Senaste recensioner av Aku

You can put an undead vampire girl in charge of a city and see how the natives react.

This is nothing more than a glorified tech demo that should have been free DLC in Phantom Pain when it was first released. At most they should have only charged $6 for it. One mission followed by several false endings made up of cutscenese, credits, text to read, more cutscenes, more credits, a Phantom Pain teaser. I wasn't that impressed with the gameplay either. Trying to drop a body was a hassle when it should be easy. Guards wake up way too fast after you knock them out, pushing you to just kill them in the first place. Endlessly spawning enemies if you are seen and engage in combat. The one good thing was the MGS recap covering the story to date through pages of text you read, so at least there was that. Ground Zeroes is okay for giving you context for Phantom Pain, but that's about it.

Let me start saying that I began playing this game with patch 1.7. I fully understand the reviews based on playing previous versions going back to launch in 2018. We Happy Few was on my radar for a long time, but I held off getting it because of the issues as well as the excessive price ($60). I finally pulled the trigger when it was on sale for $30 after reviewing the patch updates and deciding the game was now pretty stable.

We Happy Few is one of those uniquely original games that grab my attention. Much like Compulsion's earlier (and much smaller) effort, Contrast, it's set in a unique world and has a visually stunning and memorable art style. The idea of a procedurally generated world that changes in appearance based on your character's consumption of a certain hallucinogenic is quite intriguing. Likewise, the interesting mechanic of "conforming" in this dystopian society both thrugh the clothes you wear and your consumption of said "Joy" pills gives the gameplay a nice twist. The story and characters themselves flesh out this world and make it one that is fascinating to explore. The many side quests in the game are humorous and sometimes horrifying, and are generally very entertaining even if some of them are effectively the standard "fetch" quest. The game follows the standard structure of open world combined with a linear main story, incorporating the mechanics of gathering/crafting, and a skill tree. Features like fast travel and inventory management are done pretty well. The introduction of three main characters with overlapping storylines is well done. You play as these characters in separate chapters, each with their own story and special skills and abilities, which keeps things fresh throughout. These characters are all connected to each other and their stories overlap in important ways.

Visually, the game is terrific in design and attention to detail, but not so much in actual graphic execution. The alternate 1960s world of Wellington Wells really captures that Austin Powers feel, but graphically the game is inconsistent, with blurry textures and only the most basic use of lighting and shadow compared to other modern titles. The game does excel in its extensive dialogue and generally exceptional voice acting, as well as a soundtrack that is appropriately sixties psychedelic throwback.

We Happy Few still has some issues. I have encountered a fair share of bugs. None of them game-breaking, but they could be annoying and sometimes comical. An example would be where it was raining for a time inside of a building it was in (I pretended it was a water leak and moved on). Another time I walked into a bedroom and the npc immediately fell through the floor and I could hear her screaming like she fell off a cliff. Other glitches include the occasional npc standing several feet in the air or sitting where there is no chair. These are things that should have been cleaned up by this point, and hopefully will be taken care of in a future patch. The fight mechanics are sluggish and not a lot of fun, especially if you get a mob on you. The hit boxes feel off, with enemies able to hit you from seemingly too far away. Stealth is a bit dodgy, and A.I. behavior kind of stupid and forgetful if you hide and evade them for a brief time. The save system is also a bit wonky. I'm not sure why you have to go back to the main menu to load a previous save, or why when you load a save you are not in the spot where you saved but some nearby spawn point (which is always outside even if you save indoors someplace).

What elevates We Happy Few are the unique story and vision, creating a world that is unforgettable long after you have played it. It is a very ambitious title produced by a small developer who probably bit off more than they could chew, but I applaud their effort. I know this game got a lot of backlash because of the later involvement of Gearbox and EA, and ridiculous price tag, but I admire the work of Compulsion and what they have created here. We Happy Few is like a cross between Bioshock and No One Lives Forever. It also calls to mind another favorite of mine, Vampire the Masquerade: Bloodlines. That was another ambitious and original title that was a buggy mess when it was first released. A massive community patch a few years later transformed it into one terrific RPG. Like Bloodlines, I think We Happy Few will ultimately rise above its rocky beginnings to become a title people will remember and play many years from now. Get it...but wait until it's on sale.

I still have my original copy of Outcast with the printed manual, so I am a longtime fan of this game. I played Outcast 1.1 for a bit last year, and then picked up Second Contact to experience the game again in all its updated glory. Visually Second Contact looks great, and some areas are downright breathtaking like Okasankaar. The character models for both Cutter and the Talans are an enormous improvement over the original game, and each area while identical in layout contain so many details not present in the original. Yes, the intro movie is just a semi-animated slide show, but on the plus side it's not dark and muddy like the original intro and Cutter in the intro actually looks like Cutter in the game. In-game cutscenes still show their age even with the improved character models, with characters still moving about in a clunky puppets on strings way. The interface was overhauled and is easy to navigate. It would have been nice if they had grouped items in tabs to make finding that door key or F-Link teleporter more quickly, but other than that it was fine.

What becomes immediately obvious is that this is the original game with a new graphics engine laid on top of it. Due to budget constraints the original dialogue was retained. Some have complained because of the tinny quality but I actually liked it as it gives Second Contact a nostalgic feel. It also helps that the original voice acting on the whole is very good and when visiting with the various Talans it made it feel like I was seeing old friends again. So many of the Talans have unique personalities and it is impressive to think that this was a fully voice acted game that came out in 1999! The game also uses the exact same sound effects and features the original musical score, which is fantastic. The game mechanics and a.i. are identical so you really feel like you are playing the original game, for better and worse. You can still kite enemies all over the place and easily dodge their slow-moving projectiles, which leads to some fun if unfair fights. It's also still a blast to make yourself invisible and plant dyanamite all around them and then blow them up. Hit boxes are still a bit weird. A few changes were added, like Cutter now moves a little more naturally and can dodge/roll. But other than that it is the same old experience. The ending still feels a little bit rushed with cutscenes mashed together interspersed with a couple of action sequences, but the conclusion is still satisfying.

The story hasn't changed a bit, cheesy action sci-fi. But as with the first time I played the game, I really cared about helping these people and you really do get a sense of satisfaction seeing the impact that your progress has on them. Outcast was always an interesting open world game with a lot of heart, and deserves the kind of recognition that has been heaped on past classics like Half-Life and Thief. Second Contact was an enjoyable return to Adelpha and is a fun game in its own right, even when you remove the nostalgia factor.

I'll keep this short and sweet. Of all the games I have ever played, I have never cared about the story or characters more than this one. Life is Strange (and its prequel Before the Storm) is tops in this genre. Period. And Chloe is the best female character ever in a video game.

Contrast is a wonderful little gem of a game, a clever original in a sea of sameness. It's still rare to find adult games with a female protagonist, let alone one where she is tasked with looking after a young girl. Thanks to a simple but highly effective story about family and redemption set against the backdrop of 1920s Paris and juxtaposed with a sci-fantasy theme, Contrast keeps you engaged thoughout.

The characters, dialogue, and voice acting are all first rate, and the jazzy noir soundtrack captures the mood perfectly. The style and art direction (not to mention the sci-fi themes) reminded me a lot of Bioshock Infinite. They struck a great balance between dark, whimsical, and surreal. The principle game mechanic of shifting between 3D and the 2D world of shadows is done seamlessly. The puzzles are clever and challenging but not frustrating, and feel very organic in the game's environments. Moving about the game world, including the platform jumping elements, played very smoothly using my XBox controller. The pacing between story and gameplay is spot on. The story itself, about a girl, her nightclub singing mother, and transient stepfather, is tightly written and has a lot of heart. And unlike a lot of games in recent years (Mass Effect 3, cough), they stick the landing with the ending, providing closure with just the right amount of explanation to keep you thinking long afterward about some of the themes the game touches on regarding the nature of our universe.

While Contrast is a short game, there is nothing wrong with being short when there are no wasted moments and both story and gameplay keep you interested every minute, just like a good book or movie. A shame this game was not received very well when it came out, it's one of the most unique games I have played in a long time.

This game has been reviewed a zillion times so I’ll try not to repeat too much what has already been said, but Max Payne 3 has some big issues and one deal-breaker that keeps me from recommending it.

I’ll start with the good. Max Payne 3 looks great and has terrific physics and fight mechanics. The mission areas have a lot of variety and are extremely detailed, and there are some well-designed action sequences.

Now for the not so good. The setting for the game, as many have said, does not fit with detective noir theme of the first two games. Gone is the graphic novel presentation, and the mean streets of New York have been replaced with sunny San Paolo. Max has gone from a creature of the night to a tanned, sunglass-wearing alcoholic. The very personal story that drove him in the first two games, the quest for revenge and answers for the murder of his wife and daughter, has been replaced by a far less compelling one where he is simply an outsider involved in someone else’s troubles. The plot surrounding the rich and politically powerful Brazilian family that hires him for bodyguard duty reminds me of a bad episode of CSI:Miami. In fact, I remember an old episode of CSI:Miami where they go to Brazil in a story surrounding Brazilian mobsters. Swap in David Caruso for Max Payne, and this is an episode of CSI:Miami. The characters in Max Payne 3 are all clichés, the dialogue is often bad, and there is no femme fatal like Mona in the first two games to press Max’s buttons. So what we are left with is Max moaning about his sad sack life while entangling himself in the affairs of people we don’t really care about. This is emphasized even more when Max shaves his head to go undercover and spends the second half of the game looking like Walter White from Breaking Bad. The only time Max Payne 3 harkened back to the classic first two games was in the two flashback chapters where Max is back in New Jersey. If only this whole game had taken place in New Jersey. I also missed the humor from the first two games, like when a couple of cops are sitting on a couch at the precinct watching an episode of ‘Lords and Ladies’, and complaining when Max blocks their view. When Max flips on a tv in Max Payne 3, all you get are CNN-like reports. The spirit of the original games just seems to be missing altogether in this one.

One of the big complaints about Max Payne 3 is with the excessive cutscenes, and it’s a valid one. I enjoy watching a good cutscene, but Max Payne 3 goes overboard to where it’s more an interactive movie than a game at times. Cutscenes at the beginning and end of a mission are fine, but when they are spread all through the mission it becomes a distraction and ruins immersion. It is no exaggeration that every time you walk through a doorway the game goes to a cutscene. There was absolutely no need for this. There was one time early in the game where Max is hurt and staggering behind his companion. The game would alternate between you controlling Max and the game moving Max along for you. Again, immersion-breaking as you feel like you are fighting the game for control of the character you are playing. And not being able to quit the game during a long cutscene is unheard of.

With all that said, Max Payne 3 was disappointing to me but still a very good third person action shooter, and I really enjoyed a lot of the fight scenes. The problem I had with the action was that toward the end of the game they kept ramping things up to where it just became unbelievable. There are times when Max is single-handedly fighting what seems like a whole army. I’m not complaining from a difficulty standpoint, I obviously got through it. But the first two games did a good job of scaling the action to the story, so it kept things reasonably believable. Max Payne 3 goes so over-the-top in the late going that it again wrecks immersion by turning it into an insane action flick. The finale feels like something out of Just Cause.

The deal-breaker for me, though, is the game’s save system. Rockstar, in their infinite wisdom, allows a single auto save with no backup. The game doesn’t even sync up with Steam Cloud. So if that save becomes corrupted, you are just out of luck. I loaded where I left off at the beginning of chapter six one day and found myself in the helicopter scene early in chapter 3. And chapters four and five that I had unlocked were now locked. I looked it up online and found that this problem has been pervasive since the game came out four years ago, and Rockstar never addressed it. So I considered myself lucky since some people had whole games wiped out when they were in chapter 10, replayed from where I was and continued on. But I started manually backing up my game profile every time I exited the game. That is something you should never have to do because you can’t trust a game’s save system. For all its other flaws, this one is unforgivable and the main reason I have to give Max Payne 3 a thumbs down.

Score: 4/10

On my first playthrough I got Stanley crushed to death. I was then treated to a lovely museum exhibit about the game. Would crush Stanley again. 10/10

I finally got this game cheap on Steam after all these years. I had played the first two in the series and always wanted to finish the story of the nameless hero, but I had heard what a buggy mess Gothic 3 was. I played this on version 1.75.14 of the community patch. Even with the patch and playing on a modern computer, the game still lags. The good news is that when I wasn't hitting those lag spikes, the frame rate was mostly very smooth at high settings. The game was also pretty stable, it only crashed maybe five times the whole time I played, and always when I created a bunch of mayhem in a town. And this was in 120 hours of playing. There were some other noticeable bugs, though. On a couple of occasions, npc's somehow got ten feet in the air, or disappeared under the ground. When sneaking sometimes the camera would switch from my character to a nearby npc and I couldn't get it back. When standing on a boulder to shoot at animals attacking me, they sometimes clipped inside the boulder and actually bit me through the rock from below. And I had to spawn King Rhobar with a console command because he did not appear in his throne room. None of this made the game unplayable, but it's very noticeable after playing much more polished games like Skyrim.

Gothic 3 differs from the first two in that it follows the open world model of Elder Scrolls. Personally, I prefer the narrative structure of the first two games to the sandbox approach. There is a story that slowly reveals itself as you travel across Myrtana, and you meet several old friends from the earlier games like Diego, Milten, Lares, Vatras, and Lester. The short of it is, the orcs rule Myrtana, the remaining free human settlements are in the mountains of Nordmar, and the Hashishin rule the desert in Varant. You have the freedom to choose who you want to side with: orcs, humans, Hashishin, nomads. Or you can just ally yourself with your old friend Xardas, who is squirreled away in a tower in the mountains. One thing I've always liked about the Gothic series, similar to Witcher, is that character and plot development is driven by actions and consequences over the abstract concept of good versus evil. That said, the weak narrative structure of Gothic 3 makes it hard to get really invested in the story. I literally only had one meaningful interaction with Xardas in my whole game that lasted all of two minutes. And the ending of the main story was completely underwhelming. No epic final boss battle, just perform a certain task and report back. The End. When you play a game for over a hundred hours, you expect something a little grander.

The world of Gothic 3 is great. It's huge, and varied, and visually it still looks good nine years after its release. It's also very much alive, with wildlife that behaves like wildlife. They sleep, they hunt, they even leave you alone if you keep your distance or move past them quickly without loitering. Humans and orcs live their daily lives, eating, drinking, reveling. The game has tons of dialogue, and while the voice acting has been criticized, I enjoyed that pretty much everyone you meet in the game actually talks. Characters are believable as well. No black-and-white good or evil like in other games. The orcs are occupiers, but have a complex working relationship with the enslaved humans. They are for the most part noble and honorable. I even came to like them, though ultimately I betrayed them.

Playing with auto balancing turned on in the community patch version made character development choices much more meaningful. With a limited number of learning points to spend, I made my guy a hunter/fighter with absolutely no magic abilities. He also was skilled as a thief and an alchemist, with a little bit of smithing. This made the game much more enjoyable from a role play aspect, and made it challenging throughout versus having some uber god character at the end. The combat itself was horrible, and I didn't even bother swinging my sword until I finally saved up for some paladin armor. My character's movement and reaction time in melee combat was so slow and clunky that taking on more than one enemy at a time was serious trouble. Even in the later levels, my master duel wield swordsman still had to resort to whittling enemies down with arrows before moving in with his swords.

All-in-all, I had a lot of fun with Gothic 3, but the bugs, weak narrative, and combat keep it from being great.

Alice:Madness Returns is a terrific if flawed sequel to the original. As a narrative, it picks up the story where it left off in the first game and intelligently brings it to a conclusion. When it's over, you fully understand why Alice was driven to her madness in the first place, a reason much more sinister than simply that her family died in a fire years ago. The story is told wonderfully through excellent voice acting in recovered memories and in sequences cleverly done in cartoon cutouts. Alice also communicates with Cheshire Cat throughout the game in the game's 3D world.

Visually, Alice is beautiful and a treat for the eyes. The game uses a wide color palette based on the theme of the area she is in, and the level design and art direction are excellent and sometimes spectacular. London itself is appropriately dark and gritty, all done in greyscale, making the Wonderland segments pop more colorfully than they probably really are. Character models are also appropriately cartoony and slightly twisted. The musical score effectively evokes the mood of the game, though it lacks the disturbing discord that the original's soundtrack evoked.

The gameplay itself was mostly very enjoyable. The platforming was clever and challenging, and the combat (which there is a lot of) was very smooth (the "focus" or auto-targetting system works wonderfully if used correctly). The game also breaks things up nicely with various themed puzzles and even some sidescrolling mini games that were very fun. While a bit long for a platformer, Alice was nonetheless engaging all the way to the end.

There were some negatives that marred the overall experience, some significant. The autosave feature is probably the biggest problem with the game. Since you can't manually save (like in the original Alice), you can only restart from the last checkpoint. The problem is, it is very easy to unwittingly transition out of an area when you still had another path you wanted to explore that might have lead to collectibles or an optional arena fight (to gain HP), and you can't go back since the game only stores one auto save (it does allow you to revisit major checkpoints after you complete a chapter, but you would have to go back and replay several areas to get back to where you want to be). Some of the auto saves are well-placed, but not all, forcing you to redo a jumping sequence for example before you can get back to the mini boss who just beat you. The auto save feature really rears its ugly head in the final boss fight, as it saves at two points during the fight. This sounds convenient on the surface, not having to start the whole long fight over from the beginning if you die. The problem is, you could in theory be down to your last bit of health when it auto saves for the next part of the fight, so now if you die you will always restart from that point at near-death, you can't go back to the begnning. They needed to include two or three auto save slots in the game to avoid this game-breaking scenario.

Another issue with the game is the repetitive combat. Too many times in the game must you fight the menacing ruin, for example, which appears in various combinations with other enemies. There are many times in the game where you will run into one and say, "didn't I just beat this guy?" A similar experience happens near the end of chapter 2, where you defeat a mini boss called the drowned sailor, only to meet another one on the other side of a gate, then have to go inside three separate buildings to beat three more of them. This kind of gratuitous combat served to needlessly drag out the game and produce too many moments of "Oh, not again."

The bottle collecting in the game is rendered almost pointless because in order to unlock what I believe is additional concept art, you have to collect every bottle in each chapter. Unfortunately, I was always a couple of bottles short of the dozen or so I needed to find. It would have been nice if they unlocked "some" of the content based on what you found, instead of making it all or nothing.

Lastly, I found the jumping mechanics to be a little off, making some of the jumping sequences needlessly frustrating. Mainly, Alice would many times drop like a rock on the third jump in a three-jump sequence no matter how dextrously I hit the jump key, and this also happened a lot when hitting the jump key as she was hitting the apex of an air plume or off a jumping mushroom. They needed to fine-tune this, the jumping mechanics should have been much smoother and more forgiving.

Overall, though, Alice is a fine sequel and is a must-play if you wre a fan of the original. Even if you aren't, it is a solid platformer and a very unique and original experience.