PCF13 最近的评测

Not particularly interesting in any sense of the word. The characters are standard archetypes and you don't really spend very much time with them and as a result never get to truly know them. The mystery surrounding the titular case file is uninteresting and ends in a very unsatisfying fashion. The artwork is fine overall, serviceable and nothing special, but the assets appear rather low-resolution. There are a few "gameplay" segments but they do nothing but remind you that you could be playing a much better visual novel. Even if you wanted to get immersed in the world of Ghostwire: Tokyo before the game's release, this VN doesn't give you a good sense of the game's world. Not necessarily bad, but give it a pass.

Obviously, Valve's Aperture Desk Job is not a properly great game or anything, but it is a great tech demo, which is all Valve set out to do. It serves as a tech demo for the new Steam Deck, which I do not own, so I played it on my PC instead. It still works quite well with a Steam Controller (though it does function with other controllers too). The gameplay is nothing all that special, going from a controls demo to a pretty standard rail shooter, but Valve's typically witty writing elevates the experience beyond average. The graphics look quite great considering they're designed for low-level hardware, with very expressive animation and impressive use of materials, though the lack of any configurable settings beyond resolution is a little disappointing for those not playing on a Deck. My favorite aspect of Desk Job is how many Portal mythology gags they include. For example, Cave Johnson being trapped in a computer and begging you to kill him was originally a cut concept from Portal 2! They even brought back JK Simmons to reprise his role! My only complaint is Grady's voice actor, who does a competent enough job but doesn't really seem to fit his character. Nevertheless, Valve's clear love and passion for the Portal universe brings a big smile to my face and I'm excited to see what else they have in store.

I want to give credit to Kirill Bulavintsev where credit is due: this is a monumental improvement over Genry's Great Escape From City 13. However, that happens to be one of the worst mods i've ever played, and making something remotely playable is a monumental improvement. I do not mean to imply this is a bad mod by any means, but it's not particularly good either. The levels aren't very natural and are mostly just large arenas with enemies. This would be fine in something like Doom, but Half-Life has always attempted to have a natural world. This also means that levels don't feel particularly creative on a design standpoint. Frankly, despite the attempt to mix Portal's aesthetic with Half-Life 2's gameplay, it's overall just pretty boring.

The original Resident Evil is a great game, but it is a little rough around the edges. Although it has aged rather well, a remake was warranted. However, how does one remake Resident Evil, especially after a relatively short period? You hire Shinji Mikami as director, of course. After all, who would know more about Resident Evil than the original's director? Capcom intended for REmake to be a darker, scarier, and overall more realistic interpretation of the original, and I'd say they leaped above and beyond expectations, creating what I'd argue is the best survival horror game of all time.

The plot, originally written by Kenichi Iwao and Yasuyuki Saga, is relatively unchanged, so I won't be going into specific details. If you've played the original, you know what to expect here. The original game had quite a good story, but it was marred by haphazard execution. Said execution is mostly improved here. Plot reveals are set up much better and character motivations are explored in more detail. There is a genuinely interesting mystery here and if you're not familiar with the original you'll find yourself invested. Jill Valentine and Chris Redfield are still somewhat flat protagonists, but it's more than made up for by the supporting cast. Barry Burton, Rebecca Chambers (my favorite), and Albert Wesker are all great additions to the cast and remain memorable over two decades later. The only outright new plot element is Lisa Trevor, and while I will not spoil the mystery surrounding her, she adds to the story's emotional core in an effective way.

While the central narrative involving the STARS members is certainly good, I found the environmental storytelling much more interesting. The bottles of alcohol lining a scientist's bedroom. The swaying zombie corpse hung from the banister. The letter to a lover, pleading her to forgive him. It feels like you've stepped into a world where you don't belong, that you're intruding on the personal lives of everyone who used to be here. It feels like this whole area used to be filled with people, but they all just up and left. It helps to flesh out the world in a masterful way.

Capcom was not simply content with remaking Resident Evil with better graphics and narrative tweaks. Instead, the entire game has been redesigned from a gameplay perspective, forming the ultimate survival horror experience. Not only do you have to struggle with limited health and ammunition, but also kerosene. In REmake, zombies do not die. When defeated, their corpses will reanimate later on as a crimson head, which is faster and stronger than the average shambling husk. To prevent this, the player must burn the corpses using kerosene. However, there isn't much of it, and not every corpse can be burned. In addition to carefully planning which zombies are worth killing, one now has to consider the potential dangers of doing so, which adds yet another layer of strategy to a game already so mechanically complex. The game is also incredibly difficult but in a way that comes off as ridiculously satisfying. When I died, it is because I had poorly planned a run rather than Capcom pulling out some unperceivable trick. You can't take very much damage, and enemies deal a lot, which helps make every encounter terrifying as even the lowliest zombie can end potentially 20 minutes of progress. If you play your cards right, and properly plan for any potential encounters, you will eventually become a survival machine that can handle any encounter, though the game does not lose its difficulty even then. Puzzles are also moderately improved. While they may not be particularly challenging they are creative and are satisfying to complete. They add to the sense that you are not just exploring the Spencer Mansion but slowly unwrapping its layers.

Another thing I enjoy is the playable characters. Unlike most games, where choosing a protagonist tends to only affect the story, there is an inherent gameplay difference between Jill and Chris. Jill may be more of a glass cannon, but she has two extra inventory slots, which goes a long way. Chris on the other hand is a bit tankier, but he is missing two slots and this makes backtracking to safe rooms a more frequent endeavor. Jill also has a lockpick which can be used to open simple locks throughout the mansion. Instead, Chris has to locate a limited number of old keys to open these doors, putting additional strain on your resource management. Chris, needless to say, is the game's hard mode and should be reserved for second playthroughs. Nevertheless, I still find his campaign particularly rewarding and I enjoy how Capcom went out of their way to make sure each character played differently.

REmake is a visual masterpiece. From the art direction down to the technical elements, every single visual element of this game works perfectly within intention. The dark, cobwebbed corridors of the mansion are beautifully rendered via pre-rendered backgrounds, providing significantly more detail than the GameCube's hardware could ever hope to provide in real-time. The backgrounds are impressively dynamic and layered, too. Dynamic lighting bounces off the walls and 3D models pass beneath pre-rendered elements. Even when rendered at 1440p, the effect remains convincing. Character models are detailed and while facial animation isn't mindblowing it's better than a lot of games at the time. Monsters are realized with disgusting fidelity and remain disturbing even today. REmake is probably the best-looking game on the GameCube and reaches levels of realism unparalleled by even other 6th generation visual masterworks like Silent Hill 3.

The original game's voice acting is infamous for being hilariously bad, ruining a lot of the tension in cutscenes. Naturally, REmake being a more realistic interpretation of RE1, redubbed the voice lines to be more natural. The voice acting in REmake is still not great, though it is an improvement. There is not a single line of dialog that is nearly as bad as the original's, but it can still be spotty at points. Joe Whyte, Ed Smaron, and Hope Levy do a decent job with their roles despite occasional iffy line delivery. I found that Heidi Anderson-Swan, Jill's actress, was the least convincing with her performance. I wouldn't call her bad necessarily but she could have been cast better. Peter Jessop gives the game's best performance, portraying Wesker as a truly manipulative and evil man. Overall, not bad, but not fantastic either.

The only major criticism I have isn't of the game itself, but rather, the PC port of the HD Remaster. It's a bit of a mess. Firstly, the port is unnecessarily demanding on lower to mid-end hardware, leading to an inconsistent framerate on those machines. Secondly, despite supporting 120 FPS, the game forces your monitor to output in 60 hertz in fullscreen mode, causing screen-tearing. The game also has no borderless fullscreen mode, meaning that when alt-tabbing, the game has to not only defocus the game but also change the refresh rate back to your monitor's default. This is incredibly inconvenient. Some music tracks even play faster than they're supposed to. These issues can all be fixed with relative ease, but shouldn't exist in the first place. Nevertheless, the PC port is the only way you can currently experience this game in 60 FPS or greater, so it's worth it if you're willing to spend 20 minutes downloading some fixes.

Shinji Mikami's Resident Evil Remake is a survival horror masterpiece. Everything that matters in this game is done perfectly. From the atmosphere to game design, to horror, to visuals, it accomplishes it all. It even expands on the story in a meaningful way, which I greatly appreciate. Insanely difficult, incredibly terrifying, and unfathomably gorgeous, REmake is a game everyone needs to play.

Omori is a game with a history of a troubled production. After spending 6 years in development where developer Omocat infrequently communicated with Kickstarter backers and even canceled the Nintendo 3DS port, it seemed as if the game would become yet another Kickstarter failure a la Mighty No. 9 or Yooka-Laylee. The game would end up released to acclaim from both critics and general audiences, seemingly averting the Kickstarter curse. Likewise, as any game that becomes ridiculously popular, Omori has also seen a fair share of both entirely fair and overblown criticism. I think it's pretty good, but some of this game's major issues can make it a teensy bit hard to recommend.

You play as two protagonists: Sunny and Omori. Omori is essentially the younger version of Sunny who exists within his dreams, and Sunny is who Omori is in real life. Most of the game is played as Omori, and for the most part, he is a blank protagonist. Inherently not a very expressive protagonist, most of the game's story and humor are conveyed through the supporting cast: Aubrey, Hero, Kel, and Basil, Sunny's childhood friends given immortal youth within his dreams. Suddenly, Basil goes missing and the gang of dream children has to go find him. The story is something that will either leave you enamored with its characters and weeping at the tragic moments, or frustrated by its poor pacing. Omori's story is a solid one, with likable characters who do grow and change between headspace and reality and appropriately handles deeper and more depressing themes. The game does get quite sad at points, and I will admit to getting a little misty-eyed. I will say though, I found it hard to connect to the game's world. For a dream world, it seemed to be pretty standard as far as imagination goes. I never really felt like a part of this world and therefore it became hard to immerse myself just because of how cookie-cutter it could feel at points. The real-world feeling more immersive than the literal fantasy does cause a strange disconnect. After a while, I just got tired of the dream world shenanigans and just wanted to get back to the real world so I could just see what the characters I had grown attached to were doing. Most of the characters in headspace get little to no development and show up maybe once. It's a problem when the character specifically designed to be obnoxious and annoying, Sweetheart, has more screentime than any other headspace character. The poor pacing of this otherwise very well-written story caused me to almost drop the game, as I had become tired of the quirky dream shenanigans by the time I reached Humphrey the whale. Those real-world segments feel so tender and genuine that I wish there was more of that than headspace stuff. Each character I found myself caring about and wanting to see how they grew up and coped with loss and regret. I found myself relating to Hero as the college boy, though the rest of them are memorable too. However, if you can stick through it, I enjoyed the story, its characters, and the darker themes it handles, despite the uninvolving world and frustrating pacing.

Omori is a Japanese-style RPG, a genre that tends to alienate people due to the turn-based combat being oftentimes simplistic and grindy. Omocat tried to make the game a little more involving than your average JRPG though, adding an emotion system that changes character/enemy stats based on how they're feeling. It's similar to the rock paper scissors system from Fire Emblem, and certain emotions will beat others. Being sad, for example, reduces the damage you take while reducing the damage you do. This does add an interesting amount of nuance and strategy to the combat, and the ability to pass attacks to friends for extra damage certainly helps add oomph to the combat. You surprisingly don't have to do very much grinding in this game to succeed, though it's probably recommended. The boss fights aren't very good though. They lean from pretty decent (i.e. Space Ex-Boyfriend) to fine (Mr. Jawsome) to downright unfair (Sweetheart). Sweetheart, for example, has an attack that hits every single party member simultaneously and often does this when the party is at low health, pretty much instantly wiping out your attempt. These boss fights rely a bit too much on luck and cheap attacks and can make them very frustrating roadblocks if you are unwilling to do a little grinding, though they are still possible. Other than the boss fights, the combat is more than passable, and as far as JRPGs go, is more interesting than some of its competitors.

A common criticism of Omori is its length, and I concur with it. It feels like what is maybe a 10-hour game stretched out to 20. Major areas could potentially be cut or made optional because in the late game I felt like everything I was doing was mostly inconsequential. I also did not find many of the side-quests to be all that engaging, mostly being fetch quests, but at the end of the day, it's more Omori for those who want it so I'd rather have it than not.

As mentioned earlier, Omori can be a bit of a mixed bag visually. On a technical level, it looks superb for an RPG Maker game. Everything is fantastically animated, drawn, and detailed, and you can tell that Omocat's artists put their heart and soul into this game. The art direction however is a bit lacking. As stated earlier, the game simply falls in line with what is expected from modern Earthbound-inspired JRPGs. It looks the part and never looks bad, but rather it doesn't have much in the way of unique locations or enemies. This is the primary reason why the world feels a bit unengaging because I feel like I have seen this before.

The soundtrack, on the other hand, composed by Bo En, Jami Lynne, and Pedro Silva is fantastic. Almost every track is incredibly catchy and will stick in your mind for hours after a play session. Each one nails the atmosphere of each location and none feel out of place or strange, at least not in a bad way. My favorite tracks would be Spaces In-between, By Your Side, and World's End Valentine.

I've seen some online label Omori as a "psychological horror" game. To be completely honest, this isn't true. Omori not being a horror game isn't a bad thing, rather the descriptor is simply inaccurate. While yes, there are moments where the game does try to scare you and does so effectively I might add, they are pretty infrequent. Yes, some of the major scenes are horror-themed, but in proportion to the vast majority of the game, they are few and far between. Most of the time you will be wandering around and having fun in the quirky RPG world with the quirky RPG characters and therefore I don't think "psychological horror" is true for about 90% of the game. It's a minor thing, but I figured I might temper the expectations of those hoping to gain sleepless nights from this game.

I do have some miscellaneous observations that I do not know how to categorize, so I will just write them here. A lot of things in this game take too much time. For example, why can't I deposit all of my cans at once in the recycling machine? Why do I have to put them in individually? Why does it take forever to recycle, and why doesn't the game tell me that I can skip that cutscene? WHY DOES EVERYTHING IN THIS GAME TAKE FOREVER.

Omori is a pretty good game. It's got some hard-to-ignore faults, such as poor pacing and a fairly stock world, but it also has great characters and a very solid narrative, and that is the game's major strength. If you never liked JRPGs, Omori won't convince you otherwise, but if you're a fan of the genre you really should check this out.

Obviously not the best game in the series but I have a lot of fun with it for what it is. I was never a hardcore fighting game fan so I find the additions made here to be enjoyable and the slower-paced combat makes it easier to learn, acting as a perfect entry point for the series. The visual style is amazing (if muddy at anything lower than 1440p) and all of the new characters are a lot of fun, both in regards to moveset and personality.

Plus, it has Menat, and she makes any game worth playing.

Hotline Miami 2 is a good example of how bigger isn't always better. The story is much more expansive, there are more playable characters, more weapons, more levels, better graphics, more music, et cetera. All of what I've just mentioned are legitimate improvements and all make Hotline Miami 2 a blast to play. However, there is one aspect that has been made bigger to a fault: the level design. Levels are much larger and as a result there are plenty of times where you can get killed by an enemy you never saw. This is generally not a massive problem, after all you can use the shift key to look forward and the bigger focus on firearm combat allows you to do the same. There are certain levels though where this is a big issue, such as the boat and the Hawaii levels. Other than that though, everything else has been improved. Hotline Miami's unique style is more detailed and the soundtrack is once again amazing. The addition of multiple playable characters makes the gameplay and mask system even more diverse and unique. The story and character writing is excellent, elaborating on the events of the original game without ever fully explaining it, expanding the universe without ruining it's mystery. Overall, the game is still great, but I think the original is better due to tighter level design and an overall better selection of levels.

This game is like crack cocaine. The gameplay loop is stupidly repetitive yet stupidly addictive. The level design is tight and there is not a single level (well, maybe trauma) that dips below that bar of quality. The story gives absolutely no answers as to what happened, but that's okay because it remains fascinating nonetheless. Visually it's like a VHS acid trip through LA, and I don't even need to mention how good the soundtrack is. Just pick it up it's probably always on sale.

I have never before played a game that is so relentlessly frustrating in every single area of production. Every single aspect of this game: gameplay, visuals, narrative, overall presentation, et cetera, is so deeply flawed that I struggle to even grasp for straws of positive traits. The fact that some in the fanbase continue to defend Homecoming perplexes me. Knowing that Konami canceled Team Silent's Silent Hill 5 for this infuriates me. Naturally, all of this is a result of Konami commissioning Double Helix Games, a studio that had never made a game prior, to do the job, alongside Konami's demands that they modernize the series to fit with industry trends. Of course, this is not entirely Double Helix's fault, but also due to total mismanagement of the project on Konami's part. This is a spoiler review, so please be warned.

Firstly, the story. You are Alex Shepherd, a soldier coming back from the war to his town of Shepherd's Glen, a town neighboring Silent Hill. Strangely, your hometown is shrouded in a thick fog and people have gone missing. This isn't to mention the numerous ripped-off and unoriginal monsters roaming the streets. He finds his mother in a catatonic state and she tells him that his brother Joshua has gone missing. Unfortunately, this interesting premise is utterly wasted by the dumbfounding writing in this game. The game does absolutely nothing interesting with the soldier premise, never bothering to explore the trauma that could arise from fighting others in a war-torn nation. Alex's PTSD is never explored and the monster designs, manifested from his subconscious, never reflect this. More on this later. The supporting cast isn't much better, with love interest Elle Holloway being little more than that, a childhood love interest with no depth or development. Deputy Wheeler is little more than a minor black cop stereotype who sometimes helps out in combat. Margaret Holloway, the game's main antagonist doesn't even show her true colors as the villain until the cutscene you kill her (in a quick-time event, naturally). The only character I found interesting was Adam Shepherd, Alex's father. Adam naturally is a horrible person, but I feel like he had the most depth of the cast. When you do learn of the situation he was forced into and how he speaks of it afterward, it does make you consider if he genuinely feels remorse or is simply trying to save face. Adam isn't a great character by any means but he's the only one with some sort of depth. This lack of developed or memorable characters makes it hard to connect to the game's narrative and as a result, I found myself not really caring whether Alex and company survived. This isn't even to mention how the game just drops a braindead plot twist on you at the last minute. Alex was never a soldier and just came up with this ridiculously convoluted backstory to cope with Joshua's death. I find this to be the most egregious part of the game's narrative since it wastes the only interesting part of it: the premise. Throwing out a genuinely interesting story hook for a stupid bait-and-switch plot twist is the biggest mistake of this game. It makes all of the symbolism in the game feel completely disconnected from Alex and they feel like monsters in a void rather than manifestations from his psyche. It's just poorly written, predictable, and boring.

Homecoming was the first "next-gen" Silent Hill title, so naturally, at the very least you would expect some pretty visuals to go with it. This is false, unfortunately. Homecoming just reeks of budget constraints, and almost every part of this game's visuals feels cheap. Environments are generally rendered fine. They're large and detailed, even if they suffer from poor texture work. Character models are really ugly and suffer from a severe uncanny valley effect. They tend to have puppet facial animation and chunky, polygonal hair that seems to have matted together into one giant clump. The game also suffers from a severe case of asset reuse. I wouldn't be able to count on one hand the number of times the same corpse model is used over and over again. The game also has next to no graphics options, with only a resolution setting and a general quality option, the former of which is a bit redundant for me as the map and inventory break at resolutions higher than 1080p. The lack of any real video settings such as anti-aliasing or anisotropic filtering is unacceptable for a PC game from 2008, even if you can force them externally. The game is also unoptimized as all hell, even on a modern PC rig. Firstly, it's capped at 30fps, but using mods to unlock it produces an unstable framerate that goes from 165fps to 20fps based on the area. The game is also very unstable even with mods seeking to alleviate the issue. It has crashed on me numerous times and while I never lost a significant amount of progress, that didn't make it any less unacceptable.

From an art direction standpoint, Homecoming feels uninspired. It feels like Double Helix's art team diluted Silent Hill's aesthetic to the most Hollywood-esque marketable style, and makes it feel more like fire and brimstone rather than a surrealist hellscape. The monster designs feel uninspired, the ones that are new that is. Plenty of them are almost entirely ripped from previous games. The smogs are just lying figures. The nurses are just from the film. Believe it or not, Pyramid Head even makes a brief yet frustrating experience. Even if you ignore Homecoming's cheap technical appearance, it doesn't even offer interesting visuals on paper.

Double Helix set out to make Homecoming's combat more intuitive than the previous five games, all of which were criticized to some degree in that regard. Comedically, they somehow made it even less intuitive! Homecoming's combat is incredibly frustrating. The simple fact that the game's main mechanic is stunlocking, something which is considered an exploit in most games, is so hysterically absurd. Hysterical, of course, until you actually have to play it. I played on hard mode, as I usually do with games, and was surprised with how little room the game gives for failure. Enemies have much quicker reaction times than you do and have a much easier time stunlocking you than the player can ever hope to achieve. Enemy attacks are also poorly telegraphed, making it hard to determine when it's best to attack and when it's best to retreat, which is especially frustrating since the nurses have an instant one-hit-kill attack. Dodgerolling isn't as useful as it should be, as some game designers thought it was an absolutely brilliant idea to give the player no invincibility frames, defeating the entire point of an evasive maneuver. Enemies are also total bullet sponges, eating up your ammunition and taking absurd amounts of melee attacks to kill. That would be fine in a survival horror game, but Homecoming is action horror, and therefore it feels counterintuitive. Puzzle-wise, the game puts in little effort. It feels like they're just there for the sake of it rather than genuinely wanting to make the player think, as they are all insanely easy. Some of them are even sliding block puzzles. Yeah.

Silent Hill: Homecoming spits in the face of everything the franchise stands for. The story is generic and poorly written, the gameplay is frustrating and unintuitive, and the game itself is held together by duct tape. It's really not worth playing at all, even if you're a diehard Silent Hill fan. If you absolutely must play it, play it with Unknownproject's Patch, or on a console where crashes are less of an issue.

I can't even describe how terrible this is, so I'll leave you with this: two of the maps are accidentally compiled in fullbright.
That's all