Psitivebomthis1

Gone Home is the video game equivalent of that friend who corners you at a party to "share their truth" for two hours straight—except you paid for the privilege and there's zero payoff. You play as a prodigal daughter returning home to... wander around an eerily empty mansion picking up sticky notes and diary entries like the world's most tedious scavenger hunt. No enemies, no puzzles worth solving, no actual gameplay. Just atmospheric walking and **** much-hyped "narrative masterpiece" boils down to a very 2010s coming-out story told through environmental storytelling that feels less like clever discovery and more like unpaid emotional labor. By the time I reached the underwhelming conclusion, I wasn't moved—I was annoyed that this glorified tech demo had the audacity to call **** your time (and money). Just read a short story instead. At least books don't pretend to be revolutionary for letting you open drawers.

South of Midnight looks like a fever dream of stop-motion Southern Gothic—stunning visuals, a killer soundtrack dripping with folklore vibes, and a setting that actually feels fresh. Too bad the game itself is as lifeless as a gator floating belly-up after the hurricane.Combat is the biggest offender: shallow, repetitive button-mashing against spongy enemies that all blur together, with dodge timing that feels like it was tuned by someone who hates fun. Platforming is serviceable at best and hand-holdy at worst, constantly babysitting you instead of letting the world breathe. The story starts strong but collapses into heavy exposition dumps, tonal whiplash, and an ending so limp it makes you wonder why you **** style, no substance. Skip this one unless you're desperate for PS2-era vibes wrapped in modern Unreal Engine gloss. Compulsion Games had the ingredients for something special and served up lukewarm gumbo.

Perfect zelda dark souls combination with a retro touch. A real game not an interactive movie.

De calidad mediana qué está siendo promocionado más allá de lo que realmente es.

Remedy’s long-awaited sequel to Alan Wake tries so hard to be a cinematic horror masterpiece that it forgets to be a fun video game. Released in 2023, Alan Wake 2 drowns in its own ambition: endless moody atmosphere, meta-nonsense, and live-action segments, all at the expense of actual gameplay. The story is a convoluted mess of writers writing about writers writing stories. It’s self-indulgent, padded with far too many cutscenes and musical numbers that wear out their welcome fast. The dual protagonists (Saga and Alan) lead to constant tone shifts and backtracking that kill any momentum. Gameplay is the real killer. Survival horror elements are limp — weak combat that feels clunky and unsatisfying, flashlight “puzzles” that get old immediately, and tedious detective board busywork that boils down to slotting pictures in the right spot. Large empty environments filled with slow walking and repetitive enemy encounters make the 15-20 hour campaign feel like a slog. It looks great and has strong audio design, sure. But that doesn’t excuse the boring gameplay loop or the way it prioritizes “art” over entertainment. Alan Wake 2 is the emperor’s new clothes of horror games — critically adored, but a frustrating, overrated walking simulator for anyone who just wants to play something engaging. Skip it and replay the original or Control instead. All style, very little substance.

I went into Mixtape expecting a heartfelt coming-of-age adventure with a killer soundtrack. What I got was a two-hour walking simulator dressed up in nostalgia that forgets to actually be a **** premise sounds decent on paper: three friends spending one last night together before life pulls them apart. But the execution is painfully shallow. The “story” is just a series of barely-connected vignettes where you skate for two minutes, sneak around for three, make awkward conversation choices that barely matter, and then watch a cutscene set to yet another 90s/00s banger. By the third chapter I was already checking how much time was **** music is good — I’ll give it that. But after a while it feels like the developers are using licensed tracks to emotionally manipulate you instead of earning those feelings through writing or gameplay. The characters are paper-thin archetypes: the quirky best friend, the brooding one with family issues, and the protagonist who’s mostly just there to react. Their “deep” conversations feel like they were written by someone who watched Dazed and Confused once and thought that was enough.Gameplay variety? Non-existent. Every “activity” lasts about five minutes before it’s over and you’re back to walking/talking. The controls are floaty and unresponsive, especially during the skating sections, which somehow manage to be both boring and frustrating. I died multiple times to terrible collision detection while doing the most basic tricks.Worst of all, the game is ridiculously short and has zero replay value. I finished it in one sitting and felt nothing but mild annoyance at the wasted potential. For an Annapurna title, this is shockingly underwhelming. If you want a good nostalgia trip, just make an actual mixtape and listen to it while taking a walk. You’ll get more out of it than this. Do not buy. Do not play. Stream the soundtrack instead.

I went into Saros excited after hearing it was the new Housemarque game. Big mistake. This is basically Returnal with a fresh coat of paint, a new planet, and some minor tweaks — except it somehow feels worse in almost every way that matters. The core loop is the same: die, respawn at a base, run out into procedurally shifting biomes on planet Carcosa, shoot bullet-hell waves of enemies, die again. The gunplay is fast and flashy at first, but after a dozen runs it becomes exhausting rather than exhilarating. Dodging patterns that fill the entire screen gets old fast, especially when the camera and movement feel just slippery enough to make precise positioning a nightmare. One wrong twitch and you're dead — **** story tries to be this deep, psychological sci-fi mystery with Arjun Devraj (Rahul Kohli) searching for answers under an ominous eclipse. It sounds cool in trailers, but in practice it's a disjointed mess of vague lore, repeated dialogue, and "artistic" confusion that mostly left me annoyed. The supporting cast feels like cardboard cutouts, and the big emotional beats fall completely flat because you're too busy dying to care about the narrative.Progression is there with upgrades and permanent unlocks, but it never feels meaningful enough to push through the repetition. The roguelite structure just highlights how little variety there actually is once you've seen a few biomes and boss fights. Bosses look impressive but boil down to the same "dodge the glowing crap for 10 minutes" formula.Visually it's nice (Housemarque knows how to make things pretty), and the soundtrack is solid, but that doesn't save a game that feels like it overstayed its welcome after 8-10 hours. By the end I was just forcing myself to finish it out of **** you loved Returnal and want more of the exact same punishment, maybe you'll enjoy this. For everyone else? Skip it. There are better action games and better roguelites out there. Saros is a mid-tier disappointment that Sony is trying to sell as the next big exclusive. Don't buy the hype.

I despised the original and love this one. This is how a remake should be done.

This is where all the woke tropes started in videogames. Any redeeming quality about it , it's lost in the "message"

This is where all the woke tropes started in videogames. Any redeeming quality about it , it's lost in the "message"

This is where all the woke tropes started in videogames. Any redeeming quality about it , it's lost in the "message"

This is the Marvel-ification of the Metroid franchise. The once-haunting atmosphere is utterly ruined by millennial-written characters. A parrot would be a far more entertaining companion than these incessant chatterboxes yapping over the comms. Worse, the core Metroid formula simply doesn't mesh with open-world gameplay. You can tell these developers have succumbed to the usual vices of Western studios, bloating the game with pointless crystal collecting. Not a good look for the franchise.

The map is giant, but mostly full of bloat busy tasks or copy paste random events (find bad guys, kill guys). Story is disjointed and boring, it's exactly what you see in the commercials, a revenge story. The real weakness is the non-linear approach to the guys you're hunting down, so there's no build up or feel of story progression beyond 'Welp, that guy's dead, guess I'll go kill the next one'. None of them stick out and every fight blends together since you can realistically fight any of them without actually progressing as a character with better skills. The story in general is the exact same story you've seen 100 times from Sony, and it's just boring , there are no twists or structured narrative acts to build the suspense.

Silent Hill F: A Foggy Disappointment in a Series That Deserves BetterI've always been a die-hard Silent Hill fan—Silent Hill 2 still gives me chills years later—but Silent Hill F, the long-awaited return to form from Konami, feels like a rusty chainsaw grinding against the franchise's legacy. Released in early 2025 after years of radio silence (pun intended), this "reimagining" set in a fictional Japanese town during the 1960s promises atmospheric horror and psychological depth. Instead, it delivers a clunky, uninspired mess that barely scratches the surface of what made the series ****'s start with the story, which is supposed to be the beating heart of Silent Hill. You play as a young woman unraveling family secrets in a fog-shrouded village plagued by yokai-inspired monsters. On paper, blending Japanese folklore with Western horror sounds fresh, but the execution is laughably shallow. The narrative plods along with dialogue that's equal parts melodramatic and cringeworthy—think forced accents and exposition dumps that feel like they're ripped from a bad Lifetime movie. Twists? Predictable from the first tape-recorded clue. And the psychological horror? It's about as subtle as a sledgehammer to the face, with themes of guilt and loss hammered home so relentlessly that they lose all impact. By the midpoint, I was skipping cutscenes just to get back to the action, which is never a good sign for a game built on slow-burn dread.Gameplay fares even worse. The controls are a nightmare—stiff tank-like movement that harks back to the PS1 era without the charm, paired with a combat system that's frustratingly unresponsive. Swinging your makeshift weapons feels like mashing buttons in molasses, and the enemy AI is either brain-dead (zombies wandering into walls) or unfairly aggressive (ambushes from nowhere that punish exploration). Puzzles, a Silent Hill staple, are insultingly basic: fetch quests disguised as riddles, with zero creativity. The fog, that signature mechanic, is underutilized—it's more of a visual crutch than a tool for tension, hiding loading screens rather than building paranoia. Exploration in the open-ish town layout sounds ambitious, but it's bogged down by invisible walls, backtracking hell, and collectibles that serve no purpose beyond padding runtime.Visually, Silent Hill F looks like it was developed in a hurry. The Unreal Engine 5 graphics promise photorealism, but textures pop in and out like a budget indie title, and character models have that uncanny valley stare that makes every conversation uncomfortable. The monster designs borrow heavily from Japanese horror tropes—think pale ghosts with elongated limbs—but they're forgettable and reused ad nauseam. Audio is a mixed bag: Akira Yamaoka's score has fleeting moments of genius, evoking the eerie piano riffs of old, but it's drowned out by generic sound design and voice acting that ranges from wooden to outright **** $60, this is a hard pass. Silent Hill F isn't scary; it's boring. It squanders the series' potential on safe, soulless design choices, feeling like a cash-grab reboot rather than a respectful evolution. If you're new to Silent Hill, start with the classics. For fans, this is just another reason to mourn what Konami has become. 1/10—play P.T. demo instead and call it a day.

Assassin’s Creed Shadows had all the makings of a slam dunk—feudal Japan, ninjas, samurai, and a dual-protagonist gimmick with Naoe and Yasuke. But man, does it drop the ball hard. I’ve been a fan since Altaïr was climbing towers in 2007, and this feels like Ubisoft just threw darts at a board and called it a game.First off, the open world is gorgeous—until you realize it’s a hollow shell. Yeah, the cherry blossoms sway and the castles look cool, but it’s the same old Ubisoft checklist: climb tower, clear bandit camp, repeat. The map’s supposedly the size of Origins, but half of it’s empty fields or copy-paste villages. I spent 20 minutes riding through nothing just to find a side quest that was “fetch me 10 rice bags.” Thrilling.Naoe and Yasuke sound awesome on paper, but in practice? Naoe’s stealth is clunky—guards spot you through walls half the time, and her grappling hook feels like it’s on a laggy cooldown from a mobile game. Yasuke’s combat is just button-mashing with extra steps; every fight’s a slog because enemies are damage sponges who block everything. Switching between them mid-mission is a neat idea, but it’s so poorly executed you’ll just stick to one and forget the other **** story? Oh boy. It’s a mess of half-baked Templar-Assassin lore shoved into a Nobunaga fanfic. Naoe’s out for revenge (yawn), Yasuke’s got some vague honor crisis, and the dialogue is so wooden I could build a shrine with it. Historical accuracy? Don’t even start—they’ve got Oda Nobunaga breakdancing in a cutscene (okay, not really, but it’s that level of ridiculous). The seasonal changes are a cool trick, but they barely affect anything beyond “ooh, snow now.”Performance-wise, it’s a coin toss. On my PS5, it chugs in crowded areas, and I hit two game-breaking bugs in 10 hours—one where Yasuke got stuck in a wall, and another where a quest NPC just vanished. The Anvil engine’s showing its age, and Ubisoft’s too lazy to fix it.Look, I wanted to love Shadows. Japan’s my dream setting, and Yasuke’s a badass concept. But this is a $70 slog that feels like it was rushed out the door. Ubisoft’s coasting on fumes here—play Ghost of Tsushima instead if you want a real samurai fix. 0/10, and that’s being generous.

Bland and dry combat! Unbelievable how a medieval combat game in 2025 has zero wound effects when slicing up an enemy with a broadsword. Janky combat and no blood and gore despite the M rating. Just can’t be bothered to progress in this and the dialogue isn’t engaging enough to warrant hours of gameplay. But the biggest insult to consumers is the lack of blood and gore/viscera and I will review this as 1 star to reflect this disappointment. Dry combat is a huge issue with gaming today. When everyone is copying each other to be the next great game, the least developers could do is give us action that feels heavy and raw, not E for everyone style combat.

Some parts of the story have been cool, but the writing is incredibly pedantic, the characters have to vocalize Every. Single. Thing, and continually state the obvious and exposite and repeating what has already been said or implied.Honestly, I don't think I've played a game with writing so bad that it made me actually want *less* banter between companions, but here we are.Also, one of the early characters talks like a kindergarten **** the voice acting is pretty bad. There is a noticeable difference between the voice acting for new characters and for those who were in the other **** art style, particularly the character and monster design, is also pretty terrible, though some of the environments look good. I think it wouldn't but me so much if the writing was at least good, but between the writing and the art, it feels like it was made for children. I legit burst out laughing when I saw my first dark **** character motion and fighting feel weirdly floaty.Character proportions are really weird thanks to the word art style so everyone looks bizarre and stumpy.

Some parts of the story have been cool, but the writing is incredibly pedantic, the characters have to vocalize Every. Single. Thing, and continually state the obvious and exposite and repeating what has already been said or implied.Honestly, I don't think I've played a game with writing so bad that it made me actually want *less* banter between companions, but here we are.Also, one of the early characters talks like a kindergarten **** the voice acting is pretty bad. There is a noticeable difference between the voice acting for new characters and for those who were in the other **** art style, particularly the character and monster design, is also pretty terrible, though some of the environments look good. I think it wouldn't but me so much if the writing was at least good, but between the writing and the art, it feels like it was made for children. I legit burst out laughing when I saw my first dark **** character motion and fighting feel weirdly floaty.Character proportions are really weird thanks to the word art style so everyone looks bizarre and stumpy.

Some parts of the story have been cool, but the writing is incredibly pedantic, the characters have to vocalize Every. Single. Thing, and continually state the obvious and exposite and repeating what has already been said or implied.Honestly, I don't think I've played a game with writing so bad that it made me actually want *less* banter between companions, but here we are.Also, one of the early characters talks like a kindergarten **** the voice acting is pretty bad. There is a noticeable difference between the voice acting for new characters and for those who were in the other **** art style, particularly the character and monster design, is also pretty terrible, though some of the environments look good. I think it wouldn't but me so much if the writing was at least good, but between the writing and the art, it feels like it was made for children. I legit burst out laughing when I saw my first dark **** character motion and fighting feel weirdly floaty.Character proportions are really weird thanks to the word art style so everyone looks bizarre and stumpy.

Shadow generations seems decent enough, but the level design and controls don't show the same level of polish as the base game. 3D levels feel a bit artificial and constrained compared to Sonic generations, and controls feel stiff. 2D shadow levels are much more barebones and flat than classic sonic's.

Shadow generations seems decent enough, but the level design and controls don't show the same level of polish as the base game. 3D levels feel a bit artificial and constrained compared to Sonic generations, and controls feel stiff. 2D shadow levels are much more barebones and flat than class sonic's.

Shadow generations seems decent enough, but the level design and controls don't show the same level of polish as the base game. 3D levels feel a bit artificial and constrained compared to Sonic generations, and controls feel stiff. 2D shadow levels are much more barebones and flat than class sonic's.

Shadow generations seems decent enough, but the level design and controls don't show the same level of polish as the base game. 3D levels feel a bit artificial and constrained compared to Sonic generations, and controls feel stiff. 2D shadow levels are much more barebones and flat than class sonic's.

Shadow generations seems decent enough, but the level design and controls don't show the same level of polish as the base game. 3D levels feel a bit artificial and constrained compared to Sonic generations, and controls feel stiff. 2D shadow levels are much more barebones and flat than class sonic's.

Shadow generations seems decent enough, but the level design and controls don't show the same level of polish as the base game. 3D levels feel a bit artificial and constrained compared to Sonic generations, and controls feel stiff. 2D shadow levels are much more barebones and flat than class sonic's.

The game started off promising but quickly fell short of expectations. What should have been an immersive Star Wars experience often felt like playing a completely different game. More than half of the missions involved tedious parkour, with far more climbing than engaging with enemies. It felt more like Assassin’s Creed or Uncharted, which isn’t what I signed up for. The game also feels underdeveloped, with a repetitive storyline focused on climbing and repetitive missions. There are no meaningful Jedi encounters—just endless skirmishes with the four factions you’re trying to gain reputation with. The ability to join the Rebellion, the Empire, or become a Jedi would have added much-needed depth. Unfortunately, Ubisoft’s involvement seems to have steered this game off course, and their recent statement that we don’t actually own the games we’ve purchased only adds to the disappointment.

The game started off promising but quickly fell short of expectations. What should have been an immersive Star Wars experience often felt like playing a completely different game. More than half of the missions involved tedious parkour, with far more climbing than engaging with enemies. It felt more like Assassin’s Creed or Uncharted, which isn’t what I signed up for. The game also feels underdeveloped, with a repetitive storyline focused on climbing and repetitive missions. There are no meaningful Jedi encounters—just endless skirmishes with the four factions you’re trying to gain reputation with. The ability to join the Rebellion, the Empire, or become a Jedi would have added much-needed depth. Unfortunately, Ubisoft’s involvement seems to have steered this game off course, and their recent statement that we don’t actually own the games we’ve purchased only adds to the disappointment.

The game started off promising but quickly fell short of expectations. What should have been an immersive Star Wars experience often felt like playing a completely different game. More than half of the missions involved tedious parkour, with far more climbing than engaging with enemies. It felt more like Assassin’s Creed or Uncharted, which isn’t what I signed up for. The game also feels underdeveloped, with a repetitive storyline focused on climbing and repetitive missions. There are no meaningful Jedi encounters—just endless skirmishes with the four factions you’re trying to gain reputation with. The ability to join the Rebellion, the Empire, or become a Jedi would have added much-needed depth. Unfortunately, Ubisoft’s involvement seems to have steered this game off course, and their recent statement that we don’t actually own the games we’ve purchased only adds to the disappointment.

This game has the Suikoden feel but my dislike stems from two main factors..1) So far its absent of the darker gritty story elements, from my point in the story I've yet to be shown a single KIA 2D sprite, or ones peppered with arrows. This is very much a SAFE story not one showing the gritty and bloody war. I think we can all agree that this set Suikoden out from its competitors.. it was a MATURE story.2) The localisation is HORRENDOUS... they have changed nearly every line and made it worst! the dialogue is straight up cringe and its impacts the personalities of the characters making very unlikable. You as a paying customer are not getting Murayama's last piece of art / writing! your getting an amateur writing fan-fiction!

[SPOILER ALERT: This review contains spoilers.]