Foxylary

The gameplay of Death Stranding is far from disappointing. It rewards patient and dedicated players while harshly punishing any hint of impatience. Personally, I find great satisfaction in tackling perilous deliveries, and the sense of reward is undeniable. The more deliveries I complete, the more the game unlocks mechanics that enhance the experience, creating a virtuous cycle. Visually, the game is stunning and immersive, and the player cooperation system works pretty well. The world, however, is a mixed bag: captivating at times, but occasionally absurd. For instance, the concept of “delivery addicts” – characters who ambush you to steal your cargo only to stash it in a container a few meters away – borders on comical. Recovering your goods poses little challenge, making these antagonists almost laughable. My main issue lies with the game’s naive and overly simplistic message, particularly regarding borders. Death Stranding hammers home the idea that reconnecting humanity is essential for survival, a philosophy I can get behind in principle. But to drive this point home – or perhaps to capitalize on the political climate of 2019 – the game repeatedly criticizes Donald Trump’s policies, notably the proposed border wall with Mexico. It takes a pro-immigration stance and caricatures those who advocate for controlled immigration as isolationists bent on cutting themselves off from the world. This perspective is not only an opinion but factually skewed. Contrary to what Kojima implies, supporters of the wall in the U.S. are not seeking isolation; quite the opposite. Their aim is to regain control over immigration, making it selective rather than uncontrolled, to welcome individuals who can contribute to national unity and prosperity while limiting the entry of those who might pose risks – whether malicious actors, individuals without resources, or those likely to fall into poverty, drug trafficking, or crime due to the country’s inability to integrate them. Taken literally, Kojima’s message seems to advocate for the abolition of borders and nations, an “open bar” for all. Far from fostering unity, such a vision risks erasing cultures and identities, which I find deeply troubling. Borders and immigration control are not inherently negative; when managed well, they maintain a cultural, economic, and security balance, enabling nations to thrive while remaining open to the world through reciprocal exchanges. Kojima’s message lacks nuance, which makes it feel simplistic and clumsy. In promoting human connection, he indulges in an extreme moral stance that could paradoxically deepen divisions. By comparison, the idea of eliminating nuclear weapons in Metal Gear Solid was equally utopian and potentially counterproductive, but it was embedded in a richer narrative where it felt like Big Boss’s personal vision. In Death Stranding, the recurring critique of Republicans, voiced by multiple characters, combined with an overstated emphasis on creating bonds, makes it clear that Kojima was intent on delivering an anti-Trump message. Despite its sophisticated presentation, this approach remains limited and, ultimately, feels like propaganda tailored to the U.S. election cycle of the time.

The gameplay of Death Stranding is far from disappointing. It rewards patient and dedicated players while harshly punishing any hint of impatience. Personally, I find great satisfaction in tackling perilous deliveries, and the sense of reward is undeniable. The more deliveries I complete, the more the game unlocks mechanics that enhance the experience, creating a virtuous cycle. Visually, the game is stunning and immersive, and the player cooperation system works pretty well. The world, however, is a mixed bag: captivating at times, but occasionally absurd. For instance, the concept of “delivery addicts” – characters who ambush you to steal your cargo only to stash it in a container a few meters away – borders on comical. Recovering your goods poses little challenge, making these antagonists almost laughable. My main issue lies with the game’s naive and overly simplistic message, particularly regarding borders. Death Stranding hammers home the idea that reconnecting humanity is essential for survival, a philosophy I can get behind in principle. But to drive this point home – or perhaps to capitalize on the political climate of 2019 – the game repeatedly criticizes Donald Trump’s policies, notably the proposed border wall with Mexico. It takes a pro-immigration stance and caricatures those who advocate for controlled immigration as isolationists bent on cutting themselves off from the world. This perspective is not only an opinion but factually skewed. Contrary to what Kojima implies, supporters of the wall in the U.S. are not seeking isolation; quite the opposite. Their aim is to regain control over immigration, making it selective rather than uncontrolled, to welcome individuals who can contribute to national unity and prosperity while limiting the entry of those who might pose risks – whether malicious actors, individuals without resources, or those likely to fall into poverty, drug trafficking, or crime due to the country’s inability to integrate them. Taken literally, Kojima’s message seems to advocate for the abolition of borders and nations, an “open bar” for all. Far from fostering unity, such a vision risks erasing cultures and identities, which I find deeply troubling. Borders and immigration control are not inherently negative; when managed well, they maintain a cultural, economic, and security balance, enabling nations to thrive while remaining open to the world through reciprocal exchanges. Kojima’s message lacks nuance, which makes it feel simplistic and clumsy. In promoting human connection, he indulges in an extreme moral stance that could paradoxically deepen divisions. By comparison, the idea of eliminating nuclear weapons in Metal Gear Solid was equally utopian and potentially counterproductive, but it was embedded in a richer narrative where it felt like Big Boss’s personal vision. In Death Stranding, the recurring critique of Republicans, voiced by multiple characters, combined with an overstated emphasis on creating bonds, makes it clear that Kojima was intent on delivering an anti-Trump message. Despite its sophisticated presentation, this approach remains limited and, ultimately, feels like propaganda tailored to the U.S. election cycle of the time.

Split Fiction seems much less subtle and balanced between story, gameplay, level design, and exploration. We get the impression that the developers at Hazelight primarily prioritized a series of varied gameplay elements, trying to push the "wow" factor a bit, only to find ways to justify it later, even at the expense of exploration. For example, It Takes Two really had that "toy box" feel to it, with fun things to find here and there. This aspect seems to have been abandoned. Basically, the story, the characters, and their relationships don't resonate with us. The game tries its best to add an emotional and dramatic dimension, but it's pointless. It doesn't work. So we have a storyline that serves only to justify the gameplay ideas (which was the complete opposite in It Takes Two, where the gameplay ideas served the storyline), unlikable characters, no exploration... In the end, all we have to do is frantically play through the gameplay sequences. It's fun, but it won't leave us with a lasting memory.

This game is incredible. The graphics, the gameplay, the staging, the music, the settings... there is such devotion in this game. Everything amaze me on it. The true ending changes the whole perception of the story. Black Myth Wukong allowed me to approach Chinese culture through a very popular myth in China and now I have bought books to learn more about the original story that this game is a continuation of. Congratulations and thank you Game Science for this masterpiece !

The game is beautiful and pretty cute but it presents no challenge and requires no attention, which makes it rather dull and boring. I think the game is aimed at children, and the level of puzzles, writing, and humor support that. The story has no real stakes. I'm tired of Nintendo only making games that present no challenge and constantly try to reward the player as if it were one of those stupid mobile games. I started playing video games when I was 7 years old with Super Mario World on the Super Nintendo. Back then, video games taught us perseverance and thinking. It held our attention and gave us a sense of accomplishment and satisfaction. That's not the case anymore and it's really sad.

I finished Stellar Blade and it was great! I didn't know there were multiple endings, but I had the most positive one. I had a great time from start to finish, even if I have a few complaints. I'm giving you a micro-review with spoiler-free. The good points: - The modeling of the costumes and the characters are superb. Even the gestures that bring Eve to life are a real success. It's a real pleasure to play with such a beautiful character. I loved playing the stylist by changing outfits (and there is so much, I love it!) depending on the context as much as chaining together badass combos. - Besides, the gameplay of the combat phases is very effective and satisfying. Focused on dodging and counterattacking, it is demanding enough to provide a bit of a challenge in normal mode (hard mode is only unlocked after finishing the game for the first time). - The story is gripping with its share of twists and turns. The universe is rich and very dark but I enjoyed coming back to it until the end. - I love rummaging around to find hidden rewards in games and Stellar Blade clearly has no shortage of them (the cans!) - The bestiary and bosses (the Naytibas) are numerous, varied, well-designed and original. Basically, you don't get bored killing mobs. - The OST is really really great. We alternate between moments of gentleness a little soaring and hard or very angry dubstep, which fits the character perfectly. The negative points: - The character is quite rigid in the environnement. You can't climb or squat. It's a bit "old school" in comparaison to MGSV for exemple, which makes the exploration phases in the semi-open world and platforming a bit frustrating, especially before getting the double jump. The platforming phases are the weak point of the game because of the lack of precision of the movements. - The side quests are not very captivating even if rewarding. I really wish CD Projekt Red's know-how was a JV standard on this point. - I would have appreciated more variety in the semi-open environments, even if it is totally justified by the game's universe. - The characters lack depth and personality. I would have liked it to be developed a little, even if the main characters are a little less "smooth" at the end, their personality lacks depth and remains too "neutral" throughout the game. - And finally, some French dubbing are really weird. In short, it's a very good game and its universe is strong and atypical enough to mark me. I don't think I'll forget it sooner. And now the platinum!

I've never played this game but I accidentaly put a score on it and Metacritic don't allow me to simply delete it.

I love this game so much even after 7 years. Artistic direction, sound design, sound track, level design, gameplay, everything is smooth and so great ! At first time, I was not conviced by Broodals, but their fighting patterns are good and I finally appreciate them. Sometimes, I want to play it again, but I have sadly nothing to do anymore in the game. I really hopea great game as this one for the next Nintendo console. Why not with Donkey Kong ?

What a game, what a great adventure. The artistic direction, the pixel art, the characters, the story, the gameplay, musics... everything is really polished and generous. It's a love letter for RPG's, for adventure and for video games. The system of fighting based on rhythm, "synchronisation" and "locks" is really refreshing a gives a nice strategy aspect. Plus, there is a game in the game named "roulette" and I love it. About the story, there is a lot of plot twist and emotional roller coaster. Everything is about great fantasy. As a fan of Messenger (the first game of Sabotage studio), I deeply apreciated Sea of Stars as a prequel. Even if this second one contains less humor than the first, it gives something really special too. My only complaints are about the too easy puzzles (the game is pretty easy in general), the absence of a way to know where we are in the adventure or in our secondary objectives, and the absence **** to review the superb animated cutscenes. Also, the lore of the game is substantial, so I would have really appreciated if there was a sort of encyclopedia with all the information that unlocks as you progress in the game, as is done in games by Vanillaware. But I quibble a little, because in truth, the game is exceptional and this is impressive. I totally completed it with all the surprises that emplies in 55 hours and no minute lefted do boredom. Now, I can't wait for the DLC.

The artistic direction is based on the famous Ninja Turtles animated series from the 90s. The pixel art is very neat and meticulous. The gameplay is fun. The animations are very beautiful and the game is alive. The colors explode in your face (and more on the OLED screen !) The music are so greats. There is a real arcade atmosphere and a 90's retro vibe. There are lots of fun details to see. This game exudes love for the Teenage Mutant Ninja Turtles universe. Being able to play it easily with several people is a real plus. The "duo attacks" are also a very good idea and the score at the end of each level with a nomination sets up a little competition between the players, which brings extra fun. BUT, the game is far too short and too simple apart from the optional challenges to complete. A few more levels with different gameplay (in addition to the walking and skateboarding levels) would have been nice. Why not a level aboard the Ninja Turtles Van for example. There is no shortage of ideas for environments and accessories. The menus are not intuitive and informations is sometimes difficult to find. For example, why are the challenges not directly displayed on each corresponding level ? Why do I have to go back to the home screen to change my character ? This constitutes an obstacle to the desire to try all the characters and complete all the challenges. Despite these small interface flaws, a short longevity and a difficulty that could have been a little more challenging, the game remains a very neat and very fun little nugget with a very cool atmosphere. The music is fantastic. I had a great time playing it with my partner and I'm thinking of playing it again alone or in pairs to try to accomplish the objectives, even if navigating the menus makes it a little tedious.

I'm not used to the strategic RPG genre, but I find Unicorn Overlord incredible. We rarely see games this polished and generous with such depth of gameplay. The possibilities in terms of strategies are deep and endless ! I was looking for a game with a reflection aspect and knowing Atlus / Vanillaware, I let myself be tempted. I didn't think it would be a so good choice, the studio set the bar very high. I find it hard to believe that guys can create so many masterpieces in a single lifetime. In details, the story is good and pretty mature, but pretty linear. I would have appreciated a few additional plots twist and strongs moments. However, I like the epic end and I'm actually reading all the game library data (more than 400 pages) and the universe is really complete ! I feel that the game is trying really hard to give substance to its characters without completely succeeding before the end due to their VERY large number. Every characters have a quest to complete before integrating our army, and that's it. The story of its characters, apart from the main ones, no longer evolves. Maybe it would have been good if certain side moments of the characters' lives had been highlighted more so that we could tackle them more or maybe less characters for more developement. The game gives too much the impression that there are a lot of events taking place without our participation even if in this sens, the optionals little skits are appreciable. I know, it's a Tactical Rpg with a ton of caracters and not a JRPG with 5 or 6 characters to develop. The only real default I find in Unicorn Overlord are its disastrous french translation (I don't know for others subtitles). The replicas are enormously simplified or even completely truncated. Unfortunately, we lose substance and emotion when we listen the english voice in comparison. Conclusion, Unicorn Overlord is an incredible and very generous game with a really deep gameplay, an awesome art direction, a good story even if pretty linear, an impressive number of nice characters so much so that the game had a hard time making them evolve and making us become attached to each one in return, and a lazy french translation.

Catherine is a precious game. As many Atlus games, it has a brillant gameplay to aboard deep themes for life. Don't be wrong, the game is absolutely not linear. What you make during the socials moments will determine the end. If I can recommand something : be yourself, follow your instinct from start to finish and help Vincent by taking decicions that you think appropriate for the situation. Catherine is a social experience that allows you to face yourself.

CrossCode is a Retro-style RPG in pixel art. Visually it's ok, rather detailed, but I deplore a lack of personality. For comparison, Sea Of Stars and Chained Echoes are well above that. In terms of gameplay, we are dealing with rather nervous real-time combat with various elements to master which are unlocked throughout the adventure and which are cleverly well used. The originality lies in the possibility of shooting your enemies like a SHMUP. Story-wise, it’s really really slow and not gripping. The story doesn't really progress until +30 hours of play, during which a supposed mystery is created while explaining nothing to the player. Good storytelling isn't about not explaining anything for half the game, then explaining everything at once ! And it’s not the characters that raise the level. Imagine that an enssencial part of the events is based on the fact that the heroine cannot speak... but why doesn't she write ?! How can the relationship and events be defined by something so stupid... The story takes place in an mmo and the game adopts all the bad aspects. The game doesn't give you anything that makes you want to move forward. As I said, it never explains to you why you do things in order to maintain some sort of mystery, so much so that you lack real motivation. I felt **** so many times between continuing the game only because I've already spent a lot of time on it or abandoning it... The soundtrack is exactly the same as the DA. The music is nice and fits well with the environments, but again, nothing that will remain engraved in the memory. The game again gives the impression of wanting to be generic to emphasize its mmo side. And on this subject, let's talk about the side quests... 3/4 of them are FedEx quests which consist of fetching random stuffs and bringing them back for mostly uninteresting rewards. Note that certain difficult quests are repeated in each new area. This is honestly the worst thing dev's can make for an rpg. If the side quests are the big downside of the game, the dungeons and puzzles are on the contrary its very strong point. The puzzles are well designed, the dungeons are substantial and the bosses are very well thought out to make use of the new mechanics and powers. Overall, the game isn't very easy, but it's not difficult either. It is not unpleasant to go through but the fact of wanting to imitate an mmo without being one, makes it uninteresting to go between the dungeons, to the point of giving the impression of wasting your time. Plus, there is a big problem of balancing between the number of uninteresting quests to do for XP, the rewards of these quests, the level necessary to be able to advance in the adventure and the osef items that the numerous merchants offer. My credits are useless. About performance, the game apparently suffered from framerate drops 4 years ago. A patch was supposed to correct this. Well that obviously hasn't been done because the slowdowns are still there. Hard to excuse for a game of this scale... Sloppy porting?... Finally, CrossCode is neither good nor bad. The dungeons, the puzzles and the fights are well thought out, but that's not enough to make you appreciate the dozens of hours of having to go looking for trinkets here and there for uninteresting NPCs or the ABUSED skill tree. This is an overrated game and I'm asking if people who thing the story is brillant already played an Atlus game. Their head will explode.

I play video game since I was 7 years old. I'm more than 30 now and Persona 5 Royal is actually my favorite video game. Persona 5 Royal is more than just entertainment. It is a contemporary sociological and philosophical work. It's a very strong message that takes the form of a video game... and what a game! From start to finish, it never ceases to renew itself and surprise. The artistic direction is meticulous down to the smallest detail, the story is captivating and each character with who you will develop relation to become better is carefully written and developed to serve a life lesson, so much so that you have the impression of actually being around them. It's a tornado of creativity that serves the most important purpose in our time: not giving in to a system that thinks for us even in exchange for an easier life. It's our responsibility to defend free will and fight the unjustice, to live in a society in our image, imperfect, but which gives us the opportunity to become better. This game stole my heart. Thank you Atlus. P.S. The Switch port of P5 Royal is really well made. Really really better than the port of P5 Strikers.

I play video game since I was 7 years old. I'm more than 30 now and Persona 5 Royal is actually my favorite video game. Persona 5 Royal is more than just entertainment. It is a contemporary sociological and philosophical work. It's a very strong message that takes the form of a video game... and what a game! From start to finish, it never ceases to renew itself and surprise. The artistic direction is meticulous down to the smallest detail, the story is captivating and each character with who you will develop relation to become better is carefully written and developed to serve a life lesson, so much so that you have the impression of actually being around them. It's a tornado of creativity that serves the most important purpose in our time: not giving in to a system that thinks for us even in exchange for an easier life. It's our responsibility to defend free will and fight the unjustice, to live in a society in our image, imperfect, but which gives us the opportunity to become better. This game stole my heart. Thank you Atlus.

Well, I just finished A Plague Tale: Requiem and it was as graphically magnificent as it was poorly written. Beautiful but boring. Definitely a cash grab game that seemed endless to me. As is the case with each chapter, the writers ultimately succeeded in making the entire story senseless and pointless. The story of the first was simply stretched, even if it meant putting aside certain outcomes of the first, to try to make a second. It is pointless. The involvement of the characters in the story is really strange. We move from one scriptwriting facility to another to bring characters in and out. They felt obliged to make the characters think out loud a lot, to tell the player what to understand and what to feel, even if it meant trying too hard to push emotions. Over dramatic music, character who cries and gets angry A LOT, hollow morals... As for the levels script, it's borderline insulting, the player is taken for an imbecile. The game runs in a loop on this scenario : False pretext for risking your life by going from point A to point B with no possibility of going back (guards who want to kill you, collapsing wall, rats blocking the passage etc...) but at the end, the characters teleport back to the starting point without problem thanks to the magic of an ellipse. Did the writers really think that this would happen without anyone noticing? If it was a movie, no one would have tolarated it, but because because it's a game it's ok ? I really want to blame the developers for this. In terms of gameplay, it's so rigid that it becomes hilarious at times. Some levels rely entirely on having to take improbable detours because our character can't go over a barrel or cross a river to avoid risking his life. Finally, I'm frankly disappointed and annoyed while playing this game, because I feel like I'm being taken for an idiot. As if that wasn't enough, Amicia's character has become truly unbearable, plus she's over powered (Hugo too) and none of it's decisions have sense. A really beautiful game, no doubt about that, but I honestly have a hard time understanding how the game could receive such good reviews with such a confusing and poorly controlled narrative.

A lot of good ideas poorly executed. The idea of ​​the dynamax is not so bad, the new creatures are cool, fighting in stadium is great, gym leaders are charismatic, character customisation is pretty good and the country has a good atmosphere. But it's extremely ugly and empty. The npc's are all the same (there are often clones next to each other), there are no voices, no cutscenes, the game is designed as a 2D game. The "main story" unfolds by itself without us havin any role to play. There is no epic moment, no plot twist, no real story after all. The game is much too easy, so much so that I tried to add more difficulty by myself. When I remember Pokemon Blue or Silver, even Black... Did they try to makes peoples dumb and lazy by avoid the frustration of difficulty ? And what about difficulty options ?! There is no options to organize Pokemon Boxes. It's that hard to make ?! The list is long and it really is a beautiful mess. Because of laziness, lack of time or developers ? I don't care. Releasing a product like this is insulting. When I see that they added content that should be in the base game for 25€, I find it disgusting. There are no excuses, Game Freak don't put any effort on it, it's just easy money. I bought it second-hand years after its release because it's the only game on Switch that has all my favorite creatures and despite everything, it's not so bad next to Pokemon Scarlett Violet, that's to say the level of this last game. Looks like they want to see what the players were willing to accept.

Visually rather impressive, but that's about the only positive thing I remember. The dialogues are very annoying, and the dubbing in French is downright bad and cringe. The character of Miles Morales is execrable and sounds daft (Miles of the animated film has much more relief and is more interesting). The story and side quests are stupid like pretty much everything else in the game. The events are misplaced and you don't feel any emotion, not to mention the fact that the game exudes "benevolence" at excess to the point of being ridiculous (Danika's podcast is unbearable). Thé entire game sounds like left propaganda. Even if we feel that the game want to be aimed at Generation Z, you really have to put your brain aside to appreciate it. I haven't played on normal difficulty, but I can say that the game is quite chaotic on hard, although the gameplay is pretty solid. The formula of objects and missions repeated several times and spread all over the map is exhausted. In summary, it's beautiful, but it sounds hollow. It's a beautiful empty shell. A boring technical demonstration, that's all. Is this the fate of all mainstream games that try to address new generations ? I still have a preference for the Batman Arkhams who showed the way many years ago, but in really better.

It's Splatoon 2.5, so much recycling. Disappointing on so much points. It looks like Nintendo have sadly no more ideas and no ambitions for the licence.

Temtem is a mmo "gotcha monsters" rpg with good ideas, and makes real strategic differences with it's core rival. Creatures have good design and the lore (history, geography, cultures, politic, economy...) is impressive and makes the universe pretty credible in some way. But the game (in french) is also a big gender theory propaganda. In the first minute of the game, you meat your rival, an agender person that everyone will design with the pronoun "they" (iel in french) and for that, it's already a red card for me. Plus, the economic model is just to greedy. The game is totaly unplayable offline (here is the second red card for me) and you have to pay the game + monthly online subscription. And the only way to """unlock""" some cool visual stuffs is to buy a season pass + microtransaction for daily and weekly overpriced others visual stuffs (ex : ~10€ for an avatar animation). More specificaly about the Switch version, the game is totaly broken. I play the game in cooperation and we experience a crash every 30 min plus there is a lot of framerate drop. Also, maybe it's the Switch screen fault, but colors turn in an ugly yellowish ton. The game is cross save, so you can continue your progression on all the platform you want if you buy it on the platform you want to play (no cross buy). But you have to choose what platform will be the "main platform" and what will be the "secondary platform". So your progression will be attached at the first platform. I choose the Switch for the "main platform" and I regret it, but no change is possible now. In conclusion, there was so much potential, but dev's have to keep their ideological convictions at home and get out their hands of my wallet. I can't advice to buy the game for kids.

Eastward me marquera plus que la plupart des jeux auxquels j'ai joué ces dernières années. Visuellement impressionnant, soigné et foisonnant détails, un univers riche et captivant, une OST géniale MAIS le jeu n'a pas envie de répondre au multiples questions du joueur concernant des éléments essentiels et cela laisse un arrière goût très frustrant au final.

Just one of my favorite indie game ! It's like Shinobi but better with a precise gameplay, great humor, cool caracters and a good story. The game is foul of surprise to the beginning at the end and I particulary appreciated hiddings dialogs. I can't wait to play the next game of Sabotage studio !

The game is graphicaly nice but it's not God of War anymore, just another action rpg with a really boring story and quests. I miss my Kratos.

An over rated game again. Music are nice, graphics are greats if you like pixel art, and the gameplay is precise and efficient. The ambiance catch me. But the story is totally a boring mess without interest and the ton of weapons you can find are pretty useless. The worst for me is about boss fight. They are poor patterns and are really easy and uninteresting. The final fight is so messy and bad. So, the experience let me indiferent. But, I must recognize it's an awesome job for one guy, even if the story could be easily better for this universe.

I hate the feeling that I've wasted my time, and it's totally the case after finished Undertale. I really don't get why it's a must play. It was really boring to me. Enough different to be remembered and the game have ideas, but hell, it was not that good at all. The story was uninteresting, absurd jokes barely made me smile sometimes, music was good, graphics style was..."special".... gameplay was original during fighting for an rpg, but finally boring. The final boss was just a mess. I want my time and my money back.