RootPith 最近的评测

Trails in the Sky 1st Chapter is a captivating JRPG that I managed to complete without ever feeling like quitting. That said, there is an overwhelming amount of dialogue—much of it feeling empty or disconnected from the main narrative—to the point where I ended up skimming through most of the NPC chatter and casual banter.

The remake shines in its presentation. The art direction and soundtrack are beautiful, and the combat system is engaging and strategic. I played on normal difficulty and found the main story to be reasonably challenging without requiring any grinding, although I did complete most of the side quests.

This game leans heavily into classic anime tropes, so go in with that expectation. There are plenty of eye-roll-worthy, trope-heavy scenes, and I often felt like the game wasn’t really aimed at a 30+ player like myself. During many of these moments, I genuinely questioned why I was still playing. However, despite this, the game is filled with enjoyable elements that kept me going until the end.

While I didn’t enjoy the constant micro-level chatter and slice-of-life storytelling, I did enjoy the macro-level narrative. The broader story, world-building, and setting are strong enough that I believe this game does an excellent job of setting the stage for the rest of the Trails series. The slice-of-life elements can largely be ignored without harming your understanding or enjoyment of the world, which is why I’m willing to give Second Chapter a chance.

Overall, I’d give this game an 8/10. It’s not the “masterpiece” many claim it to be, but as a remake of the game that originally launched the Trails franchise, it does a very solid job of modernizing the experience while successfully laying the foundation for everything that follows.

• The game is too short for its price. It should have been $8 at most without discounts. I wouldn’t complain about getting it for $2 during a sale, though.
• The rhythm timing feels off, and many people seem to agree in the discussions. Thankfully, there are accessibility options to compensate for this, but I still couldn’t lock onto the beat the way I can in other well-known rhythm games.
• In my opinion, it’s more of a “vibe” game than a substantial experience. You can easily imagine Instagram gamers vibing with their lilac-colored setups and this game on the screen. Honestly, it’s more style than substance.

I honestly wouldn’t have paid more than $2 for this. I completed all the content in about 90 minutes and could legally refund it, but for ethical reasons, I won’t.

4/10

This game is the very definition of art.

If there’s any debate about whether video games can be considered a form of art, Judero should be one of the strongest arguments in their defense.

From the very beginning, it’s a striking audiovisual experience. Every nook and cranny feels hand-crafted and deliberately curated to evoke emotion or resonate with the artist’s state of mind as the journey unfolds.

Judero takes place in a strange, rural world inspired by Scottish folklore, particularly the myths and traditions of isolated island communities. You play as a lone figure traveling between small settlements, meeting eccentric and often unsettling characters, and learning about local beliefs and conflicts through direct dialogue and simple objectives.

I genuinely don’t understand how this game has received so little media coverage and collective awareness, because it’s an absolute gem—both visually and sonically.

The writing and context are just as compelling: funny, meaningful, existential, and layered in ways that are hard to fully catalog. There’s always something beneath the surface, inviting reflection without ever feeling heavy-handed.

It’s roughly a five-hour adventure that I think anyone even remotely interested in video games should experience. The gameplay is intentionally simple, making it easy to jump in and focus on the atmosphere and ideas rather than mechanical complexity.

Playing Judero felt like walking through a modern art museum—one that moves, speaks, and invites you to linger.

8.5 / 10

It’s astonishing that a game like this exists. It’s a surprisingly polished Zelda CD-i-inspired title, and its Metroidvania-lite mechanics make it consistently engaging. I didn’t know I wanted this, but I definitely did.


7/10

I originally played TPP on PS4 about 10 years ago, and this is the first time I’ve ever beaten an open-world game twice. I always thought open-world games lost their replayability because of their repetitive nature, but this playthrough proved something to me: if the gameplay is truly captivating, none of that matters. In terms of depth and variety, I honestly think nothing—except maybe Zelda BOTW/TOTK—comes close to what this game achieves.

Gameplay is everything, and this game absolutely nails it. It’s easily in my top 10 of all time purely for its gameplay. Even with the 3-minute helicopter deployments, it still has the best flow in the entire Metal Gear series, in my opinion.

You’ve all heard the usual complaints about this game:
• “Main/Side Ops are repetitive.”
Sure, but when the gameplay is this good, even your 20th armored-unit takedown feels fresh.
• “The story doesn’t conclude properly.”
I actually think it fills in Venom’s arc really well. Yes, the Liquid/Mantis storyline doesn’t fully wrap up, but honestly, the MG series has always had missing pieces in its timeline—even after Kojima went full lore-dump mode in MGS4.
• “Konami’s greed stopped Kojima from making his dream game.”
Maybe, maybe not—but Kojima was already losing passion for Metal Gear, and we’ve all seen how the Sony–Kojima partnership went. Spoiler: Death Stranding is a much more deeply flawed game compared to this masterpiece.

The music is incredible, the graphics still hold up, it runs beautifully on the Steam Deck, and somehow the online servers are still alive after 10 years.

9.5/10

Dumb fun in the best way — super fun to play, but the controls never feel completely tight. Parrying and dodging don’t flow as smoothly as in other Platinum titles; something always feels a bit out of your hands, like the game’s fighting you back.

Raiden’s mid-game identity crisis is absolute nonsense, and the character motivations are paper-thin. Still, it’s definitely more philosophical than your average hack-and-slash game. Sure, you can’t expect the same philosophical depth as a mainline Metal Gear title, but honestly? The game just flows and it’s fun, and that’s all I really want from it.

Also, the fact that the Senator used to play college football cracks me up every single time.

8 / 10

I’m writing this as someone who first played MGS2 around its original release, but truly understood it years later, sometime in the early 2010s. I’ve finished the game about three times in total.

Ever since the release of MGS Δ: Snake Eater, I’ve been replaying the older Metal Gear titles in whatever order I felt like. Within a month, I went through everything except MGS4, 5, and Peace Walker.

MGS2 is often described as a work of art — something that had never been done in the medium before — and, to be fair, that’s true for its time. It takes the metafictional traditions that started all the way back in Metal Gear 2 and pushes them to their absolute limits. But it pushes so far that the flow of the game actually starts to break down, and the experience becomes… less fun to play.

You can find a thousand essays online explaining how the Raiden/Plant chapter’s slower, more monotonous tone is an intentional design choice — a meta-commentary in itself. Sure, Kojima trolled everyone brilliantly for his time, turning the game into a kind of postmodern urinal in the gallery of gaming art. But at the end of the day, I don’t care — the game is simply not enjoyable to play. Especially if you come into it right after the more intense, fast-paced Metal Gear entries, it feels sluggish, confusing, and frankly exhausting.

And then there are the Kojima worshippers — people who talk about him like he’s some kind of philosopher or prophet who foresaw the future. Guys… media manipulation and its sociological impact were already major topics throughout the 20th century. Wondering what might happen in a world of unfiltered information wasn’t unique to Kojima — it was literally the main conversation in intellectual circles of that era. So maybe let’s not act like he wrote the Brave New World.

There are tons of earlier works that deal with these same ideas. At times, the game’s Codec dialogues — those long, lecture-like rants — almost feel like Kojima just took excerpts from the books he liked and stitched them into the script. It’s an impressive “concept dump,” sure, but it can feel more like a reading list than a narrative.

For comparison: games like Silent Hill or Metaphor: ReFantazio are deeply inspired by Jungian psychology, yet they do it in far subtler ways. They don’t throw fifty minutes of dialogue at you to say, “Look how profound I am, peasants — learn these and become enlightened.” There are many ways to express depth without overexplaining it.

At the end of the day, the game part of this “game” is just plain boring. I actually had to take a few days off before I could bring myself to continue.

Even if you argue that it’s “contemporary for its time” or that it “spoke to its era,” I honestly didn’t find it all that enjoyable even back then. Anyway, that’s all my ranting for now.

6.5 / 10

Hear me out — Metal Gear 2: Solid Snake might actually be better than Metal Gear Solid.

Many of the so-called “innovations” people credit to MGS — the fourth wall breaks, clever stealth mechanics, and narrative gimmicks — actually originated right here, in this 8-bit masterpiece.

Metal Gear 2 feels more polished in how it plays. Its tighter top-down controls fit the design perfectly, making it smoother and more responsive than the first 3D Metal Gear. There’s also a surprising amount of exploration and backtracking — almost like a Zelda or Metroidvania — where each new item opens up previously unreachable areas.

By contrast, MGS1’s backtracking was more limited, often linear or optional. In that sense, Metal Gear 2 offers a richer sense of discovery.

Honestly, the 3D transition wasn’t as seamless for Metal Gear as it was for Mario or Zelda. The jump to 3D added cinematic flair, sure, but it came at the cost of the fluid, perfectly tuned design that Metal Gear 2 had already nailed.

8/10

MG1 is OK at best, but still playable IMO.

5/10

Better than Clair Obscur.

Guzel temellere sahip ama oyun ekonomisi de epeyce bozuk oyun.

Oynamaktan sikilmadim ama yer yer sikca “eeeh yeter ama baslatmayin x kaynaktan 20 tanenize” diye sovdum, Sonuc olarak memnun ayrildim. Kusurlu ama bagimlilik yapici bir yapisi var.

Metroidvania/exploration kismi da var bu oyunun, bence cezbedici kismi da o oluyor. Haritada kisa yollar acmak konusunda bayagi tatmin ediyor, dark souls 1’e kafa tutar o konuda. 3D metroidvania oynuyormus hissi geliyor, tabi jetpack haric ozellik de edinsek iyi olabilirdi, craft menusuyle ziplama rampalari vs de uretince bu oyun neden daha karakter odakli yapilmadi diye sorgulatiyor zaman zaman. Yani karakterimizi upgradelerle gelistirseydik de tam bir sekilde metroidvania diyebilseydik keske.

muzikler, sesler, grafikler ve audiovisual’a dair her sey de rahatlatici ve wholesome gamer ekolunden lol

7/10