ThanatosCain

Final Fantasy XVI has several strong elements, particularly in its presentation. The art direction is sublime, with a colorful and beautiful world that is consistently impressive to look at, and the soundtrack is often amazing. The main protagonist, Clive, also stands out as a great central character who carries much of the narrative weight. However, the game suffers from numerous issues that significantly undermine the experience. The pacing is extremely inconsistent, jumping from major story moments to trivial quests that feel meaningless, with some main quests themselves resembling unimportant side missions. Nearly everything in the game feels slow—from the lengthy cutscenes to the fights and even character movement. Rather than conveying progression through gameplay, the game relies heavily on cutscenes to do most of the storytelling work. Many of the characters lack depth and presence, with most side characters feeling hollow aside from Cid. The combat system quickly becomes repetitive and dull, and some boss fights are accompanied by oddly mismatched music that clashes with the tone of the scene. The game also strays too far from the RPG genre; the RPG mechanics that remain feel superficial, with attack numbers that appear largely cosmetic and leveling up rarely making combat feel less tedious. Items collected throughout the game are mostly worthless, the currency system feels useless, and elemental mechanics have no real impact because there are no elemental weaknesses. Structurally, the main missions are also very repetitive, typically consisting of progressing through a linear dungeon while fighting scattered enemies along the way. Overall, it feels as though the story was conceived long before the gameplay, with the actual game structure and mechanics seeming like they were finalized only shortly before release. As a result, despite a few strengths, Final Fantasy XVI ultimately falls flat. In my view, it is the worst Final Fantasy game I have ever played. Even though it aims to be action-focused, nearly every aspect of it feels sluggish, from the endless cutscenes to the drawn-out battles. Playing it feels like an endless barefoot slow dance across a floor covered in broken glass.

If you liked Emily is Away, this is more of the same. I really enjoyed it, but just a heads-up — it’s pretty much the same formula.

If you liked the previous entries in this series, this is more of the same. I really enjoyed it, but just a heads-up — it’s pretty much the same formula.

Unfortunately, I can’t recommend this game because it feels severely undercooked. I have no issues with the visual style, the music, or the sound effects. In fact, I really like that even though you play as the killer, the game still manages to keep a spooky vibe — that aspect genuinely shines.However, the gameplay and the overall limitations of the experience are where things fall apart. The concept is absolutely badass on paper: you play as a serial killer dressed as Santa. But after doing the tutorial, it feels like there should be so much more depth than what the game actually delivers. I expected something like a lighter version of Hitman or Manhunt, but it’s nowhere **** game feels far too arcade-like, and many of the mechanics introduced in the tutorial seem to get tossed aside as you progress. To get a higher score, you basically just need to kill your targets as quickly as possible, which makes the lighting and noise systems feel pointless. Honestly, what you see is what you get with this game — and that’s disappointing, because it’s clear there’s a lot of talent behind **** you really want to play a game that lets you step into the shoes of a serial killer, try Sniper Killer. It’s far deeper than this one.

Alan Wake 2 delivers exceptional art direction and sound design, with environments that feel lived-in and audio work that completely immerses you in its eerie atmosphere. The gameplay has been significantly improved compared to the first Alan Wake, and the story cleverly builds on the original while introducing fresh and intriguing ideas. Remedy has managed to revisit familiar locations from the first game and make them feel both new and nostalgic, preserving the emotional connection players have with these places. The pacing is perfect—neither too short nor too long, offering around 20 to 25 hours for a full experience—and the game constantly motivates you to go beyond what the trophy list requires. Rather than filling the world with vast but empty spaces, Remedy focuses on carefully designed, purposeful environments where every corner matters, proving that smaller, well-crafted worlds can be far more meaningful. The structure of the game allows it to breathe naturally, balancing expansive moments with tighter, more focused sequences, showcasing an artistic vision that refuses to compromise for the sake of mass appeal. It’s especially rewarding for fans of the first game, who will appreciate the many callbacks and deeper connections. However, the inventory system feels clunky and inconvenient, lacking shortcuts and forcing unnecessary scrolling, while even irrelevant items remain visible. The limited storage in safe rooms is also frustrating, especially considering how much the survival horror genre has evolved. Although the combat is improved over the original, it still feels like the least engaging part of the experience. Despite these flaws, Alan Wake 2 stands as a worthy successor and a true piece of art that ties together the wider Remedy universe in fascinating ways. Remedy’s storytelling continues to evolve with each game, and here the narrative and atmosphere remain the strongest aspects. While I believe the franchise could benefit from moving further away from traditional action mechanics—something Remedy already perfected with Control—Alan Wake 2 remains an outstanding and confident work of art that reaffirms Remedy’s place as one of the most creative studios in the industry.

Lamentum delivers a compelling survival horror experience, combining great sound effects that perfectly complement the game's visual style with a story that, while somewhat cliché and inspired by familiar horror media, is presented through a unique and engaging perspective. The atmosphere is thick with mystery, supported by a haunting soundtrack, well-written (though unvoiced) dialogue, and an overall tone that gives the game a strong, distinctive identity. The gameplay, while simple, is genuinely enjoyable, and the inventory management system is smooth and intuitive, especially when using a keyboard. Despite its relatively short length, Lamentum offers a surprising amount of variety in both its environments and enemy types. The monster designs are both grotesque and visually impressive, while the cutscenes—though brief—are effective and well-executed. Players also have access to a wide variety of ranged and melee weapons, and the game features four distinct endings, each crafted with equal care and offering unique outcomes.However, the boss fights are a noticeable weak point. They tend to lack memorable mechanics and depth, usually revolving around straightforward attack patterns or basic triggers to make the boss vulnerable. Additionally, some parts of the game can be quite confusing without a guide, and the inclusion of instant-death puzzles or sequences can feel frustrating due to the backtracking they require.Still, despite these flaws, Lamentum has all the core elements of a potential classic in the survival horror genre. If you're a fan of titles like Resident Evil, Silent Hill, or Fatal Frame, this game is clearly made with you in mind. It's evident that a great deal of love and attention went into its creation—from the art style to the music, sound effects, and story. I loved my time with it.

The Convenience Store has a great vibe, and I really like how the characters move slowly with a pre-rendered look that adds to the atmosphere. The overall setting—centered around a convenience store—holds a lot of potential, and the journey through the game is captivating. However, the experience ultimately feels surface-level, with many elements that could have been more fully developed. The endings are underwhelming, and while the intentionally low-quality voice-over might be a stylistic choice, it still comes off as unappealing when there are more effective ways to achieve that kind of aesthetic. The game’s atmosphere is promising, but it’s not scary at all, which might be a letdown for horror fans. In the end, The Convenience Store feels more like a rough draft **** that could have been much more elaborate. I’d be lying if I said I didn’t have fun or that it didn’t hold my attention until the end, but the buildup leads to a payoff that never really arrives. I’d only recommend this title if you’ve never played any other games from Chilla’s Art—otherwise, it’s skippable. It’s an okay game, nothing more, nothing less.

Black Myth: Wukong is a stunning game from start to finish, with art direction that is both gorgeous and varied. Every chapter and location has its own distinct visual identity, and I was left in awe throughout the entire experience. The design never falters, constantly impressing with creativity and atmosphere. Enemies are cleverly adapted to their environments, and the game isn’t afraid to introduce foes in a single chapter and never reuse them if they wouldn’t fit elsewhere. Bosses are varied as well; while some do repeat, it’s done far more tastefully than in games like Elden Ring or recent God of War entries. Despite being fairly linear, the level design still offers branching paths and a wealth of interesting side content, unlike games such as Lies of P. The soundtrack is incredible, the English voice acting is excellent, and the cutscenes—especially the end-of-chapter music videos—are absolutely beautiful and epic. The game offers strong replay value, with new content unlocking in further playthroughs, and the ability to freely respec your build at any time is a genuine game-changer for this genre. However, it isn’t without flaws. The lack of ranged attacks makes it frustrating to deal with distant enemies and bosses, and it’s often unclear whether certain areas are explorable or pose fall dangers—leading to arbitrary limits and inconsistency in level boundaries. On console, the controls can feel unresponsive, which is a big issue in a timing-heavy action game. Movement can be clunky, especially in platforming sections or when trying to open chests, as the character may jump automatically when moving forward. Some control schemes are overly complex or poorly thought out, leading to mistakes in the heat of battle. The story is confusing and difficult to follow, and there’s a jarring contrast between the witty, talkative character in the opening and the silent, uncharismatic protagonist you play for the rest of the game. The silent hero trope feels outdated and unnecessary. Despite lacking traditional combos, the combat system remains engaging, offering various viable builds and playstyles. That said, the game hides a lot of content, so using a guide is almost essential to avoid missing significant material. Ultimately, Black Myth: Wukong feels like a return to form, evoking the magic of God of War during its PS2/PS3 golden years. Game Science has truly captured a spark that many modern action games have lost, and this is the kind of title that rekindles a love for gaming when you're starting to lose hope. I can't wait to see what they do next, because what they’ve crafted here is nothing short of exquisite.

Lies of P is a visually stunning game that immediately impresses with its exceptional art direction. Every location is crafted with such care and detail that I often found myself pausing just to take in the scenery—it’s genuinely breathtaking. The soundtrack complements the visual tone beautifully, and the sound design is equally impressive, with effects that are punchy and immersive, enhancing the tension and impact of each encounter.Unfortunately, beneath this polished surface lie several significant issues that detract from the overall experience. The gameplay loop quickly becomes repetitive, with little variation or evolution as the game progresses. Enemy placement often feels arbitrary, lacking strategic depth, and the overuse of environmental mechanics—like narrow catwalks and rolling boulders—makes exploration feel recycled rather than fresh or surprising.Combat, while functional, suffers due to the clunky movement system. Precision is essential in a Soulslike, especially during boss fights, and the unresponsive controls make these encounters frustrating rather than rewarding. This is further compounded by poor difficulty balancing. While the game includes certain accessibility features or mechanics that are intended to ease the challenge, they fall short when it matters most—particularly during the toughest boss encounters. These options don’t make the experience more approachable for newer players. Instead, they feel better suited for seasoned Souls veterans looking for a more relaxed run, rather than providing genuine support for those struggling with the game’s steep learning **** connection to the Pinocchio story starts strong but fades over time. As the hours go by, the narrative begins to feel more like a thin excuse to wrap a familiar Soulslike formula around, rather than a creative or meaningful retelling of the classic tale. There are stretches where the Pinocchio elements are barely noticeable, which is a missed opportunity given the rich thematic potential.Boss design lacks variety and creativity. Most encounters fall into one of two categories: either massive enemies that deal heavy damage or fast, humanoid opponents with rapid attack patterns. Many of these bosses feel interchangeable, and with an overabundance of main, side, and mini-bosses, fatigue quickly sets in. Their gimmicks—such as reviving after defeat or surprise second phases—are overused and start to feel arbitrary. Unlike games like Sekiro or Dark Souls 3, which employ these mechanics for dramatic effect at key moments, Lies of P uses them so frequently that they lose all impact and become more frustrating than **** parry system also leaves much to be desired. It lacks the clear visual and audio cues that are crucial for mastering timing-based mechanics. In games like Sekiro, the parry becomes a rhythmic and rewarding system built into the core combat design. Here, the timing feels inconsistent, and the general clunkiness of movement further undermines the mechanic.Voice acting is inconsistent, with some performances breaking immersion due to poor delivery or awkward lip-syncing. Technical issues like weapon and clothing clipping through walls are common and further chip away at the game’s otherwise strong **** level design shines in moments, but the overly linear structure and bloated runtime cause exploration to wear thin. What starts as engaging eventually feels like a slog, offering little payoff for curiosity. Weapon customization, while conceptually promising, fails to deliver due to the similar feel of most weapons. Even though players can mix and match blades and handles, the end result rarely feels distinct.Another misstep is how the puppet concept is handled. As a puppet gradually becoming human, the idea could have been reflected through evolving mechanics—such as smoother, more agile movement as the story progresses. Instead, the player remains rigid and slow throughout, while enemies and bosses move with inhuman speed and fluidity. This creates a frustrating mismatch and diminishes the theme’s **** the end, Lies of P is not a bad game, nor is it a bad Soulslike. But it struggles to rise above imitation. Its stunning visuals and excellent audio design can't fully mask its uninspired level design, repetitive gameplay, and clunky mechanics. While it makes gestures toward accessibility, these fall short when it matters most, failing to support newer players or offer meaningful alternatives to its punishing difficulty. Ultimately, Lies of P feels like a studio copying FromSoftware’s homework without fully understanding what made it work. Though many have praised it as one of the best Soulslikes, I believe it’s time for veteran fans to speak up and say—it’s good, but far from great.

One of the things I really liked is that they kept the pause button. It’s a small detail, but it makes a big difference and is a very welcome quality-of-life feature. Some of the boss fights were okay in terms of design — not particularly impressive, but still enjoyable at times. Overall, the combat system feels much better than in the first game. The sound design is also worth mentioning — the effects are sharp, impactful, and really help immerse you in the action.From a technical standpoint, the game runs a lot better than its predecessor. I did encounter a few crashes, but they weren’t nearly as frequent or disruptive as in the original. I also liked the option to dismantle higher-level gear in order to create lower-tier gear. It’s a bit unexpected, but it adds a nice bit of flexibility when managing your equipment.That said, the game still has its share of problems. There's far too much backtracking, and many areas are reused, which can make exploration feel repetitive. New Game Plus is very poorly balanced — enemies become damage sponges and hit incredibly hard, even when you’re equipped with top-tier gear. A lot of bosses are just reskinned versions of regular enemies, and in one case, there’s a boss that’s basically a reskin of a reskin from the first game.After playing Sekiro, the directional block system here just feels clunky and poorly implemented by comparison. Enemy variety is limited, and that really starts to drag the longer you play. The camera can also be frustrating at times — it sometimes swings around wildly, almost like you're piloting a mech in Armored Core. It’s not as bad as in the first game, but it’s still **** sidequest system is another weak point. In fact, I’d say it’s even worse than in the first game. The larger, more open areas introduce more NPCs and more quests, which sounds like a good thing, but in practice, it just makes everything harder to follow. On top of that, choosing the wrong dialogue option can cause you to fail a quest, which means you’ll have to wait until New Game Plus to try again. Considering how broken NG+ currently is, that’s not ideal.Lastly, beating bosses often doesn’t feel particularly rewarding. There’s usually very little buildup or sense of payoff, which makes those victories feel kind of empty. There are more bosses this time around compared to the first game, but many of them feel too similar to each other. The level design starts out strong but gets messier as the game goes on, though thankfully, not as chaotic as in the original.

Neo Cab is a great idea on paper. Games like VA-11 Hall-A and Coffee Talk have already proven how compelling a narrative-driven experience centered around conversation and emotional connection can be. Unfortunately, Neo Cab feels like a missed opportunity in several areas where it should shine, especially considering its limited **** story and setting are genuinely engaging, and the characters all have distinct, well-developed personalities. The conversations are often thoughtful and interesting, successfully drawing the player into the world and its themes.However, the lack of voice acting significantly hinders the game’s atmosphere. I would have gladly traded the generic electronic soundtrack for voiced dialogue, as the music often felt out of place. At times, I even considered turning the music off entirely—but doing so would have left the game in near-complete silence, which only made the experience feel emptier.Visually, while the game offers more than a typical visual novel, it still feels quite static. Character expressions are often stiff and fail to effectively convey emotion, which weakens the emotional impact of key moments. Additionally, the game’s interface and menus lack personality and style, with the journal section being the only notable **** FeelGrid system—an emotion-based mechanic that influences dialogue choices—is conceptually strong and well-integrated into the game’s world. However, in practice, it fluctuates too rapidly during conversations and doesn’t clearly communicate how it affects available dialogue options. While the idea of restricting choices based on emotional state has worked well in games like Depression Quest, Neo Cab's implementation feels too volatile and clumsy, as if the developers were trying to justify a narrative concept through gameplay without fully refining the **** the end, Neo Cab has some truly great ideas and an intriguing foundation, but its execution leaves much to be desired. With more polish and attention to player experience, it could have been something special.

The puzzles in Overloop offer a perfect balance—never too difficult, yet providing a steady progression in complexity that always makes the player feel intelligent. Despite its short length, the game does an excellent job of evolving its main mechanic. Each time the mechanic changes, the new addition is fully explored and utilized to its maximum potential.While the story itself isn’t particularly remarkable or prominent, it is consistently peppered with small moments of humor, adding a light-hearted touch to the experience. The game’s duration is relatively brief, spanning 2 to 3 hours, but it’s divided into multiple chapters. This structure allows the game to breathe, with each chapter providing natural pauses that contribute to its overall **** pacing is perhaps Overloop's strongest element—ranging from the increasingly complex puzzles to the calmer moments between them, which provide a nice contrast and allow the gameplay to feel well-rounded.Overall, Overloop is a highly enjoyable game that deserves attention.Posted 2 March.

I know I’m beating a dead horse here, but after giving this game a fair shake with around 50 hours of playtime, I can confidently say that it’s the worst Souls-like game I’ve ever played. Despite my initial hope, the game fails to deliver on almost every level, leaving me frustrated more often than **** game has its highs and lows, offering some intriguing elements but ultimately falling short in key areas that severely impact the overall **** the positive side, a pause button in a Souls-like is rare, and it’s a welcome feature. The boss fights are one of the standout features, with each battle feeling unique and engaging, providing a real challenge. The game also introduces several interesting systems that add depth to gameplay. For instance, the weapon and armor upgrade system allows you to bypass certain upgrades if you have better materials, which adds a layer of flexibility to progression. The character upgrade system is another highlight, streamlining the process by removing the need to allocate points to individual stats, making it more accessible. Additionally, the scrap banking system is a thoughtful inclusion, allowing you to store scrap safely, so you don’t risk losing it upon death.However, the game is far from perfect, and there are several areas where it stumbles. Level design is one of the most significant drawbacks. Many areas look repetitive and lack distinctiveness, with some sections feeling unnecessarily convoluted and no in-game map to guide you. The game leans heavily on backtracking, which can quickly become tedious and detracts from the overall enjoyment. The aiming system also leaves much to be desired, especially when targeting limbs. The mechanics often feel imprecise, and you’ll find yourself struggling to make clean shots.Another major issue is the frequent crashes—especially on the PS5 version—where I experienced one crash that even prevented me from earning the platinum trophy. Glitches are also a common problem, sometimes making the gameplay miserable and detracting from the experience. The enemy density in certain areas is frustrating as well, with later stages being overcrowded with enemies. Some areas feature unfair enemy configurations that block your path, especially when you're trying to reach a boss **** terms of combat, the weapons don’t feel satisfying to use. Heavy weapons, in particular, are problematic—they’re supposed to have weight and power, but they feel both heavy and floaty, making them lack the impact you’d expect. Additionally, the main character’s design is less than impressive, with awkward armor choices that don’t quite suit the character’s aesthetic. On top of that, while the story and setting show potential, they aren’t presented in a way that draws the player in. The narrative lacks the hooks to make you care about the world and its **** runs to the bosses are another point of frustration. These sections feel unnecessarily long and drawn-out, adding to the already significant challenge. The sidequest structure mimics that of the Soulsborne games, but without the smooth execution. The game’s convoluted areas and strict parameters mean that even a small mistake—like choosing the wrong dialogue option—can lock you out of entire sidequests for the playthrough. Furthermore, the transition to New Game+ after defeating the final boss feels abrupt and underwhelming, leaving you with a sense of **** lack of boss variety is another issue. There are only five bosses in total, and one of them is a direct reuse of an earlier boss, making the experience feel repetitive. On top of that, the controls can feel sluggish and clunky, making the combat feel more frustrating than rewarding.However, despite these flaws, there are still some positives. The pacing of the boss fights is well-done, and while there aren’t many of them, they’re spaced out nicely throughout the game. The art direction and graphics are absolutely gorgeous, showcasing a world filled with potential, but unfortunately, the asset reuse and poor level design squander the visual potential. Ultimately, this game should be avoided at all costs. After spending 50 hours trying to push through the experience, I can firmly say that it’s easily the worst Souls-like game I’ve ever played. While it has a few interesting mechanics and some visual appeal, the myriad technical issues, clunky controls, repetitive design, and frustrating systems make it nearly impossible to enjoy. The crashes, glitches, and poor level design drag down what could have been a decent experience, and the game fails to live up to even the most basic expectations for a Souls title. If you’re looking for a challenging, rewarding experience, steer clear of this one—it’s simply not worth your time. It’s a wasted opportunity, and after giving it a fair shake, I wouldn’t recommend it to anyone.

Don't get me wrong—this is a remaster of one of the greatest games of all time. But $40 for a remaster of a PS2 game? That's outrageous. This gets a zero for corporate greed. Looks like "Crapcom" is back.

Un jeu vraiment intéressant avec une ambiance très travaillée et dans lequel on ressent vraiment l’âme de la personne qui l’a créée. Tout le long j’avais l’impression d’errer dans une sorte d’exposition artistique où chaque élément avait sa place. J’ai comme envie d’aller écouter du Pink Floyd et du Godspeed You ! Black Emperor tout à coup... mais d’abord le déjeuner !

An amazing and very accessible puzzle game. Even though the puzzles are not that complicated you always end up feeling smart when you solve them. That aspect of the game weirdly reminded me of one of my favourite video game series of all time (Half-life). This game has a strong identity that is brought forward by its amazing soundtrack, its good sound effects and its simple and yet gorgeous visuals. it is sincerely a feast for the eyes, the ears and the heart. I had this game in my library for a while and I regret not giving it a chance sooner. I had 0 expectations when I launched it and now I think it is one of my favourite indie games of all time. Please give this game a go, it's not that long and you can easily play it in short sessions. Please post the soundtrack on Spotify and Youtube!

A short game with a deep message. A never ending learning process that is so similar to the way we treat this world. We should take more time to contemplate... Recollection doesn't provide a whole lot on the gameplay aspect but it compensates with meaning.

She and The Light Bearer is a cozy game with an excellent soundtrack. The art style is beautiful and cute at the same time. The dialogues are also cute and sometimes even funny. I really don't have anything negative to say about this game. So yeah, if you're into cozy point n' click adventures with simple puzzles give this one a go, I guarantee you won't regret it :)

Unfortunately I cannot recommend this game anthology to anyone. I understand that the concept of what a video game can be must always be challenged and I played a handful of games that do just that. On the other hand, I can't help but feel like my time was utterly wasted here.

Samorost is a really short and sweet point n' click puzzle game with an interesting art style. It reminded me of the simple flash games I used to play as a kid, it even has that simple and yet effective humor that never fails to bring a smile to my face.

A short and fun adventure game that I won't necessarily remember in a few years from now, but one that I still fairly enjoyed. The themes that the game tackle are quite interesting and I would love to see them more fleshed out in a longer experience.

If you didn't like the first one, this is just gonna feel like more of the same. For me though, this franchise has its own charm. From the funny slapstick humorous tone, to the film like use of the camera, the funny dialogues, the weird characters to the simple and yet effective art style. This is not a great game but it is a good game for sure.

Frog Detective 1: The Haunted Island is a bite size adventure game infused with slapstick comedy. Is it bad? Not at all. Is it the best thing I've ever played? Not at all. It's an experience that is worth exploring and that I can recommend though :)

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

Andros Dunos II is an amazing arcade game with stunning pixelated visuals and a fantastic synthwave soundtrack. It doesn’t overstay its welcome, while also offering ways to extend the experience with multiple difficulty modes, a few accessibility features, and a mission select menu to replay your favorite **** missions themselves are varied, and I was pleasantly surprised by the diversity of enemies and bosses for such a short game. Additionally, I found the animations during boss fights to be quite ambitious, which made the game feel much more alive.I did encounter a minor technical issue where the sound effects stopped working, but closing and relaunching the game resolved the problem. Apart from that, the game runs smoothly, and I highly recommend it.

The Credits Rolled Before I Could Even Understand What the Game Was AboutI don’t mind short games or ones with limited interactivity, but this particular game takes that formula a bit too far. The act of interacting with it felt almost meaningless, and I couldn’t help but feel disconnected from what was happening.While I do appreciate the simplicity of the art style, some scenes—like the one with the island and the giant—are so convoluted that it's hard to discern what's going on. The game also features three characters, but it doesn’t really matter because they’re essentially just one asset. There’s nothing about them that stands out, and none of them have enough depth to justify their presence in the game. Why bother creating three characters if none of them are developed enough to make a difference?The only redeeming quality I can give the game is that some of its sound effects are actually funny, but that’s where the positives end. Ultimately, I’d advise you to avoid this game. It’s a waste of time, and I’m sure you can find something far more creative and enjoyable to do with just 30 minutes of your life.

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

Pacific Drive offers an exceptional experience, showcasing incredible attention to detail, fascinating mechanics, and a world that feels alive. However, there are some technical issues that hold it back from reaching its full **** of the standout features of Pacific Drive is the atmosphere it creates. The art direction is sublime; despite the simplicity of the art style, the developers have made some truly beautiful choices that elevate the game’s visuals. There are moments where the views and scenery are breathtaking, with every biome offering its own distinct identity. The three biomes in the game offer great variety, and each one feels unique, which keeps things fresh and exciting throughout your **** game design is nearly perfect. It strikes the right balance between accessibility and depth, ensuring that both newcomers and seasoned players can dive in without feeling **** of the game’s more unique features is the car maintenance system. Repairing your car after a run—or even during one—becomes a ritual that’s oddly relaxing. It’s not just about fixing damage; it becomes a part of the experience that feels like a personal attachment to your vehicle. The customization options for both the car and the garage are robust, allowing you to make the car your own. By the end of the game, you’ll have a deep emotional connection to your car, something that’s rare in other games where vehicles are often treated as disposable tools.Another area where Pacific Drive excels is in its characters and dialogue. Whether it’s the story-driven conversations, the radio chatter, or the lore tapes scattered throughout the world, everything you hear adds depth to the experience. I found myself paying attention to every word, as the dialogue feels organic and contributes to the **** story and setting are also compelling. The world is mysterious, and uncovering its secrets kept me invested. What’s also impressive is how there are multiple ways to approach challenges. Even after playing for over forty hours, I kept discovering new ways to play and improve my efficiency. The game’s systems are deep, with nothing feeling surface-level. It’s the kind of game where you constantly feel like there’s more to uncover.Upgrades are meaningful, offering significant boosts that encourage you to keep progressing. Nothing feels trivial, and each upgrade pushes you forward in a satisfying way. Even after the credits roll, Pacific Drive continues to deliver new content, keeping the experience fresh long after you’ve completed the main story.However, despite the game’s many strengths, there are a few drawbacks. I played on PS5, and the game has noticeable performance issues, even when running on performance mode with the framerate limited to 30 FPS. Resolution drops and occasional freezes further detract from the otherwise beautiful presentation. The menus are another area that could use improvement—navigating them can feel cumbersome and tedious, which sometimes disrupts the flow of the game. Additionally, some trophies are glitched, which can be frustrating for **** for the difficulty, there are moments in the later stages of the game where the challenge can feel a bit unfair. For instance, in the final biome, I encountered an anomaly where explosions were dealing much more damage than usual. Certain enemies, like the "Tourists" that explode when knocked over, became even more dangerous in these areas. They would spawn in groups and sometimes behind me, leading to chain reactions that caused significant damage to both my character and my car. It felt like these moments were unnecessarily punishing, especially when playing on the intended difficulty.While the licensed tracks and original compositions are great, the music can become repetitive after many hours of play, particularly if you’re encouraged to spend more time in the game. It’s a minor gripe, but given the length of time the game asks of you, a bit more variety would have been appreciated.That said, despite these issues, Pacific Drive is a thoroughly enjoyable experience. The gameplay is deeply engaging, and every element feels intentional. There are some things that could be calibrated to make the game feel more polished, but it’s really the technical glitches and performance issues that prevent it from being a perfect experience. I’m genuinely excited to see what this studio does next, as they’ve certainly earned my attention with this game. Even after the credits rolled, I found myself wanting to take on more runs, and I’m sure Pacific Drive will stay with me for a long time.

A Great Vision with Okay ExecutionThis game presents a beautiful vision, even if its execution doesn't always live up to it. There’s a lot to admire, and while it has its fair share of flaws, the love and passion behind it shine **** of the standout aspects is the art style—it’s simply gorgeous. The visual design is clearly inspired by classic animation, and it's full of clever references that animation fans will enjoy spotting. The team behind the visuals clearly did their homework and brought a deep appreciation for the medium into the **** audio design is equally impressive. The sound effects and music are top-tier and do a great job enhancing the horror atmosphere. The voice acting is strong, and the audio logs scattered throughout the game add an intriguing layer of lore. Having written transcripts of the logs available while they play is a thoughtful touch that more games should consider. The inclusion of the “Special Archive” is another highlight—a behind-the-scenes feature that offers insight into the development process. It’s a wonderful idea and something more developers should take note **** characters and enemies are well-designed from a visual standpoint, and the horror vibe is effectively set up in the early parts of the game. Unfortunately, things start to fall apart when you look beyond the surface.Despite the stunning art direction, the environments quickly become repetitive. Many elements appear flat because they’re hand-drawn rather than rendered in 3D, and there’s a noticeable overuse of assets. It's a shame, because the environmental design improves later on in the game, suggesting that the team found their footing too late.Gameplay-wise, there are some serious issues. The combat feels sluggish, with poor melee attack animations and unsatisfying hit feedback. Boss fights are underwhelming and often feel like missed opportunities. One of the biggest disappointments is the inclusion of fetch quests—something that feels out of place in a horror game. They’re not only boring, but poorly designed, and detract from the tension and pacing.Technical performance is another sore spot. The game often crashes at launch or when quitting, which is frustrating and breaks **** level design, especially early in the game, is confusing and maze-like in a way that feels more accidental than intentional. It doesn’t contribute to the horror—it just makes navigation a **** particularly disappointing mechanic involves an enemy that is supposed to track you based on sound. It sounds promising, but the implementation is so poor that the enemy never feels threatening. Hiding in a locker, even if the enemy watches you go in, is always a guaranteed way to escape. This applies to regular enemies as well, which strips away any real sense of danger. The horror atmosphere that the game works so hard to build crumbles when enemies appear, because most of them just aren't scary.Despite all these flaws, I still recommend the game. It’s not perfect—far from it—but it’s not bad either. It’s a project full of heart, with a unique vision that deserved more time in development. You can feel the care and passion in every frame, even when the mechanics don’t quite hold up. If you can look past its rough edges, there’s something genuinely special here—and I hope you’ll feel that, too.

[SPOILER ALERT: This review contains spoilers.]