The fact that I predicted this would be a disappointing trainwreck before it even came out once they started delaying it by, like 6 days in a clear mad dash to rush it out before the quarter deadline was up is still one of my proudest achievements in gaming tbh. Yet, the reason this game sucks has virtually nothing to do with the glitches at all. Sure it's annoying when your mission softlocks, combat just straight-up doesn't work, or your screen irreparably gets layered in unsightly visual hiccups - but tons of games that come out these days are broken, buggy messes on launch that just get patched later on so it's nothing you haven't seen before. No, the reason taking two months to 100% this hog was one of the most soul-crushing experiences of my life is honestly because of how deliberately un-fun this all is. The missions are laborious to pad out length, the side content is repetitive, the much-hyped free DLC is paltry, the overworld is bland as can be, the menus are unreadable when they even operate to begin with, the choices don't matter, and even after all the supposed quality-of-life updates it's still a barely functioning mess.

But the story is its biggest sore spot, I think - because in fits and starts there is a ton of potential here. This is CDPR after all, so there are rock-solid characters (Judy Alvarez, Takemura, and Keanu's charisma-machine Johnny Silverhand are standouts) and moments of poignancy which I was just craving to be in a better game because it's all promptly undercut by the butt-ugly modernization of it. This was originally intended as something darker and more intriguing, but ended up being another drab GTA clone instead. Serious Dead Island storytelling going on here too which I hate - i.e. "do this thing to have x happen, uh oh... x didn't happen after all so that mission was totally worthless. Well here, do this and maybe y will happen, uh oh... y didn't happen after all so that mission was totally worthless. Well here, do..." rinse and repeat. So you never actually believe this already thin story is going anywhere. Plus every ending is a total dud. Just miserable even if it did play correctly, which it doesn't.

The "objective review" does not exist.

There's an ongoing debate about whether or not the current cycle of praise for Cyberpunk 2077 is blatant revisionism or valid. Either the game was always good or it was always sucked. The game's in a better state, no doubt. But it's still unpolished in really small ways that add up to a greater whole. There are still no gender-neutral options, and while the one trans character in here is well-written, the in-game ads are still a bit tasteless to anyone not comfortable with that line being crossed. If you want to spark a divisive conversation with your friends, talk about Cyberpunk 2077. If this review brings those same responses out of the woodwork, so be it.

I really, really like Cyberpunk 2077. About a year ago, I called it a diamond in the rough; "the best damn 7/10 I've ever played." The issue with that statement is that it's misleading. If review scores are subjective, what good is a 7/10 if the game you're giving it to is something that's earning high praise from you? Cyberpunk 2077 is a diamond in the rough, no doubt. But it's the kind of scratched-up jewel that still holds beauty to me.

Underscoring its bleak world and grim atmosphere, there's a beating heart inside Cyberpunk 2077. For a game that has most of its side-quests involve killing people, it's a game that treats the individuals at its core like people. Whereas most games of this sort would cut the fluff and get straight to the killing, there are several side-stories here that just involve... talking. Two out of my three siblings practically dropped this game because they got sick of skipping dialog, and I wouldn't have it any other way. Pyramid Song, the quest where you uncover a sentient vending machine, hell, the five minutes you spend fixing a roller coaster in Pacifica so you can ride it are among some of my favorite gaming memories from the past five years or so, and those are all small fish in comparison to the much larger questlines stuffed in here. Most of it is, at the very least, intriguing. As for the quests that involve fighting people, I actually enjoy the combat here. I love the way Double Barrels knock people on their asses, the feeling of a rip-roaring machine gun in my hands, piercing through walls with a charged shot to deliver a killing blow, and slicing and dicing my way through a crowd with a katana. I love the dynamic that hacking brings to the party and all of the unique ways you can play the game just by saving your money to chrome up. Double jumping around Night City is the sort of fun very few games capitalize on. Seriously, try turning off your mini-map so you can get to your objectives by jumping around. It's a delight that rarely gets old. I swear to god, I'm not bootlicking here. I just really can't get enough of how much fun this game is to play.

And yes, it is buggy. The police system is barely there. You can chalk that up to the hilariously absurd solution they have cooked for that in there currently. But while I've praised this for being a very fun time, its mild GTA-flavoring belies that a lot of what's adjacent in here feels like it's been included out of obligation and not desire. The police system is a great example of that, but I'd also argue that the ability to steal cars is also indicative of this. Unlike GTA, you almost always have a car in your possession that you can have spawned right next to you at any time. You can technically level your specs high enough to steal some of the most debonair cars in the city, but by that point, you've probably unlocked a few of those from sidequests. Likewise, while I'd argue that unlocking the cars of certain characters by doing quests related to them is a delicate touch, the fact that you can't customize any of the cars you own makes it so a few of the cars you unlock feel obsolete past a certain point. But the kicker is this: if you want a decent example of what this game succeeds at, it's the gigs. They can start to feel like a case of quantity over quality at a certain point. But a majority of them stress the far less linear aspects of this game to the point where they almost make this feel like it's as much of an immersive sim as it is an Open World Crime Game in the Wake of Grand Theft Auto III™. I wouldn't say it excels at being an immersive sim; owing to the linearity of its main quest and a few areas where the player's agency is reduced outside of it, going into Cyberpunk expecting Deus Ex will only yield disappointment. But it apes the basics successfully enough for me to say that the bulk of what makes this a great experience outside of the story-centric quests are those gigs. It's a bummer that that's not the exact impression many had going into this, and it's a huge stinker that that's the way they marketed this, but that's that. I hear they're patching this to include a better police system and drive-by mechanics, which is neat enough for me to maybe reconsider my stance on this when it drops. Until then, though, don't think of Cyberpunk as a Grand Theft Auto and Blade Runner crossover if you want to value your experience with it.

However long it takes for CD Projekt Red to make a sequel, I will try my hardest to be here. As long as the developers are treated right and the game isn't rushed out the door in a questionable state, and they hone in on the very obvious immersive sim inspirations more, Cyberpunk 2 could have some serious heat attached to it.

And yeah, I thought Edgerunners was cool.

This is as standard of a "good game" as I can think. It has elements that makes it stand out, and whenever you encounter platform challenges, then it's some good stuff. But the combat is both easy for you to break the game with strong attacks and easy for enemies to overwhelm you. It's fun to mess around with the attacks, but if you wanna play "seriously", then the game is not in your favor.
As for the story, I don't have any strong opinions on it. The characters are nothing special and some parts feels dragged on for miniscule payoff.
And another thing. Beware if you wanna play this game and your controller drifts...

An outstanding side-scroller with a beautiful art style, excellent level design, and an insanely entertaining trophy/achievement list. As a rule of thumb this tends to be one of my least favorite genres, but this one does more than enough to separate itself from the rest of the pack - thanks in part to the series' bright personality. If I have one noticeable complaint, it's that Rayman's sprite has seldom felt more lifeless than it is here - I assume to account for the good amount of other unlockable characters, which I guess is a relatively fair tradeoff in the end. But other than a couple minor quirks (wall running can be janky and the bubble hitboxes are kind of fucked) I fell in love with it immediately and never wanted to put it down. Rare to find one of these with a satisfying challenge level like this has, not too easy but not too difficult. And I just can't get enough of that funny babbletalk, I've been saying "Urray-hay!" for like three days straight.

Oh man, this game was a BLAST. Simple plot, satisfying controls, wacky art, extreme speed and a humorous attitude to top it off! Pizza Tower may be a little short with 20 levels and 5 bosses but every inch of the world is stuffed full with details, secrets and sweet mechanics. There are TONS of achievements that I'm excited to try so there's still plenty for your average completionist. Wario-likes have proven there's still a lot of potential in this formula, so definitely give Pizza Tower a go!

EDIT: I have obtained all achievements and P-ranks. While the elusive Ps were a 'P'ain in the ass it was extremely satisfying to pull them off. I find myself keep wanting to come back to this game even though there is nothing left to do, and I think that speaks volumes for Pizza Tower's addicting mach speed gameplay!

The issue with the entries this series past Far Cry 3 is that none of them carry the same purpose, other than to continue working on an established formula to rake in the dough. Far Cry 1 and 2 are arguably tech demos pretty neat (post-mortem edit: I hadn't actually revisited Far Cry 2 when I wrote this). Tech demos Pretty cool games that are fully fleshed out; that can still be enjoyed today and carry their own set of vibes and moods. By the time Far Cry 3 came out, its Open World format wasn't as impressive. To cut a long story short: Grand Theft Auto IV and Far Cry 2 came out in the same year. Assassins Creed started popping off, and Just Cause 2 sprung into being in 2010. There was still some iteration to be done, but generally speaking, the blueprint for these kinds of games was established well in advance.

Surprisingly, what separates Far Cry 3 from the bunch is that it has a story to tell. Its characters have a little more depth to them than just being there to give the player objectives whenever they need to progress. The conflict feels real, and the elements of magical realism give it enough edge to be compelling. The Alice in Wonderland comparisons might be a little on-the-nose, but it never gets so obvious that it gets in the way.

Far Cry 3 isn't a landmark title because of its Open World. I hear that from a lot of people, "oh, if Far Cry 3 weren't so big, Ubisoft wouldn't have recycled the same format for almost ten years." You're barking up the wrong tree; Assassin's Creed was doing the whole rigamarole before 2012. Far Cry 3 is a landmark title for Far Cry because of the man on its poster. Vaas might not be in the game much, but even if you know almost nothing about this game, you likely know his speech on insanity. It became embedded into pop culture damn near the second he said it for the first time. The implication I'm going for here is that this is the point where Far Cry became less ambitious. Every single game in this series has to have an antagonist that's either a dictator or acts eerily similar to one because of Far Cry 3. This isn't all that bad until you consider how Vaas is actually used in Far Cry 3. Vaas is one villain of many, corrupted by a world that's gross and ugly. Vaas isn't the villain in Far Cry 3; its world is. Tell me: outside of the hostile wildlife, cultists, and threat of destruction, what's ugly about Far Cry 5's world? I can tell you; it's an ugly place. But it almost feels contrived in a way that Far Cry 3 isn't. And that goes for most, if not all, of the games that followed in 3's footsteps.

If it weren't for the side quests, which lack the same momentum and creativity as the main quest, this would be an easy four stars. I don't like how compressed the sound quality is, and the multiplayer isn't worth checking out. But the rest of it would still be great. But otherwise, this is still a fun game. If you're tired of how pointless the last games in this series feel, definitely consider checking this one out.

Seinfeld (/ˈsaɪnfɛld/; SYNE-feld) is an American sitcom television series created by Larry David and Jerry Seinfeld. It aired on NBC from July 5, 1989, to May 14, 1998, over nine seasons and 180 episodes. The show stars Seinfeld as a fictionalized version of himself who is the main protagonist and focuses on his personal life with three of his friends – George Costanza (Jason Alexander), former girlfriend Elaine Benes (Julia Louis-Dreyfus), and neighbor across the hall Cosmo Kramer (Michael Richards). Seinfeld is set mostly in an apartment building in Manhattan's Upper West Side in New York City. It has been described as "a show about nothing", often focusing on the minutiae of daily life.[1]

As a comedian rising in popularity in the late 1980s, Seinfeld was presented with an opportunity to create a show with NBC. Seinfeld asked David, a fellow comedian and friend, to help create a premise for a sitcom.[2] The series was produced by West-Shapiro Productions and Castle Rock Entertainment, and was distributed by Columbia Pictures Television.[nb 2] It was largely written by David and Seinfeld with script writers who included Larry Charles, Peter Mehlman, Gregg Kavet, Carol Leifer, David Mandel, Jeff Schaffer, Steve Koren, Jennifer Crittenden, Tom Gammill, Max Pross, Dan O'Keefe, Charlie Rubin, Marjorie Gross, Alec Berg, Elaine Pope, and Spike Feresten. A favorite among critics, the series led the Nielsen ratings in seasons six and nine, and finished among the top two (with NBC's ER) every year from 1994 to 1998. Only two other shows have finished their runs at the top of the ratings, I Love Lucy and The Andy Griffith Show.[3]

Seinfeld is widely regarded as one of the greatest and most influential sitcoms of all time. It has been ranked among the best television shows of all time in publications such as Entertainment Weekly,[4] Rolling Stone,[5] and TV Guide.[6][7] The show's most renowned episodes include "The Chinese Restaurant", "The Soup Nazi", "The Parking Garage",[8] and "The Contest".[9] In 2013, the Writers Guild of America voted it the No. 2 Best Written TV Series of All Time (second to The Sopranos).[10] E! named the series the "Number 1 reason the '90s ruled",[11] and quotes from numerous episodes have become catchphrases in American popular culture.