It is Layton, so it's nothing spectacularly different from what you may have already experienced in the series. That indeed is true, but this game even flaws at following the same formula from older games, some puzzles feel tired in their concept, because many of them try to present a solution that is "outside of the box" in that the statement from the puzzle is nothing but a trick that you must not fall into. This really gets tiresome sometimes and does feel overused. The story fleshes out Layton's past, which was unexpected, but the finale falls short from being a truly memorable plot because the pacing was nothing like well-distributed.

Caramba, de verdade, essa DLC é magnifica, nunca pensei que a Nintendo daria esse carinho todo para um port para Switch de um jogo que já era meio antigo. Eles conseguiram fazer uma das melhores DLCS que já joguei em toda a minha vida, dando um carisma enorme aos personagens, conseguindo assim dar uma atenção maior ao jogo que já não era mais falado, trazendo de volta a sensação incrível desse jogo que me marcou muito. Adorei a ideia de ter que fugir do Bowser, até podermos enfrenta-lo, assim nos obrigando a explorar o mapa, que é sensacional. Me diverti muito, e se tiver a oportunidade, vale muito a pena!

It's hard to put the experience of playing this game into words. It presents itself as a RPG anthology of sorts, where you have to choose between 7 different chapters which work in unique ways and tell distinct stories, which is a challenge in itself to present such different concepts and wrap them up into one sole product, but here it is. The combat gameplay is pretty much the same throughout the game, it features a chessboard where you can move your character closer or further from your opponents, in a Tactics fashion, and then you choose from a skill which has a different area of Effect and a time for it to be cast, but the game isn't that hard, making it very rare for you to reminisce over the nuances of each skill and whatnot. That said, I'll try to shortly breakdown each chapter in the order I played.

First of all, China: it plays a homage to old Chinese kung-fu movies, and does it well. It gets emotional early on and the gameplay features a basic RPG system, with a bit of exploration, combat and story featured together. The speciality of this chapter comes into the form of training your pupils, where you must use your skills on them, so later they can use it themselves in the battles they will wage.

Prehistoric: also featuring a classic RPG system, with random encounters and everything, it is notable for having a crafting mechanic with the items you find scattered in the world, and also the absence of spoken words, all the story is unfold with actions, figures and expressions, and the fact that it is thoroughly understandable from start to finish is truly a marvel in narrative design.

Present Day: this story is simple but memorable, in that it representers a brawler going up in a tournament, the story and ambientation feels VERY Street Fighter fitting, and the boss rush structure is reminiscent of both fighting games and Mega Man. Even the final boss is a lot like Sagat.

Mecha: this chapter unravels in the Near Future(well, nowadays its actually the present) and it plays HEAVILY into anime and tokusatsu genre conventions, conveying into a story that's unpredictable and engaging, even though it is a short story. The unusual mechanic comes from the fact that your character is a telepath, and can read the minds of any NPC, which can provide both comedic effect and a substantial nuance to the story.

Wild West: This one here just struck the gold. It obviously is a tribute to spaghetti western from the beginning to the end. Your anti-hero Clint Eastwoodian protagonist must unite with your rival to protect a town and rally its population in order to trap and get revenge on a bandit group that frequently raids the small settlement. It definitely sounds familiar to Kurosawa's Seven Samurai and Sturges' Magnificent Seven, and doubtedly isn't it intentional.

Edo Japan: now, this chapter is divisive among players, but I guarantee it does try to separate itself from the rest. It features a ninja trying to rescue a prisoner from the clutches of a Daimyo. The catch here is that you can do this is many different ways, such as just destroying everything in your way, being as bad as the villains, or just being a good guy and doing everything stealthily. It's harder to follow the principles of the latter route, but I think it is better to do so in order to distance itself from the other chapters, and also because the closing statement of the story fits better for a mercyful warrior than an assassin. It also leans on Japanese history and you will meet characters that existed and are important to the country, so it's imperative to be aware of such in order to be really impacted by this arc.

Future: this chapter is the most different of them all and it is better played at last. It features no combat(aside from a completely optional minigame) and it relies solely on exploration and narrative. It is a story of a robot in a spaceship, which has to accompany your human crew and survive through the horror and disaster that befalls your comrades. It has no songs but a noise in the majority of the chapter, trying to build a suspense that echoes Alien and The Thing movies, which fitly developed characters and a story which is not willing to spare anyone.

After finishing all of these chronicles, you will be presented with a new chapter, the Medieval one: it is a Dragon Quest-esque chapter, which plays on the generic tropes and clichés of the genre, just like the other ones did, but then it spins itself into something absurd that makes sense not only to this chapter, but to the whole other stories that came before.

Finally, you will be given a experience that aims to give closure to everything that happened until now, and it features a bit of a grind or some optional dungeon exploring, but other than it, it's very straight to the point for you to beat the game, which I shouldn't spoil here.

Other than that, I'd like to comment on the soundtrack, it's really amazing the far range of instruments that this game encompasses, like banjos and the Jew's harp in the Western arc, Koto harps and Shakuhachis in the Japan story and even drums and nature sounds in the Prehistoric one, ALL of the chapters are sure to immerse you with the songs, courtesy of Yoko Shimomura, which already worked in Street Fighter and Final Fight games(note this when playing the Present Day chapter) and went on to work on the Kingdom Hearts series, which is undeniable proof of her talents.

One thing to consider is that, your experience may be hampered by the short development for some of the characters. Since it plays a lot of unconnected stories and people, it is understandably difficult to develop them all fairly as if this was an epic 50-hour long journey with the same characters to bond, like a Final Fantasy would do. Altough, personally, the idea behind LaL pays off, it's important to keep this is mind when starting your experience with this truly timeless title.

Surgindo como uma sequência inata a altas expectativas, tendo em conta o grande sucesso da ambiciosa aposta que foi Senua's Sacrifice, Senua's Saga chega como a afirmação que Hellblade precisava para se firmar como uma franquia potente.

O que precisava ser melhorado, melhorou. O que o fazia ser único e artisticamente impecável, se manteve.

Hellblade sempre se destacou pelo seu primor no que se diz respeito à sua experiência audiovisual, e isso não é segredo para ninguém.

No entanto, é estupidamente assustador o quanto essa sequência amplia suas qualidades técnicas. Contando com cenários e ambientações maravilhosas, um trabalho sonoro estupendo e novamente expressões faciais que contam com atuações brilhantes, principalmente por Melina Jurgens como Senua, eu não tenho nenhuma dúvida, é o jogo graficamente mais bonito que eu já joguei na minha vida.

"𝘈 𝘭𝘰𝘴𝘵 𝘴𝘰𝘶𝘭 𝘸𝘩𝘰 𝘸𝘦𝘯𝘵 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘩𝘦𝘭𝘭 𝘵𝘰 𝘧𝘪𝘯𝘥 𝘩𝘪𝘮𝘴𝘦𝘭𝘧".

A continuação da história de Senua nos leva a uma jornada muito mais profunda acerca das suas ambições, seu destino e sua própria escuridão, trabalhando com questionamentos frequentes sobre todas essas questões. A determinação de Senua é muito mais aparente, imponente.

Grande parte do que tornava seu antecessor difícil de digerir era a forma com a qual a narrativa caminhava do ponto de vista da jogabilidade. Estar a todo momento resolvendo puzzles maçantes e muitas vezes frustrantes quebravam muito da imersão e tornava a experiência cansativa.

Felizmente, digo com tranquilidade que não há nenhum puzzle nessa sequência que eu não tenha me divertido resolvendo.

Bem como o combate, que apesar de ter se tornado bem mais simples, ao mesmo tempo se tornou mais cinematográfico, com movimentos bem mais fluidos e bonitos, se destacando principalmente pela ausência de grandes bosses e o foco no combate um contra um, que me agrada bastante.

Grande parte dos momentos-chave de Hellblade II são extremamente impactantes, ao ponto de se manterem na memória por bastante tempo. O tempo curto de campanha é justificável e excelente, mas não posso negar que fica um gosto de "quero mais".

Ainda mantenho minha opinião de que não são todas as pessoas que conseguiriam se afeiçoar por Hellblade, mas não posso deixar de recomendar novas tentativas.

Senua's Saga: Hellblade II é a junção de tudo o que faz o cinema ser mágico com o que torna videogames tão especiais e únicos.

"𝘐 𝘤𝘢𝘳𝘳𝘺 𝘪𝘵 𝘸𝘪𝘵𝘩 𝘮𝘦. 𝘐𝘵 𝘥𝘳𝘪𝘷𝘦𝘴 𝘮𝘦 𝘧𝘰𝘳𝘸𝘢𝘳𝘥. 𝘐𝘵'𝘴 𝘢 𝘱𝘳𝘰𝘮𝘪𝘴𝘦, 𝘯𝘰𝘵 𝘢 𝘱𝘳𝘪𝘴𝘰𝘯."

[LEARN THE DIFFERENCE]

Has politics (BAD)
Don't has politics (GOOD)

Thank goodness they will never put politics in my beloved Kiseki games.

Game Dev Tycoon is the only game i'ever bought on my phone because you know, if you pirate it you'll have no chance of getting too far into the game. At some point your games will start to get pirated and you'll go bankrupt eventually.
You start from a small garage and you end up growing into a major industry leader. I love the fact that the game begins in the early days of the gaming industry (around the 80s) and progresses through several decades, the furthest I got was to 300 years in the future 😅
The game is very engaging and it gives you freedom, you can create games by selecting various genres, themes, and platforms, and then manage the development process by allocating resources to different aspects such as graphics, sound, gameplay etc.

The game's biggest strength is it's replayability. As you progress, you unlock new technologies, game genres, and research options, allowing for increasingly sophisticated game development. There's also the challenge of staying ahead of industry trends and competitors. It adds a layer of strategic depth that keeps the gameplay interesting over multiple playthroughs.
The biggest flaw of the game is that at some point, you reach endgame and you stop unlocking new gameplay elements. I wish they supported this game for longer and added more depth to it.

All in all, this is a neat and unique idea of a game that gets addictive really quick.
Im sad that i never developed a game that got a pure 11/10 rating:((

Eu falei muito mal de Castlevania, jambrolhei mermo mas eu queimei minha língua

Pessoal é o seguinte, quem me conhece ta ligado que eu até o momento ODIAVA castlevania com todas as forças, e junto disso eu também odiava metroidvania e jogos de exploração 2D e eu não odiava por eles serem ruins e sim porque eu não gostava desse estilo de jogo e me deixava sempre com sono e puto, só que decidi dar uma chance pro Super Castlevania IV esse ano já que to visitando a biblioteca do SNES com mais carinho, e acabou que tudo mudou na minha vida a partir de então.

No começo do jogo eu já fiquei animado e ele manteve esse pique ATÉ O FINAL isso é surpreendente, não teve NENHUMA fase que me deixasse entediado ou sem vontade de jogar, peguei ele pra jogar em um dia que tava livre e mano.. eu fui jogando desde tarde até a noite sem ficar cansado e isso é raro de acontecer.

Acontece é que todos os cenários do jogo são muito bem trabalhados, sua trilha sonora é fantástica seus gráficos são MARAVILHOSOS e sua gameplay é perfeita e eu arrisco dizer que ela nem envelheceu tanto assim da pra jogar perfeitamente hoje em dia

E claro que você vai passar raiva sim, você vai passar e muita tanto no cenário quanto nos bosses, mas fica tranquilo que a dificuldade é constante não é nada desequilibrada você vai passar raiva do início ao fim então nada de zona segura por aqui

Sobre a história o jogo não explica tanto ou.. pra ser sincero não explica nada, só lembre que seu objetivo é jambrolhar o Dracula no chicote e é isso, o jogo demora pra zerar já pra deixar claro eu demorei umas 3 horas mas pode levar até 5 ou 6 pra finalizar, pra um jogo de ação do SNES isso é bastante coisa mas fica tranquilo que vale muito a pena de verdade

Se você é como eu não gostava de Castlevania ou não gosta de jogos 2D com exploração, dê uma chance pro Super Castlevania porque você pode virar uma chave na tua vida e acabar gostando de um estilo que até então você odiava!

Eu realmente queria ter gostado do jogo, pois o visual é fantástico e comprei logo no lançamento há muito tempo. No entanto, após tentar jogá-lo pela quinta vez hoje, decidi desistir definitivamente.

Os controles são estranhos, a câmera é confusa, o lock nos inimigos é péssimo e muda automaticamente. A interface do usuário não é intuitiva; não consigo encontrar um local que mostre os status de forma decente. O mapa é extremamente confuso, morri várias vezes ao ir para lugares errados, algo completamente injusto. Nem consegui finalizar a primeira área.

Mas o pior de tudo é como o combate é lento e não parece recompensador. Não há parry, apenas a solidificação, e ela não traz nenhuma sensação de recompensa. A stamina é ridiculamente pequena. Os inimigos são lentos, mas conseguem te cercar facilmente, e parece que não há nada que você possa fazer. Não há nenhuma identidade no combate, e às vezes não faz diferença se você ataca rápido ou pesado, pois você acaba sendo apunhalado pelas costas enquanto enfrenta outros cinco inimigos na sua frente.

Not bad, in fact it's quite refreshing to seeing the early 2000's aesthetics translated into a game. It's funny, I would have probably thought it was total cringe back then but now seeing these scantly clad ladies dance to goth music feels me with a sense of immersion and melancholy, specially after using the money command.
Still, the game is far from perfect. While it has a great deal of roleplaying options combat just doesn't work very well, at least in melee, and specially towards the end (before that I would say it's fine, even good). Level design also sucks when it matters the most: hubs, bars, etc. all look great but the sewers? The hotel where you go kill the Sabbat? The asian vampire temple? Instead of being set pieces like, let's say, a Yakuza game, they simply suck ass.
I also felt like I made a mistake by focusing in melee by the end, made my experience a bit miserable with the combination of those 2 factors I have mentioned.
It's also rather buggy, even after all these years and even after applying most recent Unofficial Patch. At one point I couldn't even get inside my apartment in Downton due to the clutter having being transformed into giant boulders, not kidding. Or the taxi disappearing and leaving the driver floating in the air. The camera also goes insane rather frequently.
The endings I've seen are nothing to write home about sadly.
Overall I think that it deserves to be taken into consideration and recommended but I also think it might be a bit overrated.