The thing with the first Uncharted is that it was a remarkable game for the year 2007, but it feels a bit wooden by today's standards. There are some aspects of the game that feel dated, which is understandable given its pioneering role in the series.

The story is alright, not groundbreaking, but it sets the stage for the series by kicking off Nathan Drake's adventure. The real highlight is the characters, especially Elena and Sully, who bring charm and personality to the game. Their interactions and chemistry with Nate make the narrative engaging, even if the plot itself is relatively straightforward.
For its time, Uncharted: Drake's Fortune was visually stunning. The lush environments, detailed character models, and fluid animations were a benchmark in 2007. While it may not hold up to the graphical standards of today, it still has a certain charm and showcases the technical prowess of Naughty Dog at the time.
The gameplay is decent, combining shooting and climbing mechanics that were innovative at the time. The cover system trick is a life saver, especially on Crushing difficulty where you die immediately. The game's areas are well-designed, capturing the Indiana Jones ancient lush jungle vibes perfectly. The mix of exploration, puzzle-solving, and combat keeps the gameplay loop engaging.
However, not everything is perfect. There are some annoying sections, like the Jet Ski segment with Elena, which can be frustrating and break the flow of the game. These moments are few and far between but noticeable enough to impact the overall experience.
The soundtrack is pretty much nonexistent besides "Nate's Theme," which every game in the series has recycled. It's Naughty Dog's fault, they fail to create more than one memorable track per game, whatever that game might be. This lack of a varied and impactful soundtrack can make some parts of the game feel less immersive.

Even though this is my least favorite Uncharted, it remains a solid game that set the stage for an incredible series. While it may feel dated and wooden in some areas, it remains an important piece of gaming history. The characters, gameplay, and overall adventure capture the essence of a great action-adventure game.
However, the fact that it didn't age as gracefully as its sequels and that the later games surpassed it in almost every aspect drags the game down a bit.
But despite its flaws and the superior quality of its sequels, it's still worth playing for anyone interested in the origins of Nathan Drake's epic journey.

I initially played the Switch port. I didn’t think it was anything special, but hearing it was a bad port and that a better version existed did make me want to see what the fuss was about on PC. Happy to say this was really fun, though the first DLC is very noticeably weaker than the second. I played whilst recovering from a Norovirus right before my summer semester started, and it was like a nice shot in the arm. This game was just a good, cute, charming 3D platformer. As that genre has fallen to the wayside, it’s really nice to play one that’s relatively new and love it. Please, play the PC port. Avoid the Switch one. Switch port’s probably a 3/5, as there’s still a good core game being marred by its issues. This review covers my experience on PC/Steam Deck and how much I enjoyed it.

NOTA: 7,75

Shadow of Mordor é um game de ação com foco em combate contra bandos e mecânicas de utilização do cenário junto com stealth, além de progressão de habilidades.

A trama se passa no universo de O Senhor dos Anéis, tendo seus acontecimentos muito antes da franquia, relatando a ocupação de Sauron em Mordor e a união entre Talion e Kerebrimbor em busca de derrotar o mão negra.

Além da ação e variedade de abordagem nos inimigos, o ponto mais interessante e surpreendente para mim é o sistema de coletar informações para descobrir a fraqueza dos Orcs chefes e os eventos em tempo real onde os inimigos verdes se desafiam em confrontos onde o player pode intervir e decidir a conclusão dele. Além deles aumentarem poder e moral ao derrotar outro orc em busca do cargo maior e também ao derrotar o player.

A qualidade desse game é bem alta para 2014, ótimos gráficos e detalhes de visual, além de uma boa dublagem PT-BR que tem diferentes dialogos ao se aproximar dos inimigos dependendo de seu histórico com eles e seus superiores.

Por outro lado, embora a progressão de Talion traga habilidades vantajosas, ela não é tão aparente e nem de ritmo bom, o que se compromete pela parte de ação do game ser bem repetitiva. Ambientado em 2 diferentes mapas abertos, os elementos do cenário e montarias sequer muda entre eles também.

Além disso, o game me passa uma sensação de ser muito rushado, quando parecia se aprofundar, os personagens que aparecem tem suas conclusões muito cedo e num piscar de olhos, os preparativos para a criação de um exército ( uma mecânica de controlar os orcs muito foda por sinal) e enfrentar o mão negra estão finalizados.

Por último, além do climax breve, as boss fights contra o Torre e o Sauron ( se é que pode se chamar de fight) são bem ruinzinhas, assim como os eventos secundários ( exceção os confrontos) do game que são bem skipaveis, já que não contribuem com o aumento de poder. Apenas para xp.

Em resumo, Shadow of Mordor me empolgou no começo, mas acabou perdendo o gás no meio para o fim, contando com outros modos também, joguei a campanha do Kerebrimbor e embora seja interessante também sofre com pouca variação, porém para não garantir tanta repetição, pelo menos se trata de uma experiência mais curta e divertida, o que me faz recomendá-lo sem dúvidas, partiu Shadow of War.

Nighmare Kart vai muito além de um demake, Nighmare kart é um renascimento necessário para agitar a IP morta da conjunção da Sony com a From.

Um pequeno grupo de pessoas conseguiram fazer um trabalho melhor do que empresas multimilionárias, e um trabalho muito bem feito.

Nighmare Kart coloca em uma direção de arte precisa e esplendorosa o enredo lovecraftiano de Bloodborne, conseguindo transpor pras mecânicas de mario kart a história do jogo abandonado da From. É fascinante, minhas expectativas ao acompanhar o desenvolvimento deste game por quase um ano no twitter eram altas, mas fui completamente surpreendido, a esquipe da LWMedia não traz só a estética, ela traz a alma de Bloodborne pra esse game.

Apesar de curto, cada minuto neste game foi especial.

É um joguinho meio decepcionante, meio chato e meio repetitivo, a gameplay é bem simplória, é um cover-shooter genérico sem botão de cover onde você se sente flutuando o tempo todo com alguns poderes meio mal implementados, você libera quase todos eles no começo e já fica tão forte que o único desafio do jogo é o boss final (que por sinal é uma das piores lutas dos games), os upgrades te deixam ridiculamente forte, a variedade de inimigos é mínima, as armas não tem nome e todas elas são igualmente fortes (inclusive a pistola tem MUNIÇÃO INFINITA). O maior problema é que esse jogo simplesmente não te prende até a metade, você só fica vendo um monte de cutscene e lutando aqui e ali, mais da metade do jogo é só andar e a direção de arte dele é bem qualquer coisa, os cenários são extremamente cinzas, enjoativos e sem inspiração, isso sem falar dos momentos de parkour... jesus!

O que sobra pra esse jogo é a história, que sinceramente não vai agradar a todos, ela é bem genérica até chegar no ato final que é muito foda. Os personagens são cascas vazias sem personalidade alguma, principalmente o protagonista que mais parece um espectador da história já que ele não interage com nada nem ninguém, nem parece que ele sabe o que tá rolando. Os únicos personagens que se salvam são o Serene e o Hatch (provavelmente por serem feitos por atores competentes), a atuação do resto do elenco é bisonha, ela transita entre ser aceitável e ser a coisa mais vergonha alheia já produzida, pra piorar a dublagem PT-BR é horrível, até mudei pro idioma original pra saber se era podre também. Aí você pega uma história que demora pra engrenar, uma gameplay chata e junta isso a uma das mecânicas menos inovadoras já feitas, que é o jogo te forçar a ver um episódio de série INTEIRO no final de cada capítulo, e que série amadora hein, a direção é execrável, tem mais cortes que carne de açougue, a atuação é horrorosa e os dois primeiros episódios são um sonífero, os últimos dois são os únicos realmente intrigantes.

Acho que o que mais me entristeceu, é que o jogo realmente vai ficando mais divertido e interessante lá pra reta final, mas aí já era tarde demais, o jogo acaba e fica um gostinho de quero mais. Ele podia ser muuuito mais do que ele é, o jogo parece não explorar nada que ele tenta, a própria temática de viagem no tempo, que é algo que eu me interesso muito, é mal explorada pelo jogo, você fica tipo 80% da campanha num lenga-lenga de voltar no tempo e corrigir tudo, pra só no final entender do que realmente se trata. Os próprios puzzles do jogo poderiam fazer um uso bem melhor dos poderes em vez de você só segurar Q (aparece o Y de Xbox direto mesmo com o controle desligado) e algo voltar no tempo por 5 segundos, todas as habilidades de combate se resumem a desacelerar o tempo basicamente, qualquer pessoa interessada em superpoderes sabe que dá pra fazer algo melhor.

Pra não dizer que eu só falei mal do jogo, o gráfico é muito bom e envelheceu muito bem, o problema é que esses cenários sem graça escondem isso, o sistema de física é ótimo (igual em todo jogo da Remedy) e os trechos onde o jogo usa a ruptura de tempo e o timelapse são bem legais. Outra parada maneira é esse sistema de escolhas que inicialmente é meio confuso já que você controla o vilão, mas acaba acrescentando um certo fator replay, o problema é que você vai zerar uma vez e nunca mais vai querer abrir o jogo, acho que esse sistema funcionaria melhor se a campanha transitasse entre os dois pontos de vista, jogar um pouco com o Jack e um pouco com o Serene a cada ato. Por fim, a versão PC é bem ruinzinha, cai FPS do nada toda hora, as cutscenes travadas a 30 FPS quebram a imersão direto, o jogo crashou 3 vezes e uma delas foram durante as cutscenes live action aí eu tive que ver o episódio todo no YouTube, já que quando você reabre o jogo ele começa o próximo ato, e na reta final onde você tem que seguir uns caras pra saber a senha da porta, eles simplesmente não spawnavam.

Quantum Break é sem dúvidas um dos jogos já feitos, ele pega literalmente tudo que um jogo precisa pra ser bom e faz da forma mais medíocre possível, ele podia ser tão melhor que eu fico com uma cara de cu só de escrever sobre ele, pelo menos Quantum Break andou pra Control e Alan Wake 2 poderem correr.

Many things that can make horror or thriller game very tense to play. Quite a lot of it come into play in forcing your mind to shift gears into survival mode, and at the same time making your heart race. Some examples are supportive songs, the appearance of surprising foreign elements, the difficulty of finding ammunition for weapons, and the inability to fight back. This last thing is used by Soma, a horror game from the developer who also made the Amnesia series.

Soma uses a game form that is almost similar to Amnesia. In this game, you do not have the ability to fight back against threats posed by “ghosts” or your enemies. Instead, the main concept is to avoid enemies by hiding. Not having the ability to shoot and attack enemies means you have to always be aware of your surroundings. The tense situation shown in Soma is also fully supported by a fairly high quality graphic display. The dark and chaotic atmosphere shown in the game can be well represented through the game screen. Likewise with the lighting effects. This effect makes a big contribution in emphasizing the dark conditions and at the same time brings out the natural fear of the dark that you may have.

The story of Soma begins with an accident experienced by Simon Jarrett, the main character in this game and the person you control later, which causes him to lose his girlfriend and leaves him with permanent brain damage. At one point, he was offered a kind of neurological treatment that claimed to heal his brain. Simon certainly didn't miss this attractive offer. It turned out that the "doctor" he met to provide treatment had not even graduated and he was just offering some kind of discovery that was used for his thesis. Using just trial and error, Simon finally sat on a machine designed by an ungraduated doctor and ended up waking up in a strange and dark place.

Exploring a world that is dark and has threats that can come at any time is the only way to complete the game. To do that, you will be equipped with several game features that are quite interesting and interactive. The most interesting example of your interaction with the environment is the way you open doors and activate various levers. You have to hold down the left mouse click while swinging it towards the open door. Likewise with levers or levers to open various reinforced doors. The opportunity to interact with other objects is not limited to that. You can also find quite sad or cruel moments with it. For example, when you need to restore the power source to run the train. It turns out that the electricity you need is used by the injured person to survive with the help of machines. What's worse, you already know this person well enough thanks to the various voice messages you encountered on the way there. When you pull the power source from the engine its using so that it can flow to the train you want to run, it will be in pain and beg in fear so that the power source is not removed.

The sound effects in this game clearly get more attention. Not only the location can be determined by sound, especially if you use high-end sound equipment, but there are also many variations. Sometimes you can hear the sound of a metal pipe falling at the end of the hall, steam leaking, or just a trickle of water. This game's ability to make the game very quiet and then insert a surprising sound can get your adrenaline pumping. To support your ability to hide, this game provides the ability to peek from hiding places. So by using the peek function, you do not reveal all parts of your body to see the enemy's position. Because, there are several enemies who can make the game screen chaotic just because they look at you. Often the best way to avoid enemies is to run as fast as possible. Most enemies will not chase you if they get blocked by a door.

One very important thing to remember in this game is the need to improve your memory skills. Because, this game doesn't provide a map at all. If you are moving in narrow areas, such as corridors and rooms, this does not have much of an effect. It's different when you move in a wide area in the middle of the dark. The only clue is the lights in the distance, whether it's your target or the enemy's lights. So if you're a dumbass like me that always had memory loss every 10 seconds then just be more aware of your surrounding while playing this.

One thing that is unfortunate is the lack of risk involved when meeting an enemy since this is a game that requires you to hide and run in order to avoid them. Enemy attacks do not immediately cause game over. It turns out you can still move away from an enemy after one hit, with the penalty of screen blurring. This condition can be cured by finding a strange device that is half machine and half biological. After that, you can freely return to your adventure.

After replaying it i can safely say Soma is my favorite horror/thriller game for now, one that initially gives a very tense atmosphere. However, after playing for a while, you will concentrate more on finding puzzle pieces and finding out the story this game has. Truth to be told the ending still broke me even after replaying it, such an ending like this is one of if not the most unexpected thing from Soma. It must be admitted that the lack of penalties given to enemies when they attack you makes this game less scary. However, that doesn't mean its gripping nuances can't make your heart beat fast, especially when you play it alone in the middle of the night with lights off.

I did not enjoy this game very much. The game was solid for about the first 2 to 3 episodes but after that it just draaaaaaaaaaaaaags. The combat and overall gameplay loop gets old VERY FAST. The narrative after the first two episodes starts to also get worse, with the conclusion being underwhelming and the overall direction they take being very uninspired and cliche in all the wrong ways. It's such a shame because conceptually, this game had a lot of potential to be good. Using your flashlight to weaken enemies before finishing them? A writer trying to piece together his own writing to figure out how to get out of his own horror story? It's all great stuff but it's very poorly executed. Love Barry though.

In its defense however, the two special episodes were awesome. Stuff like beaming your flashlight at floating onomatopoeias to take out enemies added so much variety to the familiar environments and combat. The narrative here was also much more interesting and much better written. Alan being his own tormentor due to his guilt about his past actions gave this experience so much more depth. I even like Barry's arc in these special episodes as well. Remedy did a much better job here and although there were a couple unanswered questions here, I'm sure it was saved for an eventual Alan Wake 2 that we never got until recently. Hopefully that game isn't as overrated as this one and actually delivers on the thirteen year wait. As much as I wanted to enjoy this game, it just didn't do it for me.

Beautiful things don't ask for attention

Beautiful and charming are not two words associated with a game from a small developer. These two words are more often directed at giant games with big budgets that are designed to replicate real-world conditions, from textures to the quality of lighting. That when dynamic weather effects appear or the change of day makes the lighting effects look realistic at various angles, this is the kind of reaction and praise that the audiences will give. However, it is not uncommon to encounter situations where indie games, with all their creative abilities, actually appear stunning in this aspect. Not taking the same approach as most AAA games, but offering something unique, beautiful and strong at the same time. And Gris is the definitive example of this made by Nomada Studio.

Like most games with an "art" approach like this, GRIS is a game that from the start of playing clearly has a strong metaphorical meaning. That the real story is not what you see on the screen, but the metaphorical meaning that flows from every action, consequence and storyline that flows. Everything is conveyed implicitly, without really clear dialogue. Above the surface, you play as a nameless female character who at the beginning is seen trying to restore the colorless world around her, which is also represented by a giant statue of a nameless woman. In the midst of the confusion that occurred, he fell from the giant's hands. A situation that makes him, like it or not, have to keep moving to find a definite solution. The woman finally found a special point that allowed her to move in four different directions to collect a point of light that symbolized the stars in the sky.

Beautiful is the first reaction you might have when you see what Nomada Studio has achieved with Gris. The visual approach is made in such a way that you feel like you are playing a painting that now moves interactively with the actions you take with the existing keyboard or controller. The details offered are not aimed, for example, at capturing the main character's body anatomy as realistically as possible, but rather at trying to capture an atmosphere that suits the world he is facing. What you will find is a character with a face full of details, attractive color design, fantastic motion animation, but only moves with legs and arms which are simply drawn as straight lines. Something that really suits her abstract world.

With an implicit story approach like this, the only way for you to understand what the developer wants to convey via Gris is simply to "feel". Through empathy and sympathy, trying to understand what kind of struggle the main character has to go through to fix so many things can end up being a symbol of a problem faced in the real world. However, considering that this style of storytelling will not require specific clarification to justify or blame, you are given the freedom to make your own interpretation. Well as for me myself, Gris seems to be aiming at a portrait of a woman who is experiencing complicated problems and has a messy body image who is struggling, in the midst of her sadness and anger, to rediscover her self-confidence and self-love. The positive emotions presented by this nameless main female character.

Appreciations of course has to be mention for the sound and music in Gris which really captures the emotional side without dialogue that he wants to inject, while building the right atmosphere to build the playing mood. The approach and quality must be given a thumbs up because there are several moments that strangely, with the help of music, managed to make us tense, sad, and even get goosebumps with the hair on the back of our necks standing up when faced with certain scenes. For a game with no dialogue and only offering motion and facial animations as expressions, this is an achievement worth talking about.

At the start, Gris feels like a walking simulator game, where you just have to run and jump over various obstacles. However, as the story progresses, there will be more challenges that require a little of your brain power. Slowly but surely, the girl will gain new powers that will help her overcome various obstacles at once, accessing deeper, higher or further places. At the start, she can turn her dress into a heavy and hard block. Changing this dress means she can't be hit by strong winds for example. You can also use it as a crack floor destroyer or just a weight to make the building structure unbalanced or slightly stressed. The girl will then be strengthened with the ability to float, swim and sing. Levitation can be used to access higher ground and singing can make specific nearby plants bloom and reveal new puzzle solutions or platforms to jump onto.

Of course beautifulness does not make Gris run away with its flaws. In terms of gameplay, there are several areas where exploration can be done freely, this game does not have landmarks or maps that are really clear about the locations that you have actually explored before. Unlike other similar puzzle platformer titles like Inside or Little Nightmares, Gris doesn't have a game over system and because of this the decision to create a boss fight that has a scary design with such sweet animation and visuals ends up having no consequences and actually eliminates the sensation of threat that exists. Even for sequences where you are faced with a clear threat, there is a some kind of like safe zone with automatic animation cuts that make the girl automatically dodge. There's nothing that feels urgent, there's no sensation that you want to protect this girl out of concern, which ultimately makes it lose its meaning.

But after reflecting it a little bit, i think that is what made Gris stands out from others. Gris is a platformer game that can be called "relaxing", where despite the challenges, it is still a game that has a purpose and that is to make you enjoy the world and its atmosphere well. The presentation is amazing in terms of visuals and audio, making it a charming indie platformer game that is ready to amaze the audiences from the very first sight. It can lead to an emotional and powerful playing experience, even though you end up not clearly understanding what the definitive story and the message are actually trying to offer. Everything is covered in level design that is beautiful and remains challenging at the same time.

Comecei a acompanhar a franquia em 2015 e marcou uma das melhores fases da minha adolescência, cheguei a participar da fandom hispanica latina q era bem ativa nos grupos de facebook.
Na época era legal a galera tentando adivinhar e criando várias teorias complexas ou sem sentido sobre o enredo. Primeira vez q peguei o jogo pra zerar pelo celular e digo q envelheceu mt bem, é simples mas isso q o faz ser bom. Fora q tbm assisti o filme, achei legalzinho mas esperava um pouco mais.

>> Prós
• JOGABILIDADE : O primeiro é bem simples e qlqr um pode pegar o jeito rápido. A estratégia q usei a partir da noite 3 foi apenas ver as cameras 1C ( Foxy claro ), 4B ( ver a Chica e principalmente o Freddy ), 2A e 2B ( ver o Bonnie e o Foxy correndo ).
• DESAFIO : Parece fácil mas o game é esperto ao ver o padrão do jogador. N quis fazer o desafio de encarar as noites 6 e 7, nas únicas vezes q fiquei sem energia foram nas noites 4 e 5 ( passei em ambas, sendo q às 5 da manhã a Chica trancou os botões da direita ent tive q improvisar nos 10% restantes ao fechar a porta da esquerda, de quebra consegui tirar o Foxy aq e a música final do Freddy chegou a parar por uns 5 segundos mas passei ).
• DIVERTIDO : Dá pra passar o tempo enquanto leva uns sustos de leve.
• MÚSICA : The Living Tombstone criou um dos temas indies mais brabo da década passada.
• CUSTOM NIGHT.

>> Contras
• Nenhum.

>> Perso Favorito = Foxy ( por mt tempo foi meu animatronic favorito ).

>> Mortes/Jumpscares
• NOITE 1 : 1
• NOITE 2 : 3
• NOITE 3 : 1
• NOITE 4 : 1
• NOITE 5 : 3

• BONNIE : 4
• CHICA : 0
• FOXY : 4
• FREDDY : 1

Call of Juarez: Gunslinger was a surprisingly good game that put the series back on track after the disaster that was Call of Juarez: The Cartel. But did it truly redeem the franchise?

I loved the style of the game; it had a lot of personality. The cel-shaded graphics and comic book-inspired visuals gave it a unique look that set it apart from its predecessors. The narrative structure, with the protagonist Silas Greaves recounting his exploits, added a layer of charm and unpredictability as his stories often changed mid-mission, altering the gameplay dynamically.
The story was pretty good, with a blend of fact and fiction that kept things interesting. Silas's journey through the Wild West, interacting with legendary figures like Jesse James and Billy the Kid, was entertaining.
The gameplay itself was arcadey and fun, focusing on fast-paced gunfights and satisfying combos that rewarded precision and style. The skill trees allowed for some customization, letting you tailor the gunslinging to your liking.

Gunslinger was a game that definitely delivered, standing on par with Bound in Blood as the best in the series. It was a return to form, recapturing the essence of what made the series enjoyable in the first place.

Despite its success, Gunslinger was the last Call of Juarez game. The license is no more, and you can't buy this game anymore. The franchise seems to have been consigned to history, and it's a damn shame. Call of Juarez had so much potential, and it's disheartening to think it will remain dormant forever.

(desde já peço desculpas pela review grande.)

Eu não consigo nem descrever o que foi esse jogo, de verdade. Não sei que porra o Sam Lake tava usando quando foi fazer esse jogo mas eu quero um pouco também.

Alan Wake 2 é facilmente um dos melhores jogos que eu já joguei, absolutamente tudo nele é melhor do que o primeiro jogo (o que não é muito díficil), e me deixa até triste saber que esse jogão ainda não se pagou, se eu fosse milionária eu dava todo meu dinheiro pra Remedy continuar fazendo jogo.

Gostei de tudo nesse jogo, mas as atuações aqui são um absurdo, acho que nunca vi um jogo ser tão bem dirigido quanto esse, a visão artística que eles tiveram, a estrutura narrativa desse jogo é um absurdo de tão boa, sem contar a atuação do Ilkka Villi, que consegue alternar tão bem entre Scratch, Thomas Zane e o próprio Alan, as cenas gravadas com os atores são absurdas de tão boas.

Trabalho brilhante dos diretores de arte, principalmente nas partes do Alan com os ecos do Alex Casey, e tudo naquela cidade, no Hotel é tão encantador visualmente, e você poder mudar de cenários praticamente em tempo real é algo que ainda não entrou na minha cabeça, nunca vi isso em algum outro jogo pra compara mas ainda assim acho que Alan Wake 2 fez isso perfeitamente, principalmente na parte da Saga quando você vai pro quadro de casos dela. Falando no quadro de casos, foi uma das minhas partes favoritas do jogo! Entendo que muita gente possa ter achado chato, mas acho que deu uma profundidade muito legal pro jogo, além de ser diferente, um diferente bom.

O combate ainda segue a mesma premissa do mesmo jogo, você anda, corre e mata bicho, mas aqui foi absurdamente melhorado, ao ponto de até ser divertido. Não é a melhor coisa do jogo, mas as boss fights com a Saga e certas partes com o Alan você se diverte muito jogando, principalmente na parte do Dark Ocean Summoning, uma das minhas partes favoritas do jogo, só não supera a Herald of Darkness, o @jaqueta tá de prova do quanto eu fiquei feliz jogando aquilo, acho que nunca sorri e me diverti tanto quanto naquela parte.

Enfim, Alan Wake 2 tá pra mim um dos melhores jogos que eu já joguei até hoje, os segmentos de investigação, os cenários mais abertos e diferentes, a narrativa, direção de arte criativa e complexa, e a história que, mesmo confusa, continua coesa, fazem desse jogo pra mim uma das melhores experiências que já tive com um jogo.

Ainda tô muito triste que acabou...