they expanded on the treasure/PESETA/upgrade systems. Giving you more choice with gem placements, way more lil side quests like the blue medallions, and especially the shooting range which is like the best fun fair attraction you've ever been to. It even has gacha! It all combines to keep my almonds activated consistently throughout the entire experience. Also the egg is still in the oven, which was the best part of the original.

Some people have called this game soulless and honestly I couldn't disagree more. First of all, we all know the soul is stored in the Regenerador ass jiggle physics. Second of all, this game is just bursting with love for the original, a clear understanding of what made it good, and a willingness to go out there a bit and juggle between the OG and their own take on the material. And that's exactly what this: their own take on the same gameplay philosophies. It doesn't supplant the original, they both stand together. They're both kings in my book.

I'm a little shocked this one is rated lower than the original on here - ok it's by 0.1, but still - this seems like a straight upgrade to me. The cars control better, the course is a little more interesting, it has really great music, and there's a lil currency and customisation system which I appreciate. Having some progression helps make it feel less like an arcade game you'd play with some buddies every once in a while and more like a console game I want to play more often. The game's aesthetic is drabber and duller than the last two and next one, which lends to it not ageing quite as well, but it still achieves that late 90s - early 2000s feel of "this thing is trying to be cool, swings hard and misses, but is still kinda interesting and fun in its attempt?" I like it.

Problem is, I believe there's still only one course you go multiple routes through. I actually like this by itself, but I think the game needs more than one. Also, I still don't fully understand how to drift in this dang game. But maybe that's ok; I suppose games need some mystery. The original Assassin's Creed had the bedroom of cryptic blood at the end. Undertale has W.D. Gaster. Rage Racer has drifting. There are some things we aren't meant to know.

So, I've played the original and this [Editor's note: I didn't play Ridge Racer Revolution because as of 5 seconds ago I don't believe in revolution. Ridge Racer should affect change within the racing genre by just being slightly mad about things.] and I'm excited to play Type 4 since everyone seems to love it. Yep!

I started choosing whichever option got me away from this person, because that's what I'd do in real life. Then when it forced me back into interaction, I wanted to close the tab. Maybe that's the point. Its construction and quality of writing are totally fine but I think being in the middle of a relationship between emotionally unstable people might be a form of hell for me.

cock: legend of the blowjobbos

now that that's over with, on with the review:

Croc is the little mascot who could. They even gave him a backpack to disguise how uninteresting his design is. Don't you love backpacks???

The game is so ok. You collect things and go through levels. There are 6 Gobbos to collect per level, with the last being put behind a bonus room at the end of the level, which is sometimes platforming but other times a minigame. You get one chance at this minigame, which usually starts with a tenuous indication of what you need to do, so by the time you've figured it out you've already lost. Now you need to do the entire level again. This game doesn't want me to 100% it.

Although I gave up on even completing it at all. I do like some things: the music, the odd bit of satisfying platforming, and I even like how Croc controls (with an analog stick, probably sucks with a D-Pad). But sadly for Croc, I had an existential realisation that I don't play games to tolerate them until I reach an ending that will absolutely be unsatisfying. I'm sorry Croc. Like a failed relationship, we've both learned an important lesson from our time together and I'm sorry we must part. Goodbye.

Weirdly soulless when it didn't really need to be; the type of indie game where there's a guy on an island who spouts random Zelda 1 quotes for no discernible reason. At its base, it takes some of the familiar dopamine hits from games like Stardew Valley and Minecraft and throws them at you at hyperspeed. It keeps your hands very busy and takes minimal thought to do anything, so it's a podcast game really - I turned the music off about 5 minutes in. The pixel art is fine, the gameplay loop does what it sets out to do, but the writing is weirdly off. I can't really see any of the charm it supposedly has; I'd even say there's an almost imperceptible mean streak to some of it: killing the kind turnips (ok i didn't have to do that but you want the space), an old man impressing on you that you're killing so much of the place's (infinitely respawning) natural resources, the fact that every NPC wants you to know how their existence doesn't matter in the slightest. Should I care? The game tries so hard to not try at all with its writing.
The game's store page says "The idle game you want to keep actively playing!", which is odd because that takes the idle out of idle game making it just "game", but it does remind me of a certain type of good-not-great incremental game where all the math fits together but it's just lacking some cohesive alchemical thing. A soul probably.

0.5 stars for Bubsy 3D? What a shocker!
But seriously, this game is shockingly, egregiously, irredeemably bad in a way that you need to experience for yourself to understand. I can only imagine the people who made this played it just before release and started rapidly biting their fingernails in nervous terror like in a cartoon, knowing just what they were about to put out into the world.
I finished level 2 and couldn't do any more. It's a big, wide open, messy level that - as far as I can tell - requires a temporary powerup to beat, which doesn't respawn, even after dying. So you can spend 20 minutes slowly manhandling Bubsy to complete the full level, take the powerup and not know exactly where to go with it, then it runs out so you're fucked and have to redo the entire thing. One day I might come back to be able to say that I've finished it, but my mental state will have to improve by like 5 points to handle it.
game sucks