_dusklo
2022
Where do I even begin with this game. I was utterly gripped throughout its beautiful prose, distinctly amazing art, and its various plots. Complimenting it all is the subtle, reverb-soaked score that is masterfully composed to work with the game's environment. This is one of the best games I have ever played. In it's minimalist, visual-novel-issue style, it far and away exceeds the writing and worlds of its sci-fi contemporaries. Its utilisation of the most powerful tool of the written text, the reader's imagination, transports your mind into every square inch of Erlin's Eye, and into every synapse of its inhabitants.
The prose of Citizen Sleeper is amongst the best I have ever read, game and books included. Gareth Damien Martin's imagination and their excellency in writing really shines throughout this game. The prose is just the right amount of flowery; painting a vivid world without becoming screeds of indulgence. The dialogue is amongst the best I have seen in gaming. The dialogue is believable and unique. When characters speak, their familiarity with Erlin, and its 'factions' simply exude forth. Their dialogue immerses you into their world, and as the suspension of disbelief commences, you really believe their world and their experiences. Furthermore, the main cast of characters we talk to are not the rogue, space-traversing hero's we might expect. They follow Alien's 'truckers in space' idea of the working class amongst the stars. In the game's exploration of capitalistic greed and anarcho societal structures, we get to talk to the boots-on-the-ground people of this world. We see their exploitation, hardships, formed communities, and their selflessness.
There's more to write about, but I'd rather you just played the game and saw for yourself. Citizen Sleeper is one of the best games I have ever played; it's themes and writing amongst some of the best in gaming. It is so refreshing to see such a thematically rich game in a climate of content-stuffed, triple A duds. I am very excited to see the world of Citizen Sleeper --it's themes, concepts, and characters-- be elaborated upon more in the upcoming sequel.
The prose of Citizen Sleeper is amongst the best I have ever read, game and books included. Gareth Damien Martin's imagination and their excellency in writing really shines throughout this game. The prose is just the right amount of flowery; painting a vivid world without becoming screeds of indulgence. The dialogue is amongst the best I have seen in gaming. The dialogue is believable and unique. When characters speak, their familiarity with Erlin, and its 'factions' simply exude forth. Their dialogue immerses you into their world, and as the suspension of disbelief commences, you really believe their world and their experiences. Furthermore, the main cast of characters we talk to are not the rogue, space-traversing hero's we might expect. They follow Alien's 'truckers in space' idea of the working class amongst the stars. In the game's exploration of capitalistic greed and anarcho societal structures, we get to talk to the boots-on-the-ground people of this world. We see their exploitation, hardships, formed communities, and their selflessness.
There's more to write about, but I'd rather you just played the game and saw for yourself. Citizen Sleeper is one of the best games I have ever played; it's themes and writing amongst some of the best in gaming. It is so refreshing to see such a thematically rich game in a climate of content-stuffed, triple A duds. I am very excited to see the world of Citizen Sleeper --it's themes, concepts, and characters-- be elaborated upon more in the upcoming sequel.
I didn't really understand this one, but it was interesting anyway. I can tell there is a lot more here, I just didn't pick up on it. For that reason, I can only give this game a 3.5 in good faith. In all honesty, I'd be better not rating this game at all. I still recommend it, though.
I have to play this again to fully understand its nuance, but the story of this game is so beautifully tragic. Gregory's story really got to me for some reason. It's so beautiful and so sad. Lewis' story was extremely depressing while also being a marvel to play. And poor Calvin... This doesn't even scratch the surface. I wholly recommend this game.
1999
This game is Looking Glass at the pinnacle of their abilities. A superb, near-masterpiece that was a perfect fullstop to the tragic end of its studio.
2000
Absolutely one of the best experiences in gaming. The mastery and expansion of the Immersive Sim genre's core tenants in this game are so satisfying and addictive. Often, games get reviews like "you will spend hours on this without realising" which may be true. But with Deus Ex, you --will-- spend HOURS playing without realising. This game is as addictive as crack.
The open levels, with all their secret passages, nooks, hovels, and buildings, are fascinating to explore, despite their small size when compared to contemporary games. The seemingly endless routes and solutions for problems, coupled with the extreme customizability of your skills and augmentations, create a new and refreshing playthrough, every time.
The plot, beat by beat, is a little cheesy, but if you embrace that cheesiness, you'll have lots of fun. You have a real sense of forging a path against the evil conspiracies of this world. In a time when Deus Ex and real-life are starting to merge in certain aspects, there is great catharsis in destroying the capitalist elite and conspirators who seek to control us. But greater than the plot is the world-building itself. Every location has factions and groups with certain ideals and outlooks. Often, you can overhear their conversations and compare their outlook with your own.
As a political person, the exploration of corporate dominance and small governments is as fascinating as it is scary. There's a bit in the Lucky Money bar where the player character and a bartender can debate about small governments, "big" governments, corporate dominance, and freedom in an inherently unjust system. Rarely before and rarely since has a video game thematically delved into societies, governments, and ideologies in such a fascinating way.
If you enjoy customisable player stats and a game where freedom of choice is a core gameplay tenant in every level, you MUST play this game. I can confidently say, without any doubt or fear of sounding like a cliché, that this is one of the best video games ever made.
The open levels, with all their secret passages, nooks, hovels, and buildings, are fascinating to explore, despite their small size when compared to contemporary games. The seemingly endless routes and solutions for problems, coupled with the extreme customizability of your skills and augmentations, create a new and refreshing playthrough, every time.
The plot, beat by beat, is a little cheesy, but if you embrace that cheesiness, you'll have lots of fun. You have a real sense of forging a path against the evil conspiracies of this world. In a time when Deus Ex and real-life are starting to merge in certain aspects, there is great catharsis in destroying the capitalist elite and conspirators who seek to control us. But greater than the plot is the world-building itself. Every location has factions and groups with certain ideals and outlooks. Often, you can overhear their conversations and compare their outlook with your own.
As a political person, the exploration of corporate dominance and small governments is as fascinating as it is scary. There's a bit in the Lucky Money bar where the player character and a bartender can debate about small governments, "big" governments, corporate dominance, and freedom in an inherently unjust system. Rarely before and rarely since has a video game thematically delved into societies, governments, and ideologies in such a fascinating way.
If you enjoy customisable player stats and a game where freedom of choice is a core gameplay tenant in every level, you MUST play this game. I can confidently say, without any doubt or fear of sounding like a cliché, that this is one of the best video games ever made.
2023
An excellent and scary small piece about the desire to live forever, the dying internet, and the ends people will go to end their misery. You definitely have the time to play this, and you should. Excellent!
2012
This review contains spoilers
This is one of the most depressing and compelling games ever made. The characters and their writing are so believable and interesting. Every character has strong characterisation, motives, wants, and trauma.
And the arcs of all the characters, including Lee, are so bittersweet. Kenny starts as an optimist with a wife and son, and completes his arc (in my run) with his sacrifice after losing it all. But Lee and Clementine's arcs are the most impactful, I feel.
Clementine misses her parents and desperately needs a parental figure to fill their void. Lee does this for her, and the essentially father-daughter relationship between the two blossom into a strong bond, where both persons need each other and support each other. It is Lee who teaches Clem how to live in this new world, and shows her love, understanding, and compassion as she learns. And in return, Clem is a new start for Lee. A girl who cares not for his past and only has her bountiful love and innocence to give. But this kind spirit will die in this world, and Lee knows it. And so he trains her to deal on her own. He tells her (in my run) the truth. Clem's arc is complete when she kills her kidnapper in (almost) cold blood.
Before the apocalypse, Lee killed a man. And it was on his way to prison that he was cast into this whole mess. In my play through, Lee was a man with a troubled past. And matters were worse for him as the dead, and the living, killed the people he loved time and time again. But despite this misery, the apocalypse gave Lee another chance. And in this chance, Lee learned a new way to live his life, and to forgive himself. His death, at the end of the game, is a little less miserable. He has atoned, and he has raised a beautiful young girl who is ready to take on this new living hell.
I ugly-cried at the end of this game. Its writing is so good that its major beats are so very powerful. I have chills just writing about it. You owe it to yourself to play this fantastic game.
And the arcs of all the characters, including Lee, are so bittersweet. Kenny starts as an optimist with a wife and son, and completes his arc (in my run) with his sacrifice after losing it all. But Lee and Clementine's arcs are the most impactful, I feel.
Clementine misses her parents and desperately needs a parental figure to fill their void. Lee does this for her, and the essentially father-daughter relationship between the two blossom into a strong bond, where both persons need each other and support each other. It is Lee who teaches Clem how to live in this new world, and shows her love, understanding, and compassion as she learns. And in return, Clem is a new start for Lee. A girl who cares not for his past and only has her bountiful love and innocence to give. But this kind spirit will die in this world, and Lee knows it. And so he trains her to deal on her own. He tells her (in my run) the truth. Clem's arc is complete when she kills her kidnapper in (almost) cold blood.
Before the apocalypse, Lee killed a man. And it was on his way to prison that he was cast into this whole mess. In my play through, Lee was a man with a troubled past. And matters were worse for him as the dead, and the living, killed the people he loved time and time again. But despite this misery, the apocalypse gave Lee another chance. And in this chance, Lee learned a new way to live his life, and to forgive himself. His death, at the end of the game, is a little less miserable. He has atoned, and he has raised a beautiful young girl who is ready to take on this new living hell.
I ugly-cried at the end of this game. Its writing is so good that its major beats are so very powerful. I have chills just writing about it. You owe it to yourself to play this fantastic game.
2001
Took me a while to play this as I was busy. I actually dumped the ROM from my copy and emulated the game on my Steam Deck. Very good experience.
What can I say that hasn't been said. Silent Hill 2, with all of it's little quirks and slight annoyances, is still one of the most compelling games I've ever played. Every level and character is full of symbolism that tells a story of grief, hatred, and guilt.
Unlike newer games in the series, Silent Hill 2 focuses on a standalone story, with some bits of lore of the greater town. This is an odd choice, especially since there is no relation between Silent Hill 2's main characters and the first game's, but it works.
The levels nail such a great tone, and I attribute this to the game's excellent sound and decently aged visuals. I believe that since the art style was so strong and focused, it has visually aged better than other PS2 games. Every model and place looks beautiful and vibey. The lower quality textures and poly-counts give the game a haunting lo-fi aesthetic.
I would write more, but I can't be bothered right now. Just trust me that it's an excellent game and the story is told so well.
What can I say that hasn't been said. Silent Hill 2, with all of it's little quirks and slight annoyances, is still one of the most compelling games I've ever played. Every level and character is full of symbolism that tells a story of grief, hatred, and guilt.
Unlike newer games in the series, Silent Hill 2 focuses on a standalone story, with some bits of lore of the greater town. This is an odd choice, especially since there is no relation between Silent Hill 2's main characters and the first game's, but it works.
The levels nail such a great tone, and I attribute this to the game's excellent sound and decently aged visuals. I believe that since the art style was so strong and focused, it has visually aged better than other PS2 games. Every model and place looks beautiful and vibey. The lower quality textures and poly-counts give the game a haunting lo-fi aesthetic.
I would write more, but I can't be bothered right now. Just trust me that it's an excellent game and the story is told so well.
1999
A classic mod for Half-Life who's historic impact is immense. This mod, alongside Counter-Strike and Natural Selection, is often cited as one of the modding community's crowing achievements, or at least it was back in the start of the 2000s.
Today, They Hunger is really showing its age. Compared to mods nowadays, it's very simple and primitive. Compared to modern game design sensibilities, it regularly flies in the face of good communication of concepts and level design. But to someone who has played Half-Life, this offers a fun --if slightly enraging-- challenge. The weapons are fun to use, and the set pieces were on par with base Half-Life at the time. The story is nothing to write home about, but is fun nevertheless.
They Hunger is an ode to classic Hollywood Horror from the 30s, 40s, and 50s, the decade where the game is (allegedly) set. There are cartoonish and old monsters like zombies, Frankenstein zombies, skeletons, and severed hands. The game's "art direction" is a mash of reused Half-Life textures and gothic stone textures.
Gameplay wise, the placement of enemies is often unfair, but you get used to it. Damage is big, with most enemies doing at least five points of damage or more. You will often have to peak and save-scum. Save-scumming is good practice anyway, as there is a horrific shortage of autosaves. You could die to a spree of lead from unfairly placed police zombies, autoload the last save, and be fifteen minutes away from where you died.
All in all, it's a great piece of history, especially for Half-Life fans. And the gameplay is alright when you get used to its unfair nature. I wouldn't NOT recommend it, but it's no surprise that this mod has fallen into obscurity. Although given its historical importance, that obscurity is also a little upsetting.
Today, They Hunger is really showing its age. Compared to mods nowadays, it's very simple and primitive. Compared to modern game design sensibilities, it regularly flies in the face of good communication of concepts and level design. But to someone who has played Half-Life, this offers a fun --if slightly enraging-- challenge. The weapons are fun to use, and the set pieces were on par with base Half-Life at the time. The story is nothing to write home about, but is fun nevertheless.
They Hunger is an ode to classic Hollywood Horror from the 30s, 40s, and 50s, the decade where the game is (allegedly) set. There are cartoonish and old monsters like zombies, Frankenstein zombies, skeletons, and severed hands. The game's "art direction" is a mash of reused Half-Life textures and gothic stone textures.
Gameplay wise, the placement of enemies is often unfair, but you get used to it. Damage is big, with most enemies doing at least five points of damage or more. You will often have to peak and save-scum. Save-scumming is good practice anyway, as there is a horrific shortage of autosaves. You could die to a spree of lead from unfairly placed police zombies, autoload the last save, and be fifteen minutes away from where you died.
All in all, it's a great piece of history, especially for Half-Life fans. And the gameplay is alright when you get used to its unfair nature. I wouldn't NOT recommend it, but it's no surprise that this mod has fallen into obscurity. Although given its historical importance, that obscurity is also a little upsetting.
Such a sombre mood despite the game's simplicity. Sad. Poor shrimp.
2005
One of the best first person shooters of it's time. Guns make massive holes in walls and enemies burst like sacks of blood, all while dust and debris fly off into the air. Truly some of the most satisfying gunplay in a game.
Maybe this is just a me thing, but it wasn't scary. I really liked the atmosphere, but it just didn't scare me. In all honestly, the scariest part of the game is when Alma is free. This part is scariest because of the sound design in this part. It's full of echoed screams of pain and suffering and nothing else. It feels like Harlan Wade opens the seventh seal and releases the apocalypse.
That takes me on to the story. It's alright. It has some pretty obvious twists and turns but if you give it your time, it's pretty satisfying. But it's pretty much entirely ignorable if you prefer.
All in all, very fun. FEAR is one of those games that I just find myself replaying at least once a year.
Maybe this is just a me thing, but it wasn't scary. I really liked the atmosphere, but it just didn't scare me. In all honestly, the scariest part of the game is when Alma is free. This part is scariest because of the sound design in this part. It's full of echoed screams of pain and suffering and nothing else. It feels like Harlan Wade opens the seventh seal and releases the apocalypse.
That takes me on to the story. It's alright. It has some pretty obvious twists and turns but if you give it your time, it's pretty satisfying. But it's pretty much entirely ignorable if you prefer.
All in all, very fun. FEAR is one of those games that I just find myself replaying at least once a year.