66 reviews liked by Pastas
Void Stranger
2023
This review contains spoilers
“Become endless? To hell with all of that! I'm happy because we're together, right here and now. Even when the last star burns out... This memory will surely remain. Because I love you.”
I am assuming that if you have decided to click on that ‘I’m ready’ button you have learnt of the curious decision made within the heart of the void. If you have not, I will not begrudge you of your agency if you decide to read on further. I myself cheated this game out of its many secrets similarly to this, yet by the time I did so, it was because I was fully enamoured with it. So, I give this final opportunity to turn back should you seek to form your own infatuation with this experience before I corrupt any preconception you have with that of my bias.
As you are left perhaps still reeling at the decision made by Lady Gray, you reload the game and are given a brief reprieve to absorb what exactly has just transpired before you are thrown back once more into the void. That initial premise of Void Stranger you just endured in that first playthrough, encapsulating those classical story archetypes, was merely there to serve as pretext. A formative basis in which to be iterated upon in a never-ending pursuit of recontextualization and retrospection. The first layer of many in which you engage and form an understanding with a literature’s thoughts and ideas. Conventionally most stories will end here leaving the reader on their own to pursue any further depths, Void Stranger however does the work for you in reframing itself. Narratively bringing itself forward an age, the world setting shifting to cement this change. Becoming modern, a more contemporary piece, self-critical and questioning. The game’s story structure has evolved paralleling that of how story frameworks have over time. You slowly discover that Void Stranger is about the ever-evolving nature of literature itself.
But no that is not the immediate concern is it, this realisation happens later when the dust is settled and the immediate fire is put out. The most pressing thought that dwells in one’s mind for the second playthrough is less abstract. This thought as you are given control over a new character, this stranger that Gray chose over the very charge in which she braved hell itself for, forms a simple question. Why? Why did she make that choice?
And here lies the focal point of this game. Void Stranger is ultimately not a drama nor a romance but that of a tragedy. It is about the insurmountable power of love yes, but more so about one of its perpetually recurring adversities. More specifically that of the irreconcilable differences between the understanding of love of a parent with that of their child. How these different interpretations of love between them are not reciprocated because they each are conceived from that which is fundamentally opposed.
Gray embodies limitless love for one person, but that devotion was never towards her daughters. Instead, Gray’s love and devotion is ethereal, directed towards the voided, to that of a deceased queen upon whom their lineage derives. In lieu of a living being of flesh in which to dedicate her love, there is only simple memory. If memory is all that remains then so be it, Gray will see to it that it persists eternally. A light that she must see become endless.
Parents do not love their children for who they are. How can they? Initially there is nothing in which to form such a connection. These fragile zygotes that only eventually grow into personhood have yet to form a self. They are naught more than a growing mass of flesh. To sincerely love a child before they can grow and realise themselves is impossible. Instead, a parent loves that which they can project onto, a perceived potential. A belief in the idea of what the child will eventually become. For Gray that belief is in that endless light. That these children, and their children, and their children will live ever eternal. Proxies for the endlessly recurring memory that she is devoted to. This is a sincere expression of love. The tragic rationale on how she made that choice in the void.
A child’s love in turn starts as something much cleaner but unfortunately no less delusional. It, at least, is founded upon something tangible, the corporeal and living caretaker in front of them. This person who seemingly loves them unconditionally. As the child grows and attains self-actualization, this formative perception of love is sought to be reciprocated. Lillie (and the Lily whom was lost to the void) loves Gray wholeheartedly. And in turn seek to express this love by embodying to become just like them, to honour them by living as their reflection. Eventually however, it is come to be understood that the unconditional basis that formed such a love is not real.
And yet it does not matter at all! Love is belief in as much as it is devotion. Lillie embodies a sincere unconditional love for her mother Gray naïve it may be. This love however is not what Gray sought. She cannot accept Lillie to live for her sake over that of her muse. To do so would extinguish her memory, her eternal light, to kill what little remains. And so Gray does not, and cannot, reciprocate this love coming from this reflection herself. And so she rejects it.
There is no recourse. The memory is still doomed to fade. Devotion without purpose is foolishness. As Gray too becomes only memory what then becomes of Lillie? This being whose self was conceived from the basis of these two irreconcilable and unreciprocated beliefs in love? The dawning realization that Lillie could never become someone Gray could see as worthy to love. That perhaps she only exists as a wrong choice, that it should have been her left behind in the void. What answer exists there for her should she return? For one devoid of devotion? I will not deny you from forming your answer by presenting my own.
Void Stranger does not end here. As far as I am aware Void Stranger does not end. It seeks to encapsulate something grander than a story. The journey of life itself in all its infinite recursion. It repeats that trick mentioned earlier once more. Bringing the story forward another age, recontextualizing itself. The nature of story itself now coming under scrutiny. The enigmatic purpose of demons and of void to be elaborated upon and revealed. A work as a living being in which we breathe life into. Now becoming post-modern.
But I am not capable nor willing to elaborate any further. Satisfied as I am to leave it here. The adventure of life goes on, with and without me.
“I don’t know what this feeling is, but… I was searching for it for a long time. Now that I’ve found it… I realize that it doesn’t belong to me.”
I am assuming that if you have decided to click on that ‘I’m ready’ button you have learnt of the curious decision made within the heart of the void. If you have not, I will not begrudge you of your agency if you decide to read on further. I myself cheated this game out of its many secrets similarly to this, yet by the time I did so, it was because I was fully enamoured with it. So, I give this final opportunity to turn back should you seek to form your own infatuation with this experience before I corrupt any preconception you have with that of my bias.
As you are left perhaps still reeling at the decision made by Lady Gray, you reload the game and are given a brief reprieve to absorb what exactly has just transpired before you are thrown back once more into the void. That initial premise of Void Stranger you just endured in that first playthrough, encapsulating those classical story archetypes, was merely there to serve as pretext. A formative basis in which to be iterated upon in a never-ending pursuit of recontextualization and retrospection. The first layer of many in which you engage and form an understanding with a literature’s thoughts and ideas. Conventionally most stories will end here leaving the reader on their own to pursue any further depths, Void Stranger however does the work for you in reframing itself. Narratively bringing itself forward an age, the world setting shifting to cement this change. Becoming modern, a more contemporary piece, self-critical and questioning. The game’s story structure has evolved paralleling that of how story frameworks have over time. You slowly discover that Void Stranger is about the ever-evolving nature of literature itself.
But no that is not the immediate concern is it, this realisation happens later when the dust is settled and the immediate fire is put out. The most pressing thought that dwells in one’s mind for the second playthrough is less abstract. This thought as you are given control over a new character, this stranger that Gray chose over the very charge in which she braved hell itself for, forms a simple question. Why? Why did she make that choice?
And here lies the focal point of this game. Void Stranger is ultimately not a drama nor a romance but that of a tragedy. It is about the insurmountable power of love yes, but more so about one of its perpetually recurring adversities. More specifically that of the irreconcilable differences between the understanding of love of a parent with that of their child. How these different interpretations of love between them are not reciprocated because they each are conceived from that which is fundamentally opposed.
Gray embodies limitless love for one person, but that devotion was never towards her daughters. Instead, Gray’s love and devotion is ethereal, directed towards the voided, to that of a deceased queen upon whom their lineage derives. In lieu of a living being of flesh in which to dedicate her love, there is only simple memory. If memory is all that remains then so be it, Gray will see to it that it persists eternally. A light that she must see become endless.
Parents do not love their children for who they are. How can they? Initially there is nothing in which to form such a connection. These fragile zygotes that only eventually grow into personhood have yet to form a self. They are naught more than a growing mass of flesh. To sincerely love a child before they can grow and realise themselves is impossible. Instead, a parent loves that which they can project onto, a perceived potential. A belief in the idea of what the child will eventually become. For Gray that belief is in that endless light. That these children, and their children, and their children will live ever eternal. Proxies for the endlessly recurring memory that she is devoted to. This is a sincere expression of love. The tragic rationale on how she made that choice in the void.
A child’s love in turn starts as something much cleaner but unfortunately no less delusional. It, at least, is founded upon something tangible, the corporeal and living caretaker in front of them. This person who seemingly loves them unconditionally. As the child grows and attains self-actualization, this formative perception of love is sought to be reciprocated. Lillie (and the Lily whom was lost to the void) loves Gray wholeheartedly. And in turn seek to express this love by embodying to become just like them, to honour them by living as their reflection. Eventually however, it is come to be understood that the unconditional basis that formed such a love is not real.
And yet it does not matter at all! Love is belief in as much as it is devotion. Lillie embodies a sincere unconditional love for her mother Gray naïve it may be. This love however is not what Gray sought. She cannot accept Lillie to live for her sake over that of her muse. To do so would extinguish her memory, her eternal light, to kill what little remains. And so Gray does not, and cannot, reciprocate this love coming from this reflection herself. And so she rejects it.
There is no recourse. The memory is still doomed to fade. Devotion without purpose is foolishness. As Gray too becomes only memory what then becomes of Lillie? This being whose self was conceived from the basis of these two irreconcilable and unreciprocated beliefs in love? The dawning realization that Lillie could never become someone Gray could see as worthy to love. That perhaps she only exists as a wrong choice, that it should have been her left behind in the void. What answer exists there for her should she return? For one devoid of devotion? I will not deny you from forming your answer by presenting my own.
Void Stranger does not end here. As far as I am aware Void Stranger does not end. It seeks to encapsulate something grander than a story. The journey of life itself in all its infinite recursion. It repeats that trick mentioned earlier once more. Bringing the story forward another age, recontextualizing itself. The nature of story itself now coming under scrutiny. The enigmatic purpose of demons and of void to be elaborated upon and revealed. A work as a living being in which we breathe life into. Now becoming post-modern.
But I am not capable nor willing to elaborate any further. Satisfied as I am to leave it here. The adventure of life goes on, with and without me.
“I don’t know what this feeling is, but… I was searching for it for a long time. Now that I’ve found it… I realize that it doesn’t belong to me.”
Void Stranger
2023
“For these defects, and for no other evil, we are now lost and punished just with this: We have no hope and yet we live in longing”
Devotion is an incredibly potent motivator. Our capacity to love something or someone to such an extent that we can pledge every facet of our being to their cause is both a wonderful, yet tragic curse. This infatuation we have can allow us to endure even the circles of hell itself, but in turn it makes us blind. We forgo all else around in the pursuit of perpetuating the eternal memory of our devotee.
Void Stranger is a hard game to discuss for several reasons. The most pressing of which is that you simply are not allowed to speak of it in any meaningful capacity lest you give its game away to the uninitiated. So sacred are its labyrinthian secrets revered by those privy that they are selfishly hoarded, and only dispensed piecemeal to the desperate to prevent them from succumbing entirely to the void. It should be self-evident from this alone that there is much value to be had from this game through self-discovery. That to discuss the contents within its locker is tantamount to sin.
Yet to not talk about it defeats its message! Did others not play the same game as I? Did they not learn of the ultimate tragedy that ensues when keeping something so tight to one’s chest? To keep silent of our experiences is to allow them to die with us! These bearings are to be exposed. These walls we build around ourselves must crumble away so that who we are may be shared.
This review is a compromise of these two thoughts and split accordingly into two parts. The first, in which you are reading, to serve as mere bait to entice the curious and hungry into a deadly snare. A brief synopsis of memory deliberately obfuscated to reveal limited truth and provide some initial guidance. A second intended to be read for those whom have completed a ‘successful’ dive into the void, in which I will elaborate upon the true nature of the abyss. Such tiered structure of revelation is at the very core of this story that I would seek to have you to play.
Void Stranger presents itself as a classical story about how one’s devotion can surpass all. Lady Gray is the embodiment of traditionally noble ideals. Conviction and duty are paramount to her. She honours that which she loves by seeking to exist as an extension of their will. There is no burden too great that she is unwilling or seemingly unable to bear. This to her is the nature of love itself, the meaning she has ascribed to it. She expresses love through her devotion.
And yet this labyrinth she is made to endure is ultimately one of judgment. A condemnation of those who wander its ever-twisting halls. These puzzles that you initially meet with earnest resolve, they will slowly wear you ragged. They will wear away at your soul. They will surely consume you. You will soon come to an understanding that playing this much Sokoban truly is hell! The question becomes what do you do afterwards when your resolve falters?
There are a few options available to you when this occurs. Not all are obvious. ALL of them are valid ways to progress. The one and only meaningful purpose of this initial review is to provide this assurance. That each of these paths will ultimately, albeit differently, lead to payoff.
The most intuitive of course being to press onwards undeterred. Conviction, duty, devotion, so neatly align with that of a quality that games as a medium tend to cultivate within its players. Determination. With simply enough perseverance you will succeed. And although I offer alternatives do not let this dissuade you from this road. It is the intended path to follow, and you will be uniquely rewarded should you tread it.
Perhaps though you will try again. Repeat the game fresh from the start. Carrying over only a more experienced perspective. A less naïve and more discerning approach. There are secrets to these halls after all, that which you may have noticed but were too late to act upon in retrospect.
Or perhaps you will simply give up. Move on and play something else. This too is a valid conclusion to the journey. There is no shame in doing so. So many others have fallen to these halls after all and so too will all in time. To perpetuate memory eternal is foolish. Let it fade.
However most controversially I offer a final recourse that some would consider taboo. Cheat. Cheat a little. Cheat a lot even. Cheat as much as you think you have been cheated by. Look at floor puzzle guides. Ask for advice or hints from others whom have undertaken this journey. I will not pretend that the other roads are not more ideal. But you have nothing to prove. It is not your devotion that is being tested after all.
Ultimately Void Stranger is a game that seeks to hurt you. It hurt me and it is this grievance that I wish to share. And at the end of the void, if you have not lost yourself, you will discover the folly that is devotion. Can you remember why you are here?
(I recommend this game first and foremost to those who wish to see videogames elevated as a form of literary art. After playing this it has shown my faith in the medium in being able to convey unique and profound experiences to not be misplaced. However, that is not without caveats. This is a long and grueling journey with an initially uncertain payoff. It demands a lot of time from you. Some knowledge is gatekeeped until you have endured a requisite amount of suffering. This however is a part of the ‘art’. It is absolutely my favourite game I have played in quite some while. Sokoban fans may even find they might enjoy this too!)
“I wonder... Maybe we're simply too late. All light that reaches us is just a faded memory. If we wish to escape their fate... We must shine even brighter. Our light must become endless.”
Part 2 is here (Full of spoilers): https://www.backloggd.com/u/GingerV/review/1566841/
Devotion is an incredibly potent motivator. Our capacity to love something or someone to such an extent that we can pledge every facet of our being to their cause is both a wonderful, yet tragic curse. This infatuation we have can allow us to endure even the circles of hell itself, but in turn it makes us blind. We forgo all else around in the pursuit of perpetuating the eternal memory of our devotee.
Void Stranger is a hard game to discuss for several reasons. The most pressing of which is that you simply are not allowed to speak of it in any meaningful capacity lest you give its game away to the uninitiated. So sacred are its labyrinthian secrets revered by those privy that they are selfishly hoarded, and only dispensed piecemeal to the desperate to prevent them from succumbing entirely to the void. It should be self-evident from this alone that there is much value to be had from this game through self-discovery. That to discuss the contents within its locker is tantamount to sin.
Yet to not talk about it defeats its message! Did others not play the same game as I? Did they not learn of the ultimate tragedy that ensues when keeping something so tight to one’s chest? To keep silent of our experiences is to allow them to die with us! These bearings are to be exposed. These walls we build around ourselves must crumble away so that who we are may be shared.
This review is a compromise of these two thoughts and split accordingly into two parts. The first, in which you are reading, to serve as mere bait to entice the curious and hungry into a deadly snare. A brief synopsis of memory deliberately obfuscated to reveal limited truth and provide some initial guidance. A second intended to be read for those whom have completed a ‘successful’ dive into the void, in which I will elaborate upon the true nature of the abyss. Such tiered structure of revelation is at the very core of this story that I would seek to have you to play.
Void Stranger presents itself as a classical story about how one’s devotion can surpass all. Lady Gray is the embodiment of traditionally noble ideals. Conviction and duty are paramount to her. She honours that which she loves by seeking to exist as an extension of their will. There is no burden too great that she is unwilling or seemingly unable to bear. This to her is the nature of love itself, the meaning she has ascribed to it. She expresses love through her devotion.
And yet this labyrinth she is made to endure is ultimately one of judgment. A condemnation of those who wander its ever-twisting halls. These puzzles that you initially meet with earnest resolve, they will slowly wear you ragged. They will wear away at your soul. They will surely consume you. You will soon come to an understanding that playing this much Sokoban truly is hell! The question becomes what do you do afterwards when your resolve falters?
There are a few options available to you when this occurs. Not all are obvious. ALL of them are valid ways to progress. The one and only meaningful purpose of this initial review is to provide this assurance. That each of these paths will ultimately, albeit differently, lead to payoff.
The most intuitive of course being to press onwards undeterred. Conviction, duty, devotion, so neatly align with that of a quality that games as a medium tend to cultivate within its players. Determination. With simply enough perseverance you will succeed. And although I offer alternatives do not let this dissuade you from this road. It is the intended path to follow, and you will be uniquely rewarded should you tread it.
Perhaps though you will try again. Repeat the game fresh from the start. Carrying over only a more experienced perspective. A less naïve and more discerning approach. There are secrets to these halls after all, that which you may have noticed but were too late to act upon in retrospect.
Or perhaps you will simply give up. Move on and play something else. This too is a valid conclusion to the journey. There is no shame in doing so. So many others have fallen to these halls after all and so too will all in time. To perpetuate memory eternal is foolish. Let it fade.
However most controversially I offer a final recourse that some would consider taboo. Cheat. Cheat a little. Cheat a lot even. Cheat as much as you think you have been cheated by. Look at floor puzzle guides. Ask for advice or hints from others whom have undertaken this journey. I will not pretend that the other roads are not more ideal. But you have nothing to prove. It is not your devotion that is being tested after all.
Ultimately Void Stranger is a game that seeks to hurt you. It hurt me and it is this grievance that I wish to share. And at the end of the void, if you have not lost yourself, you will discover the folly that is devotion. Can you remember why you are here?
(I recommend this game first and foremost to those who wish to see videogames elevated as a form of literary art. After playing this it has shown my faith in the medium in being able to convey unique and profound experiences to not be misplaced. However, that is not without caveats. This is a long and grueling journey with an initially uncertain payoff. It demands a lot of time from you. Some knowledge is gatekeeped until you have endured a requisite amount of suffering. This however is a part of the ‘art’. It is absolutely my favourite game I have played in quite some while. Sokoban fans may even find they might enjoy this too!)
“I wonder... Maybe we're simply too late. All light that reaches us is just a faded memory. If we wish to escape their fate... We must shine even brighter. Our light must become endless.”
Part 2 is here (Full of spoilers): https://www.backloggd.com/u/GingerV/review/1566841/
Balatro
2024
have to uninstall it so I can get stuff done
An anticipated update to one of my favorite games ever that absolutely managed to deliver. The Noise Update is a great New Game Plus mode for Pizza Tower that makes you feel like you’re playing the game for the first time ever again. It features The Noise as a brand new character to play as with his own unique moveset and different takes on the transformations Peppino undergoes. His moveset and transformation differences are primarily what makes this mode feel fresh and exciting. They're not too drastically different from Peppino, but they're enough to rejuvenate the experience.
The Noise somehow manages to have even faster mobility than Peppino, with lots of ways to keep his momentum going. He can immediately go into a super jump without needing to build speed, his uppercut goes way higher than Peppino’s, and he has his own version of Gustavo and Brick’s Stomp ability. All of the levels in the game feel a bit different thanks to The Noise’s moveset. Going through those stretches in levels with long and wide halls gives you a chance to really relish in just how fast The Noise can go. Aside from hazards, pretty much the only thing that ever slows the Noise down is your own mishandling of his abilities. Controlling The Noise is a challenge in itself, as his speed and movement options require a tad more precision compared to Peppino. Even more so than Peppino, it feels really bad when you run into a hazard or you do something that causes your momentum to falter or come to a halt, simply because of how enjoyable it is moving at top speed. I don’t think I’ll ever set out to get a P-Rank in every level in this game as Peppino, but that goes doubly so for The Noise. I can’t imagine the skill and dexterity required to be able to achieve and maintain the score level necessary for it while also being able to do a Lap 2 during the escape sequences, especially since you’re given less time to complete them than the base game’s.
The boss fights are unchanged, with all the bosses still having the same attack patterns as before. However, the way The Noise fights bosses is different from Peppino. During these battles, The Noise will fight with bombs that he kicks at his opponent. There’s a bit of a wind-up before The Noise kicks the bomb, so you have to time your kicks for the bosses’ small vulnerability windows. There can also be obstacles out on the stage that can block your bombs as well, so you’ll have to manage those while also doing your best to steer clear of the bosses’ attacks. This new approach to fighting bosses is excellent, it’s a great way to make them challenging again, even if you’re already familiar with how they work.
Those are the primary additions to The Noise’s campaign. There’s also some new and hilarious gags, as well as a few great new songs for the soundtrack. The Noise Update is an excellent way to re-experience Pizza Tower. It’s a fresh spin on the core experience while maintaining a standard of quality equivalent to the base game. If you enjoyed the base game, then I consider this a must-play. It goes above and beyond what you’d expect for a New Game Plus mode, and is a substantial and highly enjoyable addition to the game.
The Noise somehow manages to have even faster mobility than Peppino, with lots of ways to keep his momentum going. He can immediately go into a super jump without needing to build speed, his uppercut goes way higher than Peppino’s, and he has his own version of Gustavo and Brick’s Stomp ability. All of the levels in the game feel a bit different thanks to The Noise’s moveset. Going through those stretches in levels with long and wide halls gives you a chance to really relish in just how fast The Noise can go. Aside from hazards, pretty much the only thing that ever slows the Noise down is your own mishandling of his abilities. Controlling The Noise is a challenge in itself, as his speed and movement options require a tad more precision compared to Peppino. Even more so than Peppino, it feels really bad when you run into a hazard or you do something that causes your momentum to falter or come to a halt, simply because of how enjoyable it is moving at top speed. I don’t think I’ll ever set out to get a P-Rank in every level in this game as Peppino, but that goes doubly so for The Noise. I can’t imagine the skill and dexterity required to be able to achieve and maintain the score level necessary for it while also being able to do a Lap 2 during the escape sequences, especially since you’re given less time to complete them than the base game’s.
The boss fights are unchanged, with all the bosses still having the same attack patterns as before. However, the way The Noise fights bosses is different from Peppino. During these battles, The Noise will fight with bombs that he kicks at his opponent. There’s a bit of a wind-up before The Noise kicks the bomb, so you have to time your kicks for the bosses’ small vulnerability windows. There can also be obstacles out on the stage that can block your bombs as well, so you’ll have to manage those while also doing your best to steer clear of the bosses’ attacks. This new approach to fighting bosses is excellent, it’s a great way to make them challenging again, even if you’re already familiar with how they work.
Those are the primary additions to The Noise’s campaign. There’s also some new and hilarious gags, as well as a few great new songs for the soundtrack. The Noise Update is an excellent way to re-experience Pizza Tower. It’s a fresh spin on the core experience while maintaining a standard of quality equivalent to the base game. If you enjoyed the base game, then I consider this a must-play. It goes above and beyond what you’d expect for a New Game Plus mode, and is a substantial and highly enjoyable addition to the game.
Balatro
2024
makes me feel like an ai artist with all the fucked up hands i'm making
Hollow Knight
2017
Every now and then a game comes along that announces itself as special from the moment you start up. More rare are games so impactful that the genre can be cleanly divided into before, and after. Such is Hollow Knight: There's metroidvanias before it came out, and after it's earth-shaking impact.
At the surface of Hollow Knight is the sprawling, beautifully constructed and interconnected world design, the evocative and often rousing music, the hand-drawn art and animation, the perfect gameplay. The tremendous freedom with which we can explore the world. There are vividly realized characters, sharply characterized with through art, voice and dialogue that bring them to life. It's truly incredible the way Myla and Hornet - to pick but two examples - become fully-realized characters we care deeply about despite their relatively short screen time.
Another level down, the initially typical story of a fallen kingdom being explored is steeped in an original and compelling story. Through rich worldbuilding we learn of ancient enemies, tragedy, heroism, tribal pacts. We encounter characters simultaneously silly and affecting (somehow), like a dung beetle whose joyful demeaner and optimism mask a tragic past.
Amidst a heavy story Hollow Knight is also utterly hilarious, including the payoff to a joke developed so carefully that the punchline lands as unexpectedly as it is perfect. It's one of the funniest things I've ever seen in a game (let's just say the object of someone's obsession takes on a very odd fantasy). And yet somehow the humor melds with the world rather than clashing with it, a balancing act that is really tough to pull off.
Yet another level down, we find the deeper secrets of the story, the nooks and crannies of the world, the deep lore - and the themes of what it's really about. Hollow Knight has come to mean a great deal to me. It's a special game, yes. It plays beautifully, sure. But it's also a game with an insight into human - and bug - nature. Ultimately, all things must accept an end, whether we want to or not. It's how we respond to that end that defines us.
At the surface of Hollow Knight is the sprawling, beautifully constructed and interconnected world design, the evocative and often rousing music, the hand-drawn art and animation, the perfect gameplay. The tremendous freedom with which we can explore the world. There are vividly realized characters, sharply characterized with through art, voice and dialogue that bring them to life. It's truly incredible the way Myla and Hornet - to pick but two examples - become fully-realized characters we care deeply about despite their relatively short screen time.
Another level down, the initially typical story of a fallen kingdom being explored is steeped in an original and compelling story. Through rich worldbuilding we learn of ancient enemies, tragedy, heroism, tribal pacts. We encounter characters simultaneously silly and affecting (somehow), like a dung beetle whose joyful demeaner and optimism mask a tragic past.
Amidst a heavy story Hollow Knight is also utterly hilarious, including the payoff to a joke developed so carefully that the punchline lands as unexpectedly as it is perfect. It's one of the funniest things I've ever seen in a game (let's just say the object of someone's obsession takes on a very odd fantasy). And yet somehow the humor melds with the world rather than clashing with it, a balancing act that is really tough to pull off.
Yet another level down, we find the deeper secrets of the story, the nooks and crannies of the world, the deep lore - and the themes of what it's really about. Hollow Knight has come to mean a great deal to me. It's a special game, yes. It plays beautifully, sure. But it's also a game with an insight into human - and bug - nature. Ultimately, all things must accept an end, whether we want to or not. It's how we respond to that end that defines us.
Persona 3 Portable
2023
Simplesmente virou meu jogo favorito.
Ele é bastante falho tecnicamente puramente por fatores de época, os próximos jogos ainda iriam apeixomorar os sistemas introduzidos. Explorar o Tartarus se torna bastante cansativo por não ter muita variação neles, as relações com os personagens masculinos é fraca, os social links em geral não passam de ok, e os bosses são esponjas de dano chatissimos de enfrentar.
Mas esses personagens e principalmente a história e seus temas fazem tudo valer. O jogo tem uma forte temática sobre a morte, a aceitação da morte como parte fundamental da vida, a efemeridade de tudo que existe, ao mesmo tempo também sendo sobre seguir em frente, os personagens passam por conflitos e traumas que os dificultam de viver, e aí surge a busca por um propósito, um sentido em continuar e viver e lutar. Os personagens não lutam contra o mal, mas contra a apatia, as sombras são o contrário da vida, não como a morte, mas como a falta de movimento, a inatividade e a falta de propósito, o contrário da vida é a negação de agir e sentir. Atirar na própria cabeça é a aceitação da mortalidade e do medo da morte, a quebra da sua máscara, onde você decide viver sendo quem você realmente é e entendendo que você decide o que fazer com a sua vida.
E esse tipo de temática é o que mais me conquista em arte, afirmação da vida, isso é a mensagem do meu álbum favorito e meu filme favorito, era óbvio que isso ia me pegar profundamente, afinal, é basicamente a minha filosofia de vida, o milagre que a vida é, a beleza que existe em tudo mesmo nos aspectos ruins da vida, ao sofrimento como um motivador de um novo significado em continuar, a morte sendo o que faz a vida ter o valor que possui, o que nos motiva a viver o tempo em que estivermos aqui, aproveitar plenamente nosso tempo aqui, dar valor aos bons momentos, laços e paixões, que nos fortificam, nos fazem crescer e entender a beleza que existe na vida.
Ele é bastante falho tecnicamente puramente por fatores de época, os próximos jogos ainda iriam apeixomorar os sistemas introduzidos. Explorar o Tartarus se torna bastante cansativo por não ter muita variação neles, as relações com os personagens masculinos é fraca, os social links em geral não passam de ok, e os bosses são esponjas de dano chatissimos de enfrentar.
Mas esses personagens e principalmente a história e seus temas fazem tudo valer. O jogo tem uma forte temática sobre a morte, a aceitação da morte como parte fundamental da vida, a efemeridade de tudo que existe, ao mesmo tempo também sendo sobre seguir em frente, os personagens passam por conflitos e traumas que os dificultam de viver, e aí surge a busca por um propósito, um sentido em continuar e viver e lutar. Os personagens não lutam contra o mal, mas contra a apatia, as sombras são o contrário da vida, não como a morte, mas como a falta de movimento, a inatividade e a falta de propósito, o contrário da vida é a negação de agir e sentir. Atirar na própria cabeça é a aceitação da mortalidade e do medo da morte, a quebra da sua máscara, onde você decide viver sendo quem você realmente é e entendendo que você decide o que fazer com a sua vida.
E esse tipo de temática é o que mais me conquista em arte, afirmação da vida, isso é a mensagem do meu álbum favorito e meu filme favorito, era óbvio que isso ia me pegar profundamente, afinal, é basicamente a minha filosofia de vida, o milagre que a vida é, a beleza que existe em tudo mesmo nos aspectos ruins da vida, ao sofrimento como um motivador de um novo significado em continuar, a morte sendo o que faz a vida ter o valor que possui, o que nos motiva a viver o tempo em que estivermos aqui, aproveitar plenamente nosso tempo aqui, dar valor aos bons momentos, laços e paixões, que nos fortificam, nos fazem crescer e entender a beleza que existe na vida.
Foamstars
2024
I don’t know why I downloaded this, it doesn’t look like something I would enjoy. I have a backlog full of probably much higher quality games but I spent some time on this. It’s free on PS plus that’s why and I thought, ‘what’s the harm in giving it a go, it might be fun?’
I shouldn’t be supporting games like this, even if I don’t spend money on it and it’s just a free download and some time put in. I wouldn’t even have PS Plus essential if I didn’t need it for online play. Now I have a bunch of games I feel somewhat obligated to try every month so I feel like I’m getting my money’s worth. Thanks Microsoft for making paying for online multiplayer the norm. You got into consoles because you were afraid Sony would take over everyone’s living room. You somehow convinced everyone to pay for online, while dead 360s were being stacked sky high at your doorstep. You abandoned your core audience and took a hard turn into Kinect. Then you had an interesting Xbox One reveal, that required a lot of back tracking and fixing your image. I haven’t played everything but it seems like you mishandled or messed up every successful series you had. You failed at providing healthy competition that would have been beneficial to us consumers. Now you are pushing the all digital/subscription future. Uncle Phil isn’t your buddy looking out for gamers interests he is the CEO of Microsoft Gaming. How is Xbox Game Pass really that different to what they were trying to do back at the Xbox One reveal? They just realised that you need a spoonful of sugar to help the medicine go down. It’s funny and sad watching people laugh at or criticise the Xbox One reveal and then talk about how good of a deal Game Pass is. People don’t make the best decisions when they think they’ve got a good deal or are getting something for free, myself included. I already wasn’t planning on getting an Xbox Series console and their current direction, plus recent news, has strongly solidified that.
At least it wasn’t all bad. I still have my older Xbox consoles and I have good memories of games like Halo, Project Gotham Racing, Amped, Jet Set Radio Future, Ninja Gaiden, Forza, even Gears of War which I’m not the biggest fan of, and several others. Farewell Xbox…
Oh yeah Foamstars, let’s get back to that, I guess.
Foamstars is like a microwavable frozen meal. It lacks quality and quantity and it’s pretty questionable whether you should actually get it and try it. But sometimes you just don’t have the energy. You want to pull the packaging off something and press a button and just eat something because it gets the job done.
Foamstars is a lazy game you can throw on and not put any effort or much thought into. It’s an online multiplayer game you can play lying down. You don’t need to worry about communication or any of the negatives that come with that. You don’t need to worry about being competitive or not doing well. Don’t worry about skill, strategy, violence or language. Just put your feet up and shoot some bubbles. Sometimes a brainless activity like this can be beneficial. Sometimes you just need a break and there is some fun to be had here.
The monetization though. Wow. When I looked at the cost of things I laughed but then thought about how this game seems targeted at a younger audience and realised this is diabolical. It is like villain level stuff. Imagine making a game that, when you’re not hunting whales, you’re trying to separate children from their allowance, in a greedy, unfair way. Or you’re just relying on parents to not supervise their kids spending. That’s enough about this, don’t worry I won’t go on another tangent.
Apart from those issues Foamstars is so inoffensive that it’s almost offensive. It’s so bland and forgettable. It’s so bright and colourful and over the top but makes you feel nothing at all, except maybe slightly annoyed. But then you find out the characters actually secrete foam from their bodies. Think about that the whole time you’re playing, you’re welcome. I know I’m not the demographic they were going for but there isn’t much to like about the presentation, characters, dialogue and what little story there is. There is unskippable stuff too. But it’s got some quirks and the music isn’t bad.
The gameplay is okay, it’s four versus four, with a few different modes and there’s also a four player co-op mission mode or single player ones too. You have a main gun, two skills and a special and each character has their own set unique to them. None of it is really that good or satisfying to use. You need to foam up the map in your teams colour so you can surf around quicker while also taking on the other team at the same time. You have to keep hitting opponents until they are in a ball of foam, then they can be taken out or revived by a teammate. Obviously it’s not completely devoid of skill and a bit of strategy but there isn’t enough here. I wish you could move a bit more, like a dodge and a double jump would be cool. The missions are pretty bare bones, where you just face waves of enemies and there is a serious lack of variety in the versus modes too. It’s often too visually chaotic and takes too long to get back into matches as well. It is a bit of stress free fun but it isn’t good enough and has no lasting appeal. I had to change the region in the options to consistently get in matches too, so you might want to get in quick if you’re keen on trying this.
Is Foamstars a good use of your available free time/gaming time? No, no it’s not, but also kind of yes because sometimes you just want to chill, although there are most likely better ‘chill’ games available. It’s not a good game but when I’m in the right mood, I don’t mind getting foamed up.
3.9/10
I shouldn’t be supporting games like this, even if I don’t spend money on it and it’s just a free download and some time put in. I wouldn’t even have PS Plus essential if I didn’t need it for online play. Now I have a bunch of games I feel somewhat obligated to try every month so I feel like I’m getting my money’s worth. Thanks Microsoft for making paying for online multiplayer the norm. You got into consoles because you were afraid Sony would take over everyone’s living room. You somehow convinced everyone to pay for online, while dead 360s were being stacked sky high at your doorstep. You abandoned your core audience and took a hard turn into Kinect. Then you had an interesting Xbox One reveal, that required a lot of back tracking and fixing your image. I haven’t played everything but it seems like you mishandled or messed up every successful series you had. You failed at providing healthy competition that would have been beneficial to us consumers. Now you are pushing the all digital/subscription future. Uncle Phil isn’t your buddy looking out for gamers interests he is the CEO of Microsoft Gaming. How is Xbox Game Pass really that different to what they were trying to do back at the Xbox One reveal? They just realised that you need a spoonful of sugar to help the medicine go down. It’s funny and sad watching people laugh at or criticise the Xbox One reveal and then talk about how good of a deal Game Pass is. People don’t make the best decisions when they think they’ve got a good deal or are getting something for free, myself included. I already wasn’t planning on getting an Xbox Series console and their current direction, plus recent news, has strongly solidified that.
At least it wasn’t all bad. I still have my older Xbox consoles and I have good memories of games like Halo, Project Gotham Racing, Amped, Jet Set Radio Future, Ninja Gaiden, Forza, even Gears of War which I’m not the biggest fan of, and several others. Farewell Xbox…
Oh yeah Foamstars, let’s get back to that, I guess.
Foamstars is like a microwavable frozen meal. It lacks quality and quantity and it’s pretty questionable whether you should actually get it and try it. But sometimes you just don’t have the energy. You want to pull the packaging off something and press a button and just eat something because it gets the job done.
Foamstars is a lazy game you can throw on and not put any effort or much thought into. It’s an online multiplayer game you can play lying down. You don’t need to worry about communication or any of the negatives that come with that. You don’t need to worry about being competitive or not doing well. Don’t worry about skill, strategy, violence or language. Just put your feet up and shoot some bubbles. Sometimes a brainless activity like this can be beneficial. Sometimes you just need a break and there is some fun to be had here.
The monetization though. Wow. When I looked at the cost of things I laughed but then thought about how this game seems targeted at a younger audience and realised this is diabolical. It is like villain level stuff. Imagine making a game that, when you’re not hunting whales, you’re trying to separate children from their allowance, in a greedy, unfair way. Or you’re just relying on parents to not supervise their kids spending. That’s enough about this, don’t worry I won’t go on another tangent.
Apart from those issues Foamstars is so inoffensive that it’s almost offensive. It’s so bland and forgettable. It’s so bright and colourful and over the top but makes you feel nothing at all, except maybe slightly annoyed. But then you find out the characters actually secrete foam from their bodies. Think about that the whole time you’re playing, you’re welcome. I know I’m not the demographic they were going for but there isn’t much to like about the presentation, characters, dialogue and what little story there is. There is unskippable stuff too. But it’s got some quirks and the music isn’t bad.
The gameplay is okay, it’s four versus four, with a few different modes and there’s also a four player co-op mission mode or single player ones too. You have a main gun, two skills and a special and each character has their own set unique to them. None of it is really that good or satisfying to use. You need to foam up the map in your teams colour so you can surf around quicker while also taking on the other team at the same time. You have to keep hitting opponents until they are in a ball of foam, then they can be taken out or revived by a teammate. Obviously it’s not completely devoid of skill and a bit of strategy but there isn’t enough here. I wish you could move a bit more, like a dodge and a double jump would be cool. The missions are pretty bare bones, where you just face waves of enemies and there is a serious lack of variety in the versus modes too. It’s often too visually chaotic and takes too long to get back into matches as well. It is a bit of stress free fun but it isn’t good enough and has no lasting appeal. I had to change the region in the options to consistently get in matches too, so you might want to get in quick if you’re keen on trying this.
Is Foamstars a good use of your available free time/gaming time? No, no it’s not, but also kind of yes because sometimes you just want to chill, although there are most likely better ‘chill’ games available. It’s not a good game but when I’m in the right mood, I don’t mind getting foamed up.
3.9/10
Palworld
2024
this is like when you open the frisge and there is only dollar store pizza and orange juice
Mario Kart 64
1996
It's a lot of fun and must've been huge at the time but the karts feel so lightweight that you hardly feel in control. There's too much sliding IMO and certain levels are challenging in the frustrating way, not the enjoyable way
4 lists liked by Pastas
