Jobko 最近的评测

I originally had this as "not recommend" due to having artifacts, blur, and pixelated grass. My fix for artifacts was Proton Hotfix. My fix for blur was in the accessbility settings under 'blur' and 'depth of field'. Pixelated grass was a mix of the two. While the game is still visually noisy, and has oddities with ray tracing 'bubbling' and ghosting, visually my game is 'fixed' for now.



-Extremely beautiful world.
-A ♥♥♥♥ ton of mechanics. It’s quite literally Zelda: TotK, RDR2, and Black Desert Online mashed into one game, with very little missing overall. It feels feature-rich, almost to the point that there are so many things you can do that you forget entire systems exist.
-Amazing combat. Probably the best combat in this kind of genre (Witcher 3 / Shadow of Mordor / Ghost of Tsushima / AC).
-Good exploration.
-Very dynamic world. Like in KCD2, villagers will pick up items you drop, and towns, castles, and cities feel very alive.
-Lots of small wildlife, bugs, critters, birds, cats, bears, deer, etc. The ecology feels very dense, and you get moments where you’re riding through a field and 20+ birds suddenly fly -up from the ground, which is really cool.


-Generic story, quests, and writing.
-Technical oddities: typos, crashes, small bugs, and bugged quests.
-Inventory is too small. You have to store a lot of quest-related items and materials, and it becomes a nuisance to manage. There are ways to make it better, but it’s still not great.
-Looting is finicky. Each object is fully materialized in the world, down to cups and other small items (think Skyrim), but the game is in zoomed-out third person, so you’re trying to pick up an apple the size of your reticle, and it doesn’t seamlessly lock onto it.
-The control scheme is a bit ridiculous and needs some streamlining, though you can get used to it.
-The UI is also kind of ridiculous.
-Generic, repeating dialogue from random NPCs, and even during some quests.


Simplify interactions as much as possible. Create a dynamic system where the game assumes what the player is trying to do, and automates the process. Have a generic interact button that dynamically changes and prioritises based on situation. Have looting bodies always be prioritised. Use an interact button to automatically choose which weapon, helmet, item, you need for a quest/puzzle, and dynamically switch to it.

An example of this automation would be: RB + LB + Hold LB changed to RB + LB = if puzzle needs + Hold LB, then automatically do it. If you need to put a sword in a hole, press the interact button near the puzzle, and then have your sword be chosen and automatically inserted. If a memory is nearby and you're holding LB, automatically equip the lantern and turn it on to view the memory, and then automatically equip the helmet to see it. If you're using Y + B to lift an object, just automatically pick it up faster - why do I need to also hold A to speed up the process. Also if I'm pressing interact on a chimney, equip the broom and automatically start cleaning it. Also every single time I use LB + RB, don't make me slash my sword after I let go of LB, and once I let go of both, don't leave my sword out.

Also add the looting system from Baldur's Gate 3: scan an area that then opens up a menu and let's you select an item from there, then automatically move your character to the item and pick it up.

While this is streamlining and simplifying the game, I don't see any reason why the game has to be this convuluded. Three buttons shouldn't be needed for one interaction. I shouldn't need to go into a radial menu to choose an item, then hold a series of three buttons, and then press another button after that process, and then unequip my sword to then repeat the action if I failed. It's ridiculous.


While I'm changing my initial review to 'Recommend', it's on the basis that I'm having a lot of fun with the game. However in terms of overall quality, I'd say Crimson Desert is a year out from being "finished". So if you're on the fence, just wait for a sale and a bunch of updates.


Story, while not amazing, has gotten better in the later chapters. It's at least somewhat interesting. Same goes for quests.

I've had 3 freeze crashes in total.

Storage was added, which fixed my inventory management issues.

NPC repeating dialogue frequently is getting annoying.

Some puzzles are accessible before they are possible. Main quest locks off certain puzzles completely, which without warning really dampens the experience. Also anytime I've been "stuck" on a puzzle, it's because of uneeded red herring decoration. I find this annoying.

I've wasted a lot of time trying to do bounty missions, and the map locations are either wrong for two of them, or they simply haven't been where they should be every single time I check. I think that highlighting their entire path would help.

Onboarding is actually terrible. The game needs more guides through the main story. I've had to look up a thing things that were not explained.

The most recent update fixed a lot for me, but it's still not in the clear yet. Needs more polishing still.

I spent the first hour of Death Stranding 2 troubleshooting. I could run the game at 1080p with ultra performance upscaling, FSR 3.1 or 4, and portable or low graphics, and the framerate would not differ from 4K, native FSR 4, or very high settings. I tried different Proton versions with no luck. I turned my VPN off and on, went offline and online, switched between windowed and fullscreen, used custom launch options, updated and restarted my PC, and tried every possible setting configuration I could think of. After an hour of doing all this, I just gave up.

I could easily conclude that the issue was with the game and not my hardware, but from all my testing I found no possible resolution. I thought it might just be a Linux incompatibility, but after looking at the recent negative reviews, it seems even Windows PC users are having this issue.


As for the game itself, compared to the first, Death Stranding 2 cuts out a lot of the tedious menus, popups, extra animations, and cutscenes for everything, streamlining the overall experience. While this might take away from some of the cinematic nature, I think gameplay comes first, and if you played the first game long enough, you were probably spamming next constantly out of annoyance.


Combat is actually good this time around. Melee and guns feel impactful, stealth is improved, and overall it feels more “gamified” than the first. You can now ping enemies, and the game starts you out with non-lethal guns right away. Guns have less recoil, spread, and sway, so aiming is more reliable on controller.

Into the Wilder difficulty is quite intense and takes a lot of stealth and planning to survive. It does not feel like a bullet sponge mode so much as a mode where enemies can kill you just as fast as you can kill them.


Vehicles are much more capable and more natural to drive. They feel more grounded in reality and can go over small rocks and tiny bumps without the physics glitching out. Physics-wise, the game just feels far more grounded and realistic overall. Sam, like the vehicles, feels planted within each scene.


All radial menus are improved. Items no longer take up individual sections of the radial menu. Instead, there are pre-defined sections that you can rotate through. Repair spray automatically faces you by default. The map is 3D now, so you can actually see elevation and plan ahead accordingly.

The delivery menu makes fabrication optional while also offering much more customization and route planning before heading out. You no longer get booted out of terminals and have to go back in just to change something. You can drop cargo and automatically sort it from the radial menus. It even goes as far as offering the option to automatically drop all used items.

The shower combines all three options into one button, so you no longer have to sit through or skip 6+ animations. The Social Strand Service is more like a messaging app with photos than the old mail system. Turning in deliveries automatically resolves everything you did and gives you your rank right away, without making you sit through minutes of sequences or fast-forward through them.

The game also has skills you can level like an RPG. While the first game had something similar, it was more hidden from the player and not as robust. Menus are quicker to get in and out of, essentially functioning as large popups rather than full menus you have to load. The fabrication menu actually shows what the items look like physically. You can now fabricate items from postboxes. Recycling is instant, without the need to see Bridget’s face over and over again. Carry weight shows a yellow divide, letting you know when cargo will be too heavy. After sorting items, you are also shown the percentage of how much you are carrying.


From what I have seen so far, there are storms, a day and night cycle, flash floods, and earthquakes. Outside of all the polish applied to the original game’s experience, those are the main new features you will notice in the first few hours.


While I am excited by all the new changes, which make this feel like a direct upgrade over the first game, I am still hesitant about the game’s difficulty. While Into the Wilder makes combat intense, I am unsure how many other gameplay changes it actually introduces. The description mentions “merciless environments,” but I do not know whether that means more earthquakes, storms, and other hazards, or whether it actually changes stamina, fatigue, carry weight, traversal, or height maps in some meaningful way. I am unsure, and seeing how much easier it is to traverse with vehicles this time around still makes me worried.

However, the main concern here is performance. I could still have a good time with Death Stranding 2 regardless of traversal difficulty, but at worst I have dipped into the 30s, and at best I am in the 50s. This has been such a downer to experience, and it is borderline unplayable in combat. No amount of frame generation can make it feel like I am actually above 60, and that sucks. Until this is resolved, I do not think I will be playing any more. Unacceptable.

Pros:

* Lots of game modes, skins, and sound effects, some earnable and some paid.

Cons:

* Requires a Ubisoft Connect account.
* You have to remake lobbies if someone disconnects, and people disconnect often.
* There is no join code, so you have to invite people through Ubisoft Connect.
* The menu interface is unintuitive.

Otherwise, it is fun to play, but it is still Ubisoft.

Fun with friends. Good party game.

Preface: this review will be based entirely on gameplay.

Death Stranding makes the act of walking fun. It feels counterintuitive—almost perplexing—that walking is arguably more fun than combat or driving. Rivers, ponds, waterfalls, ravines, mountains, hills, rocks, boulders, snow, grass, earth… The landscape of Death Stranding is your enemy. As you lug carriers across various terrain—balancing your cargo while navigating obstacles—there is an almost therapeutic quality to it. The focus required to reach your goal is almost hypnotic, matched by the immersive sound design and beautiful vistas. Hours go by, and you feel like you’ve only just started. This, to me, is the core of what makes Death Stranding a good game, and what empowers all its other facets.

It feels paradoxical to then, in turn, erode traversal through the game’s structures. Roads and ziplines cut through the map of America, severing much of the difficulty you once had. Every part of your progression is working toward this goal, as you link up each UCA facility and prepper shelter. This is, of course, your reward for the arduous journey, so it makes sense—just as the difficulty of any role-playing game is nullified by the best gear and highest level. However, without structures, you also don’t have goals outside of the story. Working toward creating that massive path to your destination is fulfilling. Planning each and every placement, as you create a path that’s unique to your game, feels good.

Death Stranding’s systems are dense. The three major parts—traversal, building, and combat—have that Kojima finish. If you’ve played any of his other games, you’ll know what I’m talking about. Every system is fleshed out with absurd attention to detail. If your shoes wear down and break, your bare feet will bleed, creating bloody footprints that BTs will avoid. You can then find makeshift sandals from plants to cover them, or steal boots from MULEs. If you walk on your bare feet for too long, Sam will have an animation where he rips off a broken toenail. Blood loss from being barefoot can be healed with cryptobiotes, bugs you find in the environment. If you lose energy while walking, you need to drink an energy drink, which can be refilled by standing in water. If you drink too much, you can pee—with manual aiming—to grow a mushroom that will appear in other players’ worlds, which they can continue to pee on to make bigger. If you get worn out, Sam will fall to his knees to catch his breath. If you decide to rest, you can stretch your legs, massage your shoulders, and even sleep. If you sleep in the cold, you can die from hypothermia. The game has dynamic weather patterns that create timefall rain and snow, which wear down your equipment and cargo. You can repair the containers for your cargo with repair spray, and even point it backward to fix worn cargo. Weather also affects wind patterns, and wind direction can slow you down. MULEs can send out scans to track you, but if you send a scan at the same time, you can negate the effect. Sam has unique situational animations, voice lines, and cutscenes—45 hours in, I’m still seeing new ones.

These details make Death Stranding engrossing and believable. Every detail fills in the gaps, making each system feel fuller and more textured.

If you’re interested in hearing about more details, I recommend watching “The Astonishing Detail of Death Stranding” on YouTube.

Driving and combat, while still good, lack polish.

Vehicles have clunky physics, bouncing on every small rock and leaning too hard around small turns. They can also sometimes “fly” if you force them into areas they shouldn’t be in; you can brute-force your way through much of the game’s difficult terrain this way. While physics only seldom fail you elsewhere, with vehicles it happens often enough to weaken your immersion.

Regarding combat: stealth, melee, and bola guns feel quite good, but later in the game, as you unlock assault rifles, shotguns, and handguns, the sway, recoil, and spread are overtuned, to the point where aiming becomes frustrating—especially on controller, which is the primary control scheme.

While combat is very secondary to the experience, I’d argue driving becomes a huge part of the endgame, and it hurts that it never quite feels right. While neither system is overly offensive, both are enough to blemish what is otherwise a cohesive experience.

However, despite all these systems being robust on their own, the glue that holds it together is the Social Strand System. This is what I think Kojima meant when he talked about creating a new genre. However, while it isn’t a new genre per se, I haven’t seen it done as well as this. The online aspect of Death Stranding allows signs and structures to be shared between players. While you’re limited in how many player structures you see, often having to build your own to bridge the gaps others “miss,” it means you’re not fully alone. Signs, ropes, ladders, bridges, generators, postboxes, watchtowers, roads, timefall shelters, ziplines, catapults, jump ramps, trucks, bikes, cargo, and items are all shared. You can find lost cargo from other players and deliver it, or use it for yourself. You can share your cargo and items with others as well. This sense of community means every time you build or do anything, it’s not just for you, but for others as well. And if players benefit from your structures, they can optionally give you likes, which will improve your profile. This is where Death Stranding sets itself apart—and, funnily enough, it’s one of the only multiplayer systems where I haven’t experienced any negativity.

Death Stranding’s systems interweave to create a trance-like state in which you set goals and grind toward peak efficiency as time slips by. There is no game quite like it, and for me, that experience is quite special. Its controversial nature undermines what it actually is and has created a hesitation among onlookers. When I hear comments from people who haven’t played it, I often sense a misunderstanding of what Death Stranding actually is. If any part of my review resonated with you, I implore you to give it a try.

What is currently polished and “finished” in the game art-wise looks great. It’s beautifully animated and drawn, and scales up well on higher resolution monitors. However not all art is done, and there is quite a bit of place-holder art – even for bosses – which is expected from early-access. However for an early-access title, it’s extremely playable and I haven’t ran into any major issues. The difficulty might be a little high at the moment, but I’m unsure if that’s intentional or not. The game is fun, and multi-player is a blast… If you’re wondering whether Slay the Spire 2 adds enough value to be worth buying at this stage, I don’t think you have to worry.

The main downside for me is definitely controller support. Currently every relic, potion, enemy, player, card, is all accessed through d-pad or right analogue stick. You could press X to get to your potions fast, and then try make your way to your relics, but then you get stuck up there on d-pad, and have to switch to analogue stick to get back to your cards – or press LB to open your deck then LB to close and you’ll end up selecting your cards again. RB, left analogue stick, L3, and R3 aren’t being used right now… At least let one of these be a quick way to get to my cards.

My idea on how to fix this would be: RB = select cards, left analogue stick = select player/enemies and switch between them, L3 select relics, and R3 could be a “insight” mode where you can see all debuffs/buffs without having to go enemy by enemy, player by player. Maybe there’s a better way of doing this, but with so many non-utilised buttons, it feels ridiculous that I’m slowly navigating everything and getting stuck in portions of the screen. As it currently stands, mouse is so much easier to use.

Also a nitpick, but when drawing, you HOLD a face button + right analogue stick… Like guys, I’m not an octopus. This after-thought is the microcosm of controllers issue at the moment. It really feels like none of the developers play with it. Also as someone who needs a controller to alleviate hand pains I get, this is really unfortunate.

I’ll be leaving a negative review just so the developers know this needs to be addressed, and as soon as it’s fixed I’ll change it to positive.

Says it runs native on Linux, but doesn't open. Ran through Proton on Experimental and 9.0-4 but crashes constantly.

When you need to breed, but all your cats are gay, asexual, aggressive uggos.

The sound design is incredible: faint buzzing, crackling, hissing, scratching—consumed by the sounds of electronics and the depth of congealed blood—amplifying the thalassophobic impression of the sea.

Aesthetically, it’s quite pleasing, with a colour palette of neon greens, dirty oranges and browns, greys, and vivid reds, creating an oppressively militaristic brutalism akin to an abandoned World War I bunker. The superb writing emphasises this tone: “This is not an expedition. It is an execution… what freedom waits for you?… Hope in this void is as illusionary as the starlight...”.

Iron Lung’s simplicity is, in a way, beautiful. You don’t get much dialogue or text. There is a story here, but it isn’t fully explained. You can get more out of this game, but it isn’t explicit. It becomes apparent—within its scripted nature and short run time—that the developer wanted you to have an experience: an immersive, novel one.

It baffles me how much Markiplier managed to extract from this, though, creating a film that not only covers the game in its entirety, but also makes its individual ideas feel much grander in scope. If you haven’t seen it already, I definitely recommend watching Iron Lung (2026) as well—it’s so much more.

After playing MGS3 recently and struggling with the absurd controls and feel of the game, I thought that buying Delta would address my concerns, only for it to bring new ones.

New style controls streamline the game in a way that makes it feel quite redundant difficulty wise. A part of what makes older MGS games difficult is mastering the complex balance of third and first person.

In MGS3 you’re forced into first person when prone in grass, making it harder to see enemies beyond the tall grass until you get to the very edge, while also keeping prone movement consistent in tight grass spaces. In Delta you’re always in third person unless you force yourself into first person, meaning the movement in grass completely breaks near objects/walls, and you’re always able to see enemies easily – ruining immersion.

In MGS3 the cover system involved you forcing your back against a wall/tree, manually moving across the wall/tree, manually aiming and shooting, and relying on automated aim assist that often misses. In Delta the entire cover system is automated, removing manual peeking as well as switching to default aiming when shooting out of cover. One is less reliable on purpose but offers more flexibility with what you can do, while the other is very reliable but offers no micro-management. This design is seen everywhere, where in Delta it’s a lot easier to perform actions but a lot less reliable to perform specific actions.

Another example of this is knife combos. In Delta they force you to have to aim before using knife combos, while in MGS3 you can just perform the combo due to CQC and attack being separate buttons (unlike Delta). In fact every time you try to melee in Delta, you have to stand still or it will always automatically do a knock down animation. While this control scheme means you have more control over throwing grenades and shooting without having to rely on first person, it means you have less direct/quick control in other areas.

Crouch in Delta makes the game too easy. You get more camo % while crouching, but now you can move around. With the ability to toggle stalking mode, you can go from crouched in grass, to behind a enemy, to stalking, almost too seamlessly where it feels cheap. Even if you fail this streamlined version of stealth, the distance to perform a knock down basically ensures you’ll never truly fail.

Delta does have great improvements, like the quick camo/codec menus, fast forward codecs, pause cutscenes, and other great quality of life improvements… But the main reason I bought the game was to address the feel and controls of MGS3, and instead I got an arcade version of MGS3 – and in going back to the original, I realise I was just wrong and needed to get used to it.

I don’t even think the visual fidelity really enhances the game either… The original feels genuinely hard to navigate the forests, with density, fog, short view distance, and a green tinge that blends it all together – adding to the immersion. The new “legacy” filter for Delta doesn’t fix this either. Another thing the visuals ruins is performance – the easiest thing to complain about. The game runs awful, and the artifacts from FSR4 upscaling doesn’t help. Even trying to mod the performance, sure the game is fine for the most part, but every item menu lags as it loads each item asset.

It feels like while the game improved in many ways, it lost its soul. Even the main menu screen doesn’t have the original interactive CQC showcase. Does it overall look visually better? Yes. Is it streamlined in a way that makes it more accessible and fun for the average person? Yes. If you’re someone that doesn’t care about the vision of the original, where you feel lost in a jungle, wading through grass, struggling to survive, then you’ll probably enjoy this version. But I think this streamlined remake takes away a lot of the difficulty and atmosphere the original had. It’s a remake appealing to those that struggle to get into the original MGS games rather than someone that loves them for what they already are.

Edit:

To expand this reviews criticisms: If they were going to remake MGS3, they should of taken more from MGSV rather than played it this safe. The original MGS3 is a great game, and with the Master Collection, we hardly needed a new version of it. The only justification would be a more modern streamlined game, which they did attempt, but when you have loading screens every few minutes, did they really try enough?

A better remake would of removed all loading screens and tied the areas together. Overhauled the weapon/equipment switching. Made the CQC and melee combat more refined, rather than relying on standing still or aiming to perform certain actions. Expanded areas that now feel too small because they removed fog, god rays, extended the view distance, and allowed you to crouch walk. Even adding more enemies or difficulty to the stealth gameplay to account for how easy the streamlining has made the game, or re-imagined the overly simple boss design that is completely mundane now with the over-the-shoulder aiming and new movement.

Rather than complain that they ruined the original vision, I think for the price point there should be more done to separate this game from the original, rather than play it this safe.

Edit 2:

Also as I’ve been reading into more changes, apparently to make the game more realistic-looking and feeling, they added a bunch of extra animations to every part of Snake’s movement and combat, meaning certain actions feel worse or delayed or are not possible like they used to be. The best example is not being able to get up quickly after getting hit down.

Certain sound changes or additions have made codecs sound worse or cheapened the intentional silence of certain cinematics.

The compass also tells you where to go, so the game is a lot shorter/easier to navigate. Again reducing the purposeful disorientation of being in a jungle.

Certain dialogue was censored with words like “fat” changed to “overweight” and “♥♥♥♥” to “crap”. Also Eva’s breasts don’t jiggle in a scene.

Movement inertia makes the character feel worse to handle (ice skating feel).

Directional indicators tell you which direction an enemy saw you - again reducing difficulty.