Tochomosca

Overall, it’s a game I’ve enjoyed. It’s not outstanding by any means, but it delivers on what it promises and offers a fairly enjoyable experience, especially if you like the Warhammer 40K **** main campaign, focused on Titus, is quite short. In my case, it didn’t take me more than about 5 hours to complete, which can feel a bit underwhelming. That said, the game tries to make up for it with the Operations missions, which expand the story by showing what’s happening in parallel from the perspective of other soldiers carrying out support missions. This addition gives more context to the overall narrative and slightly extends the game’s lifespan. Even so, it’s still a fairly short title—perhaps too short if you’re not into online play or don’t enjoy it.Graphically, it’s not the most cutting-edge game out there right now, but it doesn’t really need to be. Where it truly shines is in the level of detail in the environments, which does a great job of recreating the atmosphere of the 40K universe. Everything looks visually appealing, coherent, and quite believable within its **** for gameplay, it’s fun and straightforward. It’s not particularly complex, but it has enough depth to avoid becoming repetitive. In this sense, the game’s relatively short length actually works in its favor, preventing the formula from wearing thin.What I liked least is how clearly focused it is on multiplayer. Some players will really appreciate this, but it’s not something I personally look for, and it shows that a large part of the experience is built around that component.I’d also add that if you’re not a fan of the 40K universe, you may find it hard to follow the story—even if you played the first Space Marine. The game clearly prioritizes fans who are already familiar with its dense lore and terminology rather than trying to make things more accessible for newcomers. Personally, I appreciated that approach, but I think it’s a barrier that not everyone will **** in all, it’s a solid and entertaining game, ideal for fans of the Warhammer 40K universe, but with a somewhat lacking campaign and a multiplayer focus that won’t appeal to everyone.

Like a Dragon: Pirate Yakuza in Hawaii is one of the strangest spin-offs Ryu Ga Gotoku Studio has created, even for a franchise already known for its absurdity. The idea of Goro Majima becoming a pirate captain sounds ridiculous at first, but the game quickly makes it clear that it isn’t trying to reinvent the series. Instead, it aims to deliver a lighter and more chaotic adventure centered around one of its most charismatic characters.Combat returns to the classic real-time brawler system instead of the turn-based gameplay introduced in Like a Dragon 7. Majima can switch between two styles: the fast and aggressive Mad Dog style and the pirate-themed Sea Dog style, which adds swords and firearms. While flashy and entertaining at first, the combat often feels chaotic and lacks depth. Large fights especially tend to devolve into button mashing rather than skillful **** game’s main innovation is its naval system. Majima can recruit crew members, upgrade his ship — the Goromaru — and fight enemy vessels before boarding them for deck battles. It’s a fun idea that fits the game’s tone, but it never becomes as deep or engaging as it could have been, and sailing across the map can sometimes feel slow and repetitive.Visually, the game reuses the engine from Infinite Wealth and delivers a solid presentation. Hawaii remains an enjoyable setting, mixing tourist paradise with the chaotic energy typical of the series. However, the visuals themselves aren’t particularly **** story begins with Majima waking up on an island with no memory of his past. While the premise is amusing, the main narrative ends up being one of the weaker parts of the game. As usual for the franchise, the real highlights are the side stories, filled with bizarre characters and ridiculous situations that swing between comedy and second-hand **** the end, Pirate Yakuza in Hawaii is an uneven but entertaining spin-off. It doesn’t reach the heights of the main entries, but Majima’s charisma and the absurd side content still make it a fun experience for fans of the series.

The Legend of Zelda: Majora’s Mask is one of my ultimate comfort games — the kind you return to every few years because nothing else quite scratches the same itch. It was also my first Zelda. I discovered it through the GameCube Collector’s Edition, and while I briefly tried Ocarina of Time, Majora’s Mask was the one that truly hooked me. The Spanish localization helped, but what really captivated me was its mask system and its three-day time loop structure. I had never experienced anything like it.Gameplay builds upon Ocarina of Time’s foundation but introduces transformative masks that fundamentally alter how you move, fight, and interact with the world. Deku, Goron, and Zora forms aren’t cosmetic changes — they represent entirely different playstyles. The three-day cycle system is the game’s defining feature: characters follow schedules, events unfold with or without you, and progress requires planning and optimization. When everything aligns, the satisfaction is immense.That said, the design can be cryptic. As a child, I got stuck multiple times — in the Deku area, in Snowhead trying to access the temple, and even inside the dungeon itself. Some solutions felt obscure. Yet that opacity is also part of its charm; breakthroughs feel earned in a way few games manage.Visually, the game was impressive for its time and has aged remarkably well thanks to its outstanding art direction. Termina’s oppressive sky and the haunting moon remain iconic. The soundtrack reinforces the constant sense of urgency, evolving as the clock ticks closer to disaster.Narratively, this is where Majora’s Mask reaches another level. It is arguably the darkest and most mature entry in the series. The game doesn’t just depict the end of the world — it explores how people react to it. Stories like Cremia and her sister’s quiet acceptance, Pamela and her father’s tragedy, and especially Anju and Kafei’s heartbreaking reunion under the falling moon elevate the experience far beyond a typical adventure.Death and loss are central themes. Even beyond the impending apocalypse, the world is filled with unavoidable tragedies: Mikau, Darmani III, the fallen kingdom of Ikana — a land inhabited by restless spirits. Each mask you collect is tied to someone’s pain, regret, or unfinished story. They are not just items; they are remnants of broken lives.Technically, the original Nintendo 64 release was polished and stable. While returning to it today can feel dated, modern PC ports like 2Ship2Harkinian enhance the experience with higher resolution, framerate improvements, and quality-of-life features such as free camera control.Content-wise, the game offers enormous replay value. It’s unlikely you’ll collect every mask or heart piece in a first playthrough. Many are tied to precise timing and side stories within the three-day cycle, encouraging repeated runs and deeper mastery of the world’s schedule.Majora’s Mask was born from experimentation, boldness, pressure, and creative ambition. Its demanding development cycle shaped its tone, yet rather than weakening it, that intensity forged something extraordinary. It stands as proof that the right people, even under extreme pressure, can create something timeless.

Finished StarCraft II: Legacy of the Void. It closes the trilogy with solid ideas in mission design and notable replay value, but the overall result falls short of what one would expect from a saga of this stature. It is by no means a bad game; it offers good moments and genuinely fun mechanics. The main issue lies in how the story is wrapped up and an epilogue that, for me, undermines the whole experience.From a gameplay perspective, the Protoss campaign offers a good variety of objectives and situations that force the player to adapt. The Spear of Adun, which allows you to instantly deploy units almost anywhere on the map, opens the door to some truly enjoyable strategies. I admit that at first the Protoss did not appeal to me much, but this tactical twist gave the faction a lot of personality and strategic depth. Mission design is generally creative and succeeds in maintaining strategic tension; however, the balance is not flawless. During the epilogue, the game forces you to play again as Terran and Zerg in missions with higher complexity. If you played the Protoss campaign first or returned to the game after a long break, as I did, it is very likely that you will have forgotten key habits and shortcuts for those races, making the finale feel messy and somewhat **** the audiovisual side, the game delivers what the series has traditionally offered: clear unit models, readable battle effects, and a presentation that supports tactical clarity. That said, the cinematics did not fully convince me. They appear to be low resolution, almost like videos that failed to load properly, which reduces the dramatic impact of important moments.Narratively, the game aims for an epic conclusion but drifts into overly fantastical territory in a rather inelegant way. Without spoilers, the ending left me cold and, in my opinion, weakens the trilogy as a whole. The final scenes and the way several narrative threads are resolved felt unsatisfying and inconsistent with the overall tone of the story.Technically, the game performs well, with stable performance and a very polished RTS interface. The overall experience is solid, though it does not break new ground technologically. Replayability is one of its true strengths: modes, challenges, and the option to replay missions under different conditions add a lot of **** a final note, and not a minor one, I was surprised to find that the game has been turned into free to play. That in itself is fine. However, I discovered that a permanent internet connection is required even to play the campaign, which is an entirely offline experience. This is, at best, disappointing, as there is no logical reason to force an online connection for content that does not require it. The day Blizzard shuts down for good, I will dance on its grave.Overall, Legacy of the Void is recommended for fans of the genre and for followers of the saga who want to see how it ends, but it does not reach the masterful finale many were hoping for. Strong mechanics and very enjoyable moments are weighed down by an excessively fantastical ending and an uneven epilogue.

Resident Evil 7: Biohazard (Gold Edition, PS5) marks a successful return to survival horror after the franchise’s increasingly action-focused direction in previous entries. By shifting to a first-person perspective, Capcom delivers a more intimate and oppressive experience, where tension, atmosphere, and resource management take priority over spectacle.Gameplay is built around classic survival horror principles: limited ammunition, a restricted inventory, and constant vulnerability. The game rarely encourages direct confrontation; instead, it forces the player to carefully evaluate every encounter. Often, avoiding enemies or retreating is the smartest choice. Progression relies less on character upgrades and more on player learning — understanding enemy behavior, managing resources efficiently, and navigating environments with increasing confidence. This design choice keeps tension high throughout much of the **** pacing is particularly strong in the first half of the game, alternating moments of intense pressure with quieter segments focused on exploration and light puzzle-solving. However, the mid-to-late sections are less consistent, with some encounters becoming repetitive and losing part of their initial impact. While still effective, these moments don’t reach the same level of intensity as the game’s opening hours.Audiovisually, Resident Evil 7 excels at atmosphere. The Baker house and its surroundings are carefully designed to feel oppressive, decayed, and hostile. Visual fidelity is not cutting-edge, but the art direction and lighting compensate effectively. Sound design is one of the game’s strongest elements: environmental noises, distant footsteps, and sudden audio cues constantly reinforce tension. The soundtrack is minimal and used sparingly, allowing silence and ambient sound to carry much of the horror.Narratively, the game takes a restrained approach. The story is focused on a small cast of characters and a confined setting, favoring mystery and environmental storytelling over complex plot development or player-driven choices. The Baker family, in particular, stands out due to their disturbing presence and strong characterization. While the story lacks narrative depth or meaningful branching, it serves its purpose as a framework for the horror **** PlayStation 5, the Gold Edition offers a stable and smooth experience, with fast load times and solid performance. Minor technical issues remain — such as occasional audio glitches or stiff animations — but none significantly detract from the overall immersion. The inclusion of all downloadable content makes this the most complete version of the game, adding variety through additional modes and side stories.Replayability is one of the game’s highlights. After completing the campaign, players can unlock powerful weapons and rewards that dramatically change subsequent playthroughs, turning what was once a tense survival experience into a more aggressive and empowering one. This contrast adds longevity and encourages revisiting the game.While Resident Evil 7 is not the most ambitious entry in terms of narrative or gameplay systems, it succeeds in delivering something more valuable: a focused, well-crafted survival horror experience that understands its strengths and plays to them effectively.

Metroid Prime Beyond no falla por lo técnico, sino por no entender qué es Metroid Prime. Es un juego correcto en lo jugable y visual, pero conceptualmente equivocado, construido sobre decisiones que traicionan la identidad de la saga. La exploración, pilar histórico de Prime, se ve sustituida por un diseño lineal, guiado y sin misterio. Los mapas son cerrados, el backtracking es mínimo y trivial, y el mundo carece de personalidad. El gran hub abierto —un desierto enorme y vacío— rompe el ritmo y existe más para justificar la moto que por necesidad de diseño. La conexión entre zonas es artificial, fragmentada y sostenida por cinemáticas constantes. El mayor problema llega con la narrativa y el tono. Beyond rompe con la soledad y la narrativa ambiental que definían a Samus, sustituyéndolas por un escuadrón de la Federación sin carisma que interrumpe constantemente la experiencia. La escritura es torpe, intenta forzar empatía sin éxito y acaba degradando al propio personaje de Samus con decisiones mal planteadas y fuera de carácter. El combate tampoco destaca: poca variedad de enemigos, diseño genérico y ausencia casi total de elementos icónicos como piratas espaciales o metroides. Sylux, planteado como gran antagonista, se siente forzado, mal desarrollado y sin el peso narrativo necesario para el rol que se le asigna. En lo audiovisual cumple, pero carece de magia. No hay momentos memorables, la banda sonora es olvidable y sistemas clásicos como el escaneo han perdido profundidad e interés. Todo funciona, pero nada deja huella. Ideas como la moto, las mejoras o los trajes están mal ejecutadas, llenas de incoherencias y con un claro componente de relleno, especialmente en el tramo final. Incluso el propio contexto de desarrollo explica el problema: una dirección heredada, influenciada por modas de mundo abierto que no encajan con Metroid, mantenida pese a saber que no funcionaba. 18 años después, el primer Metroid Prime sigue siendo mejor experiencia que Beyond. No es un desastre ni es injugable, pero como Metroid Prime es una decepción. Un juego de 6 que, dentro de la saga, se siente como un paso atrás.

One of the worst pokemon releases in the last years. In fact, it's pretty funny but the problem is that Game Freak should not release their games like this. It's totally broken. The fps going down with every action, the bugs, glitches... all of the technical part is broken. If you are thinking about buying it I recomend you to wait until they release a version with all the content they don't included now, like clothes, for example.

This game doesn't deserve a 10, but neither a 0 as many people is giving. So, I'll leave a 10. The music is awesome, the quantity of demons is huge, It's a long game and hard. One of the best games for Switch.