FunkBlaster 最近的评测

I loved this game. I don’t understand why I’m seeing a fair bit of hate for this game online. From what I can tell, people are upset that the game is “too slow” or that the price is too high. While I can’t argue in favor of increasing prices, I’m scratching my head as to why people would complain this game is slow. The game still has encounters where it throws dozens of enemies at you, and you must juggle parrying attacks, breaking enemy armor, and sawing through enemies with either bullets or melee weapons. Certain elements such as the shield charge also allow you to close gaps between enemies quickly and keep the pace up.

The game also ditches the idea of constantly switching between weapons for each situation. I didn’t mind being able to mostly use one or two weapons for the majority of encounters. The shotguns always felt the most satisfying to use, so I just got to spend more time loading demons full of buckshot.

This game also sees id attempting to give Doom a serious story. I’ve never cared about the story in any Doom game, to be honest. As such, I wasn’t invested in the cutscenes too much. The one nice thing about them is that they constantly reinforce the Slayer’s strength and, by extension, the power fantasy. Are some moments cheesy? Yeah, but they also fit. You’re a white-hot ball of demon-killing rage, and they make you feel that way.

I will, however, give credit to id for going all-in on the campaign. It’s got some meat on its bones. While some say that it isn’t long enough for the asking price, I was happy with it. Most games seem to have an 8-10 hour campaign, which I always thought was a bit on the short side. They doubled that length with this game. It was about 20 hours for me to complete the game, but I also 100%’d the game and grabbed every collectible/secret along the way.

The removal of glory kills will anger some and please others. Having a simple animation where the Slayer swings his melee weapon or Spartan kicks a demon to finish it off doesn’t have the same appeal as the creative executions of 2016 and Eternal, but it also gets you back into the action quicker. Those glory kills could also wear out their welcome on successive playthroughs. A slow-mo flail hit brought me back into the action faster than the extended animations of the past games.

The biggest complaint I have about this game is the dragon and mech levels. When seeing them in the reveal trailers, I had a fear they would be tacked on so that there was another marketing bullet point for the game. Sadly, this wound up being correct. While they look cool, the systems for those levels aren’t particularly deep. It’s mostly just dodge a clearly choreographed attack and then shoot. They’re also mostly a string of one-on-one encounters that aren’t nearly as entertaining as the hordes of demons you’re mowing down on regular levels.

I also thought the large, sprawling levels with multiple objectives and secrets was an interesting idea. The secrets are more spread out, and some encounters are entirely optional during these levels. I love massive levels that are overloaded with secrets. It felt different than the other levels that are entirely linear. There’s more to sink your teeth into in these levels, which I enjoyed, although I would have killed for the ability to set a waypoint on my HUD. Constantly opening my map to find the next area got tedious after a while.

I’ve always been a big Doom fan and loved this series. It’s not Doom Eternal, which is fine. They more or less perfected that formula and I’m not sure how much more they could iterate on top of that. The Dark Ages is simplified a bit, but they also add enough new features to keep things interesting and engaging. It still feels like Doom to me. I also have to applaud id for taking a risk. They could have easily put out another few Doom Eternal clones and probably still received praise for it. Instead, they wanted to try something different, rather than rest on their laurels. If you’re a diehard Eternal fan and only want more of that, then this game may not be for you. If you’re open to trying something new that still feels like Doom, however, I think there’s plenty to love here.

Honestly, this DLC is a slog. It overstays its welcome and then some. It’s basically a 20-30 hour dungeon that results in about 5 minutes of total character/plot development for the party. The DLC is not satisfying, nor is it particularly enjoyable to play, especially if you’re coming straight from a completion of the base game. You grind 2-3 hours of the same recycled Tartarus floors for a 2-minute snippet of a character’s backstory. Rinse and repeat. The additional information on the characters that you do get doesn’t justify the 20+ hour grind

Additionally, the game starts you over at level 25, so you have to restart your compendium all over again to get your best personas. To make matters worse, there are no social links, so the fusions aren’t nearly as interesting or powerful.

This DLC could potentially be more tolerable if I had taken a break after completing the main story. Even then, the combat isn’t the main draw of the Persona series. It eschews what made Persona unique and memorable for a dungeon-crawler DLC. Add the $35 price tag on top of it and you’ve got a disappointing DLC all around. It’s only worth it if you want the achievements.

Ah, finally, the game that kickstarted the modern Persona series. Having previously played 4 and 5, I was excited to dive into this game and see what I had been missing. Every Persona game has so much to experience, and it’s always an enjoyable adventure.

The aspect most people seem to love about this game is the story. After completing it, I can see why. It’s the strongest of the Persona games available on modern platforms. The game tries to tackle some heavy subject matter. So much of the game is focused on one’s impending death and what it means to live a meaningful life. The conclusions the game reaches feel satisfying and well done. I also thought that the game’s willingness to let certain characters die kept the story interesting. Oftentimes, I feel like games dance around the idea of letting major characters die and are afraid of killing fan-favorites. Persona 3 doesn’t care and just lets it rip. It helped me feel invested, and I appreciated the frank treatment of death.

The game’s emphasis on finding meaning in life ties in well with the social link system. The acclaimed “making friends” system got its start in the original edition of this game. In some areas, it is all too obvious that this was their first attempt at things. Some social links seem to go nowhere for the first 7 or 8 ranks, only for the character to suddenly have some epiphany at the very end. In the later games, the links have arcs that are interesting to follow. Not every link follows this rule, of course, and there are some that I greatly enjoyed experiencing. Characters such as Akinari and Hayase are standouts in this regard. The game certainly doesn’t bat a thousand, however. I also appreciated the game’s addition of “linked episodes,” which fleshes out party members that didn’t have a social link in the original version of the game. That helps add some depth to each party member and expands on their character and motivations.

The gameplay takes heavy inspiration from Persona 5. If you’ve played that game, then you know what to expect. The turn-based combat mostly revolves around finding an enemy’s weaknesses and exploiting that to get All-Out Attacks for massive damage. Additionally, the 1 More/Baton Pass system returns (renamed Shift, in this iteration). Perhaps I’m jaded from experiencing this system several times over, but I didn’t find it as engaging as I’d found other games in the series. It felt like I was treading on old ground. There is very little done to innovate in this regard. However, I suspect that this may be an issue unique to me. Atlus seems to have taken the approach of “if it ain’t broke, don’t fix it.” Most players – especially first-time Persona players – will probably have no problems with this system. If you’ve played them all, though, you may find combat boring after a while.

Unlike other entries in the series, this game does not have unique dungeons. Instead, it has a single, massive dungeon called Tartarus that you slowly explore over the course of the game. Tartarus is far from an interesting locale. It’s mostly flat, featureless corridors with a different art style every dozen floors or so. The game seems to use slight variations on a few different floor templates. There are no puzzles to solve or hidden areas to uncover. At the start of the game, it’s not so bad, but it begins to feel grating and repetitive by the end. Future games in the series improved on this by giving each dungeon a unique theme with some quirks or exploration elements integrated. Persona 3 is unfortunately shackled to the design choices of 2006. It’s not a horrible experience, but given that you’re spending so much time there, it is disappointing

Overall, this game, while a little rough around some edges, is still good and worth your time. The gameplay has been modernized, and the visual style has that trademark Persona flair that so many people adore. There’s plenty to enjoy here for both series veterans and newcomers.

4/5

Yakuza 0 is a bizarre, wacky ride that is a joy to play every step of the way. This game single-handedly sucked me into the series with its addicting recreation of life in Japan and story full of twists and turns.

The game begins with you stepping into the life of Kazuma Kiryu, a low-ranking member of the yakuza who is trying to make a name for himself. He shares the spotlight with Goro Majima, a man living in a gilded cage. Both protagonists share unique roles that eventually converge in the story. The characters quickly establish themselves as likeable and have unique personalities.

The story was the highlight of the game for me. Not only is it well written and engaging, but it also takes you on a rollercoaster of intrigue, betrayal, and mystery. There is a plot twist seemingly in every chapter. Some of them require suspension of disbelief, but that’s something I’m willing to overlook when the overall journey is so entertaining. It kept me glued to the edge of my seat in some parts, and belly-laughing at the silliness of other parts.

The gameplay is fun and varied. The two protagonists each have 4 unique fighting styles. Since the game alternates between the protagonists every 2 chapters, there’s not much of a chance for one character to overstay his welcome. Encounters remain engaging as you mow down dozens of enemies that the game throws at you.

Combat is good, but not great. In standard brawler fashion, most of the enemies stand around and wait for you to hit them. The moves are satisfying, however. Plus, when you land a finisher, the enemies go down in an explosion of money. It always feels great to clobber a guy into the ground and also take a couple thousand yen from him. The only issue I have with the combat is that some bosses and late-game encounters can be frustrating. At times, I wasn’t able to find a strategy to counter their attacks, other than to spam healing items and tank hits.

The world that the game created is full of life and adds to the immersion of the story. Both protagonists have their own section of the city, which only encompasses a few blocks. RGG Studio took a quality over quantity approach here. While the game isn’t as huge as GTA or Elden Ring, the world is authentically recreated and feels lived in. Drunk NPCs stumble through the neon-soaked streets and try to fight you. Promoters on the street harass you and try to entice you into their clubs. The world has a level of detail that could only be achieved if the developers focused on a small area.

The minigames are a hidden gem in this series. There are so many to discover, and some of them will suck hours of your time away. There are arcades where you can play classic Sega games. There’s also a miniature RC car racing game called Pocket Circuit, which has become a fan favorite. There are casinos with gambling minigames, and even traditional Japanese games like shogi or mahjong (in case you feel like punishing yourself). By far, the two standout minigames are the management minigames unique to the two protagonists. Kiryu has a real estate management minigame where you slowly buy up all the property in town and make them profitable. Majima has a game where you run a cabaret club and have to keep guests and hostesses happy. Both minigames ate away hours of my playtime.

Finally, I have to mention the sidequests. While the main story is a serious crime drama, the side quests are much more lighthearted in tone. There are missions such as BS-ing your way through a movie producer gig or escorting a Michael Jackson parody through a music video shoot. It lightens the serious tone of the game and also serves to flesh out the protagonists and show more of their personalities. Sure, Kiryu is a gullible idiot who falls for every scam in all of Kamurocho, but that adds to his charm. He’s a big, lovable idiot who wants to help everyone… even if it means making a fool of himself.

This game is truly a standout. I first played it in the winter of 2020 and loved it. Then, about 2 years later, I wanted to get lost in that fictional recreation of Tokyo again. I bought Kiwami and Kiwami 2, just to roam around the seedy city streets one more time. After completing both of those games, I was so invested in the story that I bought the remaining games and had to play them all. This series is a hidden gem just begging you to get lost in it. I cannot recommend this series enough, and this game is a perfect starting point.

5/5

TL;DR a fantastic love letter to the shooters of old. It takes the formula put forth by Doom and further refines it, resulting in an absolute blast that will keep you hooked until the end.

Do you like shotguns? Do you like fast movement? Do you like large levels that give you room to zoom around and blow ♥♥♥♥ up? Then you’ll love Prodeus. A newcomer in the “boomer shooter” genre that grabbed my attention for its return to the basics. At its core, the game is focused on crafting fun levels and engaging battles that keep you coming back for more. There’s not much in the way of distractions here. It’s just good, gory shooting from start to finish.

The weapons you get are pretty standard, for the most part. Things like a pistol, a shotgun, a minigun, etc are all present. While the weapon selection may not turn any heads for originality, what is offered is satisfying to use. The guns feel like they have weight to them, and the copious amounts of blood that pour forth from enemies help to make you feel like you’re shredding these demons into a fine red paste.

In terms of a story, I guess there is one? There seems to be some sort of narrative present, but it’s only told through level descriptions. At most, you’re getting 2, maybe 3 sentences that is describing what level you’re going to play and how it ties into the overall story. When it comes to boomer shooters, however, I’m not as concerned about the plot. This genre is uniquely focused on gameplay over all else, so a lack of plot is excusable, in my opinion. Is this game going to win an award for its narrative? Absolutely not, but who cares? It’s f*cking fun!

The level design is the strongest part of this game. With 1 or 2 exceptions, I enjoyed every level present in this game. Some of the encounters will keep you on the edge of your seat as you frantically switch from shotgun to plasma rifle to rockets, all within the span of a few seconds. Furthermore, these levels are packed with secrets. Some secrets are merely extra health or armor, while others give you ore, which is the currency you use to upgrade your character.

Enemy variety is also fairly basic, but Prodeus does attempt to put its spin on things by adding boss enemies. Throughout the course of the game, there are some enemies that Prodeus teases as being more powerful than the other, basic enemy types. It usually starts by having you face them one-on-one, or maybe with a handful of fodder enemies present. By the end of the game, however, they’re throwing boss enemies in with dozens of other regular enemies and expecting you to juggle all of them at once. It adds a fun challenge to the later battles that I think kept things fresh.

I thought the game was decently long for the price. It took me about 13 hours to finish, but that was also while hunting for every secret and getting 100% on my save file. If you don’t care for secrets, you could probably cut that time in half. Of course, the game also has integrated Steam Workshop support, so you could pump hours and hours into modded campaigns.

The biggest criticism that I can think of for this game is that most of its ideas are borrowed. The inspiration from Doom is clear, and it borders on plagiarism at points. If you’re tired of hunting for keycards and tearing apart demons, then this might not be the game for you. But, given how boomer shooters buck so many of the modern FPS design trends, I am more forgiving of a somewhat unoriginal game that adds a further layer of polish to an established formula.

It’s a gory, blood-soaked blast to play.

5/5

At its core, Wolfenstein the Old Blood is a good game. The mechanics work well enough, and the shooting is fun. Its main drawback is that it seems to be in the midst of an identity crisis. Let me explain:

This game seems to have been chasing trends that were popular a few years ago. Remember when every game had to have a stealth element? Remember how games would always encourage you to be stealthy, but once you blew your cover, you could easily mow down waves of enemies without too much trouble? Well Wolfenstein dove headfirst into that trope with this game. There are frequent stealth sections that do nothing but slow down the pace of the game.

Why are stealth sections bad in this game? Well, allow me to answer your question with another question: in a game where you can dual-wield shotguns, why would you ever want to take the stealthy route? Sure, I can play this game slowly and meticulously eliminate guards one-by-one without blowing my cover. But that seems so tame in comparison when the game empowers you to be a one-man Nazi killing machine. It’s just so much more fun to go that route.

As I said before, the shooting is fun and satisfying. The arsenal of guns you get to use is pretty standard for an FPS these days, but they all serve their purpose. I also love that guns are fairly accurate when fired from the hip. Aiming down sights is only required for long range targets. If you are like me and you hate having the gun take up 75% of the screen just so you can shoot properly, that’s a huge plus.

The game doesn’t have much in terms of story, but I think that’s fine. There’s a very basic plot of “we must recover the secret documents” that keeps things chugging forward, but I never cared much about it. To be honest, I don’t think that I needed to care, either. As far as I’m concerned, having the plot be “there are a bunch of Nazis and I must kill all of them” is as good of a plot as any.

Overall, I’d give this game a 3/5, but it’s so close to a 4/5. If it didn’t have so many stealth sections that brought the gameplay to a crawl, I would have easily given it a higher score. I do enjoy this game, but the game is trying to force me to play in a way that lessens my enjoyment of it.

I wish I could recommend this game. I really do. I’m a huge fan of CRPGs and Obsidian’s work. I even played the original Pillars of Eternity, but this game simply didn’t grab me the way that other Obsidian RPGs did.

To put it simply, this game suffers from bloat. Instead of being a tight, well-crafted experience, it’s got so much packed into its narrative that it’s almost impossible to keep up with. There are numerous factions all aligned with different gods, and those gods go by multiple names. There is so much going on that it’s difficult to keep straight. I can’t tell you what the gods rule over or who their followers are because they all just blur together for me. The game at least seems to be somewhat aware of this problem. It tries to mitigate it by allowing you to hover over certain words in dialog to get an explanation and additional lore. This is nice, but, as I said before, there’s so much to keep track of that it doesn’t help very much.

The game isn’t irredeemable, though. In fact, some aspects of it are incredibly fun. When I first started this game, I was hooked. The game gives you a ship and an enormous world to explore about 2 or 3 hours into the experience. I felt the same sense of wonder that good exploration games give off as I sailed the seas of the Deadfire. I was naming uncharted islands and getting assailed by pirates as I explored all that the map had to offer. The game also gives you bounty missions, which are very simple instances of “go here and kill these people,” but they work well. They give you a new locale to explore and a new enemy to fight. I always loved sailing to a new corner of the world, killing my target, and then returning for payment.

The combat is also fun, but not very deep. I played in turn-based mode because I wasn’t a huge fan of the original game’s combat system. The combat works well and can even be quite challenging in some encounters. My only complaint is that almost all characters have abilities that are much better than others. Most of my party exclusively used 2 or 3 skills/spells that worked the best, and we still managed to tear through many of the game’s combat challenges. It’s only a minor flaw, but it was something I felt was worth mentioning. A little more variety in the combat would be a welcome addition.

I gave this game multiple chances. I kept trying and trying to decipher the lore and understand what was going on, but, after about 60 hours, I hit my limit. I started skipping all of the dialog and just chugging along the main story. Even then, I couldn’t tell what choices I was making because I couldn’t even keep all of the factions and gods straight. I stopped caring about the characters and the side-quests. I just wanted the game to be done, and that’s never how you want your player to feel. If the game had trimmed some of the fat and made the narrative easier to follow, it would have resulted in a tighter experience. As it stands, though, I can’t help but feel like Obsidian dropped the ball with this one. I had to force myself to keep coming back to this one just so I could say it was “finished,” and, even then, I wasn’t satisfied when it was done.

2/5

What the hell did I just play? By the time I had finished this game, I was wondering if it was trying to make some kind of bold, artistic statement, or if it had its tongue in its cheek, trying to hold back laughter at such a ridiculous idea.

This game is an adventure game in the purest sense of the word. There are no enemies, nor is there a way to die. Instead, you’re a character who is on a fantastical journey from point A to B. Along the way, you’ll find a strange cast of characters and attempt to piece together some sort of story. On paper, it might not sound like much, but it always stays just interesting enough to keep you coming back.

The gameplay mostly revolves around solving puzzles and finding new ways to traverse the landscape. There are some light metroidvania elements here, where certain tools you unlock later in the game open new routes in old areas. You get access to a few gadgets throughout your journey, such as a hyperlinker (grappling hook), a samurai sword that slashes through malware, and a disposable camera that can reveal hidden paths.

My main complaint in the gameplay department is how slowly the character moves. The levels in this are surprisingly large, but traversing them is a pain because you move at a snail’s pace. There is no way to move faster, either, unless there happens to be a point you can grapple to nearby. This makes backtracking after a missed grapple or a wrong turn feel especially painful.

The game’s art style is its strongest point. I love the imagery of vaporwave and the nihilistic attitude that accompanies it. The art is all strongly rooted in that culture. It’s all so ａｅｓｔｈｅｔｉｃ. On top of that, the game also flirts with a bit of cyberpunk and other computer-based art, too. The game knows exactly what it’s going for, and it isn’t afraid to be what it is. It’s niche, but it’s done well. If you enjoy 90s internet imagery and scenes drenched in nostalgia, you’ll find something to enjoy here.

The music is another high point in the game. The soundtrack features tracks from prominent vaporwave artists, as well as original works from the game’s composer. The music is also dynamic and changes for the various locations that you visit. The art and visuals blend together perfectly to immerse the player in the world the developers have created.

The story is hard to piece together, but I think that’s by design. The game only provides a slow drip-feed of story bits until the end when things start moving quickly. By that point, you’re kind of overwhelmed and wondering what is going on. Oddly enough, the story wasn’t the primary motivating factor for me, though. I was more interested in the journey and seeing what kind of crazy locale the developers had crafted for me next. There may not be much in terms of a story, but the game doesn’t flop because of it.

This game was a trip. Its art and world are unlike any other I’ve ever played. If you’re a big-time nostalgia junkie, you’ll enjoy this game. There aren’t many other games that utilize the vaporwave aesthetic, and even fewer do it this well. This may be just a walking simulator at the end of the day, but the journey is interesting enough and there’s plenty of aesthetic beauty along the way.

I have never felt the soft, warm touch of a woman, and that is exactly why I love this game.

Many people have already written extensively on Fallout 3, and I don’t think there’s anything else that I could add that hasn’t already been repeated a hundred times over. Instead, I’m going to focus this review on the issue of getting Fallout 3 running on Windows 10. As you may have noticed, there is a warning on this game’s Steam page that says that it is not optimized for Windows 7 and later. This means that, out of the box, the game probably won’t work on your Windows 10 machine. Thankfully, however, it’s fairly easy to fix.

Don’t be intimidated by the extra steps this game may require to get running. You don’t need to be a tech genius to make this work. There’s already a very detailed, well-written guide on the Steam forums that breaks down all of the ways you could get Fallout 3 running (here’s a link: https://psteamcommunity.yuanyoumao.com/app/22370/discussions/0/828937546147175081/). It has clear, easy to follow instructions for all of the steps. Anyone who can read can do this. The worst you’ll have to do is download and run a patch, or edit an .ini file (which is just a document that opens in Notepad), both of which are extremely easy.

Some people have made the argument that it’s terrible that Bethesda has left a broken game for sale on Steam. Admittedly, I can’t disagree. If you don’t want to support that business practice, that’s your prerogative. If you can deal with doing a little bit of work to get the game running, however, it’s one of Bethesda’s best. I’d say this and Oblivion are the two best games they’ve ever made.