Juanitp

Pragmata tiene ideas interesantes y una presentación atractiva, pero nunca terminó de engancharme. Sus escenarios son variados, creativos y visualmente llamativos, y además cuenta con una buena variedad de armas y enemigos. Sin embargo, hay algo en su sistema de combate que hace que, pese a introducir nuevas situaciones y herramientas, gran parte de la experiencia se sienta demasiado similar. Es un juego que no se hace pesado mientras lo estás jugando, pero que tampoco te deja con ganas de volver a él cuando apagas la consola. Otro aspecto frustrante es la gestión de los coleccionables. En muchos casos, para conseguir objetos de zonas anteriores es necesario avanzar bastante en la historia y después retroceder, lo que rompe el ritmo de la exploración y acaba resultando tedioso. La narrativa tampoco ayuda demasiado durante las primeras horas. Hasta aproximadamente el capítulo 4 apenas se revelan detalles importantes sobre la trama, lo que dificulta involucrarse emocionalmente con la historia desde el principio. La relación entre Hugh y Diana parece diseñada para generar rápidamente un vínculo con el jugador a través de la clásica dinámica de padre e hija adoptiva, pero en mi opinión está tratada de una forma bastante simple e infantil, sin la profundidad necesaria para que resulte especialmente memorable.

Black Myth: Wukong me ha encantado. La dificultad es perfecta, ni muy difícil ni muy fácil, y tanto los enemigos como los escenarios son muy variados. El capítulo 4 ha sido mi favorito por su ambientación y diseño. Como puntos negativos, creo que algunas partes de la historia podrían haberse explicado mejor y que la OST podría haber tenido canciones más memorables.

Lo mejor del juego es sin duda el apartado visual. El pixel art está muy bien hecho y los dibujos estilo cómic de los personajes. Pero el problema gordo es el combate. Es muy malo. Básico, repetitivo y con cero profundidad. Al final se resume en hacer siempre lo mismo con unos pocos ataques, y ya. Y para rematar, la dificultad está fatal balanceada: si no juegas en fácil, se vuelve desesperante hasta el punto de arruinar la experiencia. No lo recomiendo.

Empecé a jugar Shovel Knight: Shovel of Hope porque tengo puesto el ojo en Mina the Hollower y descubrí que es de los mismos creadores, así que decidí probarlo. La verdad es que me ha gustado bastante. No es un juego fuera de lo común ni nada revolucionario, pero cumple muy bien con lo que propone. Tiene ese estilo retro que entra fácil y una jugabilidad sencilla pero entretenida. En general es un juego que está guay para pasar el rato y divertirse un poco sin complicaciones. No pretende reinventar nada, pero es sólido y se disfruta.

Thank Goodness You’re Here! entra primero por los ojos. Su estilo artístico es muy bonito, colorido y con una personalidad muy marcada, algo que recuerda bastante a The Plucky Squire, y fue precisamente esa similitud estética lo que invita a darle una oportunidad. El mundo es encantador y está lleno de pequeños detalles visuales que hacen agradable recorrer la ciudad. El juego se apoya principalmente en su humor y su estética. El humor está muy centrado en el día a día del Reino Unido, con situaciones y chistes muy locales que pueden no conectar del todo con jugadores de fuera. Aunque tiene momentos simpáticos, no siempre consigue destacar para todo tipo de público. El mayor problema del juego es su jugabilidad. Es extremadamente lineal: en la mayoría de situaciones basta con pulsar un botón para avanzar. Las tareas que te encargan los personajes —una especie de recados dentro de la ciudad— podrían haber sido una gran oportunidad para introducir minijuegos o mecánicas más variadas, pero se quedan en algo muy básico. Todo es “muy guay” en apariencia, pero le falta profundidad y reto para aprovechar mejor sus ideas. En resumen, Thank Goodness You’re Here! es una experiencia agradable y visualmente atractiva, ideal para sesiones cortas y para quienes disfruten del humor británico, pero su falta de interacción jugable hace que se quede por debajo de lo que podría haber sido.

Horizon Zero Dawn es un juego que destaca de inmediato por su apartado visual. Los paisajes son espectaculares, el diseño artístico está muy cuidado y tanto las máquinas como las armas tienen una identidad propia muy marcada. El estilo general del juego es uno de sus puntos más fuertes y explorar su mundo resulta agradable durante muchas **** obstante, más allá de lo visual, el juego empieza a mostrar carencias importantes. La historia se presenta como algo profundo e intrigante, pero acaba perdiendo fuerza. Resulta interesante hasta que se revela lo que es realmente Zero Dawn, momento en el que la narrativa se vuelve bastante decepcionante y menos impactante de lo que pretende **** de los mayores problemas del juego es la ausencia de jefes reales. No hay combates memorables contra enemigos únicos: todo se reduce a máquinas ya conocidas, muchas veces simplemente corrompidas, sin nuevos diseños ni mecánicas. Esto se nota especialmente al compararlo con juegos como The Legend of Zelda, donde cada zona cuenta con un jefe distinto que refuerza la sensación de progreso y **** menos los calderos sí ofrecen algo de variedad. Cada uno tiene una estructura y planteamiento diferente, lo que los convierte en algunos de los momentos más interesantes del juego. El problema llega al final de todos ellos, cuando el enfrentamiento final vuelve a ser, una vez más, una máquina corrompida. En un lugar tan importante para el lore y la jugabilidad, debería haberse incluido un jefe único o exclusivo, y no reutilizar enemigos ya **** DLC The Frozen Wilds tampoco logra solucionar estos problemas. En esencia, es más de lo mismo que el juego base: misma estructura, mismas ideas y solo tres máquinas nuevas. Se siente como una oportunidad desaprovechada para introducir enemigos únicos o mecánicas distintas que realmente justificaran la **** exploración del mundo abierto también se queda a medio camino. Hay ruinas y localizaciones que piden a gritos algo especial —un jefe, un evento único o un desafío diferente—, pero casi siempre se reduce a derrotar bandidos o máquinas corrompidas. Esto hace que completar el 100% del mapa no resulte tan satisfactorio como podría, pese a lo atractivo que es el **** coleccionables tampoco aportan valor real. Aunque se dividen en conjuntos (1, 2 y 3), las recompensas se limitan a cajas sin interés, sin atuendos, armas especiales ni incentivos claros para **** último, en la versión de PC hay problemas visuales que afectan a la experiencia: el fondo se muestra borroso de una forma extraña en comparación con consola, incluso con el motion blur desactivado, rompiendo parte de la inmersión en un juego que presume tanto de su apartado gráfico.

I am giving this game a score of 3 mainly due to the boss fights, which I found to be interesting and enjoyable. They are, unfortunately, the only aspect of the game that truly stands out. I also appreciate the concept of burnout. What I find most confusing is the game’s connection to painting. Aside from the protagonist, neither the environments nor the enemies reflect this theme. The developers could have designed levels and enemies centered around painting, or alternatively, made the protagonist a more conventional character. A good example of thematic consistency is Paper Mario, where every element of the game is built around its core **** contrast, the areas in this game feel generic and repetitive, similar to many other titles I have already played. Overall, the experience is quite disappointing.

Death Howl completely won me over. It’s a roguelike that makes every combat feel different thanks to its well-designed card mechanics, which constantly force you to adapt. It never feels repetitive, and time just flew by while I was playing. The bosses deserve a special mention: they are challenging and have memorable designs, and every encounter feels unique. On top of that, the missions and environments are very well crafted and do an excellent job building atmosphere. The story also surprised me in a very positive way. It’s emotional, well told, and genuinely connects with the player. The ending hit me hard — I honestly cried.Overall, it’s a very polished and complete experience. Highly recommended for any fan of the genre and for anyone looking for a roguelike with real heart.

Morsels stands out thanks to its remarkably original pixel art and, above all, its unique core concept. I’m not usually a fan of roguelikes, but this is one I’ve wanted to play since the day it was announced. The variety of enemies and all the small details packed into the game keep each run interesting. However, the one word that defines the gameplay is fast—and not always in a good way. Everything moves so quickly that you barely have time to stop, react, or appreciate what’s happening, and that overly frantic pace ends up hurting the experience.

Stellar Blade stands as one of the most captivating gaming experiences I have ever encountered. From its breathtaking visuals to its impeccably refined combat system, every element feels meticulously crafted. The narrative unfolds with a compelling sense of purpose, enriched by emotional depth and outstanding character development — particularly in **** world design is both beautiful and haunting, supported by a remarkable soundtrack that perfectly complements the game’s tone and pacing. Each battle feels purposeful and exhilarating, rewarding precision and strategy in equal **** there is one aspect I genuinely lament, it is that the experience had to end. Stellar Blade left me longing for more — more story, more challenges, more time in its extraordinary world. Without question, it has secured a place among my all-time favorite games, and I sincerely hope to see a continuation of this magnificent work in the future.

Clair Obscur: Expedition 33 left me utterly fascinated. The story captured my attention from the very beginning, and although I believe certain aspects could be expanded upon in a future DLC, what is presented here is profoundly solid and deeply moving. Without delving into spoilers, the narrative reminded me of a recently released video game, yet it succeeds in maintaining a unique and unmistakable **** of the most remarkable aspects lies in its enemies. Each design is extraordinary, brimming with creativity and personality; without a doubt, they stand among the finest adversaries I have ever encountered in a video game. The combat mechanics and abilities reinforce this originality, offering a system that feels fresh, dynamic, and thoroughly **** visual beauty of the title, combined with a first-rate soundtrack, elevates Expedition 33 into an unforgettable work of art. It is a game not only to be enjoyed, but also one that leaves a lasting impression.

I played Sea of Stars at the time of its release, and I found no negative aspects worth noting. It is a work that possesses a unique essence, capable of establishing a profound emotional connection that is difficult to put into words. The additional content introduced later is exceptional and serves as an outstanding complement to the original experience. However, my sole observation is that the release of the downloadable content occurred a considerable time after the initial launch, which may cause certain elements of the narrative to fade from the player’s memory.

Perhaps this review is written from the perspective of someone who was unable to finish RiME when they were younger and who now recalls it with a special fondness. If that is the case, I apologize. However, I also believe that this is part of the game's charm: how it lingers with you, even without having been fully experienced. RiME reminds me greatly of GRIS, not only visually but also in the emotional depth they share. Both games explore themes of grief, loss, and how we navigate inner worlds through visual metaphors and simple mechanics. Yet, RiME goes further with its symbolic approach: nothing that occurs is literal. Everything seems to exist within a mind that has created these scenarios as a means of processing pain. The music is a true gem. It knows when to evoke emotion and when to allow space for silence. That said, if there is one criticism to be made, it is that the puzzles lack variety. While they do not detract from the overall experience, they also do not evolve significantly, which may cause certain sections to feel repetitive.

From an artistic standpoint, Elden Ring and its expansion Shadow of the Erdtree are nothing short of magnificent. The Lands Between and the Realm of Shadow exhibit exceptional visual artistry, rich in atmosphere and filled with striking detail. Certain boss designs are genuinely original and imaginative, and the variety in weaponry, armor, and spells adds further depth to the game’s aesthetic appeal. Regrettably, this is where the game's strengths end. The narrative is convoluted, fragmented, and overwhelmingly opaque. Understanding the story without resorting to external sources—such as lore videos—is virtually impossible. Rather than integrating its complex lore through in-game cutscenes or storytelling (as hinted at in the game's trailers), the game opts for a cryptic and inaccessible approach. The narrative feels more like a disjointed collection of abstract ideas than a coherent storyline—at times, it genuinely feels as though it were generated by an AI. The repetition of content is also a major issue. There is an excessive number of enemies, with many reused throughout the game—dragons, in particular, are recycled to an exhausting degree. Caves, ruins, and dungeons suffer from near-identical design templates, creating an experience that quickly becomes monotonous. After exploring a few of them, any sense of excitement or discovery is lost. Regarding the world itself, it doesn’t quite feel empty, yet it doesn’t feel alive either. It’s densely packed—but with redundant, repetitive content that fails to inspire meaningful exploration. The promise of an open world filled with wonder is undermined by sheer overuse of the same design ideas. Perhaps the most disappointing aspect for me was the difficulty. Having completed all previous Souls games without significant difficulty, I found Elden Ring—especially its DLC—to be unreasonably punishing. Certain bosses are grossly unbalanced, and the overwhelming number of enemies only adds to the frustration. I was ultimately forced to install a mod just to make the experience manageable, something I’ve never had to do with any prior FromSoftware title.

Absolutely devastated. I'm deeply saddened that I can no longer continue playing this game.People falsely claim that it is well-optimized in 2025, but that is simply not true. The game suffers from constant FPS drops that make it unplayable, features poor lighting, and has an open world that feels extremely ****’s particularly disappointing considering that Final Fantasy VII Remake is one of my favorite games.Sadly, this new installment leaves much to be desired. The story feels erratic and unstructured, and I struggle to find it engaging or compelling.

Kunitsu: Path of the Goddess is one of those games that grabs your attention with its visuals and keeps you hooked with everything else. Capcom has crafted a unique, polished experience with a stunning art direction that stands out from the very **** mask and enemy designs—from minor foes to final bosses—are incredible. Every creature feels distinct and carefully made, and the visual style as a whole is beautifully done. The atmosphere and folklore-inspired setting give the game a strong, memorable identity.Gameplay-wise, everything feels very well organized. The difficulty curve is just right—it ramps up smoothly and never feels unfair. Each level brings something new, so the game stays fresh throughout. Plus, being able to go back to earlier levels and help villagers rebuild adds a nice strategic and replayable **** there’s one downside, it’s the second-to-last level, which mostly just repeats earlier boss fights. It’s not terrible, but it breaks the otherwise steady and creative flow the game had built up.Still, Kunitsu: Path of the Goddess is absolutely worth playing. If you enjoy action games with a strategic twist and standout visuals, this one’s easy to recommend.

Negative aspects of Atomic Heart: The story is poorly written, as it requires numerous clarifications due to its overly tedious nature. The bosses do not differ significantly in appearance; throughout the game, I encountered elements I believed to be bosses, but they were not. Additionally, the bosses we did receive were too small in scale. Positive aspects: The graphical quality is outstanding, especially considering the game was released in 2023. The characters stand out due to their distinct personalities, particularly NORA and Granny Zina. The game’s originality is also noteworthy. I especially appreciated the concept of two alternative endings that are continued through the DLCs, which, by the way, are the icing on the cake—with the exception of the second DLC, which feels more like a monotonous minigame.

The Midnight Walk is a game accompanied by an impressive soundtrack and exceptional artistic detail. It is brief, concise, and straightforward—perhaps more geared toward allowing the player to enjoy the few hours it offers without requiring significant intellectual engagement. Its simplicity is such that it seems as if the game mechanics remain the same throughout the entire experience, and I would have appreciated a greater degree of interaction. The puzzles, unfortunately, are exceedingly dull and lack the depth or creativity that might have elevated the gameplay experience. I am not certain whether this sentiment is widely shared, but I personally would have preferred the game to be presented from a third-person perspective rather than a first-person one. It is also worth noting that the game includes an option which appears to be non-functional, as it does not permit the activation of NVIDIA features.

I am glad I did not abandon this game during its early chapters, despite its graphical section bearing a strong resemblance to Fortnite — lacking detail in objects, frequent crashes, and poorly rendered backgrounds. In addition to this graphical deficit, the game would have benefited from the inclusion of more boss fights, particularly in the penultimate chapter, where the confrontation cannot even be considered a proper boss battle. Contrary to what some reviews suggest, the variety of enemies is sufficient, and the mechanics provided are adequate for the game's duration. Despite all these issues, which at times made for a rather unpleasant experience, I thoroughly enjoyed the story. The ending is particularly moving and well executed. It is also worth highlighting that the atmosphere and soundtrack are the game's crowning achievements, successfully immersing the player in the deep South of the United States.

Beginning with the combat system, it is entirely unbalanced and erratic—nothing akin to that of the Final Fantasy VII Remake. With every step you take, you are met by a trio of adversaries, creating an experience that quickly becomes overwhelming. By the end of the game, success in battle hinges almost entirely on chance. The experience of playing as Zack throughout the entirety of the game grows monotonous. From a narrative standpoint, the game does provide valuable context regarding the identities of Aerith, Cloud, and Sephiroth—questions that naturally arise after completing Final Fantasy VII Remake. However, it is not worth enduring the gameplay solely for this purpose; one would be better served watching the cinematics to gain understanding, rather than wasting time on the frustrating combat mechanics. Regarding the graphics, if one embarks on creating a remake, the least that should be expected is a high standard of visual fidelity. Furthermore, why they made the characters with static eyes while they talk?