skibiditoiletrizz 最近的评测

I finished the entire game, ie all three acts and the final boss of act 3. I've beaten elden ring + DLC and lies of P and though I think the game is polished, it's just not fun to backtrack--the metroidvania aspect isn't as satisfying as hollow knight or other open world soulslike titles, and as someone who loves difficult platforming (ie finished C side tapes of Celeste) this game's platforming is largely just uninspired or annoying. Boss fights are riddled with necessary arena type pre-requisites (facing 3-5 waves of trash mobs before a boss fight is literally just padding), and the boss fights themselves are either overwhelming graphically with excessive visual clutter, or just generally repetitive patterns that don't have much variation. There's not as much creativity as I'd expect after this number of years of development -- for all the hype, I don't think it's a real sequel; it feels more like DLC (or maybe even a mod) of the original hollow knight. The graphics are stunning and there were no crashes or stutters/lag but that's the best compliment I can give. The difficulty is definitely higher than the original game, but in a semi padded way -- contact 2 masks damage, forced arena waves, fewer checkpoints and annoying routes from checkpoints to bosses while sporting less than satisfying boss fights. I beat the game hoping each boss would be more creative and exciting rather than tedious and annoying and ended up 70 hours later disappointed. I would rather have spent the time re playing lies of P or celeste, because though the game tries to have difficult boss fights and satisfying platforming, it ends up falling short in both regards. Thanks for putting in the work team cherry, but I hope you explore some more creative avenues in the future and attempt more experimental and bolder decisions rather than just adding a ton of wave-based arenas all over the map--the game could have been half the time and far less tedious in that case.

Surprising amount of polish. The worst part about the game is the limited content.

Overall, En Garde! is an incredible fencing game that has combat mechanics resembling the free-flow type of movement from AC/Batman, with a parry system that particularly challenges players to avoid group fights and attempt to create duels when possible. Though I took around 4-5 hours to finish the entire game on normal difficulty, there was effectively zero downtime. The only times I ever got remotely close to bored was when I died repeatedly and had to wait for the loading screens (which are remarkably quick on my SSD anyways). The characters all have expressive personalities, and though they're pretty standard, the tongue-in-cheek humor perfectly complements the sharp wits, snappy combat, and Puss in Boots aesthetic overall.

So why is this game worth it at $20 for only four to five hours of content?

1: Because of the details. The combat is incredibly well done, and perfectly combines a satisfying gameplay loop (kiting groups and creating duels), with a great array of enemy types and boss fights. The dialogue is magnificent--the typical back and forth dialogue to define contextual relationships and other expository details is there, but there's also more subtle voice lines that trigger depending on what happens during a fight. Ie, kicking crates into enemies might result in the protag making a "Crate to see you" pun, a boss spawning trash mobs will have differently dialogue depending on whether you attack the boss or the non-boss mobs first. Weaker mobs walk with more cowardice, and speak more fearfully, whereas tankier mobs will harass or intimidate you. Miss a parry? Get taunted. Grabbed a box? Get taunted. Running away? The enemy will not stop talking to you/about you. It's just the right amount of playful immersion.

2: Because of the fluidity. The game works well because of how well the elements of gameplay mesh together. From parkour across rooftops or swinging around an arena, to throwing guitars to create space in a tiny balcony, button presses are immediate and responsive. Whatever input method you use, you are in full control of your character. If you die, it's not because of a glitch, or an unfair mechanic, it's because you didn't pay attention and got surrounded. Dashing, dodging, parrying, going on the assault--though the game often resuses asset/enemy types a good amount throughout the game, it never feels old.

3: Because of the style. From head to toe, the game does not once miss the mark on the theme--a swashbuckler adventure where each step is a lesson in panache. From the OSTs, to the world design, to sound effects and animations, to voice actors and line deliveries, everything in this game clicks together. I don't even like fencing, or swordfights all that much, but this game oozes charm. From staccato filled musical cues, to surprise encounters with mystery characters, to listening to one witty comeback after another mid-combat, En Garde! makes sure you *feel* like a rebel, like a strong independent Spanish woman who never backs down from a fight. For a game that doesn't take itself seriously , it has polished every corner of its product without sacrificing its soul.

At the end of the day, though I wish the game was indeed longer, the combat is incredibly robust and replayable. Though the world, characters, and music can only be experienced for the first time once, there is a lot to love. The representation in the game is also quite phenomenally done--LGBTQ themes are not overt enough to seem like a corporate decision, but rather embedded into the story and revealed through combat dialogue. All in all, En Garde! is an appetizer that fulfills a lot of needs, but keeps me hungry for a main course. An indie pick you will not regret purchasing for less than $15, but still worth it at $20.

I wish I could say yes, I recommend this game. I love space, I've loved a majority of the bethesda games that have been released (Fallout is an incredible series), and I thought the marriage of space with Bethesda RPGs would make for an unforgettable experience.

Unfortunately, the gameplay just feels lackluster. In terms of what I can appreciate the most: The world is gorgeous, the detail placed in each individual item is magnificent, and I have the utmost respect for the artists and those working on the models and environments. These aspects are truly mindblowing. However, these worlds, these "1000s of planets to explore", feel incredibly barren. When I land on a planet, it's either explore for 2 hours and find maybe 4-5 structures with mediocre loot or just a standalone structure that has no depth besides some superficial nature to it, like a civilian outpost with generic stand-ins and fetch-quests at best, or an antennae/tree/ruins that captures my interest for 30 seconds at worst. The soundtrack and world details are beautiful, but it's hard to feel immersed when I'm asked to go from planet X to planet Y, then talk to person Z, before returning to planet X, who then asks for a delivery to planet B, where I fight relatively simple AI with tanky armor/shields for an hour until I get to character C, who has a lot of lines of dialogue, but 70-80% feels like filler. Maybe it's because I've just put in 100 hours into Baldur's Gate, but my expectations for dialogue quality have almost never been reached. No character or dialogue yet has made me laugh, feel sad, pause between making decisions, or otherwise leave any sort of emotional impact on me. Choices, like the combat and missions, feel empty, superficial, and non-consequential.

I haven't had any crashes thankfully, and I will say that loading screens are incredibly fast (2-3 seconds!), but the cutscenes... they're immersive and beautiful with the music, the sound effects, the visual effects probably the first 10-20 times you see the docking, space travel, warp drive, landing, etc cutscenes, but after seeing each of these for 10 times, I really wish there was an option to just skip these filler sequences. In fact, I'm tabbed out of the game right now because of another take-off sequence -> loading screen -> landing sequence that I have to watch every time I make a mistake where I land, or need to finish/start another fetch quest, etc. However, I very much still have bugs even if I don't have crashes. Namely, some quest markers just do not appear. One sidequest had me looking for spacers orbiting a planet, but after spending 20 minutes idling, then restarting the game, then fast travelling somewhere else then back again, I spent in total half an hour just trying to figure out how to progress a sidequest. Then I gave up and went to finish a main quest, but once again got stuck attempting to turn a quest in at a satellite which normally should allow me to dock (but the interface simply does not show up). Again, restart the game, fast travel back and forth, and attempting to finish other quests before returning have all failed to help me progress. So now I'm stuck.

The game's ambition with regard to creating outposts, automating resource gathering, creating a fleet of companions to help you on the field or at your outposts/ship, incorporation of more planets than I can count, and otherwise enormous scope have unfortunately taken away from the core gameplay. I loved fallout for the hand-curated worlds, dialogue and side quests that could evoke emotion, whether it's pain or laughter, characters I actually care to remember the name of, and choices that actually make me pause and consider. I was not the biggest fan of fallout 4, but I can admit that even that is a superior game to Starfield in the metrics I described above--it's a more invested game, even with its flaws, compared to Starfield.

I will continue to play the game in attempt to get my $70+ worth of gameplay, searching for an experience in the game that can feel like some sort of silver lining, but in its current state I wouldn't recommend it to my friends, or even strangers, for any price over $10-20 USD. The only similar game I can confidently put this game above is the Outer Worlds. Which is not saying much. I'd recommend you go back and play modded fallout/skyrim or even No Man's Sky; at least they're cheaper.

(52 hour edit)

I beat the game, and out of 52 hours I felt that 5 hours scattered throughout the game were truly enjoyable. This was not worth it. A lot of set up but no impact. The OST, soundtrack, sound design, world, and environments are gorgeous. But there's nothing of substance. You see it once, hear it once, and then get to hear and see variations for the next few weeks of your life. I wish there was one planet or side quest or mission that really made me smile or laugh or even blow air out of my nose. Nothing hit that mark. And my expectations were pretty low tbh.

There are two learning curves to this game. The most obvious one is the learning curve of the city building game itself. But the more important one, the one you can't just optionally ignore and try to 'wing it', is going through the process of Ubisoft Connect. You are an underage simp, desperate to get through the doors to the gorgeous 1800s city builder of your desire, but there's this giant, unassuming, non-loading, utterly broken piece of ship software that absolutely cucks the hell out of you at the door. You pound your credentials into the barrier furiously, but alas, the button to log in does not respond whatsoever. So you try a different Ubisoft account. But the bouncer still doesn't give a ship about your attempts to log in, or how you "paid money" and "deserve" to play the game. That's where you're wrong. You don't get to just *play* the game just because you put down *money*, idiot. You need to get hazed, you need to go through the PROCESS, you need to *prove* to Ubisoft Connect that you really care, that going to this club isn't a one time thing, you need to plead, to beg, to get on your knees and start sucking or praying. Because clicking "Forgot password" will not help you get in. Uninstalling and reinstalling will not make the bouncer budge. No. You gotta go into the "Settings" of the launcher, then restart the launcher, then force close steam and the launcher, then reopen the launcher FIRST, and THEN open steam again, then make sure you're logged into the separate launcher, THEN start Anno from steam, and finally, you might get the game to begin. Thank you Ubisoft, I've learned that going back to college, finishing a PhD dissertation, and marrying the anime character of my dreams is easier than using your outdated, janky, gutless, technically incompetent, intern-created garbage excuse of a launcher.

This is the first and only time I bought a game that just does not even get past the launcher. I've troubleshooter the ubisoft connect launcher not letting me log in for awhile, made 2 new accounts in addition to my existing account, and it still literally will not log me in. I'm not particularly an ubisoft fan, esp with their Epic games preference, but I actually enjoyed the watch dogs series. It's a shame to refund this because I tried a lot to get this game to work.

its like smite but not 1st person

Bethesda has made its decision, choosing to double down on supporting the predatory, uncouth members of id software, Marty and Chad. Bethesda, by extrapolation, does not respect its contractors, choosing instead to champion toxic execs and Chads that claim ownership on works they contribute next to no effort towards. Bethesda is plummeting towards the title of their fourth elder scrolls game: Oblivion. At this rate, their moral compass is sinking straight to EA/Ubisoft. This company is not worth supporting.

Bethesda is unfortunately becoming a cesspool of a company, choosing to back their employees at id software —particularly Marty Stratton and Chad Mossholder—despite Marty posting an incredibly uncouth, inappropriate, and ultimately irresponsible “open letter” addressing the Doom OST composer Mick Gordon in an underhanded, untruthful manner. Marty has created allegations that smeared an accomplished artist of the industry, resulting in Mick spending two years to respond in the most coherent, well-documented response possible in his situation while defending himself again and again to the verbal harassment and abuse he has faced as a result of Marty’s open letter. Shame on you Bethesda… your moral compass is headed in the direction of Ubisoft/EA.

Bethesda has seriously messed up across the board. It’s been awhile since they have produced something meaningful, and their stance on issues pertaining to their staff and contractors shows that they would rather commit to doubling down on corporate bullies than recognize/respect the immoral approach to situations like the Doom composer Mick Gordon. The abuse and harassment this company is willing to subjugate to an accomplished, respected artist shows that they are a company removed from developers’ best interests. It is a shame to see that Bethesda chooses to handle things they way they did.

dont know what bucket is anymore