Wolveram

I really, really enjoyed 007 First Light. What impressed me most was the way the missions are designed and how seamlessly they integrate story and character development into the gameplay. I was genuinely surprised by how much I liked the characters and how attached I became to them over the course of the game. The story remained engaging and exciting from beginning to end. Most importantly, the game absolutely captures the feeling of the best Bond films. Any concerns that the game might prioritize messaging over storytelling proved completely unfounded. At its core, this is a thrilling James Bond adventure. The mix of exploring sandbox-style levels, gathering intelligence, stealth gameplay, and transitioning into intense hand-to-hand combat and gunfights worked wonderfully for me. I only have two major criticisms that keep this from being a perfect 10/10. First, I experienced multiple crashes on my PS5 Pro, particularly during loading screens. While the game generally ran well, having to quit and restart several times was frustrating and occasionally broke the immersion. Second, I'm increasingly bothered by the amount of handholding in modern games, and 007 First Light is no exception. Why does every climbable surface need to be marked with yellow paint? It feels like lazy game design. The constant button prompts are equally unnecessary. After vaulting over obstacles hundreds of times, I don't need another reminder telling me to "Press X to vault." Developers should trust players more and assume they can remember basic controls after the tutorial. Those issues aside, 007 First Light was an incredibly fun experience. And that's exactly what I want from a 15–20 hour story-driven game. It's the kind of game I'll happily revisit every few years, and that's probably the highest compliment I can give it.

I’ll admit it right away: I’m biased. I was 18 years old when the original Outcast released in 1999 on PC. My old 386 PC could barely handle it, yet the graphics felt like they came straight from the future. The presentation — with its bombastic score by Lennie Moore and superb voice acting — completely blew my mind back then. So of course, I had to pick up Outcast: Second Contact when it released in 2017. I’m fully aware that, by today’s standards, the game can feel a bit janky and occasionally buggy. It doesn’t have the polish of modern AAA titles. But despite that, I genuinely loved every second of it. The sci-fi/fantasy world-building is still fantastic, even when compared to many modern releases. There’s a unique charm and creativity here that still shines through. Back in 1999, the game felt massive and incredibly long. Today, a full playthrough takes around 16 to 18 hours, which is relatively short compared to modern open-world games. I played it on PS4 and even earned the Platinum trophy in about 17 hours. Yes, nostalgia definitely plays a role here — I won’t deny that. But even with that in mind, Outcast: Second Contact remains a special experience for me. It may not be perfect, but its world, atmosphere, and ambition still make it worth revisiting.

I finally joined the hype train in December 2025, after Clair Obscur: Expedition 33 won Game of the Year — and at first, I honestly didn’t quite get it. Everything on a technical level was clearly top-tier: the visuals, the voice acting, the music — all outstanding. Yet something felt off, and the game didn’t immediately click with me. Slowly, though, it began to make sense. I realized that this game is a genuine love letter to classic JRPGs. Having played Final Fantasy X back when it originally released — and again in the summer of 2025 — I could feel those inspirations very clearly. At the same time, Sandfall Interactive seemed to sprinkle subtle Soulsborne elements into the gameplay, especially in combat. What initially felt awkward gradually grew on me. The combat system took time, but once it clicked, it became increasingly satisfying. The story, however, felt quite slow at the beginning. Personally, I want to play a game — not listen to endless conversations about seemingly trivial things. I understand that this helps flesh out the characters and the world, but early on, the pacing felt too drawn out for my taste. Spoiler warning: Everything changed with the plot twist at the end of Act 2. From that moment on, I was completely invested. Suddenly, things that hadn’t made sense before became crystal clear. I improved at evading and parrying, and the combat transformed into something genuinely addictive. The epilogue left me staring at the screen in silence — just thinking, wow. This was a truly deserved Game of the Year win. Considering that Clair Obscur: Expedition 33 was developed by a relatively small team in France, the achievement cannot be overstated. It’s a milestone accomplishment and a powerful reminder of what focused creative vision can achieve. I completely understand why this game isn’t for everyone. If you’re looking for fast-paced shooters or instant gratification, this likely isn’t your game. But if you love JRPGs, are open-minded, can engage with longer dialogues, and are willing to meet the story on its own terms, this game will grow on you — just as it grew on me.

I started playing Star Wars: Outlaws in January 2026, after many updates and fixes had already been released — and honestly, I was surprised by how much I loved it. As a Star Wars fan since early childhood, no other game has ever made me feel like I was truly living inside a living, breathing Star Wars universe the way this one did. I can understand some of the criticism the game received, but personally, I had an absolute blast from start to finish. The space travel feels fantastic, the speeder bike is incredibly fun to ride, and the stealth mechanics are accessible without being frustrating or overly punishing. I found myself genuinely invested in Kay and Nix as characters, and their journey kept pulling me forward. Visually, the game looks great, and Wilbert Roget II’s soundtrack is a standout — beautifully capturing the spirit of John Williams while modernizing the sound in a way that feels fresh and fitting. Don’t get me wrong: I deeply love and appreciate large, ambitious games like Elden Ring, Bloodborne, God of War (2018), Red Dead Redemption II, The Witcher III, and many more. But not every game has to be massive, genre-defining, or a “once-in-a-generation” masterpiece. Sometimes, all I want is a fun, immersive adventure set in the Star Wars universe — and Outlaws delivers exactly that. It may not be perfect, but it nails something incredibly important: the feeling of being part of Star Wars. For me, that alone makes it a genuinely enjoyable and memorable experience.

I created my Metacritic account specifically to write this review. I understand the general criticism surrounding The Last of Us Part II, and I can see why many players disliked the creative choices the developers made. However, for me, the story Naughty Dog wanted to tell worked completely. I could clearly see their intention, and emotionally, it hit harder than almost any other game I’ve ever played. At its core, the game reflects an old quote by Confucius: “Before you embark on a journey of revenge, dig two graves.” It’s a warning that revenge is self-destructive — it destroys both the target and the one seeking it. This idea is embodied perfectly through Ellie and Abby. I understand why players hated certain decisions, but within the context of this story, those decisions felt logical and honest. The game left me emotionally shaken. From start to finish, I was glued to my PlayStation in a way no other game has managed before. The relationship between Ellie and Dina also worked very well for me and gave the story much-needed warmth and humanity. Spoiler warning: Ellie’s obsession with revenge ultimately destroys her life — and even her ability to play the guitar, the last remaining connection to Joel. That moment is brilliant storytelling. It’s painful, but it perfectly serves the narrative the developers wanted to tell. In many ways, I feel some players mirror Ellie herself: so consumed by anger over Joel’s death that they can’t let go and appreciate the story being told — just as Ellie can’t let go and enjoy her peaceful life with Dina. Beyond the story, the game is technically outstanding. The graphics are among the best ever seen on PlayStation 4 or 5, even years later. The gameplay felt smooth and satisfying to me, and Gustavo Santaolalla’s soundtrack once again stands out as a highlight, adding immense emotional weight to every moment. This game isn’t meant to be comfortable or crowd-pleasing — it’s meant to challenge, disturb, and hurt. And for me, it succeeded completely.