Quando vi pela primeira vez na direct da nintendo o interesse foi instantâneo, as cores me intrigavam, a arte muito me apetece, a musica era legal e o nome soava engraçado. Mas enfim joguei Penny's Big Breakaway e o que eu recebi foi uma experiencia frustrante por conta das colisões inexistentes, inúmeros bugs de movimentação, quedas de FPS, um jogo lento e um loop de gameplay que me enjoou já na segunda hora de jogo.

Eu geralmente não falo sobre aspectos técnicos nos meus comentários por achar que isso pouco importa pro que eu senti no fim (eles ajudam, mas não é parte fundamental ao meu ver) entretanto para esse jogo toda a frustração que eu senti e raiva das mortes sem sentido foram advindas do próprio jogo.

Penny's Big Breakaway tem a ideia de ser um daqueles jogos que execução e velocidade é o que dita o momento a momento do jogo mas as distribuições do moveset de Penny pouco contribuem para tal. é um jogo que se estende por espantadores 11 mundos, o que me fez desejar um avc durante a jogatina.

Ainda existe valor, ainda tem um jogo ok aqui, mas para além da frustração do jogo não funcionar como devido por causa de bugs, acho que os problemas do jogo são mais estruturais. Muito me peguei pensando sobre como funciona o game design em essência, na faculdade nos aprendemos técnicas, métodos e maneiras e segurar ou despertar emoções no jogador, e já que estamos tratando de um platformer e a frustração que senti isso me lembrou o rage inducing e o masocore.

Eu não consigo expressar o quanto de raiva eu senti enquanto eu jogava esse jogo, mas consigo elucida-la. Jogos como Cuphead, Jump King, Celeste que buscam no rage induncing uma forma de satisfação por meio da frustração, tem como peça central uma polidez técnica ou um desafio muito bem definido e por vezes, variado. E causando uma frustração no jogador que o faz buscar passar aquele level ou aquele chefe e se sentir aliviado no fim, é tipo um... souls... sabe?

O masocore ele se distancia por essencia do rage inducing mas a ideia é muito parecida, mas é mas ligada a level design, ai você tem I Wanna Be The Guy, Cat Mario ou Mighty Jill off que na ideia de dificuldade trás a mesma sensação de satisfação ao jogador.

No fim o que eu quero dizer é: Eu senti muito raiva jogando Penny's Big Breakaway, mas em nenhum momento eu quis engajar a frustração, a ideia do jogo não é ser difícil, mas ele se torna difícil por quão desajeitado que ele é, o jogo tem seu charme, mas é bom apenas ver de longe, já que quanto mais se aproximar, mais o desastre é perceptível.

🇬🇧 full review | 🇧🇷 resenha completa

Para um gênero que sempre tem a má reputação de ser simples demais para ser tão viciante, estou impressionado como Sixty Four é um jogo idle que me deixava menos animado quanto mais eu jogava. Este pacote é cheio de conteúdo, muito mais do que muitos outros títulos clicker — uma história misteriosa, algumas mecânicas intrigantes, muitos recursos para gerenciar — mas, no final, a experiência é tão chata que só posso recomendá-la para aqueles que são realmente grandes fãs do gênero. Às vezes menos é mais, mas não creio que esse pouco de diversão valha a enorme quantidade de horas que esse vazio branco pede de você.

fases verticais = design ok, não é muito bom mas é inofensivo
fases horizontais = PIOR QUE DEVIL MAY CRY 2

COMO PODE, A SEQUENCIA DE TWINBEE DE FAMICOM É TÃO RUIM QUANTO O TWINBEE DE FAMICOM

é mais tolerável pq tem continues infinitos mas MEU DEUS quem é que teve a ideia de fazer fases horizontais EM TWINBEE

o sistema de power up com sinos de twinbee é feito pra VERTICAL, ele não funciona direito nas fases horizontais É UMA MERDA.

I fucking love music wow and I'm writing this while watching sanremo so you know im crazy

some part of me really wanted to enjoy this game way more than I actually did its probably one of the most artistically pleasing mechanically deep genre bending queer narrative driven puzzle adventure ever created and also probably a super slog to go through PLEASE DONT DOX ME YET PLEASE WAIT WAIT WAIT WAIT

so I'm famously known nationally as a hater of puzzle games because my IQ is so below the average that I have to look up solutions after solutions to actually get the façade of a bump-less experience throughout . now puzzles in this one are not the worst shit ever because of the main mechanic being not only super interesting and ever shifting but also characterised by puzzle segments that are not super long (but sometimes could get really trying and repetitive) and not super difficult (once you understand the secret formula) and still I ended up kind of hating those parts after a while the game makes a lot of effort to shuffle things up a bit but I'm not the target audience for this type of gameplay

now the main gimmick is pretty fun !!! since youre a bard most of the stuff youre gonna do ingame is sing so most of if not the entirety of the puzzles are gonna be about you matching notes with the cues that are gonna come out of nowhere USUALLY since the developers are so fuccking intelligent thay they managed to bend this simple premise to new heights with some of the most forward thinking use of a simplistic gameplay mechanic to the point that it could rival undertale and the little bullet hell heart literally at first I thought this was gonna be a rhythm game but a part of me is super glad that is is absolutely fucking NOT a rhythm game at all for some reason you should be using the analog stick to match the notes but what these developers end up doing with it is absolutely insane

so yeah for this stuff I actually did enjoy going through the game because they just kept reinventing the main mechanic every 30 minutes and for that I'm genuinely so impressed I have no idea how they did that SURE sometimes the sing circle isn't really the most comfortable way of expressing the design philosophy the developers were aiming for but it comes real close its janky yes but also a damn blast throughout thats definitely one thing that kept me interested till the end of the game

again while this should be a praise sometimes it hindered the experience in some ways because of the puzzle segments I wish these parts were either streamlined or integrated better because they're whole areas of JUST puzzles that honestly made me go insane sometimes its not like they're hard or anything most of them are pretty easy but it's just that why would you put puzzle pieces in a narrative driven game if the reason is to make me more engaged in the game rest assured that you're doing the exact opposite ong which is basically what happened when chicory went full puzzle and to this day I still can't finish it for the life of me because wow do I hate puzzle segments

the narrative driven moments are definitely some of the best parts of the game but NOT ALWAYS the pirates arc was boring as shit the beginning of the game was really slow and I actually began to be enthralled by this whole experience when the game decided to go full majoras mask and until then I actually played this sporadically throughout the months because wow is this game slow and boring sometimes wow please don't kill me

it's not like it's inherently bad and I think if it weren't for my mind numbing adhd I wouldve probably enjoyed this laid back experience way more than I did but there's some really weird pacing throughout where either nothing really happens and you're left with countless and countless of boring dialogue or everything happens all at once - wait isn't this the title of that movie

I'm not against laid back experiences I'm so much in love with night in the woods my heart could explode and what really sets them apart is that wandersong while having basically the same structure fails to make me care for anything happening in the world or any single character appearing on screen

most of the events of the game arent moving until you actually get at least ⅓ in which isn't a lot for a 10 something hours game but it can be detrimental to the pacing nonetheless and the characters are either one trick ponies that are used for some kind of interesting dialogue interactions but then they're just taken out if the entire picture which makes me just not care for any of them UNTIL miriam comes in and im gonna talk about her plenty in a second and at that point i start caring for everything in this game all of the sudden

so yeah these are my main issues here puzzles i hate puzzles one note characters (they're not bad they're just how do you say usa e getta in english mmmmm disposable ??? yeah something like that like they're used for a single joke and then killed off screen . not cool man) and the story takes a lot to digest

it could also very well be that I wasn't in a particularly good moment that's also an interesting point of discussion

moving on the art direction is absolutely flawless now lemme just address the elephant in the room I'm not a huge fan of the art style………. but they managed to make me love it WOW the characters are incredibly well designed and diverse theres a lot of variety in the sceneries youre going to traverse in this pilgrimage the vivid colors are trying to make you wake up while you're snoozing theres a lot of expressions for the bard even though he's basically a mannequin the pop up book aesthetic has a lot of charm and while YES I don't like it it doesn't necessarily mean that I didnt find it super intriguing and gorgeous I can not like something but also praise it like I do with giottos painting they have that lobotomised use of perspective that would make everyone go crazy but you have to still understand that that was the blueprint of the art we had in the renaissance and so forward

that being said for a game with huge emphasis on music it's pretty weird how the songs can range from soothing to anonymous to epic to bopping to basically whatever they could make on a soundboard and they did a good job my only complaint is that there's a lot of good songs here and there like the ghost chant or something that get outright RUINED with the player-controlled bard noises which is probably a result of me being ass at this game but I don't think most of the time the bards singing actually has some good impact on the tunes in the background that you're gonna emulate does that make sense is that rude to say

the music is still godlike though I hope the die hard fans of this game arent already releasing my IP on the dark web hitmen pages because wow I still need to play a lot of shit please wait at least a few more years ok umh ……. at least persona 3 reload

so yeah art direction and sound design top notch we get it moving on im sleepy

some of the thematic elements of the story deeeeefinitely hit real close with stuff like inadequacy and depression which was something that I was NOT expecting for this game to dab into because it started out as this incredible positive journey of saving the world and living life at the fullest yada yada and shit like that until it actually is NOT and the game starts throwing a lot of deep shit at you like themes of loss and grief themes of not being good enough or not being worthy enough friendship and betrayal and existentialism and idealism if you had seen my fucking face when I realised the sheer variety of stuff the game explores I probably would've been munchs the scream

I do not think this should be overlooked most of the dialogues in the game can be taken as jokes and sometimes they really are but if you dig deeper you can see how sensitive the writing is to the themes its trying to convey and I swear some of them do hit . like . a . truck . some scenes of the game are forever printed on my eyelids and I not even bleach would be able to wash them away

the main trio is probably the main focus of the game and its in their interaction that all of that gorgeous luscious writing starts flowing abundantly and lemme be clear I did not care for the bard or any of them in the beginning but wow I ended up loving all of them so dearly

for some reason I think it's fitting how the bard starts as such a blank character until it actually grows a spine and some balls to confront injustices enemies and while literally the end of the world . he's definitely not my favorite one in the game and i would've preferred a more interesting approach to the protagonist BUT the way his character changed from this dilly dallying carefree bard to an idealistic mid-apocalyptic dummie is probably the best character development I couldve asked for in a game like this

I gotta give the developers an Oscar for creating my most hated character in the entire world now Audrey is a fucking pain I tried and tried to like her I cried for her I pained listening to her but she was MADE to be hated and they succeeded if I were there I wouldve showed shibuya a real incident

now

drums

my baby

my wife

my beloved

miriam

most of the reasons why I actually ended up enjoying the game as much as I did even despite all the problems I talked about can be summarized in: miriam

shes a grumpy little witch serious impatient and hates the bards attitude towards a more positive demeanour and at first I thought she was gonna be another one of those characters just falling in the background but she sure as hell became the most important character of the story for me

most of the game she just closes off from the entire world and doesn't really think about opening up to others in any way shape or form but slowly she begins to sweeten to the bards presence and starts sharing a bond that could be called friendship

while I definitely don't think this is the most convoluted character writing in the entire world I relate to her to a personal level and I think she's possibly one of the sweetest 2d beings I got to know till now just thinking about all the cute interactions she exchanged with the bard is making my heart warmer not even talking about the trauma dump or the finale literally words can't express how much I love this stupid fucking bitch I'm in love with her I want to adopt her and I want her to be happy for the rest of her life im not joking

i won't go into too much detail but miriam is special miriam deserves the world and miriam is the best character in the game bar none and if you wonder if you should play this game just do it for miriam im crazy for her

she got an inferiority complex and copes with anger issues she feels like an outsider and is scared of friendship and emotional intimacy she's just like me frfr

what got me was that the real reason saphy sent miriam on a quest to save the world and told the bard to go with her is simply because she wanted her granddaughter to make a friend before the world ended

point is I could talk about miriam forever so lets just

wandersong is perfect but also flawed it's interesting and boring it has a lot of great ideas and weird execution incredible characters and monotonous ones its such a fucking dilemma how they managed to either make me go crazy cry tear my hair out or

oh

forgot to say

cried like a fucking bitch too this game got me if you played the games you know the miriam scenes I'm talking about literally could not see the screens through the years . embarrassing

I was saying

or bore me to no end irritate me and make me regret all my life decisions

but maybe that's fine I slowly started to be seduced by this game it started to seduce me and it delivered

still conflicted to no end but I'm glad I got to play this miriam you're a part of me I will never forget you

gg it has homosexual yeti monsters fucking raw

Sem dúvidas o trabalho mais consistente do Nasu, um trabalho de produção primoroso da Type-Moon, apesar de alguns sprites e design zoados, tem muita qualidade em seu visual.

A VN clássica da Type-Moon, infelizmente, não explorou seus temas bem, graças a problemática presente em toda a mídia, o erotismo exacerbado e fetichista, além de um roteiro perdido que é muito redundante, um problema na escrita do Nasu desde sempre. Em TsukiRe, finalmente tudo que queria ser dito foi executado, existencialismo, fragilidade humana, vida e morte, temas que são vomitados na versão clássica, sem muito peso entre as rotas por um balanceamento péssimo entre romance e drama, florescem nesse Remake, com excelentes monólogos e um romance muito bem feito, as rotas de Ciel e Arcuied têm singularidades e conflitos diferentes, a fluídez do texto também é algo destacável, um roteiro do Nasu sem redundância absurda ou exposição exagerada é raridade, diria que é o ápice dele em roteiro e pacing. Infelizmente, alguns aspectos continuam ruins, como o aspecto Edgy que não funciona e só deixa tudo bobo, personagens fraquíssimos com motivações rasas e a velha pretensiosidade do Nasu, a True Route da Ciel é simplesmente too much, meu deus, ele tentou demais tornar tudo tão grandioso que perde muito do impacto que deveria ter, já o Denpa é mediano para bom, as vezes acerta bastante no aspecto psicológico, porém, perde a mão em algumas cenas.

Em produção, como dito anteriormente, acho TsukiRe um primor técnico, excelente transições de cena na coreografia das lutas, bom build de atmosfera, um design agradável, OST memorável, claro, ainda tem alguns probleminhas, como a saturação alta no background em algumas cenas, char design medíocre de alguns personagens e até alguns CGs bem feios, mas nada que afete tanto a qualidade da produção no geral.

TsukiRe foi uma experiência agradável, que me incomoda em certos momentos com um alívio cômico bobão, cenas edgy demais e tentar escalar demais a temática a um nível transcendental, mas me impressionou porque mostrou uma melhora considerável nos roteiros do Nasu, alguém que considero um dos piores em estruturação textual e abordagem temática dentro da mídia, isso já é uma vitória.

Call of Juarez: Gunslinger; ou, Call of Juarez DA Maconha: In The End Apenas Restos, para os íntimos, é o terceiro jogo na franquia, e pasmem, Juarez mal é mencionada na história, não só isso, mas também, os personagens com os quais estávamos acostumados a jogar e acompanhar nos dois jogos anteriores, aqui aparecem somente como meras curiosidades citadas nos itens colecionáveis, esqueça Ray e Thomas, agora controlamos Silas Graves, caçador de recompensas aposentado e charlatão, que nos conta suas histórias dos tempos dourados por meio de flashbacks, que te deixam com uma pulga atrás da orelha quanto à veracidade de tais contos.
Com uma campanha que apesar de ser bem mais curta, mantém o ótimo padrão de qualidade da franquia no quesito roteiro, o jogo também oferece o modo desafio e modo duelo, nenhum dos dois muito interessantes (até porque conseguiram PIORAR a mecânica de duelo do Bound in Blood, francamente viu); a história se abstém de cutscenes, e adota um visual de HQ bastante estilizado, apesar de inusitado, até com direito a um leve cell-shading nos gráficos, que funciona e se mescla bem às texturas realistas, mas umas custscenes mais cinematográficas fazem falta.
As mecânicas seguem simples, mas eficazes, o já estabelecido design por subtração da franquia; apenas 3 armas, e a dinamite, cura instantânea, e sistema de cover, agora trazendo também um "dead eye" e "bullet dodge", que se integram bem na gameplay (apesar de eu os ter achado meio inúteis), além de um sistema de habilidades, que é uma mão na roda nos reloads. Curti terem criado pequenas gimmicks pros bosses, que não só os tornam mais marcantes, mas também mantém a gameplay renovada.
O jogo segue sendo o Red Dead Júnior, se você gostou das entradas anteriores da franquia, não vejo o porquê de não gostar dessa, tão boa quanto o Bound in Blood.