fancyynancyy
2023
They really took that AMD partnership seriously with how shitty the performance on Nvidia is, huh.
Anyway, literally in the first minutes of the game:
You meet nonchalant Barrett, who's just arrived and is going to give you his ship. But he doesn't tell that space pirates were actually following him
Yara yara dialogue, and then the pirates ship appear
Barrett: "I REALLY thought I lost them..."
Supervisor Lin: (angry) Barrett!
Pirate ship start landing
Supervisor Lin: "Weapons! Everybody get ready!"
A gunfight starts between your people and the pirates
You kill them, they kill a few of yours
Supervisor Lin: "Of course Barrett was being followed... Every. Time."
Barrett: (all happy and smiling) "Now that was some fine work under pressure."
Barrett goes on being cheeky and cracking jokes like nothing happened
...
I guess he doesn't care that he just got a bunch of people killed? LMAO.
I know I'm being a little bit of a cunt, but come on... it's the very first minutes. Bethesda writing, baby!
Game's feeling really boring atm. Doesn't do anything better than the games they're trying to copy. What's the point of the spaceship if I'm going to fast travel everywhere I go? And what the FUCK is that map? It actually does a disservice to the player by existing. How come Skyrim, a game that came out in 2011(!), has a better map? This doesn't feel like a game that's been in development 8 years.
I'm going to try it again in a year or so... or whenever the modders finish its development.
Anyway, literally in the first minutes of the game:
You meet nonchalant Barrett, who's just arrived and is going to give you his ship. But he doesn't tell that space pirates were actually following him
Yara yara dialogue, and then the pirates ship appear
Barrett: "I REALLY thought I lost them..."
Supervisor Lin: (angry) Barrett!
Pirate ship start landing
Supervisor Lin: "Weapons! Everybody get ready!"
A gunfight starts between your people and the pirates
You kill them, they kill a few of yours
Supervisor Lin: "Of course Barrett was being followed... Every. Time."
Barrett: (all happy and smiling) "Now that was some fine work under pressure."
Barrett goes on being cheeky and cracking jokes like nothing happened
...
I guess he doesn't care that he just got a bunch of people killed? LMAO.
I know I'm being a little bit of a cunt, but come on... it's the very first minutes. Bethesda writing, baby!
Game's feeling really boring atm. Doesn't do anything better than the games they're trying to copy. What's the point of the spaceship if I'm going to fast travel everywhere I go? And what the FUCK is that map? It actually does a disservice to the player by existing. How come Skyrim, a game that came out in 2011(!), has a better map? This doesn't feel like a game that's been in development 8 years.
I'm going to try it again in a year or so... or whenever the modders finish its development.
2016
Builds a meta-relationship with the main character through emotional connection in such an effective way. Specially because to a certain extent, Henry and the player are in the same shoes, trying to escape reality. And when the ending comes, it hits the same way for both (even the players with negative views on it agree without realizing). Crushing game, but amazing at what it sets out to do. Loved it.
(Disappointing how the game sets the mood from the very start with a grounded heartbreaking story, but people still expect mysteries, conspiracy theories, aliens... but whatever, I'm just being cranky)
(Disappointing how the game sets the mood from the very start with a grounded heartbreaking story, but people still expect mysteries, conspiracy theories, aliens... but whatever, I'm just being cranky)
2023
Oh, look at that! AC Valhalla got a sequel this quickly? Weird name for it though, "Hogwarts Legacy".
Sorry for the meanness, but this is pretty much everything I despise about triple A games nowadays. A successful time waster, barren of any substance whatsoever. Hitting the usual Ubisoft clone faults:
-Awkward pacing all around
-Bland ass dialogue
-Mediocre gameplay
-Over the top UI
-Mind numbing collectathons
-Side quests = fetch quests
-Bloated open-world
-Plays like it should've come out in 2014
Etc, etc.
To be honest, I can completely understand if you enjoy it as a hardcore HP fan, but I personally found it very silly. And I'm probably being too harsh with my rating, but I don't have any patience left for these types of games anymore.
★½ – Unplayable ❌
(And oh yeah, Rowling is an awful piece of shit of a human. And no, that's not reflected in my rating. The game's just that bad as it is.)
Sorry for the meanness, but this is pretty much everything I despise about triple A games nowadays. A successful time waster, barren of any substance whatsoever. Hitting the usual Ubisoft clone faults:
-Awkward pacing all around
-Bland ass dialogue
-Mediocre gameplay
-Over the top UI
-Mind numbing collectathons
-Side quests = fetch quests
-Bloated open-world
-Plays like it should've come out in 2014
Etc, etc.
To be honest, I can completely understand if you enjoy it as a hardcore HP fan, but I personally found it very silly. And I'm probably being too harsh with my rating, but I don't have any patience left for these types of games anymore.
★½ – Unplayable ❌
(And oh yeah, Rowling is an awful piece of shit of a human. And no, that's not reflected in my rating. The game's just that bad as it is.)
Lol, and lol.
You know, I really gotta give props to David Cage, he really is an innovator. Like how do you manage to make a game about discrimination/segregation/slavery with an allegory for civil rights so flawed, so stupid, that it double backs and ends up becoming offensive. Really impressive. Even still, if I'd completely ignore that and take this game at face value, there are so many issues with this that you could break it apart piece by piece (the melodramatic writing; David's usual misery porn; a "plot twist" so unnecessary that it ruins a whole character arc; the plot holes, holy shit, the amount of plot holes). Also, can we stop and think that this line was written, if not by an English white dude, by a French white man? Lmao.
As difficult as it is to talk positively about this I do have to mention a huge improvement over past Quantic Dreams games, and that's the presentation. Which I think it's also the main reason for the positive feedback Detroit has compared to their previous. Everything from the graphics, to the music, acting (specially Connor and Hank), and even the cinematic feel, is considerably better. I guess this would be Quantic Dream's closest attempt at making a game that feels like a movie, and it's really close to achieving it. Kind of disappointing that players find that enough to be tricked and ignore everything else about it that's a flaw, though.
Anyway, I'm currently dead sick so spending any effort in talking about this is exhausting enough... David Cage's best game so far.
★½ – Unplayable ❌
You know, I really gotta give props to David Cage, he really is an innovator. Like how do you manage to make a game about discrimination/segregation/slavery with an allegory for civil rights so flawed, so stupid, that it double backs and ends up becoming offensive. Really impressive. Even still, if I'd completely ignore that and take this game at face value, there are so many issues with this that you could break it apart piece by piece (the melodramatic writing; David's usual misery porn; a "plot twist" so unnecessary that it ruins a whole character arc; the plot holes, holy shit, the amount of plot holes). Also, can we stop and think that this line was written, if not by an English white dude, by a French white man? Lmao.
As difficult as it is to talk positively about this I do have to mention a huge improvement over past Quantic Dreams games, and that's the presentation. Which I think it's also the main reason for the positive feedback Detroit has compared to their previous. Everything from the graphics, to the music, acting (specially Connor and Hank), and even the cinematic feel, is considerably better. I guess this would be Quantic Dream's closest attempt at making a game that feels like a movie, and it's really close to achieving it. Kind of disappointing that players find that enough to be tricked and ignore everything else about it that's a flaw, though.
Anyway, I'm currently dead sick so spending any effort in talking about this is exhausting enough... David Cage's best game so far.
★½ – Unplayable ❌
2023
My face and body is full of 12 gauge holes, but now I'm 58k dollars richer!
1999
The one Silent Hill that gets shrugged off as dated and uninteresting, which I couldn't disagree more.
The weakest of the main 4 games plotwise (even still, features a more than decent story compared to modern horror games like Amnesia: Rebirth or Alan Wake), but who established most of what makes Silent Hill the best horror franchise in gaming: The dream-like nature, woven with the echoes of Alessa's psyche reverberating through the world; the esoteric symbolism around emotions and trauma; and the relentless suffocating atmosphere of the Otherworld, and its alien nature. All these elements, combined with the game's remarkable art design, graphics and an unforgettable soundtrack (that somehow only improves with each subsequent installment), solidify Silent Hill as a timeless classic.
On a more specific note, I love the piano and zodiac puzzle so much. I remember as a little kid playing this game at a friend's house and never figuring out the solution to the first, even though we tried like the whole day. Well, this time around I spent like 20 minutes alone trying to make sense of the second, and when I figured the solution it only made me feel dumber for not realizing how simple it was, goddammit. As a positive, now I know a little bit about astrology... lol.
★★★½ – Great ✅
KOBE! (That's a dog head)
The weakest of the main 4 games plotwise (even still, features a more than decent story compared to modern horror games like Amnesia: Rebirth or Alan Wake), but who established most of what makes Silent Hill the best horror franchise in gaming: The dream-like nature, woven with the echoes of Alessa's psyche reverberating through the world; the esoteric symbolism around emotions and trauma; and the relentless suffocating atmosphere of the Otherworld, and its alien nature. All these elements, combined with the game's remarkable art design, graphics and an unforgettable soundtrack (that somehow only improves with each subsequent installment), solidify Silent Hill as a timeless classic.
On a more specific note, I love the piano and zodiac puzzle so much. I remember as a little kid playing this game at a friend's house and never figuring out the solution to the first, even though we tried like the whole day. Well, this time around I spent like 20 minutes alone trying to make sense of the second, and when I figured the solution it only made me feel dumber for not realizing how simple it was, goddammit. As a positive, now I know a little bit about astrology... lol.
★★★½ – Great ✅
KOBE! (That's a dog head)
This review contains spoilers
The main character's alcoholism being foreshadowed by the chemical composition of ethanol written on the walls kind of tells you everything about Dear Esther. Wonderful visuals and soundtrack/sound work, but not much else. The unambiguous story doesn't really merit the disjointed narrative treatment, it only takes away from the game's emotional connection with the player.
2016
This review contains spoilers
(If you haven't played Anatomy don't read yet!)
Surprises me how nobody mentions that this game works perfectly as a representation of trauma, which I think was Kitty's intention. And considering it does so using a house as an analog, it's done really well.
The House lashes out violently at you, its "Intruder", in a fit of rage so strong that the House's own reality begins to distort. We never know if the part you play is one of malicious intent, but the House thinks so, and so it hurts you. I think the reason it does is revealed in the epilogue, where it mentions the House being abandoned by its builders once it was no longer of use. In its lonesome, ever-wondering why that was and if it was its fault or theirs, the House builds a toxic mental place by creating "shadow puppets" molded by its experiences, reliving the past and hurting itself over its own memories. I think the man that's "breaking and upsetting things", that the House leaves down in the basement (never to be dealt with) is one of those puppets. Feeling wrong, and wronged at the same time, makes it grow bitter and violent, and so it lashes out at subsequent occupants, the people that try to get close to it (if my own builders were capable of hurt, then what it awaits me?), creating a cycle of self-harm and self-hatred that in its mind validates the decision of the builders of hurting it because it's evil. Succumbing the House into its dark thoughts, and corrupting it more and more.
Admittedly, I wasn't expecting much from this game, mostly because of watching a few playthroughs of Kitty's works and them not impressing me, but this was incredible both as an artistic experience and as a horror game. Amazing.
-----------------------------------------------------------------------------------------------------------------------------------
I'll leave the epilogue here if you want to read it again:
"What happens to a house when it is left alone? It becomes worn and aged. And its paint peels and its foundations begin to sink. It goes for too long unlived in. What does it think of? What does it dream? How does it regard those creatures who built it? Who brought it into existence only to abandon it when its usefulness no longer satisfies them. It may grow lonesome. It may stare for long hours into the darkness of its empty halls and see shadows. Its heart may jump as it thinks, "here, here is someone again, I am not alone." Each time it is wrong. And the hurt starts over. It may haunt itself, inventing ghosts to walk its floors, making friends with its shadow puppets, laughing and whispering to itself at the end of some quiet cul-de-sac. It may grow angry. Its basement may fill with churning acid like an empty stomach. And its gorge may rise as it asks itself, through clenched teeth, "what did I do wrong?" It may grow bitter. It may grow hungry. So hungry and so bitter that its scruples dissolve, and its doors unlock themselves. While a house may hunger, it cannot starve. And so in fever and anger and loneliness, it may simply lie in wait. Doors open. Shades drawn. Hallways empty. Hungry."
Surprises me how nobody mentions that this game works perfectly as a representation of trauma, which I think was Kitty's intention. And considering it does so using a house as an analog, it's done really well.
The House lashes out violently at you, its "Intruder", in a fit of rage so strong that the House's own reality begins to distort. We never know if the part you play is one of malicious intent, but the House thinks so, and so it hurts you. I think the reason it does is revealed in the epilogue, where it mentions the House being abandoned by its builders once it was no longer of use. In its lonesome, ever-wondering why that was and if it was its fault or theirs, the House builds a toxic mental place by creating "shadow puppets" molded by its experiences, reliving the past and hurting itself over its own memories. I think the man that's "breaking and upsetting things", that the House leaves down in the basement (never to be dealt with) is one of those puppets. Feeling wrong, and wronged at the same time, makes it grow bitter and violent, and so it lashes out at subsequent occupants, the people that try to get close to it (if my own builders were capable of hurt, then what it awaits me?), creating a cycle of self-harm and self-hatred that in its mind validates the decision of the builders of hurting it because it's evil. Succumbing the House into its dark thoughts, and corrupting it more and more.
Admittedly, I wasn't expecting much from this game, mostly because of watching a few playthroughs of Kitty's works and them not impressing me, but this was incredible both as an artistic experience and as a horror game. Amazing.
-----------------------------------------------------------------------------------------------------------------------------------
I'll leave the epilogue here if you want to read it again:
"What happens to a house when it is left alone? It becomes worn and aged. And its paint peels and its foundations begin to sink. It goes for too long unlived in. What does it think of? What does it dream? How does it regard those creatures who built it? Who brought it into existence only to abandon it when its usefulness no longer satisfies them. It may grow lonesome. It may stare for long hours into the darkness of its empty halls and see shadows. Its heart may jump as it thinks, "here, here is someone again, I am not alone." Each time it is wrong. And the hurt starts over. It may haunt itself, inventing ghosts to walk its floors, making friends with its shadow puppets, laughing and whispering to itself at the end of some quiet cul-de-sac. It may grow angry. Its basement may fill with churning acid like an empty stomach. And its gorge may rise as it asks itself, through clenched teeth, "what did I do wrong?" It may grow bitter. It may grow hungry. So hungry and so bitter that its scruples dissolve, and its doors unlock themselves. While a house may hunger, it cannot starve. And so in fever and anger and loneliness, it may simply lie in wait. Doors open. Shades drawn. Hallways empty. Hungry."
2016
Surprisingly good, and I say that because this is considered a true urban exploration game, which is something that never really interested me before. Is there any other game like this? Definitely leave a comment if you know one, because it was really fun.
To summarize it, Infra takes you onto the role of a structural analyst who has been sent onto the field to make repairs and take photos of structural damage and any important documents you find, all while exploring the meticulously designed city of Stalburg, and unrevealing its mysterious conspiratorial plot. The main appeal of this game are the environments. I can't express enough how detailed and how naturally the infrastructure flows, specially because of how varied it is. From industrial complexes, to sewers, metros, abandoned buildings, offices, water treatment plants, urban areas, and more. The work that must have gone into creating these places is really commendable, and I guess that's the main reason behind the game releasing in three parts. But there's also some really smart environmental storytelling, lifelike puzzles, secrets, and other s̸͕̾t̶͇̔u̶̳͘f̷̳̎f̵̯̌ to find. And oh yeah, great nostalgic Source prop humor (the spider, holy shit). The plot is also really engaging if you like indulging in a really long and complex conspiratorial interconnected story (seriously, it's massive).
Now, this is probably the only game that I give a positive rating and did not finish, mostly because of a combination of factors. Between being occupied with college, getting soft locked in a puzzle, and the last chapters not being as interesting as the rest, I don't feel like continuing it. But to be honest I already got my enjoyment out of it. This is a walking sim, but it's REALLY long, like 20+ hours, so for me it's not that big of a deal. There are other complaints I have about the game, like the voice acting, but I feel like the uniqueness of it outweighs the negatives, so I'm not going to ramble about them.
If this sounds interesting for you, I recommend giving it a try. It sure didn't for me, but I'm glad I tried it. I guess thanks to David Szymanski for recommending it on twitter.
If you already completed the game, check out what happens in the B2 tunnel if you haven't already because it's uh...something.
★★★ – Good ✅
To summarize it, Infra takes you onto the role of a structural analyst who has been sent onto the field to make repairs and take photos of structural damage and any important documents you find, all while exploring the meticulously designed city of Stalburg, and unrevealing its mysterious conspiratorial plot. The main appeal of this game are the environments. I can't express enough how detailed and how naturally the infrastructure flows, specially because of how varied it is. From industrial complexes, to sewers, metros, abandoned buildings, offices, water treatment plants, urban areas, and more. The work that must have gone into creating these places is really commendable, and I guess that's the main reason behind the game releasing in three parts. But there's also some really smart environmental storytelling, lifelike puzzles, secrets, and other s̸͕̾t̶͇̔u̶̳͘f̷̳̎f̵̯̌ to find. And oh yeah, great nostalgic Source prop humor (the spider, holy shit). The plot is also really engaging if you like indulging in a really long and complex conspiratorial interconnected story (seriously, it's massive).
Now, this is probably the only game that I give a positive rating and did not finish, mostly because of a combination of factors. Between being occupied with college, getting soft locked in a puzzle, and the last chapters not being as interesting as the rest, I don't feel like continuing it. But to be honest I already got my enjoyment out of it. This is a walking sim, but it's REALLY long, like 20+ hours, so for me it's not that big of a deal. There are other complaints I have about the game, like the voice acting, but I feel like the uniqueness of it outweighs the negatives, so I'm not going to ramble about them.
If this sounds interesting for you, I recommend giving it a try. It sure didn't for me, but I'm glad I tried it. I guess thanks to David Szymanski for recommending it on twitter.
If you already completed the game, check out what happens in the B2 tunnel if you haven't already because it's uh...something.
★★★ – Good ✅
2012
This review contains spoilers
First time replaying it since 2012-ish. Used to be one of my favorite games back then, but after a discussion I had with @Blowing_Wind and replaying it, I don't think the meta-commentary aged that well.
I guess for context I'll clarify that gaming back then was going through a rough patch. I remember being particularly bored with AAA games, which started feeling formulaic and uninspiring. It was during this time that indie games like Hotline Miami, Journey, Stanley Parable, started coming out, daring to be different. And in the case of Hotline Miami, what made it unique is that it works as a meta-commentary on the desensitization of violence in gaming, with the developers themselves shaming players for their enjoyment.
The game's story is divided in two parts: Jacket's, who is the character that represents the player that only wants violence (who is the most rewarded, ironically); and Biker's, who is the player that wants a story, to find meaning behind Jacket's actions (through more violence). And during the game's course you would find the developers taking not-so-subtle jabs at both of these, by masking themselves as characters inside the game: the masks/janitors.
In the context of 2012, this concept alone was enough to deem it a great game. But after discussions surrounding violence in games have evolved, and others tackled this concept in much better ways, the game's message now ends up somewhat basic and one-dimensional. I don't think there's much of a point in it, actually. Should I feel bad for killing pixels on the screen? Specially when it's designed to be enjoyable by the same devs? It doesn't make a meaningful statement on violence whatsoever. Overall feels kind of hypocrite and pointless.
That said, since the game's still fun and since I find the representation of both types of players an interesting take, I'll still give it a good rating, but yeah, not as good as I remembered it. Brought it down from an 8 to a 6.
★★★ – Good ✅
(Kind of curious how Spec Ops: The Line came out in the same year, with the very same commentary 🤔)
I guess for context I'll clarify that gaming back then was going through a rough patch. I remember being particularly bored with AAA games, which started feeling formulaic and uninspiring. It was during this time that indie games like Hotline Miami, Journey, Stanley Parable, started coming out, daring to be different. And in the case of Hotline Miami, what made it unique is that it works as a meta-commentary on the desensitization of violence in gaming, with the developers themselves shaming players for their enjoyment.
The game's story is divided in two parts: Jacket's, who is the character that represents the player that only wants violence (who is the most rewarded, ironically); and Biker's, who is the player that wants a story, to find meaning behind Jacket's actions (through more violence). And during the game's course you would find the developers taking not-so-subtle jabs at both of these, by masking themselves as characters inside the game: the masks/janitors.
In the context of 2012, this concept alone was enough to deem it a great game. But after discussions surrounding violence in games have evolved, and others tackled this concept in much better ways, the game's message now ends up somewhat basic and one-dimensional. I don't think there's much of a point in it, actually. Should I feel bad for killing pixels on the screen? Specially when it's designed to be enjoyable by the same devs? It doesn't make a meaningful statement on violence whatsoever. Overall feels kind of hypocrite and pointless.
That said, since the game's still fun and since I find the representation of both types of players an interesting take, I'll still give it a good rating, but yeah, not as good as I remembered it. Brought it down from an 8 to a 6.
★★★ – Good ✅
(Kind of curious how Spec Ops: The Line came out in the same year, with the very same commentary 🤔)
1998
I honestly don't remember which taught me about video games as an art form first, LSD: Dream Emulator or Shadow of The Colossus... But anyway, I'll always appreciate this game for that, even if I didn't quite understand it at first (I remember a childhood friend in primary school talking about this game and I thought it was dumb hippie stuff, lol).
Coincidentally, I've just played a few dream logic games before this, and they didn't quite grab me. I think what LSD excels at is creating those dynamic unique moments, be it scary, bizarre, or beautiful. I guess those previous game felt a lot more linear... like there's a trail to follow, but at least to me, that's not really how it works in dreams. I mean, just a few days ago I had a dream where I was in Asgard(?), a golden city full of people, then the dream turned into a horror scene where I was being chased by a dark figure in a tunnel, which that figure turned out to be Orlando Bloom in a monster(?) suit. After, I remember an image of a car getting out of control, and I woke up hysterically laughing from that image. Pure nonsense, just like this game. Perfect.
Coincidentally, I've just played a few dream logic games before this, and they didn't quite grab me. I think what LSD excels at is creating those dynamic unique moments, be it scary, bizarre, or beautiful. I guess those previous game felt a lot more linear... like there's a trail to follow, but at least to me, that's not really how it works in dreams. I mean, just a few days ago I had a dream where I was in Asgard(?), a golden city full of people, then the dream turned into a horror scene where I was being chased by a dark figure in a tunnel, which that figure turned out to be Orlando Bloom in a monster(?) suit. After, I remember an image of a car getting out of control, and I woke up hysterically laughing from that image. Pure nonsense, just like this game. Perfect.
2023
If you can get behind the idea of a horror game about cars trying to kill you, then this is actually pretty good.
It's very short, but manages to be anxiety inducing for most of the run time. I always got an inexplicable intense feeling of terror from people chasing me (even if it's not threateningly), and that's what this game felt like, although this time it's an unstoppable metal thing trying to murder you. The concept is silly, but there's enough self awareness humor to appreciate, like the cars taunting you by playing loud music or the ice cream truck that plays daisy bell (which holy shit, that got me). Something to note is the devs decision to make the game take place in a snowy setting, I thought that was a clever way of justifying the cars' crazy movement. Apart from some minor clunk, the only negative thing to mention is the story, that to me personally didn't contribute much. But that's not to say it shouldn't be in the game, I just think it could've been done better. Overall a good surprise, go try it if you have an hour free.
It's very short, but manages to be anxiety inducing for most of the run time. I always got an inexplicable intense feeling of terror from people chasing me (even if it's not threateningly), and that's what this game felt like, although this time it's an unstoppable metal thing trying to murder you. The concept is silly, but there's enough self awareness humor to appreciate, like the cars taunting you by playing loud music or the ice cream truck that plays daisy bell (which holy shit, that got me). Something to note is the devs decision to make the game take place in a snowy setting, I thought that was a clever way of justifying the cars' crazy movement. Apart from some minor clunk, the only negative thing to mention is the story, that to me personally didn't contribute much. But that's not to say it shouldn't be in the game, I just think it could've been done better. Overall a good surprise, go try it if you have an hour free.
Kind of funny how I replayed Hotline Miami, which was one of my favorite games, then disappointingly realized it aged poorly, followed by its sequel bringing back the familiar satisfaction the original made me feel in 2012.
Hotline Miami 2 recontextualizes the original's flawed commentary about violence, changing the framing approach to the issue by using elements that were already in the first game, bringing it to a whole another level of complexity. This sequel isn't so much about merely shaming players for enjoying violent video games, but a reflection of human nature's self-destructiveness on the cycle of violence, and the insidious influence of nationalism and propaganda. While secondarily working as a criticism of the film industry, similarly as how Hotline Miami was to gaming, still flirting with the notion of glorifying violence, it does so in a more nuanced and thought-provoking manner.
If you enjoy games that make you think about its themes and philosophy, this is your wet dream. It's been a long time since a game made me ramble in my own thoughts this much. I do have to point out that there are some ideas here that maybe I don't know if I 100% agree that much, mostly about how nihilistic some of its commentary is, but overall, this game is fucking awesome, and a reminder as to why I love this medium so much.
Lastly, something I have to mention. I'm seeing a recurring complaint people have about this game and its level design, which is players dying by off-screen fire... Question, you all know you can press SHIFT to move the camera further, right? I know it sounds like I'm being an asshole, but I'm not. I didn't know either; I tried like 3-4 different times to get into this game, but never could... and I think not knowing I could use the SHIFT button was the main reason. So, yeah... use it, lol.
★★★★ – Excellent ✅
Hotline Miami 2 recontextualizes the original's flawed commentary about violence, changing the framing approach to the issue by using elements that were already in the first game, bringing it to a whole another level of complexity. This sequel isn't so much about merely shaming players for enjoying violent video games, but a reflection of human nature's self-destructiveness on the cycle of violence, and the insidious influence of nationalism and propaganda. While secondarily working as a criticism of the film industry, similarly as how Hotline Miami was to gaming, still flirting with the notion of glorifying violence, it does so in a more nuanced and thought-provoking manner.
If you enjoy games that make you think about its themes and philosophy, this is your wet dream. It's been a long time since a game made me ramble in my own thoughts this much. I do have to point out that there are some ideas here that maybe I don't know if I 100% agree that much, mostly about how nihilistic some of its commentary is, but overall, this game is fucking awesome, and a reminder as to why I love this medium so much.
Lastly, something I have to mention. I'm seeing a recurring complaint people have about this game and its level design, which is players dying by off-screen fire... Question, you all know you can press SHIFT to move the camera further, right? I know it sounds like I'm being an asshole, but I'm not. I didn't know either; I tried like 3-4 different times to get into this game, but never could... and I think not knowing I could use the SHIFT button was the main reason. So, yeah... use it, lol.
★★★★ – Excellent ✅
I got recommended to play Super before Zero Mission, which I would suggest against. ZM it's pretty much on par, but more accessible, less clunky, and shorter. And in terms of gameplay, I think it's just as fun, even though easier. But what I'm missing is the unique atmosphere of Super and the little moments that added to the story and overall impact of the game (like Crocomire and a certain cute interaction at the end). So overall, I don't have much to say about ZM. It's a decent Metroid, but not as memorable for me.
The best feeling Metroid I've played so far, with also featuring some great bosses (the unique fights). Calling this fangame "impressive" leaves it short, but I'm not rating it as high as Super just by the fact that this is still a Metroid 2 remake. Inherently the story, repeat bosses (even more here actually), and level progression are still untouched from the original, so that brings it down a little. But if you enjoyed Zero Mission, you'll probably like AM2R even more, at least the gameplay side of it.