meitou めいとう 最近的评测

A game on the brink of excellence but lacking in many critical areas. It reminds me a lot of the old-school Minecraft mods like IC2 and the Mindcrack/FTB mod packs. The issue is, it's a convoluted mess and incredibly finicky in its mechanics. The resulting clunkiness makes it hard to fall into a flow-state and you spend more time fighting the game than actually progressing through it.

I really don't understand the purpose of this game, and walked away from it without any real message. I remember the hype about this game when it first dropped and picked it up in a sale a while back. It is definitely not worth the hype.

Is it supposed to be a short intimate tale of one man's imagination getting the better of him? Not really, the characters manifest as voices and the rest is left to your imagination. The game draws you in with a rather sad story about a distant wife, setting the tone for the player character. The few side characters are well presented but you simply don't have enough time to bond with them.

Is it mean to be an atmospheric firewatch sim? Not really, I found the game's graphics too cartoony to immerse me in its world and there's nothing to do other than to follow the path the game sets out. There are better games set in a firewatch tower out there (granted, mostly horror games) but other games like The Hunter and Long Dark have better soundscapes and are far more immersive in the way they present their landscape and nature.

The game is marketed at $30 AUD which is a rip off for this small packed experience which can be finished in less than 4 hours and has no real gameplay other than walking.

>start a new game with a couple mates. One is experienced and takes on the captain role, one has no idea what's going on but chooses engineer and I'm trying to remember the controls, and pick electrician.
>Set off on a mission to mine quartz.
>So far so good. Kill a few baddies, get the quartz.
>Random subsystems begin catching fire. Captain asks what's going on.
>Go down to explore, see reactor is on fire. Go to put it out but get instantly burnt to a radioactive crisp.
>Reactor detonates, entire sub sinks to the bottom like lead.
>Captain springs into action, repairs everything and gets the pumps going like some submarine Red October pro.
>"Where's the other guy?" Captain asks my dead body just before I respawn in the mini sub.
>Other mate is sitting there browsing Instagram memes.
>"Wtf happened to you?" I asked him.
>"I wanted to make the submarine go faster so i dumped all the fuel in the reactor and turned it up to max."
>Said it with a faint smile.
>MFW my mate intentionally sabotaged our sub just so he could avoid playing.

Quit the game and play Valheim instead, and never looked back.

I only just moved the chassis to the garage, and boy is this game brutal. Along with the new challenges introduced by the winter and an alcoholic player, the car + parts are now scattered throughout the world and need to be bought in garage sales as well as Fleetari's shop. The bright side is, the new jobs are far better than those in MSC.

This will be a challenge even for the most seasoned MSC veteran.

A superb rogue-like "Roadside Picnic" tale set in the Olympic Exclusion Zone in which all manners of mysterious entities and anomalies call their home. Your vehicle (literally) and closest ally in exploring this place is a station wagon with anomalous properties, which you need to repair, upgrade and look after. This is a superb casual experience that still offers depth and complexity in some of its systems. If you're looking for a jumpscare-free "horror-lite" experience, this is it.

The primary goal of Pacific Drive is to venture into the Deep Zone, in order to uncover the truth behind the Zone's existence. You are accompanied in this endeavour by several characters (manifested as voices broadcasting to you on the radio) and they help push the story forward as you venture deeper and deeper. The story is actually quite intriguing and the cast go a long way in motivating you to continue.

From your home base, you can repair and prepare your car, plan out a forward route and upgrade your base to give you a better edge in planning ahead. Each waypoint or "junction" is made up of one of several different biomes, a randomly generated map and a set of random anomalous properties and hazards. Be it aggressive enemies or pitch-black darkness, each junction you enter will keep you on your toes. The good thing about Pacific Drive is there are no jumpscares or enemies that can technically harm or kill you. The only enemy capable of hunting you down are Abductors but they can be seen from a mile away and only serve as mild nuisances. In fact there aren't really any living beings in the Zone at all. On your journey you will encounter different anomalies, some sentient and others not, and they can both hurt and help you in your journey. To make up for the lack of hunters and evil spooky demons, the devs crafted a very dark and scary atmosphere, and you will oftentimes find yourself running to the safety of the car due to some rustling bushes or a distant metallic groan. The atmosphere in Pacific Drive can be unnerving at times and I found myself scared to continue, even though nothing was chasing me and there was no time crunch.

While in the Zone, you can use tools to break down cars to gather resources, as well as accessing cabins, abandoned labs and other structures. Here you can gain resources, parts for your car and reports that open up bits of lore. To end a run, you either need to die (in which case the car teleports you back with the loss of most of your salvage) or you need to collect enough "LIM energy" which you can then use to open a gateway home somewhere on the map, triggering a "chase sequence" as you have to outrun an incoming storm. The story opens up new and diverse areas, shaking up gameplay. With each run, you can unlock new parts ranging from battery chargers to all sorts of tools and base upgrades, all the way to lead-lined doors to protect you from radiation. Paints and decals allow you to customize the wagon and you can also get side and roof-mounts to hook up lights, chargers and all sorts of wacky contraptions. The wagon can also become infected with anomalous quirks over time. For example, my car developed an anomaly where everytime I shifted into park, my front right door would open. You can fix this in a special machine by correctly guessing the trigger for the anomaly, and then curing it with an in-game item.

For anyone who remembers or played "Jalopy" this should be considered its spiritual successor.

The first half of my review is spoiler-free, after which I will leave behind a detailed account of the flaws in Forgotten City and its plot. Some of the names might be wrong because they weren’t memorable enough to remember.

I was attracted to Forgotten City because I wanted to fill the void left behind by Outer Wilds, an exceptional video game with a time-looping mystery at its core that requires thought and attention. Forgotten City however is the opposite. On the contrary I walked away from the experience puzzled as to how the game can maintain such a high score AND be compared to other excellent time-looping stories like Outer Wilds. To me, it doesn’t even stand on the pedestal astride these excellent games.

Forgotten City lures you in with a polished, visually stunning exterior and an interesting setting that takes place in a small Roman town frozen in time. Its citizenry are diverse and represent the cultural and racial diversity of the Roman Empire. Upon starting a fresh save, you are presented with an intriguing mystery, and numerous pathways are presented to you to find a way to open the puzzle at the game’s core. There’s the intrapersonal relationships you must build with the townfolk, then the political element of an impending election to swear in a new town magistrate which has polarized the town into two opposing camps; and even that of the religious, in which numerous religions are struggling to co-exist peacefully.

This facade quickly shatters towards the mid-game. It's here that Forgotten City falls flat on its face and commits it's most heinous sin: the bait and switch. No longer do you need to worry about the time-loop, or stop the bad guy from winning the election. No, those were just things to reel you in. The real objective of Forgotten City all along is actually to find four McGuffins "scattered" throughout the world. Without these magical objects, the final area where "the Man in the Room" is closed off. Getting all 4 McGuffins requires completing all the character stories and by exploring the map's "secret areas." All of that culminates in a lazy stupendous ending that obliterates the historical authenticity the game spends so long trying to set up.

In summary, this is NOT on the same level as Outer Wilds. Do not come here looking for that experience, you won't find it.

++SPOILERS BELOW++

The fundamental issue with Forgotten City is that the characters and your relationships with them hold zero weight on the plot. At first I thought doing favors for each character would allow you to influence the election (More on this later) but in reality they only serve as "checkmarks" on a list of variables you need to complete the election substory (required to get a McGuffin.)

The politics in this game was the single most disappointing element and I need to break it down into two parts.

First, after Sentius reveals he retains his memories with each wipe, the game sets the stage for an epic metaphysical showdown between you and a virtual opponent. His demeanour and tone changes, for he knows you can't defeat him. You could start and restart the game at will, pump him full of arrows or bullets, sway the votes against him, but the Golden Rule simply allows him to undo your efforts and cling onto power. After this reveal, I was left stunned. How could I possibly defeat an enemy like this? Somebody who negated my overwhelming advantage by abusing the rule of the very prison that kept everyone locked away!? This was a phenomenal reveal. And what happens after that? Nothing. In my playthrough II became too focused on hunting the four McGuffins that I actually forgot to talk to Sentius again. He gets swept to the sidelines and ceases to matter (like most other characters.)

Second, once you unlock the main “story gates" and speak to Galerius -the actual protagonist of Forgotten City- you inadvertently activate a very intricate Rube Goldberg machine that finishes with him getting elected as magistrate. That's when you realise the election story only exists so you can fetch McGuffin #2 of 4 required to open the temple. You don’t even need to leverage your relationships with the townfolk to build a political coalition to support Galerius, they automatically fall in line behind him. So to sum up, your relationships with the townsfolk DON'T MATTER AT ALL. Malleolus and his gladiator minion, set up to be the initial antagonists are comically brushed aside and are never brought up again.

To achieve the canon ending, you only need to open 2 story gates:

1. Successfully elect Galerius once and free the village idiot, opening up McGuffin 2.
2. Receive the underworld reveal from the priestess (to do this you just need to ask 3 NPCs about their origin stories and report back to the priestess.)

After this, the remaining 3 McGuffins can be achieved freely. McGuffin #1 can be found in a hidden cave where the Christian NPCs come to pray. I stumbled upon this area completely by accident and triggered the Golden Rule because you scared the ♥♥♥♥♥ out of Octavia. McGuffin #3 and 4 are in the hands of a soyboy Egyptian nationalist who is happy to criticize Rome and Greece for stealing Egyptian gods and culture, but gets butthurt when you make the point his gods and culture were stolen from the Sumerians.

Credit where it’s due, the catacombs that migrate through the four different architectural time periods was phenomenal, showcasing how each culture evolved and changed over time. Clearly the map, environment and settings were created by someone with passion for history. Also the beautifully designed world does promote exploration, and I was able to find most of the final areas in the game relatively easily.

After that, all that’s left is to open the Temple which reveals one of the stupidest laziest endings I’ve ever seen. Effectively, the arbiter of the game's mystery is an omniscient star-travelling being, who in all his alien might, was forced to babysit a town of primitives because his girlfriend gave up her powers to be among them. The realization that it wasn't a Roman god who was punishing the town but an actual ALIEN ruined what little immersion I had left in this game. I understand there is a way to reason with him on moral grounds, but in my first run I clearly didn't choose the right dialogue because I was then shoehorned into initiating a stupid fight and take Persephone's crown (when at no point was her crown EVER mentioned in the game beforehand. You then restart the loop, come back to his throne room and then "Stephen Strange" him into being your time prisoner, AND THEN HE JUST ACCEPTS IT AND LEAVES. Just like that.

Replayability is a joke because 2 of the 4 endings are variations of the same. The only difference is talking to Galerius first. The substory of Sentius' daughter makes ZERO SENSE and is a DUMB ENDING for this game's supposed villain.

Ending 1 can be achieved within the first 30 seconds of a save by simply shooting Galerius, and then Sentius when he comes running past. The different “class” options at the start are dumb. I picked the historian trait thinking it would come in handy by opening some secret areas, dialogue options and pathways when all it did was add some useless prompts.

“Do you know what this place is?”

“Um yes it’s a duat! *nerd emoji*”

“Ok. Moving on.”

When I saw the game gave me the option to bring a literal GLOCK with me, I automatically assumed the other options would be just as strong in other elements of the game. I was wrong on that.

What a whirlwind this game and the experience it offers has been! What was a blind purchase with some mates has become a cherished monument to the end of our weeks when we can get together and parade through the hallways of Cascade together.

It is easy to pick up and play, but offers depth in its many gameplay systems. The map is massive, detailed and well thought of, allowing you to open up shortcuts to other areas while simultaneously retaining its uniqueness. Its narrative is a parody of various science fiction tropes like Half Life and SCP amalgamated together, but still treated sincerely and with respect by the in game world and Characters.

Its survival systems are simple but fun, offering a survival challenge yet not falling into over the top territory.

Regular updates keep the games content fresh and an active dev team actively correct elements of the game that displease the fan base. An example from the Dark Energy update is that enemies now respawn after a certain in game time interval has passed as opposed to real time, making cleared areas safer for longer.

Grab your mates and have fun!

This game is an anomaly. I remember thinking this when I first saw it released for the PS4. I imagined the devs pitching an idea for a game about bikers fighting off zombies in a very specific part of a state most known among non-Americans as being a place where people died of dysentery.

"Like Darryl Dixon from the Walking Dead!" They pitched with great enthusiasm.

"Use sick crossbows to take down walkers (we'll find an original name for the zeds later, don't worry) and ride a big chrome Harley from town to town gathering supplies!" They slapped their hands together.

The producers adjusted their ties nervously.

Whatever was said in that meeting (if it did go down like that) clearly worked because I am grateful their vision came to pass. The game came out when the Walking Dead was at the height of its popularity and was clearly inspired by the TV series, but ultimately Day's Gone left its own mark on a heavily saturated genre, introducing unique concepts to the zombie medium.

From a mechanical and tactile perspective Day's Gone plays and feels a lot like the Last of Us in terms of its looting and crafting systems. Supplies can be found littered across the world which can then be transformed into various crafting materials to produce molotovs, bombs and other aids haphazardly, accessible from a selection wheel at any time. The world is actually well detailed, spread out across different biomes and is surprisingly rich in environmental story-telling, painting a canvas of loss, horror and a fallen civilization. The comparison between Last of Us and Day's Gone however stops shy of story where Day's Gone drops the deeply intimate and grounded tale of two humans reluctantly working together, in favor of a gun-ho journey involving government conspiracies, fanatical cultists and lunatic militias. There is a lot crammed into the narrative which results in predictable twists and somewhat disjointed sections, and i sometimes found the story going a little bit too fast for my liking, which I managed by focusing on side missions until I felt ready to progress. It's not all bad though. Despite its frequent ups and downs, the narrative has a lot of diversity in terms of themes and you end up encountering a large caste of characters with differing morals and attitudes to the new post-apocalypse. However the relationships you build with those people do end up being paper-thin. Still, I found myself drawn to Deacon as a character and what he had to endure, and find myself looking back fondly on my journey through this world. It's not a perfect story but has some beautiful moments in it.

In a highly saturated genre, I believe Day's Gone's greatest strength and contributions to the zombie medium are its fresh take on zombies -known in-universe as Freakers- which are well integrated in the PVE mechanics of the game. The Freakers are more akin to animals than mindless shamblers. They roam in packs forming small social units. At night they come out to feed, drink and hunt wildlife. In the day they hibernate in sheltered areas. Some packs have grown into full-blown hordes consisting of hundreds of Freakers which act and move as one. The beauty of the horde mechanic is that they don't wait around on the player to find them. By chance you can stumble upon them shambling towards a lake or back to their cave for a nap. For the first half of the plot, the game doesn't tell you where hordes are meaning you need to ride out at night and hope you (do or don't) stumble upon one. Being chased by a horde of Freakers is a unique experience and one not seen before in zombie games and I feel this was executed very well. They are a terrifying menace and an unprepared player can quickly find themselves at the mercy of a ravenous swarm.

Otherwise the game is large and beautiful crammed full of unique locations, naturescapes and apocalyptic imagery. I did not get bored of exploring the environment and felt there was enough diversity to differentiate each region and make them separate and unique.

Despite all this, the game suffers from flaws common with "console-style games." By this, I mean that it feels watered down. It is quite literally a "pick up and play" experience and there isn't really any nuance to its gameplay (learning to fight hordes efficiently may take some time but there is a meta to this.) It is also packed full of QTEs and the game holds your hand quite often at times. And before you point out that this is a console game - its fellow PS exclusive title Ghost of Tsushima felt significantly more polished and had a learning curve to its gameplay.

Overall a great experience paired with an action-packed story with twists and turns and a fresh new take on zombies. Perfect for anyone seeking a game they can pick up "straight out of the box" that offers rewarding progression, a good story and the opportunity to mow down hordes of zombies.

Fascinating laid-back space exploration game with base building attributes. Plenty to praise it for but I cannot get over how it runs like absolute ♥♥♥♥♥♥♥.

-Terrible performance all around with stuttering and severe lag on various planets.
-Creatures and sentinels often spawn underground. Why the ♥♥♥♥ do deep-sea horrors spawn underground?? It makes absolutely no sense.
-Bugs galore.
-Taking Steam screenshots freeze the game.
Sean needs to take a break from new content and focus on bug fixes and optimization.

A highly polished hack n slash set amidst the backdrop of the Mongolian invasion of Japan.

-Superb story that is both a celebration and critique of samurai culture. This is all I'll say. I understand there may be a few inaccuracies but for the most part the game captures Tsushima very well (which is a real place and many of the areas are named after their real life counterparts.) I found myself becoming attached to Jin Sakai and his adventure through Tsushima. Truly one of the greatest protagonists in gaming.

-Fluid combat mechanics that are easy to grasp yet give you a lot of room to play around and form a combat style. Playing on Lethal difficulty comes highly recommended (after becoming familiar with the controls) as this removes the arcade-like mechanics of repeatedly slashing enemies with your blade and makes landing hits far more satisfying and rewarding. While you may be downed in one hit, so too can your enemies.

-Stunning graphics that encapsulate a beautiful and diverse set of regions and areas to explore. I'm grateful we are able to enjoy this former PS-exclusive title on our PCs and bask in its glory.

-Outside the main quest there are a lot of side-stories and activities to hunt down and complete. It took me around 65 hours to 100% the base game (not counting Legends and Iki Island.) A lot of the side quests do become repetitive but they're small and bite-sized.