Content warning for non-explicit discussion of real life death, expulsion of bodily waste and fluids, pregnancy, childbirth, needle use in a medical context

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I am a woman. My experience as a woman is one of the less common ones, statistically, because I didn’t have it in me to assert that I was one until a good quarter century after most women are informed that this is what they are. That there are rules to this, and ways to perform womanhood, and perhaps most importantly for a lot of people, certain baseline genetic requirements that separate women from non-women. That last part is the sticky one for me, and because of this there are a lot of people out in the world who hate me, who want me to simply not be. Many of these people are powerful and they make decisions every day about my privilege to exist, but many many more of them are regular people out in the world. Sometimes it’s easy to tell who they are by the looks they give, the things they say; sometimes it’s not so immediately obvious. It is stressful to go outside, often, and occasionally it is outright difficult. Nevertheless, I am a woman.

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Julia Kristeva is a Bulgarian-French writer who has been prolific in many fields over her six decades of writing, but I often find myself thinking of her most famous work, one of her earliest publications - 1980’s Powers of Horror: An Essay on Abjection, because it is the only thing by her that I’ve read. It’s a 200-ish page book that builds heavily on old Freudian theory to, among other things, consider the ways people use powerfully negative experiences to define and value the self.

Kristeva defines abjection like this: “The human reaction to a threatened breakdown in meaning caused by the loss of the distinction between subject and object or between self and other.” Abjection, in a way, forces us to choose our identity; we define ourselves via rejection, by how we think of ourselves in opposition to things that disgust or harm us. It preys upon this idea of selfhood, of the boundaries we construct and maintain to create identity. It preys upon the divisions we create when we erect these boundaries. One example of this that Kristeva uses is things we naturally expel from our bodies, stuff like blood from a wound, teeth that fall out, semen, piss, shit, vomit. One second these things are subject – they’re part of you – and the next they’re object – separate from you entirely. This may not seem like much but this intrinsic mental separation from what was a part of you as soon as it leaves your body highlights how fragile these boundaries actually are.

I am, because I am not.

Kristeva thinks it’s a thin line.

She most often frames abjection in terms of violence, revulsion, disgust, and trauma. And it’s true that we tend to use the word “abject” as a maximalist adjective to highlight negative things. Abject terror. Abject misery. Abject poverty. But for Kristeva it’s not actually a bad thing in the grand view; on the contrary it’s an essential part of making us who we are as a collective and as individuals. She talks a lot about childbirth as the first moment of abjection. Birth being as much a kid fighting to live, to create a self, a sense of being, even as they tear away from the safety of their mother’s womb. It’s an inherently violent act and it’s the only way to become. It’s an ongoing process throughout life; kids have values imposed on them - language, culture, law - all things contrary to totally natural impulses but also things that most of us agree are necessary for them to grow into society as we know it. This is a process that repeats constantly throughout life to varying degrees. It can be painful, horrible, and disgusting, but it’s necessary. These experiences sharpen our sense of who we are, in our sense of opposition to the things that cause us pain, horror, and disgust.

I am not, so I am.

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Silent Hill 4: The Room has, if I’m remembering all My Gaming from last year correctly, the largest cast of characters of any Team Silent game, but it is almost entirely concerned with the thematic opposition of its player character, Henry Townshend, and its central figure and villain, Walter Sullivan. Henry is cursed, you see, trapped inside of his apartment by supernatural forces, unable to be seen or heard by anyone on the outside even as he becomes increasingly aware of a deadly, ghostly threat haunting the complex and its inhabitants. Walter uh, IS that threat, the ghost of a serial killer returned partially from the grave to finish his cruel sacrament with the six-ish murders he had to leave off in life (all according to his grand plan, of course). His ultimate goal, it’s eventually revealed, is to get permanent access to Henry’s apartment, which he sees as the vessel for his own mother, whose spirit he believes will awaken when he completes his twenty-one ritual murders.

Walter has a tragic past, raised within an evil cult, abused constantly by his caretakers, turned out onto uncaring streets with only his brainwashing and occult dogma to motivate him to go on. He’s a man who experiences moments of abjection and rejects them, becoming singularly focused on rescinding his identity. He is in constant pursuit of a mother he doesn’t remember, his mission to return permanently to the safety of her womb, where he can exist eternally, unburdened and unfettered by both his trauma and his self.

In all of the early Silent Hill games, aspects of the world take on attributes specific to the psyches of particular characters central to the story, and in The Room that person is Walter himself, whose fears and hates dictate the worlds that Henry and his neighbors are dragged into throughout the game. Walter’s fears are decidedly more mundane than previous Silent Hill fear generators, with environments like normal forests and subway stations, urban blocks and apartment complexes. Walter is afraid of, generally speaking, the Out There. He wants to retreat. Enemies are other people. They squish, they slurp, they burp grotesquely (bodily expulsion is a hallmark of abject experience, remember). Ghosts pursue you doggedly, without pause, and the worst thing they can do is just be present, their very auras radiating sinister energy that hurts Henry without action.

Henry himself is a mirror to Walter, trapped seemingly eternally in the thematic womb, his only escape the long long tunnel that forms in his bathroom wall, one that spawns him into these frightening outside worlds, often in the fetal position (I know writers who use subtlety and they’re all cowards, etc). While he does face trauma in these worlds and after every moment of abjection retreats back to his apartment for nourishment and healing, Henry does, ultimately, want to get the fuck outta there bro. He’s desperate for human connection too (and connection beyond murder – his moments of abjection always come via Walter doing something fucked up to one of his neighbors), desperate enough to peep on his direct next door neighbor Eileen through a hole that a previous tenant left in their shared wall. Tellingly, Henry can’t even begin to have a real connection to Eileen, or anyone, until he symbolically begins to separate himself from the room; once they meet for real and succeed in evading Walter’s attacks for the first time, the room stops healing Henry, and becomes open to hauntings that actively harm him.

The titular room is Henry’s place of refuge and comfort, at first, but it’s also his ultimate enemy. This is true the entire game, not just after Walter’s influence begins to infect the space. He’ll die if he stays here. He has precious little food, and during gameplay he gives away his last bottle of chocolate milk (milk being one of Kristeva’s confessed personal objects of great disgust, in a moment of fun serendipity). He has no one to interact with, and even though it’s stated in game that he was not a social guy before he was cursed, once you’re down to zero everything seems like a lifeline. Eventually, of course, he’ll be literally killed by the curses that infect the room. He can’t stay. He needs to be born, and he knows it. It’s a false security, and it intrinsically can’t last.

Walter and Henry aren’t the only figures central to the game, though. There is, of course, a third pillar here: you. Er, me. Y’know, The Player. There is essentially nothing to Henry – this is part of why he exists primarily as a thematic contrast to Walter, and part of why it’s hard to ascribe much character to his actions. You’re Henry in large part. When he’s in the apartment you even control him in first person. You are the ultimate voyeur, in the same way that Henry is to Eileen and Walter is to Henry. And this is part of why Walter’s worlds and the creatures that populate them are on the surface so much more generic than the places and monsters of past games: applicability.

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I have this uncle who died in his apartment. I didn’t know him, really. From stuff I’ve been told he wasn’t a good guy. I was a kid, and we lived states away. I only met him a handful of times at big family parties. The only reason I ever think about him at all probably is because he died in his apartment, and even then I’ve only started thinking about him so much recently, in the last couple of years, because we’ve all been spending a lot more time in our apartments. It’s covid, bay bee. The reason I think about him so much is because when he died in his apartment, nobody knew. Nobody cared to check in. They only found him, weeks later, because his landlord went into his place because they had assumed he had run out on it because he hadn’t paid rent or responded to any communication, for weeks, because he was dead.

So I think about that a lot the last couple years.

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I mentioned that Walter’s hellscapes are mundane places and his monsters are other people and I do think this is a reflection of where the developers thought maybe a lot of their presumed audience was at when Silent Hill 4 came out. Which is pretty funny. But it’s real, too, for me. There’s not a lot that’s scarier for me as a trans person than An Only Vaguely Familiar Public Place With An Off Vibe. That’s alarm bell central. It’s hard out there, man. Rarely do I feel outright unsafe but often do I feel eyes. It’s difficult to tell a lot of the time if the eyes are real or if I’m inventing them, and that doubt can make it even harder to feel confident in my place in perfectly normal spaces. Just yesterday I was actively frightened waiting in line for the bathroom in an inexplicably crowded gas station in the middle of nowhere in Iowa. You just never know when it’s going to be a problem. I was never the most confident person, but this low level thrum of unease colors every moment of public life. In talking about abjection in an academic sense and especially when talking about fiction it’s easy to forget that part of it is that it is upsetting by nature. But in life it sharpens me. I know who I am.

It’s a harsh dichotomy – every day I am more visibly transgender in more irreversible physical ways. Every day I become more obviously Neither Male Nor Female and while I love this about myself and I am truly happy with these changes they are the same changes that make me less safe and more vulnerable in ways that become harder and harder to cover up with clothes and masks. It would be easy to retreat to my womb, metaphorically. I want to, sometimes. I work remotely on a permanent basis. I live literally across the street from the grocery store. My girlfriend is here, my cats are here, my friends are online.

But I am transforming. Every week I stab myself with a needle. I force through this needle the fluid that makes my body into what I want it to be. A violent transmogrification. I feel the most beautiful in these moments. They are moments of clarity, of self expression, of definition by rejection. I am not a man. I am a woman. This needle in my leg is my signature. Living in fear of living in fear can’t be the way.

I am not who I was. I oppose that. I am becoming. Every week I am new. I need to tear away.

I want to be born.

Eu comecei odiando a camera e os controles
Terminei amando tudo e me apaixonando por esse jogo

Puta que pariu como eu fico puto de não ter jogado isso na infância, porque eu com toda certeza ia amar

Gamedesign incrivel, gameplay peak, e historia funny do jeito que tem que ser

Eu acho incrivel como a capcom conseguiu guiar muito bem o jogador, a exemplo, o primeiro mapa realmente do jogo, a vila. A vila é a sintetização de tudo que o jogador vai ver mais pra frente do jogo: Um local grande e explorável, com varios inimigos não obrigatórios de matar. Então o jogador entra na casa e ativa a cutscene, e la ele encontra uma shotgun, mostrando que é possivel achar armas e varias coisas enquanto explora, e junto a isso tem o primeiro Dr. Salvador, que mostra que tem inimigos que são difíceis de matar, te dão hit kill, e que se tu mata eles tu é recompensado com um item de enorme valor.
Esse primeiro mapa demonstra perfeitamente como vai ser sua aventura, e que o jogador vai estar a mercê dele, e que ele é livre pra matar, explorar, ou so evitar tudo e seguir em frente

O Combate do jogo foi algo que de inicio me incomodou, visto que eu não cresci com esse jogo e nem com esse tipo de camera, ou seja, me auxiliar aqui foi um sofrimento, mas cara, quando eu me acostumei... puta merda. Dar tiro na perna de um ganado pra logo depois meter um FUCKING SUPLEX NELE É A COISA MAIS DAORA JA CRIADA, PUTA QUE PARIU TEM ARMA PRA CARALHO E TODAS SÃO MUITO FODAS E SERVEM PRA ALGO, O BALANÇO DE USO E DESUSSO DELAS NAS SITUAÇÕES TAMBÉM FORÇA O JOGADOR A PENSAR E A SE ADAPTAR A CITUAÇÃO PUTA QUE PARIU SHIJI MIKAMI QUE ISSOOOOOOOO
As batalhas de boss também são muito insanas, por mais que simples, funcionam bem e obrigam o jogador a se adaptar a mecânica dos bosses, que por acaso, são únicos a sua maneira tal como cada fase do jogo. Del Lago é tão diferente pra Bitoris quanto ele é pro verdugo e pro Salazar. Cada um com uma particularidade e jeito de derrotar (e alias o verdugo é insanamente assustador, facil meu favorito)

A Gameplay é tão foda que a historia ate parece ficar obsoleta, mas cara, os diálogos e as situações que tem aqui são o suco dos anos 2000. O Leon ta em perigo, ele precisa tirar as plagas, mas primeiro ele precisa de uma chave, ENTÃO ELE VAI ENTRAR EM UMA SALA CHEIA DE LASER E SAIR PULANDO PRA LA E PRA CA ENQUANTO SALTA NA PAREDE KKKKKKKKKKKKKKKKKKKKKKKK (E no final se tu quiser tu pode sentar na cadeirinha e pagar de fodão)

Acho que meu único criticismo cabe pra reta final la do helicoptero, que é meio repetitiva e o boss final que é meio buxa, eu senti mais ameaça como um boss final vindo do Krauser (Não não é o wesker) do que dele.

Enfim, OTIMO JOGO e recomendadissimo!!!!!!

Did you know that basically every case in this game alludes in some way or another to fiction or constructing stories/unrealities? I just think that's a neat little touch.

I wonder at times if the Death Game genre needs to be aware of itself as a piece of fiction to really serve any purpose beyond entertainment value. What does the level of cruelty that can be found in these works accomplish if there's nothing beyond the surface of entertainment? You ever read Future Diary or Gantz? That shit SUCKS. You may care about these characters and their struggles in the moment, but do you carry any of that with you after they die? Do you carry any of that with you after the story ends? Or is it just another book on the shelf for you to forget about? Isn't there something deeply dehumanizing to that and don't we regularly see that dehumanization reflected back at us in the amount of abysmal human suffering we try to ignore in our day-to-day lives? Do we even have the capacity anymore for hope or despair? Am I just asking a bunch of rhetorical questions because I'm a hack-writer who can't quite put into words why I think this is one of the greatest games of all time?

The answer to all of those questions is probably yes.

me when im dating lain: Not gonna be active on Discord tonight. I'm meeting a girl (a real one) in half an hour (wouldn't expect a lot of you to understand anyway) so please don't DM me asking me where I am (im with the girl, ok) you'll most likely get aired because ill be with the girl (again I don't expect you to understand) shes actually really interested in me and its not a situation i can pass up for some meaningless Discord degenerates (because ill be meeting a girl, not that you really are going to understand) this is my life now. Meeting women and not wasting my precious time online, I have to move on from such simple things and branch out (you wouldnt understand)

I know most people aren't going to read this, but if you do then that's awesome!

I'm gonna try and be as in-depth as possible as to why I really dislike the Resident Evil 4 Remake.
This isn't meant to discourage you or belittle you if you like the game, I implore you to have as much fun with it as possible. My opinions are my own as I have been playing the original Re4 for upwards of 10 years now, so I'm going to be rather biased by default.

Firstly, I wanna talk about the positives/the things the remake does better:

-The shooting range
I love how much more involved it is this time around. While I miss collecting the little bottle caps and earning money for it, the weapon charms are a neat addition that adds a different bit of flavor to the game. I just wish it wasn't set up as a gacha mechanic

-Ashley and Luis
Despite some of the complaints I have seen about voices and what not, I actually really enjoyed how these two characters were handled. Ashley acts a lot like a goofy little sister type of character towards Leon, and I think some of her annoying lines actually help to elevate that feeling. Luis gets a better backstory, more screentime, and has some fun personality clashes with Leon.

-The Treasures, and the gemstone system
Hoarding treasures to stuff gems into them was a really enjoyable part of the original Re4, and I like how it was handled in the remake. Holding onto various different stones until you found treasures you can stick in them to earn insane profit is really fun and gives off more of an adventurer vibe, tho that may be more of a me thing since I'm a gemstone collector irl.

-The Mercenaries
Despite my distaste for how capcom handled the amount of content the base version has, the gameplay for mercenaries is really fun this time around. It reminds me a lot of RE5, but doesn't have as much content. The characters are all distinctly different from each other and fit very specific playstyles. I just wish it had co op.




Now for the negatives, which I have a lot of issues with:

-Lack of any real charm
The remake feels like a more restrained, and sanded down version of the original in many different ways. In capcoms attempt to make it a more grounded survival horror game with realistic elements, many different things were cut out to reduce the action. The killdozer, the ceiling trap, running on the bridge away from the mecha Salazar. As a result it makes the whole thing feel more like a parody of the original. The Remake also removes the part from the original where the villains hack into Leon's radio and start making fun of him, which was one of the more hilarious parts of the original.

-Inconsistent hit stun on higher difficulties
This is the biggest issue I have with this game and whoever gave this the greenlight completely missed the point of the original. On hard-core and professional, enemies will take multiple bullets to the body and act like it didn't affect. This is NOT how they should've handled these difficulties because it makes shooting at them to stop their attacks feel completely pointless unless you have a shotgun, or an automatic weapon. In the original, every bullet that connects with an enemy has an effect of some kind. They are firearms, that's what they do, and it rewarded players for having good aim. This just makes the difficulties feel more like RNG and it completely kills the fun.

-Removal of the laser sight
This ties into my issue with the gameplay. I know it still exists, but only being available on two very specific guns in the entire game is incredibly dumb. I hate the new reticle that the remake has, it worked better in the 2 remake due to how that game was structured.

-The movement, and the controls themselves
I've been playing this remake since it launched, and I just really do not like the way it controls. You tell Leon to move one direction, and it takes him a few seconds to actually respond to the command. You tell him to throw something and he will actively refuse to throw it unless you tell him multiple times. You also feel incredibly slowed down in this version, like Leon's got cinderblocks strapped to his feet and he's trying to move through a swamp. The movement in Remake 2 and Remake 3 felt perfectly fine, so idk what happened.

-Unnecessary exposition
This is a big problem I have with the game from the intro sequence, all the way down to the final boss. There is so much unnecessary dialogue in this game that it feels like it's trying to hold the players hand at all times to tell them each and every exact detail about Leon's life, and even as far as to having bosses do nothing talk to you during the entire battle. Salazar, Krauser, and Saddler all constantly talk to you during the entire fight with no real way to interrupt them unless you shut the voice volume off. This could've easily been fixed by keeping the ability to have them hack Leon's comms and talk outside of the fights.



Overall, I understand this is simply the result of me being stuck in the past, but I genuinely wanted to like this game for what it was, and for the most part, I did enjoy my time with it, but I cannot sit and say that I will be playing anymore of it in the future. Once all the challenges are done (I have like one left at the time of me writing this) I'll play mercenaries a little longer, but then that's it. I will not be playing this game any further after that and I hope you understand.
That being the case I do hope you've been having fun with the remake, and I'd love to hear how you feel about it, and about a lot of the points I've made!
Have a good day!

Uma aula de game design e direção de arte, ainda mantém o level design metroidvania de Dark Souls, mas dessa vez num cenário assombroso e riquíssimo em detalhes que é Yharnam, o inferno gótico-vitoriano de Bloodborne. A velocidade desse jogo é um dos melhores fatores de sua gameplay, esqueça aquela mentalidade passiva e defensiva de Dark Souls, não existem mais escudos e nem um foco no gerenciamento de estamina durante o combate; aqui você é um caçador, deve jogar de forma agressiva, rápida, dinâmica, com um parry quase que imediato e com a possibilidade de criar até combos usando as transformações de suas armas, que aliás, é uma das coisas mais únicas e criativas que a Fromsoft já fez, toda arma de Bloodborne se transforma em outra graças a mecanismos internos, modificando seu moveset e seu modo de se aproximar num combate, praticamente duas armas em uma

A lore é riquíssima e a atmosfera e o ambiente conseguem te passar a idéia central do jogo: Terror! Se você gosta de Bram Stoker, Edgar Allan Poe e Robert Louis Stevenson você certamente vai gostar da primeira metade desse jogo, voltado ao terror gótico, já se você é um amante de Lovecraft e seu horror cósmico, vai simplesmente AMAR a segunda metade de Bloodborne.

A trilha sonora é talvez a mais rica da Fromsoft, dado o fato que é a única gravada numa orquestra real, semelhante a soundtrack de Shadow of The Colossus lá no Playstation 2, não só isso, como as músicas se utilizam bastante do latim e que cada letra possui um significado que enriquece a história e a temática do jogo, as músicas são bombásticas, viscerais, desesperadoras e ao mesmo tempo épicas

Facilmente tem a melhor DLC da Fromsoft e dos Soulsborne, não vou falar muito dela para evitar spoilers, só digo que ela possui um dos melhores bosses da série inteira e lá pro final, um dos mais difíceis

Infelizmente ele é preso como exclusivo da Sony, um dia espero que ele perca a exclusividade para que amigos meus usuários de PC consigam experimentar essa obra sanguínea, frenética e visceral que é Bloodborne

Você passa tua infância inteira jogando o original, amando, conversando com amigos, fazendo desafios pra sí mesmo, testando coisas novas, explorando bugs e cada cantinho especifico procurando um tesouro ou algo novo.

E aí anos depois o Remake capta todo esse sentimento. Quase como se conversasse diretamente com o fã e abertamente dissesse: Eu entendo o seu sentimento, eu também amo esse jogo e eu quero que você você aproveite cada segundo. Se deleite com cada tesouro e se impressione com o espetáculo que são os cenários.

Falando sério, coisinhas mínimas que não tinha motivo nenhum pra colocarem ou adaptarem visto que só "Fã chato perceberia" tão lá no jogo. De maneira exemplar conseguiram mudar a geografia do mapa numa linha perfeita onde continua seguindo as ideias do jogo clássico ao mesmo tempo que adiciona, expande e cria obstáculos novos, dando a experiência perfeita pros fãs que provam algo novo ao mesmo tempo que falam: "Nooooooooooooooossa ESSA PARTEEEEEEE!!"

De coração, obrigado Capcom.

just beat the game for the first time and next week i'll be playing the remake so here's my 2 cents:

not outdated. the inputs are pretty precisely designed, sound and impact of bullets are god tier and mechanics are tightly compacted into.... ((everything))

what about limitations? i know a lot of folks went like "huh so RE4R will UPDATE and REPLACE the original one because now we have free flowing camera, rotational movement, strafing and RE Engine" so I want to talk about that.

RE4 is thoughtfully designed around those "limitations" (just different conventions).

1. Free flowing camera and rotational movement would break RE4 balance because it's absolutely against the positioning nuances like some enemy behaviors, different arenas creating very situational and interactive decision-making moments, like this one https://prnt.sc/udmBLx0gY1aa

2. Strafing is also about positioning. Imagine fighting the final boss, doing circle-strafes with your free 360° movement and camera while you dodge with QTEs and shoot the eyes in his legs? Imagine doing the first segment of the village just running around and shooting like it's nothing...
In my first point I wanted to talk about encounter design but now we come to a different subject: enemies.
They're perfectly balanced to Leon control abilities, e.g. no tracking attacks, no input reading, they'll generally slowdown when walking towards the player, encouraging risk/reward gameplay and promoting experimentation since the enemy manipulation here is very cool.

So, stop in one place, shoot an enemy in the head, and think about it: if you run and kick him, you deal damage, you stagger him, easy free kill with few knife hits, and ofc with this you save your bullets as well. there are 3 enemies with him? even better. kick gives you iframes and do AOE damage so that's even more advantage for you. very sick, dont you think? But what about 20 enemies? iframes and AoE will matter much less and you'll start to care more about keeping distance and shooting enemies ass. specially after the parasite thing, you'll never feel safe with headshots again...

...and this is just the beginning. From the castle onwards, I started to feel that I just entered in an ocean of decision-making, mechanics flowing into each other, strategic and experimental insights emerging in my head, and yeah, diving into such a deep sea was never THAT good, but Resident Evil 4 IS that good. I felt, a lot of times, highly challenged by the game's intensity and demand for harmony between effective and experimental gameplay, I rarely died (i think I died more in QTEs than in actual combat lol) but this game really put my brain to work.

3. About RE Engine, fuck off. DMC5 is made in RE Engine and it is one of the most visually uninspired capcom games i've ever seen.

In terms of game design, you could say "okay, if you think all of that about RE4 design and balance, you think RE4R will be a shitty game, right?"....... Nope. The short answer to this is that RE4R is simply a different game. Apparently, it changes a lot of RE4OG main conventions and it tries to "adapt" to modernity, which i'm ok with it.

the problem is that RE4R would never replace RE4OG and, despite this not being the problem per se, it's a subconscious problem for a lot of people. they try to convince themselves that "3rd person OTS non-fixed camera = more possibilities, more variety, more dynamism, more depth, more complexity!" and those kind of people often confuses "depth" and "complexity" with "breadth" which can be very nocive in a critical sense. Pretty much like folks begging capcom to "remake DMC1 but with DMC5 combat, it would be much better I swear... stop remaking resident evil!"

Like, okay, it's not impossible for a game with free flowing camera being better than the opposite but that's not a RULE and the former, for being more "updated", following modern game design conventions, is commonly referred to as "better" and this sucks.

I think I said enough about anachronism and false dichotomy around RE4OG discourse and that's the first thing I wanted to talk about this game. this isn't even a review

but let's talk about praise: this game is one of the best i've ever played, the peak of emergent gameplay, peak of deep combat, peak of positional combat, peak of effectiveness/experimentalism gameplay, peak of games with QTEs, peak of games with Killer7 being a gun, peak of games with merchant, peak of games without strafing, peak of games where you have to save USA president's daughter, peak of blablablablabla

great experience (that was a long 2 cents)