Admirable, to a fault. Be highly wary of this: Painstakingly TOUGH detection minefields only achievable through heavy trial-and-error. F5 will be your greatest savior. Makes sneaking in Metal Gear feel like a walk in the park since SC trusts you to cross Fisher through strictly narrow hallways crammed with guards performing little to no-killing. A lot of the challenge comes by design flaws: Guards taking tricky, random turnarounds and horrid gunplay- Drunken accuracy that misdirects your shots ensuring one way to make hell rain all over you. That being said, the burdensome challenge is somewhat adorable for early blueprints of TPS stealth. A quasi-parkour mobility, lock-picking minigame tension and technological lookouts. It's a neat trendsetter of techno-noir. You're gonna shoot more lightbulbs than henchmen, and questioning guards in the dark provokes a badass cold-war dream come true. Charmingly pioneer, whilst feeling truly veteran in back-breaking difficulty even at it's easiest.

Deadbolt is one of my favorite indie games from the past decade. If it's not in my top ten, it's in my top twenty, easily. More a stealth game with experimental gimmicks that bring its gunplay to life in a way that's seldom been seen since the sixth console generation than a Hot-like (my affectionate term for any game appropriating aspects from the seminal Hotline Miami and its influences), I'm saddened to say that it's flown under a lot of radars. Unless you're talking in a circle that plays a lot of niche indie games, you probably won't ever hear it come up.

And its Nintendo Switch port is probably part of that.

Let me be clear: this is a PC-ass PC game. It's not overly complex and doesn't do the MMO thing of turning your entire screen into an incomprehensible clusterfuck of numbers and menus, nor is it that graphically demanding. It requires a level of precision that's just... not there on a controller. The gimmick I spoke of is something that only works on a mouse. Like in most shooters, the further your target is from your gun, the more likely it is that your bullets will miss them. Due to Deadbolt being a 2D sidescroller, there's more to it. The closer your crosshair is to your character, the more accurate they are. There's a strong and satisfying focus on headshots, and a big part of the game is trying to figure out how to align your crosshair from distances to achieve them. Translating this to a controller, you only really have two options: you try to do what Intravenous did, and have the crosshair feel awkwardly independent of the character. Or, you can just implement a clunky lock-on system that makes the precision required either less satisfying or too frustrating. Guess which option they stuck with. Here's a hint: this game only ends up using one analog stick.

It's a shame because most of what I love about this game is still there. There's still this feeling of each level being a contained, small-scale sandbox to keep revisiting. It's still satisfying to find ways to finish levels with only a gun, or a hammer, or headshots. The hidden delight of Deadbolt is this feeling I get every time I play it, where I want to go out of my way to choreograph each attack and move in an almost balletic fashion. It's too stiff to be near even the worst of Platinum Games' repertoire, and you will catch me in a ditch before I start calling every game ever made Dark Souls because they aren't mindless corridor shooters where brute force is the only option. But once you get to the point where you can clear initially tough stages in under a minute, none of that matters, and, lock-on or not, that's something that carries over.

Am I saying you shouldn't play the Switch version? I mean, if you have to, or you want a copy of this on the go. Otherwise, the PC version will do you just fine.

Melhor que todos os jogos de futebol atuais.

Assim, é FIFA né, nada muda muito. Porém é nítido o quanto a qualidade da franquia FIFA foi caindo ao longos dos anos (E esse jogo dá de 10 a 0 no FIFA 23, por exemplo).

O maior acerto do game foi o começo da história do Alex Hunter, que, mesmo sendo uma ideia “óbvia” merece méritos por ter sido bem executada (Super combina uma história interativa em um jogo de futebol).

Destaque também pra física do jogo que pra 2016 envelheceu muito bem.

PRÓS:
- Modo história do Alex Hunter.
- Boa física.

CONTRAS:
- EA Sports.

Baba Is A truly scandinavian experience. A cozy game on the surface, with soft visuals and rubbery sound reminiscent of the Mumins. The abstract level scenarios hint at the simple, natural pleasures in life - rivers and sea, windswept valleys and forests full of flowers, quiet playtime with friends. Sometimes they branch out into edgier territory, but remain innocent by coming across as Super Mario references - volcanoes, outer space or mountaneering.

But that surface is skin deep. It doesn't take long for one's interactions with the game to bring about senses of identity disorder and nihilism. From the low hum one hears when nothing on a level IS YOU, to how almost no object has inherent properties. The cold and unflinching λόγος of this world, only a fraction of which the player has control over, the way the game begins and ends... If Sören Kierkegaard saw this shit, he'd probably ask to tone it down a peg.

I love this game. It captured my heart instantly and proceeded to melt my mind during those lonely quarantine nights. I don't want to describe any of its mechanics, because discovering and understanding them is a part of gameplay. But the rabbithole to descend into here is very well lubed. Each verb gets a bunch of levels dedicated to it, slowly ratcheting up the complexity of required solutions. It all culminates in the endgame, which provides one of the best hidden and most satisfying secrets you can find in games.

At time of writing I have completed every level in the base game, but since then Hempuli the Legend has provided a whole new level pack called New Adventures, which I've only nibbled at a little. I don't like all of it, 3D gimmick didn't do it for me, neither did the arcade recreations, but they're free and in the spirit of this game's gonzo creativity. There's also a level editor which I really want to dig into and test out my ideas, so I'm never going to be done with this game.

The success on display here is simply inspirational. The idea that this can be what you do to provide for yourself makes my jaded tear ducts unclog. Maybe one day I can make it too.

Splinter Cell is at it's best when you take enemies into the dark before knocking them down, seeing as your character seemingly disappears into the shadows and the only thing you can see are those iconic NVG.

Thankfully you do that quite a lot in the game itself. This really is one of those classics that still holds up after all of this time, mostly holds up... yeah not every element holds up, the game at times is bad at telling you shit, yeah thanks game for not telling me that I can disarm mines that was cool.

Also the 'parkour'/climbing mechanics are very inconsistent in both what you can climb on and whether or not Sam will climb it or go nope rather die rn and I have to say I am not a big fan of the more combat heavy sections in the last few missions, like the guns are not very accurate and for as realistic as the game wants to be, if a guard wears a fucking hat it will not go down in one headshot which is a baffling choice for a game like this but whatever.

And...that's kinda it, most of the gameplay still holds up, I like how you can increase/decrease your speed by using the scroll wheel on your mouse, it felt more natural than I expected. Being in the dark, hugging a wall as a guard goes by you is still pretty intense.

The story isn't remarkable but it's prb the closest a Tom Clancy game has gotten to actually being like one of his books since the game is very heavy on the politics behind what you're doing which is also refreshing as all hell for a Ubisoft game. Sam Fisher as a character is likeable enough and serves the game really well with his just following orders mind-set even if he doesn't quite get what's going on at all times.

While I know the linearity of the game is an issue for a lot of people, for me it was a plus as it meant that no matter where I was going, I was taking the correct route and not accidently making the game super hard on myself without knowing, which isn't to say that this happens a lot in non linear games but I can 100% see it happening in this game if every mission had 3 really different ways of doing it and the game is allowed to be more cinematic this way.

Idk what else to say its like 4am rn and I just beat the game, it was really fun, I'd rate it higher but the elements that didn't hold up were really annoying at times and I feel like the next few games will only expand and improve on this game's formula so I'll most likely end up enjoying those more.

Still it's a pretty great stealth game and a classic in it's own right. Worth a shot if you like stealth games and are interested in the series.

Being a fan of the entire Metal Gear Solid series definitely put my expectations fairly high going into this game. While it has a few constant flaws that irritate me, I came out of this game with a positive outlook.

The game's 2002 visuals hold up surprisingly well, specifically the fantastic lighting. Not much to speak of in the way of music, but it's not bad for a stealth game to go with the ambience approach.

Going off the game's lighting, I adore the game's emphasis on sticking to the shadows to reduce visibility. If there's no darkness, it may behoove you to make your own by shooting out nearby lights. Aside from the shadows, Sam's toolkit is massive and varied, and just fun to toy around with. The game's stages are full of unique setpieces and challenges, never a dull moment.

Unfortunately, the game can't help but shine a spotlight on some of its more glaring flaws. Sam's melee attack feels extremely unreliable at times, you never know if it's going to result in your guard being knocked out, stunned (and alerted), or simply turn to point their gun at your head. When one guard is alerted, the rest of them tend to act like a damn hivemind, immediately ganging up on you. It doesn't help that Sam will die in a handful of shots anyways, makes me wonder why there's a health bar in the first place. Compounding on all of that, some of the game's setpieces are mandatory firefights, where the combination of Sam's non-existent health and gun controls that don't feel like they were made for combat culminate in fairly frustrating sections.

Phew. Thank god for quicksaves.

That last paragraph might make it seem like I disliked this game, but I didn't, I admire it. Dedicated stealth games are hard to come by, and this one is really damn solid (GET IT???), even despite glaring flaws. I can only hope and assume that future games used this one as a foundation to create even better sequels.

Único e belíssimo.

Um soulslike diferente que pegou um conto icônico para converter numa história trágica e sinistra combinada a uma vibe dark fantasy lindíssima. Graficamente bem acabado e ótimas cutscenes.

A aplicação da ideia da mentira nos momentos de escolha das interações dos personagens é interessante pra engrandecer de forma reflexiva a comunicação de mundo e lore. Mas o que me surpreendeu mesmo foi a quantidade colossal de armas e mecânicas extremamente variadas pra se usar nas batalhas de diferentes maneiras, como o braço legionário possuindo vários protótipos e cada um tendo sua própria habilidade pra encarar melhor os inimigos, ou então a opção de montar novas armas juntando outras de diferentes tipos. Só acho que deveria ter usufruído mais isso em algumas bossfights meio paia, mas nos bosses principais é onde se utiliza o máximo da gameplay de combate. Nas batalhas esse jogo é versátil pra caralho.

Porém vou ter que dizer que esperava mais do level design, o jogo é linear demais e os locais dos capítulos são muito limitados com um monte de obstáculos repetitivos e inimigos genéricos para enfrentar, tinham lugares que eu nem precisava voltar por serem irrelevantes e pouco exploráveis, ele não te dá tanta liberdade pra vasculhar cada canto até tu chegar num ponto específico pra poder ir nesse local. O máximo de exploração que você consegue ter em alguma área é encontrar shortcuts ou fazer missões de NPCs. Foi apenas na reta final que começou a ter pontos relevantes de verdade em alguns lugares. Eu não acho que aproveitou por completo o worldbuilding do jogo nessa vertente sequencial.

Realmente não gostei de como foi desenvolvido a divisão dos territórios em capítulos, inclusive achei maçante de jogar por conta disso. Pra mim poderia ter funcionado melhor se tivesse seguido uma estrutura intuitiva e oblíqua ou invés de uma alternativa tão direta assim.

Em geral, é um pouco nerfado por ser obrigado a passar "reto" pela geografia do jogo e não ter tanta preferência pra explorar, no entanto todo o resto que trabalha a temática é maravilhosa e o combate é incrivelmente vasto e de longe a coisa que mais carrega o jogo. Talvez seja o soulslike mais fraco que já joguei, contudo ainda é bem divertido e excêntrico. Inegavelmente muito singular.