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I played God of War: Ragnarök earlier this year on my PS5, spending over 90 hours to get the platinum for both the base game and the Valhalla DLC. You can check my stats and trophies here from the comments. After all those hours of gameplay, I can confidently say that Ragnarök delivers a great experience, though it has some issues that hold it back from being a masterpiece like its predecessor.


One of the biggest criticisms people have thrown at Ragnarök is that it feels like a glorified DLC of the 2018 game, but I strongly disagree with that take. Sure, it has a similar design and gameplay structure, but that doesn’t make it a mere DLC. There’s more than enough new content, including new realms, characters, and abilities, to call it a full-fledged sequel. The combat, which was already excellent in God of War 2018, feels more refined. Plus, the new variety of enemies and more boss fights elevate the action to another level.


The gameplay in Ragnarök is much more expanded compared to God of War 2018. There’s more variety in combat options, and the game offers deeper customization for your weapons, armor, and abilities, allowing players to tailor their playstyle in even more ways. Content-wise, the game also delivers far more to do, with a much richer world to explore. One major complaint about God of War 2018 was the repetitive enemy and boss fights. Thankfully, Ragnarök improves on this significantly. While there are still some repeated enemies and bosses, it happens far less often than in the previous game. One of the standout improvements in Ragnarök is the optional content. I've found them very fun to do and the same with hunting trophies once again, like the prequel. These side quests don’t feel like chores; they’re genuinely rewarding and worth doing. The post-launch Valhalla DLC is also a cool addition. While it’s much shorter than I expected and I wish there was more of it to sink into, but I can’t complain since it’s free.


There’s an undeniable feeling that Ragnarök leans into a more woke tone. This isn’t just a personal opinion. There’s actual evidence that points to this. The developers worked with Sweet Baby Inc., a company known for inclusive storytelling, and that influence is noticeable throughout the game. Certain plotlines and character decisions feel forced, and at times, the story becomes nonsensical. While this may not bother some players, I found it detracted from the experience, making the narrative feel weaker. Replacing Cory Barlog as the main director was a huge mistake.

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Now, let’s talk about one of the game’s major drawbacks: the narrative. The 2018 game told a tight, focused narrative centered on the relationship between Kratos and Atreus. In contrast, Ragnarök introduces a lot more characters and plotlines, which can sometimes feel overwhelming. Unfortunately, the game doesn’t spend enough time fully developing these new elements, and as a result, the story feels rushed in certain parts. Instead of the tight, emotional focus of the first game, Ragnarök tries to do too much and wraps up many plot points too quickly. Compared to the more compact, well-told story of God of War 2018, Ragnarök struggles to find the same emotional depth and coherence. This is a huge bummer since I was really hoping for a great story and narrative after the bar set by the predecessor.



Visually, Ragnarök is a step up from God of War 2018, but not by much. The graphics are definitely a little better, with sharper textures and improved lighting effects. However, I can't help but feel that the game’s visual potential was held back because it was also released for the PS4. If Ragnarök had been a PS5 exclusive, I think the graphics could have been way better and more impressive. By having to cater to last-gen hardware, the game wasn’t able to push the boundaries as far as it could have, which is a bit disappointing. Still, the game looked beautiful on the PS5 and I am sure it looks even better on PC.



Surprisingly, I didn’t enjoy Ragnarök’s soundtrack not even close to as I did the 2018 game's music. The composer, Bear McCreary, is the same for both, yet, the music in Ragnarök didn’t stick with me in the same way. That's because Ragnarök’s soundtrack mainly consists of redone versions of tracks from its predecessor, with not many new compositions that stand out. This lack of fresh and impactful new music made the soundtrack feel less original and less memorable. I still occasionally listen to God of War 2018’s soundtrack because it was so impactful, but I’ve never felt the urge to listen to Ragnarök’s music outside the game.


Overall, I feel like there’s not much more to say about God of War Ragnarök. The game’s strengths are obvious, and they are mostly the same as in 2018. I’ve also mentioned the negatives, such as the woke elements and narrative problems. On top of that, the fact that it plays so safe and similarly to God of War 2018, is a negative for me. When a sequel feels too close to its predecessor, it loses some of its impact for me. Don't get me wrong -Ragnarök is a great game, and I highly recommend it- it just doesn’t feel like the groundbreaking game that God of War 2018 was for me.


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Black Myth: Wukong was a game I’d been eagerly waiting for since it was first revealed in 2020. Like many others, I was skeptical about whether the developers could deliver on such an ambitious project. I don’t think the Steam reviews and player counts accurately reflect the reality. The overwhelmingly positive reviews and high player counts are largely driven by nationalistic support from China, where the game is celebrated as a major achievement. While my review is positive because I do believe the game is good, I also think it is kind of overrated. As always, I aim to provide honest opinions and a truthful assessment of my experience. I am writing this review after actually completing this game, unlike every review with 2 hours and claiming it GOTY.

Graphics and Optimization

The game’s graphics are outstanding. The visual fidelity, from the breathtaking environments to the intricate character designs, is top-notch. The animations, visual effects, and render distance are all impressive, adding to the game’s overall looks. The sound effects are equally well done, though the soundtrack leaves much to be desired. While the game runs smoothly for the most part, Chapter 3, particularly the snowy maps, does suffer from performance issues. Despite this, the overall optimization is solid, and the game manages to maintain its high graphical standards without too many hiccups.

Bosses and Combat

The bosses in Black Myth: Wukong are a real feat to play against. When it was revealed that the game had 81 bosses, I was sure that at least half of them would be replicated, similar to what we saw in Elden Ring. But it's shocking and great to say that more than 90% of the bosses in the game are unique, each one fun to play and mostly well-designed. However, most of the bosses are surprisingly easy. Speaking of difficulty, I’ve seen some people argue that Wukong isn’t a Soulslike, but I would definitely consider it one. It has everything a Souls game offers, except for the corpse-run mechanic. It has some similarities to God of War and Bayonetta, but I believe it’s much closer to Soulsborne titles than that.

Game Feel and Combat Mechanics

The game feels and combat is initially great and fun to play. The fluidity of movement and the responsiveness of controls are great. However, as I played through the game, I found that it became too repetitive for me, even with the large variety of bosses and enemy types. Once you discover which combos and moves work best, there’s little need to change them. The same goes for the Spirit mechanics. The game provides you with a ton of spirits, but once you find a good one and upgrade it, there’s really no need to use others, just like how most people only played with the Mimic Tear in Elden Ring. The spells, while fun to use, also feel limited in variety. Only having four spells for a 40-hour game made the experience feel stale over time. Additionally, the spells cost mana, which restricts their usage, especially during boss fights. Since the most fun aspect of Wukong is using these spells, this limitation is quite a shame.
The big skill trees in the game primarily change your passive stats and your heavy attack, which you use rarely. This adds to the repetitiveness of the combat since the skill trees don’t significantly alter how you engage in battles, making the combat feel even more repetitive as you progress.

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Story and Characters

When it comes to the story, Black Myth: Wukong seemingly tells the story of Journey to the West. I have no prior knowledge of this story or the movie, so I didn’t get much out of it. The mute protagonist doesn’t help either. The game seems to expect players to be familiar with the original story, which made it hard for me to connect with the narrative.

Level and Map Design

The level and map design is by far the worst part of Black Myth: Wukong and the major thing that severely impacted my experience, reducing the enjoyment I got from the game by miles. In Chapter 1, the level design is very linear—you kill a few enemies, 30 seconds later comes an amazing boss fight, you kill another bunch, and a minute later, another spectacular boss fight. This pattern repeats until the end of the chapter. At first, I wasn't sure if I liked this; it felt odd and almost made the game seem like a boss rush experience. But since I was enjoying the heck out of the bosses, I loved this design choice, and fighting new bosses every 10 minutes was such a joy. This continued the same way until I reached the Tiger Vanguard boss fight, which is the peak of Black Myth Wukong in terms of game design tempo. The boss was one of the best in the game. At that point, I was sure I was playing the Game of the Year 2024 and possibly one of the best action games I've ever played.

Unfortunately, that's when the game began going downhill. By Chapter 3, the game started to feel very repetitive, with the same combat mechanics being reused over and over. In Chapters 2 and 3, you start playing in huge, open world-ish maps. Now, is that a bad thing? Elden Ring did the same, right? No, because Wukong's maps are filled with limiting invisible walls everywhere. There are hundreds of the same enemies throughout the map, and you often go in a direction unsure if it's worth your time. You never know if you’ll find a new boss, an invisible wall, a little XP, or just nothing at all. I found myself sprinting around the huge maps only to find nothing most of the time, as there was no indicator if the journey was worth it. What adds to the frustration is that the game doesn’t guide you to your main objective, or even clearly define what it is. So, if you’re bored of aimlessly wandering around, you can't simply rush to the main quest. This lack of direction makes the game feel even more disjointed and tiresome. The issue peaks in Chapter 6, where the game becomes a frustrating slog. There’s never an indoor-level design to alleviate this, except for one extremely linear and frustrating dungeon. The lack of a map or compass is a particularly bad decision, especially since even FromSoftware addressed this with Elden Ring. The graphical quality of the maps is insane, but they look extremely bland and uninspiring compared to the art design of Elden Ring. This detracts from the game’s atmosphere and overall enjoyment.

Music and Soundtrack

The music and soundtrack are also quite poor, which significantly affects the atmosphere of the world. The only song I liked was the one sung by the headless dude; nothing else stood out. No Soulsborne or Soulslike game has ever come close to the level of Dark Souls 3's soundtrack, and Wukong doesn’t change that.

Bugs and Glitches

Many bosses and enemies have a tendency to freeze during fights, some even becoming invincible. These bugs made me replay the same enemies several times.

Conclusion

In conclusion, Black Myth: Wukong is a good game, even though it’s far from meeting all of my expectations. Despite its shortcomings, it is a very solid entry from Game Science. I will be highly looking forward to their next game as much as I did for Black Myth: Wukong, hoping they will improve upon these shortcomings and deliver an even more polished experience. I don’t have a definitive Game of the Year candidate for this year, but I can confidently say that Black Myth: Wukong isn't it. For me, Prince of Persia: The Lost Crown stands out as a better title.


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Thanks to the clowns who review-bombed this game because of Ubisoft Connect, we will probably never see a sequel to this amazing game. Just like Immortals Fenyx Rising, which was the best game Ubisoft released in the last half-decade by far. But no, thanks to you, stupid clowns who downvoted it because of Ubisoft Connect, Immortals Fenyx Rising 2 was cancelled. The Lost Crown has Ubisoft Connect. Boo freaking hoo! I don’t like Ubisoft Connect either, but what harm is it doing to you? Slowing down your PCs? Seriously? Keep review bombing amazing games like these, and never touch crap like Assassin’s Creed, Far Cry, or their other games that also have Ubisoft Connect. You Steam users are stupid. Now, thanks to your pointless bombing, these talented developers will likely be laid off and we will never see a sequel to this amazing piece of work. Great job, everyone!

One of the most important aspects of any Metroidvania is how the character feels to control, and The Lost Crown absolutely nails it. Movement is fluid and responsive, the sense of control you have over the character makes every jump, dodge, and attack feel precise and satisfying.

Prince of Persia The Lost Crown is a game that clearly studied the best of the best in the genre, particularly Hollow Knight and Ori and the Will of the Wisps. It’s evident that the developers took a deep dive into what made these games successful and then adapted those elements into their own style.

One of the standout aspects of The Lost Crown is its art design. The game’s visuals are absolutely beautiful, with each biome featuring distinct and intricate designs that bring the world to life. The attention to detail in the environments is impressive, making exploration a visual delight. An excellent new feature in this game is the in-game map screenshots, which is a fantastic addition to the Metroidvania genre. This feature allows you to capture and places at the map so you always now what you need to access the place, so it also helps lessen the backtracking.

The combat is fast-paced and responsive, allowing you to execute a variety of attacks, combos, and special moves with precision. The controls are tight, and the character’s movements feel natural and impactful, which is essential for keeping battles engaging and satisfying. The game features a diverse array of enemies, each with unique attack patterns and behaviors.

Speaking of bosses, each boss encounter is designed to be unique and memorable. These fights challenge your mastery of the game’s mechanics and offer a satisfying sense of accomplishment when you overcome them.

The map design in The Lost Crown does a great job of interconnected areas that are both visually diverse and logically connected. Each biome has its own distinct look and feel, from lush forests to ancient ruins, each with its unique challenges and enemies. The platforming challenges are extremely fun, especially the hard ones because they go insane.

Unfortunately, not everything in The Lost Crown is perfect. The music is one of the game’s biggest letdowns. The soundtrack is very poor and lacks the impact needed to make the game’s world feel truly special. Sadly, the underwhelming soundtrack here fails to do justice to the beautiful environments, leaving the biomes feeling a bit hollow. This is a missed opportunity that could have added so much more depth and immersion to the experience.

Another area where The Lost Crown falls short is in its storytelling and scenario. The game starts with a strong focus on its characters and narrative, drawing you in with an intriguing premise. However, this focus quickly fades, and the storytelling takes a back seat for most of the game. There are so many missed opportunities with the scenario, and the game almost entirely abandons its narrative until the very end.

In conclusion, Prince of Persia The Lost Crown is an amazing work in what makes a great Metroidvania, despite some flaws. The game excels in its tight controls, brilliant map design, level design, satisfying skill progression, diverse enemy encounters, and memorable boss fights. However, the underwhelming soundtrack and missed opportunities in storytelling prevent it from reaching its full potential.

I am absolutely loving the last two Prince of Persia games, and I hope Ubisoft makes more games of this high quality. The developers have clearly put an insane amount of work and effort into this game, far more than 99% of Ubisoft titles over the last decade. These are the kinds of games that can revive Ubisoft and bring them back to their glory days. Even with its flaws, Prince of Persia The Lost Crown is a gem of a game, and it’s a real shame that misguided review bombers might prevent us from seeing a sequel. Don’t let their negativity deter you. This game is a gem, and it’s one of the best Metroidvanias to come out in years.

Enough with the exclusivity deals Ubisoft, we want to see your games on Steam on day one.


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This review is long overdue, and I owe it to the developers of Lossless Scaling to finally share my thoughts. I’ve never reviewed software before, but for a program this amazing, and at such a low price, it feels right to do so.

The standout feature of Lossless Scaling is its frame generation. Since I started using the program in May, I’ve spent nearly 300 hours with it, and the frame generation is what makes this software truly special. It has completely changed how I experience games, and I know I’ll be using it for thousands of hours more.

The frame generation in Lossless Scaling is incredible. In a time when many games aren’t well-optimized, this feature helps smooth out performance in ways I didn’t think were possible. I’ve been able to enjoy modern games at 144 FPS without losing visual quality, all thanks to this program.

What’s even more amazing is that it works with every single game out there. It’s like magic! No matter what game I’m playing, Lossless Scaling steps in and makes it run 144 FPS or more, depending on your monitor's refresh rate. The frame generation feature doesn’t just add more frames; it improves the entire gaming experience.

However, I do need to add a word of caution. I don’t recommend using Lossless Scaling in online games since the game might recognize it as third-party cheat software, which could lead to a ban. That said, I took the risk and tried it in The Finals, a game I used to play at 50-70 FPS. Now, I’m playing it smoothly at 144 FPS, and the difference is unbelievable. Despite what some people claim, there’s no input lag, and I haven’t encountered any graphical errors. It’s just pure, smooth gameplay.

I’ve never felt so strongly about a piece of software, but Lossless Scaling deserves all the praise it gets and more. If you’re serious about PC gaming and frustrated with poorly optimized games, this is the program you need. Whether you have a high-end PC or a low-end one, get this software! And the best part? It does all this for a price that’s almost too good to be true. I can’t recommend Lossless Scaling enough.

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I have just played The Rogue Prince of Persia, and I must say, I enjoyed the experience. The controls are smooth, the combat is satisfying, and the procedural level design is good.

However, while I had a lot of fun, I was a bit disappointed by the lack of content. The game felt quite short, and after just a few hours, I wanted more. The gameplay is solid, but I wish there were more biomes, challenges, more enemy variety, and bosses to keep the experience going. It feels like the game has so much potential, but it doesn't fully reach it because of the limited content.

As a huge fan of Dead Cells, which I’ve played for hundreds of hours, I’m hoping that Evil Empire will expand The Rogue Prince of Persia in the future, also after full release. Dead Cells received amazing post-launch support with tons of new content from Evil Empire, and I hope The Rogue Prince of Persia will get the same treatment. The foundation is there for a good game, and with more content, it could become something truly special.

That said, The Rogue Prince of Persia feels very similar to Dead Cells in many ways, but it doesn't offer anything particularly fresh besides its theme, art style, and some minor gameplay differences. The wall-running mechanic is one notable difference, adding a bit of the classic Prince of Persia flair to the game, but overall, there aren't many new features to set it apart.

One of the biggest issues is the lack of variety in builds. Right now, every run feels the same because there isn’t enough diversity in the weapons and equipment. Every sword-like weapon feels too similar, and without the ability to create and experiment with different builds, the replayability takes a hit. The game could really benefit from a broader range of equipment and weapons, like in Dead Cells. Only having one weapon (you can't use the secondary all the time) isn't enough to keep the gameplay varied and engaging.

On the positive side, the art style of The Rogue Prince of Persia is really good and distinct. Each biome looks and feels different from the others, which adds to the sense of exploration. The beautiful soundtrack also enhances the atmosphere, making the game more immersive and enjoyable.

I also have to mention that I really like Ubisoft's approach to the Prince of Persia games with their last two titles. I hope they continue to make quality games like these rather than the soulless open-world games they've been putting out, especially in the last half-decade.

Overall, The Rogue Prince of Persia is a decent game that I enjoyed playing, but it left me wanting more. I can't wait to see if the developers add more to it because it has the potential to be something really amazing with the right updates. I will give my medal after full release.

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Ziggurat is an underrated game that combines fast-paced first-person shooting with rogue-lite elements. The gameplay is smooth and intense, with a variety of spells and weapons that make each run exciting. You’ll find everything from wands and staves to powerful spells, each offering a unique way to tackle enemies.

The controls are responsive, and the combat feels satisfying as you blast through rooms filled with different types of enemies and traps. Ziggurat’s gameplay is challenging but fair, keeping you engaged and eager to improve with each run.

With its dynamic and fast-paced fun gameplay, Ziggurat is worth a try.


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The first thing you’ll notice is how good the game looks. The vast desert landscapes and dynamic weather are beautifully rendered, making the wasteland feel alive in its own desolate way. The car combat is where the game truly shines. The vehicle physics are spot-on, giving you that satisfying crunch when you slam into an enemy vehicle. Customizing and upgrading your Magnum Opus is fun, and every battle on the road feels satisfying.

On foot, the combat is just as engaging. It’s got a solid, satisfying feel to it, with fluid animations and brutal takedowns. Whether you’re fighting hand-to-hand or taking on foes with your car, the game feels great to play, thanks to its tight controls and impactful sound design.

That said, Mad Max isn’t without its flaws. The game design and mission designs are extremely repetitive. You’ll find yourself doing the same kinds of missions over and over again, and the world can feel a bit empty at times. The story doesn’t do much to elevate the experience, either. It’s there, but it’s not particularly memorable or engaging.

Despite the repetition in game and map design, I still found myself enjoying Mad Max. The graphics are impressive, the game feels very good to play, and the sound design really pulls you into the action. If you’re a fan of the Mad Max universe or just love intense vehicular combat, it’s a game worth experiencing, even if it's not the best game out there.


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I recently played Superliminal, and I have to say, I was disappointed. Here’s why I think Superliminal is a very bad puzzle game.

First of all, the main mechanic of the game gets old really fast. The whole idea of changing the size of objects based on perspective is interesting at first, but it quickly becomes repetitive. Every solution seems to rely on the same trick: pick up an object, move it around to change its size, and place it somewhere to proceed. After a while, it feels like you’re just doing the same thing over and over again.

The puzzles themselves are not challenging. Once you understand the core mechanic, there’s very little variety in how you approach each puzzle. The game doesn’t offer enough new ideas or ways to use the mechanics in creative ways. Instead, it just keeps throwing the same types of puzzles at you, making the whole experience feel tedious and uninspired. This lack of diversity in puzzle design makes the game feel very repetitive and uninteresting.

Another big problem is the narration and story throughout the game. While there is an attempt to have a narrative and some sort of deeper meaning, it all comes across as very meaningless and bland. The voice acting in Superliminal is also incredibly soulless. The performances lack any real emotion or personality, making it hard to connect with the game on any level. Comparing this to the voice acting in Portal, especially GLaDOS, it's clear how far Superliminal falls short. GLaDOS is a masterclass in voice acting, the same as Wheatley. Superliminal's voice acting, on the other hand, feels flat and uninspired. The storytelling is nowhere close to the quality of something like The Stanley Parable or Portal, which makes it interesting for me to see how this game is told to be a mixture of those. Comparing Superliminal to Portal or The Stanley Parable is an insult to those amazing pieces of work.

The last 30 minutes of the game were incredibly tiresome for me. Which is 25% of the game by the way. It felt like the designers ran out of clever puzzle ideas and just turned the game into a walking simulator. This part of the game dragged on and made me lose any remaining interest I had.

In conclusion, Superliminal is an insanely overrated and badly designed puzzle game. A good puzzle game should have variety, challenge, and creativity. Each puzzle should feel fresh and make you think in new ways. The solutions should be satisfying, making you feel smart for figuring them out. Superliminal doesn't do any of this. It's boring, overly simple, extremely repetitive, and falls highly short of its potential. If you’re looking for a good puzzle game, I’d recommend looking elsewhere. Superliminal simply doesn’t live up to the hype and is highly overrated. It's simply, the very opposite of fun.


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As I watched the memes and Helldivers videos on the internet before I bought the game, I never understood what the hype was about in this one. So I thought maybe I should play it to get it. So me and my buddy purchased it and I played this one enough to see what it was all about. I can safely say that Helldivers 2's success results from hype train and FOMO (Fear of Missing Out). That's not to say it's a bad game, it's a decent one. But unlike many Helldivers fans, I have played a game that's way better than this in every aspect. Unfortunately, Helldivers 2 feels like a cheap copy of Deep Rock Galactic, and it doesn't come close to matching the quality of that game. I never wrote a review in which I fully compared a game to another all of the reviews. But Helldivers 2 is so inspired by Deep Rock Galactic but comes nowhere close to DRG. Throughout the review, I will be comparing Helldivers 2 to Deep Rock Galactic to talk about Helldivers 2's weaknesses.

Let's start with the gameplay. Helldivers 2 tries to capture the same co-op, team-based action as Deep Rock Galactic, but it falls flat. The missions in Helldivers 2 are repetitive and lack the variety that makes Deep Rock Galactic so engaging. In Deep Rock Galactic, every mission feels unique thanks to the procedurally generated caves and diverse objectives. Helldivers 2, on the other hand, feels like you're doing the same thing over and over again.

The weapons and equipment in Helldivers 2 are another disappointment. While Deep Rock Galactic offers a wide range of customizable weapons and gadgets, Helldivers 2 gives you a limited selection that doesn't feel satisfying to use. The weapons lack the punch and excitement you get in Deep Rock Galactic. In Helldivers 2, there's no thrill in upgrading your gear because the options are so limited.

Team play is where Deep Rock Galactic shines. The classes in Deep Rock Galactic are well-balanced and complement each other perfectly. Each class has unique abilities that make team play strategic and fun. In Helldivers 2, the classes don't feel distinct, and there's no real synergy between them. The teamwork aspect is dull, and it feels like you're just running around doing your own thing instead of working together as a team.

When it comes to graphics and atmosphere, Helldivers 2 is a mixed bag. The game looks good, especially on the VFX side, which makes the game look atmospheric, but the optimization is so bad it is not worth it. Deep Rock Galactic's art style is distinctive and memorable, with its dark caves and glowing minerals, forming an amazing atmosphere throughout the experience. Helldivers 2 feels generic by comparison. The environments are bland, and there's nothing that makes the world feel alive or interesting. The lack of enemy variety adds up to that feeling since there are only 2 main enemy types in the game. It really feels like an Early Access title content-wise.

In conclusion, Helldivers 2 may be fun if you are new to the genre, or cooperative video games at all. But for someone who has experienced the best in the genre and many other great coop games, Helldivers 2 is a disappointing game that fails to live up to the standards Deep Rock Galactic set for me. It's better in every category, from gameplay, quality content, humor, music, performance, team play, and many more. Helldivers 2 might have some good moments, but overall, it's just not worth my time.


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As someone who has spent a considerable amount of time searching for a good casino management game, I can confidently say that Casino Resort Tower is the closest thing to what I am looking for in a management game. Despite its brilliance, Casino Resort Tower remains undiscovered in the gaming community. Not one of my friends (around 450) had or wishlist this game before I began playing it. And the fact that it only has 78 reviews after a year of release is a crime. This game is a hidden gem that deserves a larger audience. Its addictive gameplay and great micro-management systems make it a must-play for fans of simulation and management games. I hope my curator page and this review will help more people discover and check out this incredible game because it truly deserves recognition.

From the moment I started playing, I was hooked. The game allows you to build and manage a casino hotel skyscraper from the ground up. The level of detail in managing various aspects of the casino, from room conditions to customer satisfaction, is impressive. Each decision you make can significantly impact your casino’s success, making the gameplay both challenging and rewarding.

One of the highlights of the game is its complex yet accessible gameplay mechanics. The game strikes a perfect balance between being challenging enough to keep you engaged but not so complicated that it becomes frustrating. The management systems are well thought out, allowing you to focus on different areas such as customer service, staff management, and financial planning.

Casino Resort Tower shares a significant similarity with "RimWorld" in terms of the extreme levels of micro-management required. In both games, you’re not just managing individual tasks but rather setting up comprehensive systems that run efficiently on their own, creating a self-sustaining environment. This system-based management adds depth and strategic layers to the gameplay, making each decision impactful in the long run.

While "Casino Resort Tower" excels in many areas, it does have a notable flaw: the game lacks a real sense of challenge. There is currently no way to lose the game, which can make the long-term gameplay feel a bit too easy. I wish there were more dynamic challenges like robberies, police raids, or other unexpected events that could test your management skills and add an extra layer of excitement.

Casino Resort Tower" is a game that exceeded my expectations in every way. It offers highly detailed management while staying fun and offering new content all throughout the journey. It’s a hidden gem that truly deserves to shine.


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