Alienhell 最近的评测

Just terrific. A wonderful fusion of the thrilling action elements you might have found in RE4-6, with the heart-racing terror and puzzle systems of 7, 1 and 2. Requiem is the best of both worlds and it was a spectacular ride, with a surprising amount of real heart to its emotional core. Capcom find just the right amount of nostalgia from the series to dedicate to beloved protagonist Leon S. Kennedy, keeping you invested across the mystery and character-building dedicated to new protagonist Grace Ashcroft, who easily has one of the best VA performances I've ever heard in a game - congratulations to Angela Sant'Albano! Just fantastic stuff, wonderfully atmospheric and gripping throughout.

I do think there's some minor critiques worth mentioning: the pacing does stutter in the latter half of the game and there's not a huge amount of replayability here (I did play it through four times to both complete all difficulties/acquire all achievements and get the hidden secret puzzle sorted), so know that you're going in to enjoy the ride as it is. But there are some meaningful changes that make the higher difficulty a worthwhile challenge, along with some fun cheats to unlock that can make it a more relaxed experience too.

Moreover, Zeno and Victor are just average villains. Nothing too impressive or intimidating in and of themselves. But, I'll be frank: it's Resident Evil NINE - where else do we reasonably expect the creators to go at this point? I'm fine with antagonists that serve a middling role in the narrative, they're interesting enough and the enemy variety is great elsewhere.

But I loved it and while it's not my favourite Resident Evil game (RE4 forever!), it's terrific and I think it's a near perfect entry point for newcomers that want a real sense of what the series is all about from a gameplay perspective. But you certainly want to play 2 (at least) before a game like this to get the most out of the narrative, characters and Easter eggs.

One last thing, if you're arachnophobic like me, you'll have a real tough time in a couple of sequences (as of writing, no accessibility mode for this!). I used a mod after my first playthrough to make the spiders appear as pairs of trousers, but here's a list of every moment spiders appear, so you're prepared:

- When Leon approaches the building next to the bridge/overpass, after he enters the cobwebbed area in Raccoon City (you have to go through a gate): the boss intro cutscene.
- The chase sequence with the boss - it bursts through a wall then knocks you through another/pursues you till you close a door on it after breaking through cobwebs.
- The spiderlings appear in an upstairs section, once you round a corner into a room. Some will already be visible once you get upstairs and see the open hallway, but more appear once you go through it and into the next room.
- Immediately after that room, the boss peeks through a hole in the wall and then disappears.
- Upstairs after the ladder: the boss arena, where it climbs down from the roof.

- Then, later: while exploring Raccoon City you can backtrack towards the initial area you were in when you arrive (pre-cobweb area). You do this by going through a gate with a generator, not far from the crane that takes you back to base camp. As you re-enter the subway, near the area where the boss' body is, you enter a train car and 4-6 spiderlings appear from the windows. After this point, in standard difficulty (at least, I'd assume casual as well), there are no more spiders.

- However, on Insanity Mode, once you pass through the Orphanage as Leon (after another boss fight), you'll descend down and eventually cross a small bridge/collapsed platform after exiting a sewage pipe. This leads you into a damaged subway station: there are two sets of spiderlings here. One is an initial group that you'll see on your right as you enter and the second are further down the steps when you move past the first group. When that second group appear, however, you'll be halfway down the steps and two spiderlings will spawn behind you as well. So, you're best off just clearing the first group, then going down till the second lot appear, turning around to get the two that arrive and then backing up to take the second group out at distance.

Happy to provide this information, I know how powerful and unpleasant that sense of anticipation can be and the nasty shock I got from seeing the final appearance yesterday (even with this mod!) was something I wish I'd known about.

GUILTY AS SOCK isn't really "bad". I do wish I could give it a mixed review, instead. Rather, I find myself broadly agreeing with the critiques of other reviewers: it lacks structure and relies heavily on those you play with both knowing what they're doing as far as general court stuff goes, as well as being funny. The game generally fumbles its opportunities to provide its players with the resources to be funnier than they naturally are, as well as make the game a more engaging, goal-driven experience beyond being a chat room that you all play pretend in.

Don't get me wrong, I've definitely had some great laughs with this. The game provides, at a base level, a broad role for you to interpret and get into the action with. But I've also, equally, felt it be clunky - the general scope of each case is confusing and there's a lack of connection between the charge and the trial itself. That's down to giving the players freedom to choose what they want, but it's just too free-form for its own good and, at a minimum, I'd hope for optional gamemodes that have more formality to them.

I'm not expecting a legal simulator here, but a little bit more handholding would be good for the uninitiated, especially seeing as everyone participating has to buy into the experience too (in both senses). It's a bit infuriating to feel lost or that you haven't really "won" or done your job well based on a lack of structure. Then GUILTY AS SOCK loses its veneer of being something unique to this game mode and it feels a lot more like a Discord call with proximity chat.

There IS support for custom card decks to provide talking points for the prosecution and defence, but you have to go into the community Discord to find them. There's no quality control there and I'm not particularly happy with having to sift through someone else's bad idea of what's funny to get to some gold within. Can we have any kind of community integration here?

On the whole, a lot of promise but GUILTY AS SOCK is yet to cross the boundary of really being a great party game. The devs do put in updates, but I think there needs to be a more fundamental set of changes to the game to find the broader appeal they want it to have.

Man this one got me in a chokehold. I have many more hours logged than are shown here due to the mobile link, meaning I can go between my PC and my phone when I please. At its core, it's a sports sim roguelite: you'll drive yourself absolutely mad trying to get higher ranked umas, but the feeling of triumph when you do is sublime. It's all about chances and stats and you can really dig into all of that if you'd like to get down to the nitty gritty numbers game underneath it all (not for me, I'm afraid!). And, of course, there's a gacha element to it that will inevitably become the end goal for your F2P currency gathering - or take the plunge of putting money into the game at some genuinely eyewatering prices (it's a no from me again!). But the central gameplay loop is both fun and infuriating in equal measure. All of it is wrapped up with a great deal of personality here and it's hard not to be taken by it. From the outside, it looks absolutely absurd and, yes, it pretty much is - but whether the sentiment of the more serious characters catches you or the joyful bizarre nature of game about anime horsegirls performing songs after they win does it, Umamusume: Pretty Derby has something for you.

Whether it'll make you more sympathetic to horse racing as a sport, I don't know (I can't say so much for myself), but it certainly made me more appreciative of horses as creatures with whom humans have a long and complex relationship with. That's the most realistic thing I can say about this game that I fell into hard.

Well this was a lovely little single-player horror Source mod. NH:TOM picks up the heritage of the titular, and now very old, Half Life 2 mod and essentially combines a remake of their previously released mods in the NH series into a more contemporary Source package. The result is an experience that will take somewhere between one to two hours to complete that's surprisingly atmospheric at points, funnily camp throughout and a love letter to horror games and films of its ilk.

Predictable to a tee in its narrative and characterisation (furthered by shoddy voice acting that adds to the campiness), but with some surprising effort put into combining the lore of its game series and to impress upon you the tone. You'll spend most of the game simply falling for its cheap scares, but that wariness of looking over your shoulder does stay with you (with some good sound design and soundtrack work!). The whole thing feels broadly adjacent to F.E.A.R., which is a big plus in my book.


Very glad I sought this out and picked it up, had a few laughs and it's a very nice little treat for free. I'll be keeping an eye on We Create Stuff and their new remake of Nightmare House to come!

It took me about forty hours to complete a single, thorough playthrough of Disco Elysium, but that was more than enough for it to leave a phenomenally lasting mark on me. Simply put: it's one of the greatest games I've ever played. Others have, quite rightly, testified to its immense quality in writing, gameplay and the depth with which both of these systems intertwine. It's a fine, sophisticated RPG that is challenging, but with an intention that pushes you into the struggle the game wants you to have, to be at its greatest power. It wants to mire you in the protagonist's circumstance - where your choices, as a player, really matter (risks in dialogue choices and actions and what you choose to invest in). All of it makes sense and that makes the experience all the more memorable and impactful.

When times have been hard, or I've let my mind wander to the "could have been", I've returned to this game and its discussion of ideals and contradictions, both in our personal lives and in clashing ideologies. It reminds me that life is deeply complicated and even a righteous struggle for change, in the world or in ourselves, is not one earned easily or without struggle. But it's up to us to try our best and face up to our sense of self to begin any kind of meaningful development - whether that's a drunken detective thumbing over his past failures or myself, reflecting on the choices I've made and where it led me today, writing this review. This game gave me an easier path to healing and growth, lodging itself in a space very few pieces of art have ever gone - a rumbling in my soul that reminds me that I'm not alone in this and neither are you.

Listen to that Volition inside of you. Be nice to Kim (or not). Something beautiful is going to happen.

Much alike the base remake, Separate Ways is a faithful adaptation of the original material but with some well-served story beats making the most out of the action. Unsurprisingly (I'm a huge fan of the original and the remake's changes), this was a brilliant little DLC. It's nice to feel like you're actually getting your own mini story inside the base game, with a great repurposing of environments and small twists to make you feel like Ada truly is sneaking around while the broader story happens elsewhere. It's a nice synergy and the interplay with a largely absent character (in the main story) like Luis makes this a fun little romp.

Yes, it's a bit repetitive in story and there isn't as much detail as the main narrative, but Separate Ways keeps it short and sweet. There's more than enough content here for 8 hours, with unlockables and according challenges built into the product to keep you coming back for that S+ on Professional.

All-in-all, I loved it. A heartfelt addition to a terrific remake that brought back the very best memories of playing the original and the additional campaign in the 2005 original. Love the changes they made to really give Ada her own sense of story and struggle, along with some simple but great boss fights that make this a fun challenge. Capcom doing great work, as ever.

Bought this back in 2020, off a recommendation by the dev in some Facebook group we shared. There's a fun idea in here and some genuine passion put into the detail of the specific topics you can get into. Indeed, it's actually kinda fun to get into a flow and feel like you're doing a good job, but the rest of it leaves little staying power. Coupled with a chronic lack of updates (last was three years ago), there's no reason for you to pick this up. In the off chance you find it, unless you're a big fan of hip-hop and want to practice freestyling, stay away.

If the dev had sold this for £10 or less, it probably would have done numbers. Alas.

I don't really want to rate DTD negatively, as there's so much to like here: the art style, the initial gameplay loop, the characterisation, the comedic tone, the beautiful soundtrack. All of it makes the first half of the game a deeply enjoyable experience. However, simply put, the game evolves into a series of mini-games that simply aren't fun. There's not a lot of synergy between them and it pulls you consistently away from the central gameplay loop of catching fish and running the sushi restaurant. It's frustrating, for lack of a better word. I really loved much of the game, but there's no sense in the direction that it takes beyond having that initial sense of charm. It quickly becomes a slog and one that you won't feel compelled to see the end of. You end up fighting through un-fun sections of a game to get to the good bit: its central gameplay loop. But once that's taken away from you, it's basically impossible to get the spark back. A shame, there's a lot to like here (at least for the first act!).

Though I've rated HOLLYWOOD ANIMAL positively, I'd like to think of this as more of a neutral review. So, please read on if you're curious: there are pros and cons worth considering with this title. In short: I had fun, but with some serious drawbacks that mean you need to accept you're in the long haul with Early Access to get the most of this game. If you're fine with that, sign up. If not? Hold your fire.

I've just finished my first playthrough up to the end of "Act One" - 1947, wherein the game currently ends in its Early Access state. The game did just receive a Beta update (when I purchased the game), but it's yet to come through to the main branch for another 1-2 weeks. I didn't feel like Beta testing a game that was still EA, so I just played what was stable. The easiest comparable is THE MOVIES, though this is a very different experience that focuses partly on the stars and inter-studio/governmental conflict just as much as it does the mogul elements. There's little innate creativity to be given to the actual filmmaking process, insofar as one choosing what the story will be. That's still fun, but it can very quickly become a dull routine of filling out forms and sending off the next project to be shot (more on that later). For now, my brief history with the game:

My first studio ended in failure, largely because I couldn't get a handle on the multiple finance elements. I was too timid in banking on individual films and not ambitious enough in training my staff through new projects, or seeking out better staff, in order to better my prospects for the future. However, my second run was hugely successful - eventually putting out films with such commercial success that 1-2 titles would dwarf my competitors' gross earnings for the year from several releases. In this respect, the early game was a little bit more precarious: the game doesn't exactly give you the best indicator of what to do for success beyond some vague ideas of compatibility in story, production and distribution. You'll get a better feel for them as you go (I work in scripted development for a living, so story beats didn't take long to figure out). However, production is much more simple. Better crew ratings mean better results, with distribution seemingly vastly more complex: different elements, genres and ages of stars resulting in new audiences wanting to see the film. Pairing that with any one of the multiple distribution outlets is, frankly, a bit too vague for most people to determine. However, most of this can be simply trumped by having a project well-produced enough due to crew/cast ratings that anyone and everyone will want to see it. Combined with some brutal firing and hiring, you can easily save money to put towards new projects and, with a play made for buying up theatres, you're reducing distribution costs significantly. Even as the overheads increase, you'll eventually be making back 4-6x what you spent, if you're patient and constantly putting projects out. That's the kind of success HOLLYWOOD ANIMAL wants its players to strive for, even as it opens up into its specialised paths of Behemoth, Boutique and Trash King. As long as your financial base is steady, you can do what you want.

Consequently, getting into a greatly successful groove can become a real albatross around your neck (as far as fun is concerned). No sooner had I arrived at this grand success by simply playing quite aggressively, I quickly found myself in a vicious routine of producing new projects constantly, ensuring I always had something in production. At the same time, I constantly palmed off the police raids with the experience I gained from enabling them to raid my studios for illegal immigrants. Without any external threats, beyond the occasional beating of a crew/cast member, I was raking it in, year after year, improving my business over time. With a huge bank of influence, I even decided to turn against the academy of studios I was partnered with: overturning the content code and then the annual "Pollux" awards ceremony. However, this didn't didn't function as intended and the awards continued regardless, with the content code annoyingly failing to show up on films I had already produced until I was ready to release them. Point being: once things get going, there's very little to complicate matters in an interesting way, despite all that promise being there in the opening.

Now, I do think there's a whole element of the game that I chose to not engage with: illegal activities. I did order the occasional beating or murder, but most of them failed and the secrets were easy to cover up. Moreover, the game doesn't really incentivize that kind of play. If you're making money and your studio is doing well, with your stars and vital crew protected, there's nothing to stop the good times rolling. However, you don't need illegal elements to get there in the first place - I never once blackmailed any of my characters because I didn't need to seek out those elements. Instead, the barrenness of that central loop makes much of the game feel like a bit of a chore - filling out production forms in the same manner each time, earning money which was only really spent on increasing research in half-finished trees and the occasional visual bug that meant I couldn't tell what I was spending my money on ("EVENT NOT FOUND").

I appreciate that this review is a bit of a mess, but it very much reflects my conflicted feelings on the game. I do want the devs to make a success out of this, as I think it glimpses, and may yet capture, the deep complexities of its depicted era. However, so much of the game feels able to be cheesed and one-directional in a way that gradually reduces it to a bore. The events are potentially quite exciting, but don't currently offer nearly enough challenge that feels consequential or seriously risky. As the old writing adage goes: conflict is key!

I wish I had played more of this when it was still active. Now truly dead, a lot of of the gamemodes are rendered useless - even with bots. A shame, as it had a very entertaining twist on the Insurgency-style of class-based combat and weapon customisation, coupled with the hardcore gameplay that made it a nice middle ground for a lot of players.

Good memories, but a relic of a time gone by.