Fjenec

[SPOILER ALERT: This review contains spoilers.]

Ill admit, I played it once, saw it like 5 times in lets plays. But. Hear me out.Unlike Doom Eternal, which throws you within seconds next to giant titans, demons, and burning landscapes full of lava, this Doom follows a more original narrative structure inspired by the 1993 and 1994 games, with added lore at the beginning. Back then, in ’93–’94, it wasn’t exactly easy to deliver story in that form, so we truly encounter it in a developed way only here.Doom 3 is a game that does several extremely important things exceptionally well — first of all, the gradation is insane. Beautifully handled. You genuinely move from the point where you are just a soldier on what seems like a routine mission to a moment where you are standing face to face with Hell itself. This narrative line fits me far more. There is the factor of the unknown — nobody really knows what this is, where it came from, or why it’s doing what it’s doing.What matters is that you are walking straight into the lion’s mouth. You know you have to. You know it will be a nightmare. And realistically, you have almost no chance of surviving. That’s the second key difference from Eternal — you are human. You are in **** the escalation deserves even more attention. Early on, a zombie jumps you here and there. Okay. Something is very wrong, but it doesn’t yet look like the end of the world. But the deeper you go, you see the base overtaken by strange organic flesh, symbols, sounds. Later, entire locations are completely transformed, filled with alien filth and infernal growth. And it keeps **** creates the same feeling as when a teacher is handing out an exam you know you didn’t study for. You know disaster is coming. The atmosphere is dehumanized, supernatural — evil stronger than you, demonic energy from who-knows-where. Lovecraftian horror awakened through teleportation experiments gone **** most importantly, you feel like the war has started and probably won’t end. Humanity’s everyday reality is no longer the same. Different motivations. Different perspective on life. The arrival of this foreign, hellish energy represents a permanent shift in existence.Where the game can be considered weaker compared to newer titles is mainly in pacing and music. It’s slower, and musically it’s almost minimal. But that’s also part of its identity. This is a game that doesn’t celebrate the hero. It celebrates the presence of evil. The weight of it. The inevitability of it.Doom 3 leans into vulnerability, claustrophobia, and psychological pressure. Limited light, tight corridors, and sound design doing most of the emotional work make it feel closer to survival horror than power fantasy. The slower pace exists to build tension, not **** of the things it does that the series never fully returned to is environmental storytelling through PDAs, audio logs, and scattered human traces. Not flashy, not explosive — but it builds the sense that people were here before you, trying to understand what was happening. And they **** yes, modern Doom titles are sharper and mechanically superior. But Doom 3 occupies a completely different emotional territory. It’s not about being ****’s about the moment before humanity realizes it **** that mood? Very few games have ever captured that so effectively. Another thing that deserves its own paragraph is the graphics. For its time, the visual design of Doom 3 was absolutely exceptional. And what’s crazy is that, in many ways, it doesn’t feel dramatically different from modern games, especially when you consider that this title is more than 20 years old.

I saw multiple times the whole story, which is great and it is perfect game to watch through lets plays or streams. To play it - especially on a console - thats something else. Its quite hard to master the smooth game mechanics - or should I say rough mechanics? Both ways - its not simple at all, the whole game is built on fragile balance of fighting, politics and felonies, which catapult you to prominent position. The world is beautiful from distance and bit simple from zoom look, but its 8 years after release so its just fine. Dialogs are cute i would say. I almost forgot - for me one of the most important factors is music, which is just great here. Edit.: this game is kinda slow paced, i had to decrease the rating one point for this, because in adult life, you dont need to ride somewhere 20 minutes, die, then ride the same road with some extra errands once more.

Stray is a strange, quiet, and unexpectedly emotional experience. Wandering a city of robots as a cat feels like living at 5% of what makes a human a human — half ghost, half beloved toy, moving through a world that barely reacts but somehow still cares. It’s a perspective that’s both unsettling and beautiful, making you feel present and invisible at the same time. The atmosphere is fantastic, the visuals hit hard, and the emotional beats land without needing big twists. But yeah, the pacing drags. Some sections feel stretched just for the sake of stretching, and it slows down the impact. Still, the game leaves a mark. It’s soft, melancholic, and oddly philosophical in a way most bigger titles never dare to be. 8/10 — a unique, slightly sleepy trip that sticks with you.

I just started playing - what the hell are you thinking with 15 minutes intro video? Who watches that rubbish? Are you insane? Do you think I remember single sentence said in that rubbish batman voice? Just shut up already, incredible bad, incredibly bad idea.

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Cyberpunk 2077 – The Veins of Chrome and Smoke Cyberpunk is an action-packed dive into a world soaked in dystopia, moral decay, theft, murder, and prostitution. But that’s not really the point. The point is: you’re all choombas. And in this crumbling mess of neon and blood, that means something. The worse the world gets, the tighter the bond between the outcasts. Cyberpunk doesn’t throw you into a desert full of monster trucks and naked dudes in masks. Its dystopia is slicker, sneakier, more political—and way more beautiful. One thing I especially appreciate is the concept of cyberware. It’s not treated like some edgy sci-fi gimmick that turns you into a cold machine. No one questions whether implants make you less human. It’s just… part of life. Like buying an umbrella. Everyone’s enhanced, so no one is “superhuman”—they’re just people with upgrades. And because of that, the player instantly buys into it. It feels so natural, so seamlessly integrated into society that it becomes one of the most immersive aspects of the entire world. But behind that beauty lies a story that, after the second act, starts to feel like a desperate crawl for survival. The narrative turns heavy. Not emotionally rich—just emotionally draining. It can dull your urge to explore. You don’t feel like a hero, or even an anti-hero. You feel... tired. Pros: The story and characters (Jackie is a goddamn legend) Unique quest design Gorgeous graphics and a killer soundtrack Brilliantly thought-out worldbuilding (cyberware is genius) Innovative interaction systems Slick controls and 10/10 combat mechanics—quickhacks are just brilliant Oh, and of course, the ability to customize your... length. Essential gaming feature. The first-person perspective scared me at first, but it works. It works so well.

I started playing Borderlands 3 in multiplayer with a friend and it works fantastically. If I had to highlight one of the game’s best features — local multiplayer for up to 4 players? That’s pure gold on PlayStation these days. The optimization in that regard is amazing, and it’s genuinely awesome to be able to play a game like this with so many people on the same screen. The dialogues are funny, the heroes are likeable, and there’s a lot of variety in the gameplay. But let’s get to the downsides — the game is quite easy and gets repetitive fast. The controls can feel clunky at times, though not terrible. Combat is actually pretty solid, but the movement feels like a weak point. It’s slow, and you really feel the lack of a dash or other mobility options. As for the environments and weapons, it’s a mix of quick excitement and quick burnout. You’ll often stumble into a cool new location and get hyped — but after a few minutes of running around, you’ve seen enough. And you're constantly cycling through new guns, to the point where you feel guilty dropping the old ones. Vehicles? They’ll annoy the hell out of you. One more thing — side characters just didn’t do it for me. I didn’t feel any real connection to any of them. Claptrap is the only one that kind of sticks. Overall, for everything that’s great about it, I’d still give it a solid 8/10. It’s a well-made game.

Hogwarts Legacy is, in one word, easy. The mechanics are simple, often borrowed (Revelio = Witcher senses, footsteps tracking system also very Witcher-y, map navigation, using of L1 for choosing the item,etc.), and occasionally bugged in hilarious ways—like casting Avada Kedavra on a quest boss NPC, watching them “die,” only for them to get up, tell you their life story, and then casually teleport away. But the real issue isn’t bugs. It’s how this game barely scratches the surface of the wizarding world. The Harry Potter universe is massive, but here we get a small sliver. Only a handful of spells are usable, and several iconic ones are missing (where's Finite Incantatem, Reducto, or Engorgio?). There are 13 magical beasts—cool, but come on, at least double that would be appropriate. No Quidditch. Barely any potion brewing. Herbology is nerfed. Hogwarts feels more like a museum than a living castle—tons of pretty but static assets, and what’s “alive” is repeated to death (cats, globes, tiny puzzles). Loot is just basic—open a chest, get some coins, a gear piece, or furniture. Vendors have practically nothing worth buying. You can hoard crafting materials like a dragon and still feel broke when it comes to meaningful upgrades. Enemies? Technically there's “variety,” but only if you count five kinds of spiders and criminals with different hats as different enemies. Especially early-game, the endless stream of Pensieve sentinels is mind-numbing. I swear they’re just silver knockoffs of that villain from Thor 1. Combat is smooth and fun—easy to learn, with enough depth to master. But there’s a weird moral dissonance: “Dark arts are unforgivable!” Meanwhile, you’re fire-blasting and slamming people into walls to death. Kind of inconsistent messaging for a world that’s supposed to be about the moral cost of using dark magic. Then there’s the social stuff. The game is aggressively inclusive to the point of historical absurdity—this is supposed to be 19th century Britain, yet Hogwarts looks like a UN summit. Representation is great, but the characters often feel like idealized tokens: over-talented, overly kind, and dripping with praise. Every dialogue feels like your character is being treated like a magical child prodigy with a heart condition. It’s a bit much. And despite its hyper-inclusive angle, the game still paints entire species (goblins) and entire houses (hi, Slytherin) as villains, then parades a few “exceptions” as though that solves the problem. It's contradictory at best. And whats that about the non-stop looting from chests and money pouches of everybody even possible! You stand alone in store vendor watching you and you can easily go to his chest, loot it out like nothing happened and sell him his own hat, he cheers and you leave. The start of the game is painfully slow—more interactive movie than RPG. Once you hit the open world, things pick up, but parts of the map (like the entire southern region) feel underutilized. I spent maybe 4 hours down there in a 100-hour run, mostly doing balloon popping and Merlin challenges. It’s dead space. And yet... I loved it. The broom-flying is excellent (Highwing never clicked for me), the ambient world is stunning, and there’s at least 80 hours of genuinely enjoyable content. The common rooms are beautifully crafted, and the little touches—moving portraits, sound design—are pure magic. It feels like Hogwarts, even if it’s a version on rails. I wish there were more dueling trials, more student interactions, more… school. Once I learned spells and flying, the academic side of things basically ended. There’s so much more they could do. And maybe that’s what hurts the most—this game is like a person you adore but constantly argue with. It’s flawed, sometimes frustrating, but you love it anyway. One more thing — the game tends to hold your hand a bit too much. There were several moments when I felt genuinely clever for solving a puzzle using Lumos, Accio, Depulso or Incendio in creative ways — only for the game to block me from finishing it because I hadn’t talked to the correct NPC. Or worse — I actually solved the thing, felt like a genius for a while, and then thirty minutes later an NPC popped up and explained the entire puzzle to me like I was five. It kind of takes the magic out of it (pun intended). So yes, despite all this critique—10/10. With hope (and a bit of Felix Felicis) for a sequel.

I am on my second run, it took like a 3 weeks to persuade myself to do a rerun. Firstly I hated the PS5 controller for Doom game but later, I somehow got into that and I consider that natural feature of the game that I have to count with additional 0,5 sec to turn around what is funnily giving to the game another realistic layer. The action is perfect, the difficulties are just great, amount of weapons is the highest possible usable and fun, the dance of the fingers on the controller is unbelievably swift and fun and achievable. Best thing? You dont have to wait for any useless evolve, any story to complete before you start to play, the whole game is complete from the beginning and you only have to learn the mechanics and you quite quickly pick up all the new weapons. I need VEGA in my life, honestly.

I am on my second run, it took like a 3 weeks to persuade myself to do a rerun. Firstly I hated the PS5 controller for Doom game but later, I somehow got into that and I consider that natural feature of the game that I have to count with additional 0,5 sec to turn around what is funnily giving to the game another realistic layer. The action is perfect, the difficulties are just great, amount of weapons is the highest possible usable and fun, the dance of the fingers on the controller is unbelievably swift and fun and achievable. Best thing? You dont have to wait for any useless evolve, any story to complete before you start to play, the whole game is complete from the beginning and you only have to learn the mechanics and you quite quickly pick up all the new weapons. I need VEGA in my life, honestly.

The story in It Takes Two is masterfully crafted—it takes two people who have known each other their entire lives on an incredible adventure, step by step. But what makes it truly special is that something happens to them that neither of them ever expected—something they thought was lost forever. They get to relive the most beautiful moments of their relationship. They manage to bring back that very first high—that magical, once-in-a-lifetime feeling that, in most cases, can never be repeated. One of the biggest pains in life is knowing that the first high is always just that—the first. It never happens again. But in this story, they do get to experience it again, and by the end of the game, it leaves the player utterly drained, because they realize something heartbreaking: they will likely never experience such a personal and brilliant story again. In a way, the game itself becomes their own first high—a moment so unique and powerful that it can never truly be replicated.What makes It Takes Two even more special is how it embraces a playful, clumsy charm—its characters are delightfully awkward, and their journey is full of childlike wonder and imagination. The game reminds players what childhood, relationships, and life itself are all about. It doesn’t just tell a story; it makes you feel it. The world is built with meaning—every object in the environment, from a telescope to a cabin, connects deeply to May and Cody’s relationship, reinforcing the emotional weight of their **** beyond all that, It Takes Two understands something deeply personal—it knows that many couples play this game together. It transforms into something more than just a co-op adventure; it feels like a perfect date night, a shared experience that brings people closer. It’s a rare game that doesn’t just entertain—it leaves a lasting impact, making players reflect not just on the characters’ journey, but on their own relationships and the fleeting, irreplaceable magic of a first high.

This game takes the fun mix of gameplay mechanics from It Takes Two but builds it around a story of two women, where the plot really goes all-in on making that aspect shine. The problem? Unlike It Takes Two, which lets you breathe and take in the world, this one just keeps shoving you forward—puzzle after puzzle, action after action, barely giving you a moment to stop and soak it all in. If you’re hoping for the same level of charm, think again—it feels more like Spy Kids, with a super basic villain instead of a natural, relatable struggle like in It Takes Two. That game made you feel something real, like facing life’s challenges in a way anyone could understand. That being said, it still deserves a solid rating because there aren’t many good co-op games out there. But as someone pointed out before—It Takes Two had a strong story, a meaningful environment, and a playful sense of freedom. Every major object in the world, whether it was underwear, a telescope, or the cabin, had some connection to May and Cody’s relationship. Split Fiction, on the other hand, feels like it tried to copy just one key element from It Takes Two—the gameplay variety—amplified it, and built everything else around it. The result? A game that gets the co-op action right but misses the emotional depth and organic world-building that made It Takes Two so special. What’s also missing is that adorable clumsiness, the silly yet endearing nature of the characters, the childlike wonder and creativity that made It Takes Two feel like a reminder of what life, childhood, and relationships are really about. And because the hidden magic of that game was the fact that so many couples played it together, the experience felt like a truly special date night—something Split Fiction doesn’t quite manage to recreate.