A Cultura nerd precisa ser revisada.

É uma cultura que sequestra obras de arte em um culto egocentrico e excludente. Pessoas resgatam símbolos das obras para se identificarem e vão enaltecer aqeuelus que reconhecem esses símbolos, que conseguem ler as referências e se sentem superiores por conta disso, mais popularmente culturados.
Ready Player Fuck sequestra esses símbolos em uma sátira divertida, engraçada e que não se importa com propriedade intelectual. Usando esses símbolos para mostrar o quão tosco e sem noção é esse imaginário coletivo do nerd boomer, que adora essas imagens religiosamente.

Oh man this sucks. Im extremely forgiving towards any 90s fps, or games that try to replicate them, but this barely qualifies as one. Its effectively a generic 00s corridor shooter masquerading as a "retro" fps for aesthetic & marketing reasons.
Level design is painfully bland & unfun. Its also mindnumbingly easy. I get wanting to do a power fantasy but this is an ongoing trend in recent entries to this genre. If I willingly choose the maximum difficulty there should actually be a challenge - Something that doesnt exist if every enemy dies in 2hits from the starter weapon.

If you really like 40K and want some slop go for it I guess. But this is arguably worse than the unreleased Dark Crusaders

Take “boomer shooter” out of your vocabulary; the term has been rendered meaningless.

I knew this entire little sub-genre of first-person shooters was cooked the second that the joint advertising teams of Games Workshop and Focus Entertainment all came to the conclusion that “boomer shooter” is a marketable enough selling point to tie your multi-million dollar IP to. If, indeed, it ever did mean something, it doesn’t anymore. What a boomer shooter is, in a post-Boltgun world, is “a shooter with pixel graphics”. That’s all. And if that’s all that it was — just a Doom Eternal demake — that would be forgivable. But the reality is that Boltgun is a completely miserable experience made by people who have zero fucking clue what they’re doing, chasing after trends without so much as an inkling of understanding as to why those trends are popular in the first place. Sure, fuck it. The new Doom games are gory shooters. Throwback games made popular by studios like New Blood seem to sell well. All we need to do is put the two together, boom! Free money! Paint it all in space marines and warp and chaos and we’ll be billionaires before breakfast tomorrow. How hard could it be?

I can’t fucking stand Boltgun. For some ungodly reason, someone in charge decided that the best people to put to work on a first-person shooter would be a crack team of board game and strategy developers from Auroch Digital, all of them completely unqualified to get to work on a project such as this. Consider this your first warning sign, long before you even boot up the game; why would Focus hire out to the studio behind Achtung! Cthulhu Tactics and Beermaster: Beer Brewing Simulator to make what’s intended to be a fast, brutal, tightly-paced shooter? Is it because they genuinely believed that these were the best people for the job, or was it because some tiny management-game studio from Bristol wasn’t asking for as much money as the next guys who knew what they were doing? I don’t blame Auroch, necessarily; I know what it’s like to be way in over my head under the guidance of a boss who doesn’t know enough to understand how badly I’m fucking up.

Boltgun is a game of numbers, and not of much else. “Suit your weapon’s strength to an enemy’s toughness rating,” reads one particularly cheery loading screen tip. As requested, I take aim at a Level 3 Nurgling with my STR 5 Boltgun, and the taste of bile in the back of my throat gets harder to ignore. Locking your reticle on an enemy will give you every detail about them you could ever want to know: their name, their level, total health, current health, social security number, bank password, browser history, the works. You swap between the weapons on your hotbar and each of them tells you the exact strength and name of the equipped gun: STR 4 Boltgun, STR 3 Meltagun, STR 7 Plasma Gun. Poke around levels for long enough and you’ll find secret pickups that’ll boost the power of your weapons, adding all sorts of little tags like “Kraken Round Magazine” and “Dragonfire Round Magazine” or “Machine Spirit Upgrade”. Your HUD gets flooded with all of these details, paradoxically taking up so much space on the screen that it’s near-impossible to read any of it. One pressing question remains, throughout all of this:

Why?

What do we gain from having all of this worthless fucking information on the screen at all times? Seriously, what the fuck is the point? I don’t need to know the enemy’s level. I don’t need to know exactly how much health they have. I don’t need to know a numerical value for how strong my weapons are. I don’t need to know what type of ammo I’ve got loaded into my boltgun. I don’t need to know the maximum amount of health that an enemy could theoretically have. I don’t fucking need any of this. How are you getting lapped in your UI design by the original Doom, a game that came out three fucking decades ago and realized then that you didn’t need to tell the player all of this completely fucking worthless information? If you didn’t know before playing that Auroch were strategy game developers and not people who make shooters, this is what gives it away; such a fucking obsession with showing numbers to the player in a situation where they’re worse than useless.

And none of this would matter, really, if the game were fun. If this was all just pointless, ignorable set-dressing for a game that otherwise works fine, then I could forgive it. I can’t, though, because Boltgun commits the mortal sin of being abjectly fucking boring. This might be one of the most pathetically easy games I’ve ever played, even with the difficulty cranked as high as it can go. Enemies feel like they’re shooting at you only as a formality, firing projectiles that move in slow-motion across the screen that’ll land in a different zip code so long as you strafe left. This is true for just about every enemy that can fire something at you. All of them are so sluggish that it’s as if they’re only pulling the trigger at you because they’d get fired and lose their health insurance if they didn’t. The flamers might be one of the most unintentionally hilarious monsters I’ve ever seen in a game like this; I think doctors test for brain activity by whether or not you’ve ever taken a hit from a fireball a flamer has thrown at you. You could only ever get clipped if you were comatose. Exterminatus difficulty does seem to make projectiles go a bit faster, and spawns more numerous and more powerful enemies, but I imagine most people who have played a game before could do most of this in their sleep. Not because they’re god gamers, but because Boltgun never stops drowning the player in goodies.

Pickups are peppered fucking everywhere in all of these over-long levels, littering the floor with every single type of ammo, every single grenade, and more health and armor kits than anyone could ever possibly need. There’s a section on the right side of the screen dedicated to telling you which pickups you got, and you should get used to seeing it be filled with nothing but “Boltgun ammo full, Boltgun ammo full, Heavy bolter ammo full, Krak grenade full, Health full, Health full, Health full, Boltgun ammo full, Plasma gun ammo full, Health full, Heavy bolter ammo full, Shotgun ammo full, Health full”. Outside of Exterminatus difficulty, I don’t think you ever even need to switch weapons; you get so much ammo for every single gun that you’ll never get so much as an opportunity to run a weapon dry. Armor needs to drain to zero before enemies can start dealing direct health damage, and armor caps out at 300(!!!!!), meaning you’ll always have plenty of +100 health kits to backtrack for in the unlikely situation that your foes manage to break through your 300 armor and get to your 200 health. I walked out of every stage with more supplies than I walked into them with, even after certain stages would force me into a minimum of four purges before I was allowed to move on.

In addition to your usually loop of finding color-coded keys and unlocking color-coded doors, Boltgun takes a page from the new Doom titles with the purge mechanic, where all of the doors lock and you aren’t allowed to progress until you’ve killed everything inside. New enemies will constantly spawn in, so it’s mostly just an exercise in strafing around and firing at the teleport particle effects. Enemies spawn in slowly, and the purge arenas are often big enough that you’ll be running around trying to find where the fucking enemies actually are so you can shoot them and progress. A big part of what makes these encounters so slow is that enemies spawn in waves, where more of them refuse to teleport in until you’ve killed everything from the first wave; there’ll be some shit gunner who dies in three shots from the Boltgun meandering around two continents away, and it’s up to you to go and find him so that you can get the momentum going again. There’s no challenge, there’s no pressure, it’s just blindly wandering through these enormous arenas trying to figure out if everyone else went home and didn’t tell you.

A part of me is grateful that this is on Game Pass, because it means that I didn’t need to spend a cent of my own money beyond what I was already paying to find out how atrocious this really is. The other part of me is annoyed, because I never would have bothered trying this out had it not been offered to me as part of a package deal. The only thing it cost me was my time; the one resource I can never get more of. What a complete and utter waste. You know a game is really bad when it ignites the flames of existential dread. There were so many better things I could have done with my time, and I instead allowed this game made and marketed by clueless people to suck it all away and leave me with a taste in my mouth like I ate two servings of dirt. The bar for Warhammer games is on the fucking floor. Do yourself a favor and try to forget that this even exists. I’m sorry for writing this review and reminding you of it if you’d gotten it out of your mind.

I can offer no greater condemnation than by stating that this is a sprite-based game with vertical mouselook.

sensações oníricas recortadas e verbalizadas em uma revista artesanal -- expondo aquilo que é "delicado", aquilo que é "íntimo", aquilo que pode até ser "cringe" se você se olhar numa posição pouco sensível, mesmo que em retrospecto da situação

a necessidade de se expor em relação à problemática do deslocamento interno, representado pelo sonho, me aproxima de uma introspecção um tanto mórbida e até bruta de certo modo -- não estou sabendo demais? e o que é o 'demais' pro ponto de expressão de uma obra de arte?

pequenos trechos pouco legíveis do texto e toda a estética visual das páginas da revista retornam essa brutalidade do texto com algum carinho -- essa exposição, crua e pouco espaçada, que assume a perdição do ego no sonho, no fim das contas, aprisiona e liberta as sensações oníricas, deixando-as se propagarem pelo nosso cerne -- do talvez à afirmação final, provavelmente a frase mais legível do jogo, livrando-nos da rejeição do cerne.

"This game is so well written, a true return to form!" a passerby says, as I watch cartoonishly evil Russian #376 kill another civilian.

"FPS games at their finest" says a lobotomy patient as I play through a scene where you go through with kidnapping a wife and child and threatening to shoot them, and shooting right next to them, which is okay because they're the wife and child of a SUPER-TERRORIST!

"A truly deep story" says an actor from the "Your Mom Hates Dead Space 2" commercial as I watch the game blame a real world incident where Americans were shooting civilians on the Russians.

"Makes you love the franchise all over again" says the voices in my head, as I play through the scene where you play as a little girl doing Dead By Daylight loops around a gigantic cartoonishly evil Russian man who just killed your father and is now coming to kill you.

"oh sick is this the one where it was like the old ones the multiplayer is awesome" says that one guy you played MW2 with back in 2009 who always camped in every room and spammed OMA Noob-tubes, as I finally beat the waterboarding mini-game and am given my reward.

This game is fucking soulless, the old Modern Warfare games had a bit of a unique charm that you'd only get out of old IW, and the newer CoD games at least tried to have something unique going on, but good job guys, you proved that you'll eat this grey awful mush as long as it reminds you of what you had like 15 years ago.

Also the multiplayer is doo-doo buttcheeks, even Vanguard is better because it had the decency to at least give you Ninja as a perk.

The tears of the Dragon and its significance to the fragmented and familiar world of Hyrule is one of the most beautiful stories Tears of the Kingdom could tell...

Still, the gamified and survivalist mechanics with a touch of ancestral alien technology repeat more intensely in the sequel, to the point where not even one of the most legendary tales of the franchise can impact a... Naked Link.

Yes, a Naked Link.

A Link who learned to communicate with his world through wild and compulsive interaction with it. Objectifying everything he encounters, because everything needs a purpose for him. Even his interactions with female characters with romantic undertones come across as a violation of boundaries.

A hero with the courage to violate what he loves if the end justifies the means? I really can't understand this Link. Maybe a mix of Conan the Barbarian with a Twink but without even the strength or desire to dominate others? A link to the past? I don't really know but I congratulate him for having the courage to spend hours and hours playing pretend as an engineering student.

Acho que nunca vi um jogo com uma estrutura narrativa tão inconsequente como a de Metal Max; inconsequente em um sentido de indiferença, ou até mesmo referente a um processo natural e espontâneo; algo que simplesmente... acontece; uma progressão não linear - em contraste a um mundo definido por uma rota de pontos de interesses - todas as ações do jogador são em sua maioria puramente inconsequentes; não há uma lógica que legitima a progressão, apenas a boa vontade (e o interesse claro) de fazer alguma caçada ou não, ou até mesmo de ignorar uma cidade ou não.

Ainda assim, é surreal o cuidado posto a cada cenário. Há aquele aspecto dito “inútil” esparso pelos cenários, que ao final acabam agregando ao senso de jornada do próprio jogador naquele universo (tipo ir para a Torre de Tokyo e simplesmente ver no mesmo andar uma referência ao Michael Jackson ao lado de uma representação de um show de strip-tease).

Dito isso, tal inconsequência combina perfeitamente com o tom extremamente cômico que beira ao sem sentido, havendo as interações mais imbecis e absurdas, como enfrentar uma gangue de Gorilas com Lança chamas, ou até mesmo encontrar um Mamute em formato de tanque em uma cidade totalmente congelada, a qual parece aqueles ginásios de gelo de Pokémon.

A melhor forma de sintetizar a experiência de se jogar Metal Max seria equivaler a experiência de se jogar algum SaGa pela primeira vez, com a exceção de não haver o processo de aprendizado de compreensão dos sistemas que cerceiam o jogo, e com a adesão do tesão que é encontrar uma tanque de guerra pela primeira vez (um bom motivo para grindar a série Metal Max).

Aliás, adoro como esse jogo começa e finaliza: inicia com o seu pai te chutando para fora de casa após você ter comentando que queria se tornar um caçador, e simplesmente finaliza com você chegando para o seu pai dizendo que desistiu de ser um caçador (isso após ter derrotado uma IA que estava ameaçando exterminar a humanidade pelo bem do planeta terra).












Eu realmente amo JRPGs nada ortodoxos

i love me a sylvie and hubol game!
very light spoiler warning, in case you want to go into the game completely blind. if you know you like sylvie's/hubol's games, or if a strange exploration platformer sounds up your alley, then i'd honestly recommend playing that way. it's free in your browser at https://sylvie.website/JIGGLYZONE/, so why not give it a whirl?

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the game is an exploration, metroidvania platformer. though the majority of the game's world is comprised of only blocks and spikes, with stationary npcs and treasure sprinkled in, sylvie and hubol do a wonderful job making each place feel varied and unique. the level design has a messy, cluttered feel to it, though is never careless; the levels are very deliberate in their overall design. the messiness meshes well with the impressionistic approach the level design uses to depict its environments; the city is represented with simple pillars of blocks, the underwater area conveyed through enclosed levels. each of these varied level design styles creates a unique navigational feel, with players naturally moving differently depending on where they are.
you always have to be thinking about your movement, because the game gets difficult. there's just so many spikes everywhere! you have see and then weave your way through these deathily cluttered places. once you're able to see through the spikes, the levels are rather open. this makes the few places that seem blocked off stand out more. see, the game does have key items required for progression, that grant you new abilities. these abilities are rather simplistic, mechanically, but once you unlock one, you understand the game's level design in a new way; things open up in a way that feel pretty distinct from your standard metroidvania.
there are also plenty of items that do absolutely nothing for you, besides being silly; this game has some fun item descriptions.

the game's presentation is on point.
the messy feel is exemplified through the game's visual style. there are a number of tile graphics for both spikes and blocks, all being rather simple designs, but they're applied seemingly at random. so, parsing the game's levels becomes a challenge requiring the player stay engaged. the backgrounds further add to this, often having a nice scrap-book-y look to them.
hubol and sylvie's color choices are solid throughout, giving each locale a lot of character.
a good soundtrack does a lot for me, and hubol's soundtrack sure as heck is good. while the songs are short, they go a long way towards giving the game its character, with a fun, offbeat, peculiarly catchy sound.

i've mostly neglected, so far in this review, to talk about the characters spread throughout the game world. they're always stationary, the guards never moving from their post, the hooligans never sneaking around, as their dialogue is the point. they're usually amusing, with strange rhymes and random capitalization, but also helps you understand the complexities of this admittedly simple world. you pick up hints of these different cultures, of tragedies that have transpired; you see characters from one place in another, implying they've travelled. i dunno, it's arguably simple, but i feel like they're done really well here.

the game certainly had its flaws, but i didn't care about them. they never subtracted from my experience (though i see how they could for someone else). i quite liked this game. again, it's free and can be played in your browser (https://sylvie.website/JIGGLYZONE/), so if you haven't played it, and it sounds fun, why not try it?
or why not check out the soundtrack on bandcamp? https://hubol.bandcamp.com/album/jiggly-zone-ost