World Tour: horrível. só vale pra trocar zapzap com os personagens

Battle Hub: o lugar de ver as aberrações dos outros jogadores e bater um papo sequelado, maravilhoso

Fighting Ground: onde a porrada come solta. 10/10

resumindo, um jogão, apesar dos apesares

I was apprehensive about Resident Evil 4 getting a remake. After all, the original is still a great game that's easy to pick up and play today, and there are other Resident Evils - notably RE5 and Code Veronica - which would benefit more from a second pass. I understood the profit motive of doing this, but whether or not it would justify itself as a game I was a whole lot less certain of.

Well, damn, this must've been directed by Raylan Givens, because it's justified.

This isn't the Resident Evil 3 remake, which was patently reductive in its approach, gutting large chunks of gameplay and limiting Nemesis to scripted events. Rather, Resident Evil 4 builds on the source material in a way that feels very natural, and understandably so considering the "REmake series" shares more of its DNA with 2005's Resident Evil 4 than it does with the "classic" trilogy. Toe to tip, this feels like the better game to me, owed to the fact that Capcom has been refining the core design concepts and mechanics of the original for 18 years.

Much like the recent Resident Evil 2, it trades slow enemies, limited controls, and tight spaces for more fluid and kinetic gameplay. Make no mistake, I am not faulting these games for playing the way they do, I find their control schemes to be not only a product of their time but critical for crafting tension, and the larger design of those games was so carefully curated around how they control it's hard for me to imagine playing them any other way (I still use tank controls in the HD remaster of Resident Evil, for chrissakes.)

There's a stronger emphasis on movement, as Ganados are no longer prone to passively pointing and screaming at you. No, these Ganados have drank all their Powerade™ and they are coming for your ass, which means you'll need to be even more aware of your surroundings and constantly be on the move. There's a much greater expectation on interacting with your environment, especially during combat, and some of the ways you can turn the arena against your enemies is extremely satisfying. Especially if doing so results in an explosion, which are so abrupt and visceral in the amount of damage they do. The first time I shot a stick of dynamite out of a Ganado's hand and saw it immediately break them in half and fling their upper-body several feet away I shouted "oh FUCK" to absolutely no one.

Being able to actually hotswap weapons makes such a huge difference as well and is crucial to maintaining the pace and flow of combat. It got me thinking more strategically about which weapons I wanted to employ on the fly and even helped me weasel my way out of a few dicey situations. The combat knife has similarly been overhauled. Now more a defensive weapon, you can use the knife to push away an attacking Ganados at the expense of its durability, and you can even use it to parry enemy attacks when you're back into a corner or low on ammunition. Not that you'll be low on ammo often, it's every bit as abundant as it was in 2005 and you're now able to craft more ammo using gunpowder and "resources," although they're more likely to just eat up inventory space. Still, I think the remake's greatest strength is in the amount of options it gives you, and how its combat arenas are big playgrounds that can be freely approached.

Bosses and certain set pieces are also vastly improved. Salazar no longer stands still, swiping at you occasionally with broad, easily avoidable attacks. The mine cart segment is much more of a thrill ride (I do like thrill rides), requiring you to lean into turns and take out enemy mine carts rather than wait for Ganados to jump in for a claustrophobic firefight. Krauser's initial boss battle relies upon the expanded knife mechanics, which means you no longer get to watch the same cutscene like, five times until you have all the QTE's memorized. Puzzles are also much better. In the original game they were almost obligatory, downright insipid in places, but the remake makes them far more engaging and I actually think some of these might be among the best in the REmake series. However, I will mourn the loss of the gigantic animatronic Salazar, and although It was never Resident Evil 4's strongest encounter, I was hoping to see them actually do something with It rather than cut It.

One of the biggest points of contention seems to be Resident Evil 4's story and the way it handles its characters, with people complaining about a wide array of things from how it lacks a prerequisite amount of camp to characters not being attractive enough (???) And, again, I disagree with a lot of it. Leon is still a total himbo with a penchant for belting out corny one-liners, the only difference here is that a lot of them are spoken in the middle of combat. Which, personally, I find even funnier because it means he's saying stuff like "Oh, oops, I slipped" while administering a roundhouse to a Ganado's cranium with no one around. That's just for him. I don't know how anyone can hear the line "I'll give you a hole-y body" before skewering a guy and think this game lacks camp.

Sure, it's more grounded and tonally in-step with the other remakes, but it's still ridiculous. The original Resident Evil 4 was a pastiche of post-9/11 action movies, and I firmly believe that kind of satire wouldn't play as well today. It just doesn't have the same punch so far removed from the zenith of that style of filmmaking. However, I was surprised to find out how much of that energy was still present. Mike, your helicopter pilot, is somehow even more 2005-action-movie-dumbass than before, and a lot of notes and files are word-for-word, including the "Subject Analysis: Regenerador" document, which is one of my favorites across the entire franchise. Even Salazar's extremely clunky dialog about Leon being a player in his "script" is intact, which is amazing because it's so bad I would've thought if you had a second pass on any singular piece of dialog, that'd be it. Vocal performances are good overall, the guy they got to do the Merchant turns in one hell of an approximation of the original, and I love how Luis is a total slimeball in this. On the other hand, Ada sounds positively bored to be here, and Wesker is so lacking in smugness as to sound distressingly uninspired. If a Resident Evil 5 remake is in the cards, I am begging Capcom to find some way to get Peter Jessop back.

Now that we've gotten Resident Evil 4 out of the way, I am begging Capcom to remake Dino Crisis. Please, please do it, pleaes i need to see Regina's thighs just le tme at them i paid full price for this, i gave it a 4.5, i did everything you asked of me please

Time and time again, the question, "How do you improve upon greatness?" Is asked. Resident Evil 4 Remake is nothing short of phenomenal.

Re4R is survival horror at it's finest, but you feel like the threat here. The game improves upon anything you could've complained about from the original. The combat in the original took some getting used to, but now you can shoot with ease, stealth kill, parry attacks, crouch, it's so much smoother.

Sections of this game are entirely reworked, redefining what a remake should strive to do. Tedious or annoying areas are slimmed down or expanded, and some areas are completely rearranged to fit combat, while enemy placement is perfectly scattered.

Even certain scenes are reworked to include a character who previously wasn't in there, and other characters get more screentime. Some scenes are rearranged from placement in the story as well. It all feels much more cinematic, the stakes are higher than before, and while I enjoyed the corny dialogue of the original (and remake certainly has its fair share of it), the tone is much stronger in this one.

Resident Evil 4 Remake is unbelievably good. It's a breath of fresh air in what feels like a drought of quality. The game's gloomy, dreadful atmosphere is a modern hit.

(Let me sit on it before I decide if I wanna give it 5 stars!!!)

Certainly not my first time beating this game, but it's been so long since I've played it that it may as well be my first time.

It is crazy to me that a game with tons of issues compared to modern standards (such as overworld travelling sucks, hidden sidequests and items, 20 fps with input lag, etc.), it is still one of the best games out there. Perhaps it's nostalgia, but everything flows so well. The combat, Z-targeting, the dungeon designs are good, interesting puzzles, the story (surprisingly), the music, the sound design, so on and so fourth. Definitely did not expect all of that after revisiting this old N64 game.

Night in the Woods is a game by all rights I should have liked, I wanted to like, even. 2 Months ago when I was utterly fixated on Pentiment I watched every interview and talk Josh Sawyer has ever given, kind of obsessively. It was from these talks that I got the recommendation to play Night In The Woods, cited as the main game inspiration for Pentiment, as well as Mutazione and Oxenfree. After Playing the game I can definitely see what he was talking about, the minigames, dialogue structure and format of the setting, even the subjects broached are all pretty similar.

And yet I find myself wondering why does Pentiment work for me so well and NITW really doesnt? The protagonist, Mae Borowski is in theory the most relatable character in fiction to my life circumstances in pretty much every way except for our gender. I also had a complete breakdown when I moved out and utterly crashed spectacularly at uni and came back to try and go back to the stability of home. I also struggle with becoming a "proper adult" and finding meaning in existential questions. I also dread seeing a lot of people here back home cause of embarassing shit I did and feel kind of stuck at times. I also wonder if Im holding back my friends who seem to be making something of their lives unlike me. I am also Bi. I am an atheist, and yet somehow with all of this said and done I found myself relating to Andreas Maler, a deeply religious german renaissance painter 100 times more than Mae.

That's not to say that relatability is the be all and end all of storytelling, but I felt as if in the case of NITW I was SUPPOSED to be relating to her somewhat. Shes just really kind of unlikeable for most of the runtime and of course being a videogame you have to actively aid her in being shitty and doing shitty things at times. I was ready to abandon this game at the 2 hour mark although apparently that wasnt enough of a fair shake so I kept pushing through hoping maybe something would happen beyond the standard coming of age stuff and angst. I can say now that I finished it that something did eventually sort of occur.

Im not slapping this game with a 0.5 cause even though I disliked it, and it takes way, way, WAY too long for it, some good moments eventually do happen in the second/third act. Like 4 hours in this game actually starts (I could have watched Lawrence of Arabia in that time) and we get some kind of intrigue. Some character moments get some actual fucking payoff and one or two lines finally managed to get a light chuckle out of me. I like the gay bear dude, and I also like Angus. And look, I like Wayward Strand, which is a game in which bugger all happens, but that game was full of sympathetic (and unsympathetic too) and interesting characters with lovely dialogue. Being narrative focused with little mechanics focus is FINE, but you are riding on that narrative to hold up everything else and man this dialogue. I really dislike this dialogue, nobody talks like real people; which is fair enough I suppose given they are anthropomorphic animals but this Webcomic from the 2010s type dialogue just poisoned everything else especially for the first couple of hours.

There is some light platforming but its kind of a waste of space. Especially the dream sequences that scream filler to me. At the end of it all, all the existential stuff is the payoff for the game but Ive honestly seen it all before tackled better elsewhere (well, in Pentiment for one thing but I guess thats cheating given the timeline). Nothing is really tackled with much depth and it just makes me scratch my head when I see reviews being like "this is the first time I had played a videogame that explored these subjects" and like theres no way to say this without sounding like an asshole but what? You need to play more videogames then. I love EEAAO but if this is how that movie looks to people who dislike it then I'm sorry for recommending it to people. I think I'm just done with media about positive Nihilism (and yeah I get it, the Null Symbol, you are very clever Mr/Mrs writer), its unfair to rag on NITW for this reason, cause its from 6 years ago now but I have to be honest with how I feel. The art style and sound design/soundtrack are good though.

If you've gotten this far into this horribly written, mess of a review I ask you consider the fact that my life is a mess, which is coincidentally why its weird that I didnt like this game.

Really good survival horror game, which is more action packed than the first game. Definite improvements here, with more weapon variety, much less lockpicking/key bullshit and changes to the way ammo looks. The RPD is such an iconic location, and the music and atmosphere is top notch too.

My only negatives here are the enemy placement, which feels a bit worse than RE1, and the boss encounters, which are pretty much just Birkin. Granted, this was a Leon A playthrough, so I’ll see if the other routes feel better in that regard.

Scorn is a 5-7 hour HR Giger-inspired puzzle game with some really bad shooting and some pretty bad bugs. It's a one-and-done kind of game that gets slightly frustrating at the end due to odd design choices.
This is NOT DOOM. I don't know why anyone would expect that from what was shown.

It's a beautiful game. But I wish it let me look at its beauty more.



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EDIT: Raised the score because I kept thinking about this game for quite a while after beating it.

Scorn is a mesmerizing game, but ultimately let down by horrible gameplay decisions. The atmosphere, sound design, and the look of the world are all top notch. Where it falls apart is the gameplay. I'm not sure if this is a "shooter-turned-atmospheric" or a "walking-sim-turned-shooter", but I suspect whichever caused the change in development severely hurt the game.

The "combat" is atrocious, it's weak on purpose to make you feel desperate and helpless, but that only works if it's well-made. For this game, it sadly lands on "frustrating" instead. You can run past most things, but when you do need to fight, it's awful. But running past things also results in less of the artwork to look at, which hurts the game either way.

The puzzles are very good. They're rather simple but interesting to engage with, with pretty clear indicators of what to do, whether on the puzzle itself or spread across the environment the puzzle is in.
I'm baffled by the amount of people here that had trouble with them, especially since the "hardest" puzzle can be bruteforced easily if you're stuck.

I think this would've been much nicer as a "walking sim" type of puzzle game than what it ultimately ended up as. That would've been far more interesting and given players more time to carefully look over all the locations.

Overall, a decent attempt at HR Giger horror. Could've been better and used a bit more polish, but it's decent enough for what it is.