If UT2003 was the prelude , this was for sure the full course meal.

UT 2004 sits at the same level as UT99 for me, but with a different aesthetic and feel.

The addition of vehicles was cool, and all the new maps and characters really expanded the world and lore in my mind.

Whine, whine, whine. Bitch, bitch, bitch. That’s all fans ever do these days. Instead of embracing a new take on a series and trying something new, they want the same damn thing over and over again. I have never heard a fan base cry over a game as much as DMC and over just the character redesign at that. Just because he doesn’t have white hair doesn’t make him a bad character…or that man bra. Ninja Theory did an amazing job with this game and it has all the greatness from past games, fluid animations, slick controls and combat, fun boss fights, and an engaging story. In fact, the character designs in this game are so much better than past games. It’s the whole “breath of fresh air” thing going on.

The game is great, quit your complaining
The story at least sticks to the lore of previous games. You start out with Dante coming out of his trailer and a mysterious woman named Kat is telling him to run. You are stuck in Limbo. This is the main world you will play in where the environment constantly shifts around you. It’s very interesting and fun and is a nice visual treat. You learn about Dante and Virgil’s childhood as well as their father Sparda. Exploration requires some platforming via the two Angel and Devil whips. Pulling platforms towards you or jumping around in the air to different floating platforms. Not a single level is the same so the game is never visually tiring. DmC doesn’t really focus on puzzles which are good because most people play these games for the action, and boy is it good.

I can understand this game not being AS hard as previous games, but play it on higher difficulties, there, problem solved. Moving on, the combat system is very fluid and pretty deep. There are four different weapons you will acquire, two angels and two demons. The Eryx is similar to the Beowulf gauntlets, and Arbiter which is a demon scythe. The angelic scythe is Osiris while Aquila is two fast-moving glaives. There are three weapons you can use which are Ebony & Ivory pistols, Kablooey, and Revenant which is a shotgun. Kablooey shoots darts that explode when you detonate them making it the most powerful gun in the game. Of course, your standard weapon is Rebellion which is a fast-moving mid-range sword. The weapons handle excellently and are really fun use.

PC has some better visual flair
The game still uses the Stylish system when fighting. Going from Dirty to SSSensational. I was never able to get past SSadistic even when I tried hard. You are rated just like previous games and penalized for dying and using items. The same orb and star system are here. You also get to use Devil Trigger which regenerates your health while throwing all enemies in the air for a limited amount of time. Saving this up for tough fights like bosses is crucial. The controls are really smooth with one button being held down to activate either demonic or angelic weapons. Switching between each is fast and easy. You can also use your demonic whip to pull enemies toward you or the angelic one to pull yourself toward enemies. You eventually unlock more combo moves and then you can really have at it. The fight system feels great and is silky smooth, I don’t know what all the fuss is about. Honestly it feels more fluid than past games.

There are hidden areas throughout the game which are key doors that have special missions. Finding the keys is tough, but you get health fragments to increase your health bar. You can also buy these in the shop but each one will cost more red orbs like in the past games. Honestly, the game feels very similar to the past ones, the only difference being in what you see in the game. The boss fights are amazing and are challenging on their own, but look unique and have a very disgusting demonic style to them. I loved fighting the bosses and are one of the best features of the game.

Combat is fluid and silky smooth
When it comes to visuals the PC has some nice flair to it. Better lighting, anti-aliasing, HD textures, and it can run at 60+FPS which is actually a huge step up over the consoles. This alone makes it the superior version even without the flair. Of course, this was made for consoles so there are a few ugly spots here and there, but overall it looks great. I love the art style and the voice acting is superb. Even the facial animations are very well done. I honestly loved how Ninja Theory redid Dante and Virgil, I just like them better in this game. People need to just stop complaining and sit down with this game without a bitter taste in their mouth beforehand.

Overall, DmC is an excellent game and my expectations were met. I feel it is better than previous games, but of course, the previous games do hold a special place for me. It’s time to move on though, it’s sad that a fan base can’t accept change because they want the main character to have white hair, or the combat didn’t kill you 500 times on the first level on easy difficulty. Grow up and get over it is what I say. The past games are still there, DMC was in no way ever “ruined” or “doomed”. I hope Ninja Theory makes a sequel and continues giving the middle finger to the fans who show no love or support.

So there is a ton to like about this game.
The characters are charismatic , the story is narcos in game form , the checklist style missions are unexpectedly fun and the guns and vehicles respond very very well to stimulus. The game is also quite challenging if you want to avoid going all guns blazing (even then it is not COD level easy shooting).

Unfortunately it misses its potential due to some glaring flaws. Firstly the game is too long for its own good , and some missions are just padding. The side missions and collectibles are accessible but painfully boring in the traditional ubisoft mold. All the DLC time missions are just plain atrocious and full of jank, speaking of which the game can be very buggy and janky , your guy can get stuck in random debris or opponents just detect you for no reason. As an example, The operation silent spade dlc mission involves defending an npc but the opponents just speed off in his direction from all sides and just crush him under their wheels , driving so fast that if you kill the vehicle also it reaches the npc and blows up on him.

Yeah the gameplay and story are pretty good, but it misses the mark in its execution and shows a lack of playtesting more some missions.

Eitherway , i had a lot of fun over a long time except towards the end, and i still recommend this game, just play only the main story and none of the jank dlc missions or boring side missions!

The fear of Nazi Germany taking over the world was probably quite believable about 60 years ago. Nowadays it’s a fascinating “what if” scenario that authors love to toy with. While it’s never usually anything good or nice, it usually shows how nations can come together and fight a larger enemy. The New Order does exactly this with a tight narrative and some pretty solid shooting.

Now, let’s just put all this aside right now. Wolfenstein has its nostalgic moments that feels archaic and ancient compared to modern shooters, but for some reason will always be there. This includes health packs, ammo pickups, and level design. The narrative is actually a huge step up for the series. William J. Blazkowicz is an American Captain helping fight the ever losing war with Germany. Wolfenstein was popular by delving into the arcane and supernatural that was part of rumored goings on by Hitler’s elite group. Weapons using ancient technology to have an advantage over the rest of the world. In Wolfenstein Hitler succeeds, but it’s not Hitler here, but Deathshead, a Nazi general who is doing terrible and evil things to the world.

The New Order captures this cry for help from the rest of the world with torture and a small rebel group working together to bring down The New World Order. While the atmosphere is captured quite well the game does dive into some past Wolfenstein stuff that makes accidentally brings you out of this modern take on the series. Things like linear level design and enemy AI. Sneaking on an enemy and killing everyone in the room doesn’t alert other enemies. They will walk right past dead bodies and not bat an eye. There are also too few cinematic cutscenes with long dragged out battles that are extremely difficult and require multiple attempts. This type of poor pacing leads to the constant reminder of past games in the series and just how old the series is.

The actual gunplay is solid with great feeling weapons and not just any weapons, but weapons that you have to switch between as the situation calls. I used every single weapon along with the multiple modes they have. I did feel the stealth areas were a little unnecessary and slowed the pace down too much. This is forced due to lieutenants with headsets that will call in backup if they aren’t taken care of quietly. Outside of those series specific issues it just felt too much like a same ‘ol FPS to really be anything revolutionary or truly memorable.

Multiplayer is also non-existent so the team could focus on a great single player experience which is rare for shooters these days. Does the campaign feel like it was worth cutting a multiplayer mode? That’s hard to say. I just can’t help but recall so many good moments that lost momentum due to tried and tired FPS issues that Wolfenstein kept getting lost in. Sure the shooting was solid but those moments of torture and the uniqueness of Wolfenstein was just kind of let down.

With all that aside the game doesn’t look as good as everyone was claiming. id Tech 5 isn’t all the impressive. The textures are really low resolution and the lighting effects seem fairly dated. I looked at some textures that looked like they were pulled from a PS2 game. The facial animations were awkward and the water effects did not look next-gen. Maybe my expectations were too high but right away I noticed all these flaws within the first 5 minutes of the game.

In the end, The New Order is a solid shooter and one of the best on next-gen consoles, just don’t expect anything revolutionary for the genre — just for the series. This is a great step in a new direction for the aged Wolfenstein series, but it still needs a little more something to be anything memorable.

Cuki játéknak néz ki, de elég hamar egy rejtély- olykor horrorba megy át a játék. Egyedi történetmesélésével szép lassan áll össze neked a kép, hogy mi is történik a városban, kiben lehet megbízni, kiben nem, ki mit, miért csinál. A játék főbb gyökere az az, hogy olykor az összeszedett kártyákkal döntened kell egy elágazási ponton, viszont vissza lehet menni az előző döntésekhez, bármelyik eddig elért elágazási ponthoz, hogy az összes lehetséges végkimenetelt megtapasztaljuk, mielőtt elérjük a boldog befejezést. Az, hogy a befejezéseken keresztül mesél a játék, szerintem remek megoldás. A játék végére szerintem már belezavarodott a történet írója is, néha nem lehet érteni most miért történt úgy valami, ahogy, de lehet csak én vagyok hülye.
+ A játék zenéje és a mesélője is remek

YOU -- "But what if humanity keeps letting us down?"
STEBAN, THE STUDENT COMMUNIST -- "Nobody said that fulfilling the proletariat's historic role would be easy. It demands great faith with no promise of tangible reward. But that doesn't mean we can simply give up."
STEBAN, THE STUDENT COMMUNIST -- "I guess you can say we believe it *because* it's impossible. It's our way of saying we refuse to accept that the world has to remain... like this..."

---

A 2 week old fetid corpse hangs from a tree, a ghastly sight; a human life reduced to a macabre piñata for small children to pelt stones at in a twisted idea of entertainment. The children themselves, a hopped-up junkie and a nameless orphan respectively, both the result of a broken system that has unequivocally failed them. The district of Martinaise, pockmarked by the remnants of revolutionary war, abandoned by the world at large, it and its people subject to the pissing contests of petty government officials to see who is lumped with the task of looking after the place, the site of a months-long, on-the-brink-of-warfare labor dispute that's about to boil over with the lynching of a PMC soldier who was meant to "defuse" the situation. All of this, left to the hands of a suicidal, vice-riddled husk of a cop who can barely get his necktie down from the ceiling fan without potentially going into cardiac arrest. Disco Elysium is an undeniably depressing experience that isn't afraid to cover the messy spectrum of humanity, from insane race-realist phrenologists to meth-addled children to every kind of ghoulish bureaucrat under the sun. The district of Martinaise, as fictional as it is, is a place I've seen before, reflected in the streets, reflected in the people, reflected in the system; an undeniably full-faced look at the horrors faced by those below, and the resulting apathy expressed by those above.

---

SUGGESTION -- Brother, you should put me in front of a firing squad. I have no words for how I failed you.

---

Every aspect of Disco Elysium reflects its overall theme of "failure". Martinaise itself has been failed by the institutions meant to help it, abandoned by the powers that be, who only intervene when it looks like anyone is trying to enact change. NPCs can reminisce on days gone by, of the tragedies in their past, or of their cynical rebuke of the future. The various schools of political thought you can adopt and their representatives are mercilessly picked apart, from the Communists too entrenched in theory to take notice of the suffering around them, to the frankly pathetic fascists who use their prejudiced beliefs to shield themselves from their own flaws. Our protagonist is constantly haunted by his past and even starts the game recovering from his own self-destructive ways, and on a gameplay level, the way that our intrepid detective can fumble the bag in nearly every way imaginable and still be allowed to make progress in investigations and sidequests is commendable. Failure is so integral, so vital to Disco Elysium that it's not only an aspect deeply ingrained in its story, but also its very gameplay.

---

VOLITION [Easy: Success] -- No. This is somewhere to be. This is all you have, but it's still something. Streets and sodium lights. The sky, the world. You're still alive.

---

And yet, despite this cloying cynicism and acknowledgement of the ugliness of reality, Disco Elysium is magical because of the fact that it ultimately believes that there is a world worth fighting for in the end. It would be incredibly easy to be defeatist in the face of such constant, institutional and societal failure we are presented with in Revachol, to be ceaselessly apathetic in the face of your own overwhelming shortcomings, to fall back into the comfort of old vices instead of facing our problems head on. Still, Disco Elysium has that fire inside of it, an untapped hatred for fence-sitting, for passivity in the face of oppression and valuing the status quo over any meaningful change. Roll up your sleeves and fight for a better future.

---

RHETORIC -- "You've built it before, they've built it before. Hasn't really worked out yet, but neither has love -- should we just stop building love, too?"

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STEBAN, THE STUDENT COMMUNIST -- "In dark times, should the stars also go out?"

---

RHETORIC -- "Say one of these fascist or communist things or fuck off."

---

Disco Elysium believes in the people. It believes in humanity, no matter how messy our supposed paragons are, or how flawed our beliefs and values can be, or how cyclical we can be in the face of it all. In a city plagued by an inability to move on, Disco Elysium says that there is always a possibility of change. If two broke Communists and a junkie wino can defy the very laws of physics in a slummy apartment, no matter how briefly, with the power of their faith and co-operation; imagine what we could do as a group. As a city. As a species.

Disco Elysium says that the cup is half full. Even if we won't see the own fruits of our labor in our lifetimes, it still looks you in the eyes and says:

"The only promise it offers is that the future can be better than the past, if we're willing to work and fight and die for it," a conviction belted out by the youths of tomorrow.

"Un jour je serai de retour près de toi", written in bright burning letters across a market square.

"TRUE LOVE IS POSSIBLE/ONLY IN THE NEXT WORLD--FOR NEW PEOPLE/IT IS TOO LATE FOR US," painted on the side of an eight-story tenement.

"Disco Inferno...," a lone voice belted out through a boombox's speakers across a frost-bitten sea.

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MANKIND, BE VIGILANT; WE LOVED YOU