Nylige anmeldelser av A_Phosphorus_Invention

AQ2: The Stone of Fate is much more challenging than the first game in the series. While I'm not entirely sure that's a good thing, it most certainly allows for a lot more failure and having to learn sequential actions and their consequences. Gone from the first entry in the series is automatic resource gathering, probably one of the most frustrating things to see absent. Instead, now gathering resources from stations is a separate action. This allows for some tense moments that take away time from focusing on the actual obstacles on the paths to work around or to, but feels like its own obstacle. The fact that Alicia herself is an adventurer, but cannot be used to collect objects on her own feels like a ridiculous function. The only aspect of this as far as in-game continuity goes is that she moves as a knight or rook would in chess, so differently than the workers do. It still feels like whole minutes of levels could be shaved off and actions made far easier with more effort from the main character and easier functionality from the game's mechanics. Some levels will require some severe attention as far as the order of actions, otherwise, you'll simply fail over and over. All that said, there's nothing physically wrong with the game, it simply feels like it's purposefully made to be procedural instead of allowing innovation and creativity; and I believe that's more my issue than the game's. I can't say I'm a fan of the time-management strategy genre having given this series a shot, but it's most certainly an interesting genre to wrap my head around and problem solve in a differing way than I'm used to.

A third person adventure figuratively and emotionally built out of vibrant watercolor and melodic song. This may very well be one of the most unexpected delights I've experienced in my gaming career. As you take control of Yi, you will journey through seven songed levels, discovering how the world of the living and the world of the gods collides into and out of harmony. You will face duty, despair, and decisiveness as you learn the meaning of human loyalty, lyrically displayed. A genuine passion project with powerful music and gorgeous color, Yi and the Thousand Moons is a small jem that hits a heartwarming high note.

I am not a shoot 'em up fan. I know that's not the best way to start a review, but hear me out. The genre leads to more frustration than any other for me, so I was hesitant to pick this game up. I am really glad I did. I can't get over what a rush the levels were to play through. I'm incredibly impressed with how hunted you feel by some of the sweeping and diving enemy ships. The bosses are really good looking, even quite menacing at times. As you reach each one it really feels like you've stirred up a nest or hive that becomes quite intent on ending your trespassing.

As far as downsides, there are occasional asteroids that are rather unpredictable and very hard to maneuver through. Shooting helps, of course, but they can divide and ricochet wildly. This did add to the tension though, so it most certainly was not an unwelcomed challenge. I really enjoyed the power-ups and that they come organically through gameplay, which I feel allows the player to focus on staying alive, not worrying about controls. The power-ups can actually have perfect timing, aiding in tight spots as enemies become stronger, more agile, and more erratic. I would most certainly recommend GalaxIverse to anyone, even players like myself that avoid or ignore the genre. A really nice thrill of a game.

Behind the Memory is a really impressive and surprisingly dark first person adventure game. I've always been a fan of the Unreal Engine and it makes this game perfectly stunning and ominous when the story demands such precise atmospheres. I really enjoyed the story, finding the narrative one that mixes natural tendencies in both thought and action, no matter how unfortunate the may be, with a sudden shift in reality and priority. Not once in this aspects does the game shirk away from making the player truly unsettled in the consequences that follow.

I wish I could write more, but I feel it may deprive you of the honest experience this game gives. It's gripping and harsh, there's a solidarity to it felt all the way from the brilliant start to the intense ending. If you enjoy solid narratives, play Behind the Memory. I hope you appreciate the work as much as I did.

Blind Love is easily one of the best examples of how a visual novel can achieve narrative brilliance. The artwork is done in black and white, making a sketched interpretation of the world. This style leaves the the world etched, not permanent. A concept brought more to life by the story and dialogue options. The voice work is executed with professionalism, yet, there are points of vocal uncertainty, audibly matching the artwork's guessing at reality. There is this perfect harmony brought by these two halves. It feels that at the same time you are experiencing the game, the voice actors are as well. It feels like a shared experience. It feels genuine.

There's a part of the story I have to point out since it is directly responsible for making this one of the best VN's I have read. At one point early on in the story, in the months after Alex's accident and getting into a routine, it's revealed he's a writer and working on a novel. There are dialogue options here that frame a turning point for his main character and the novel as a whole. The same dialogue options here mirror two later ones in the ending of the story for Alex's relationship with Sera. Maybe I'm alone here in believing this story offers this view of how everyone has their own battlefield; Alex and his blindness, Sera and her PTSD, Josh and Tyler, Alex's main character and his love, etc. I'm sure that term and examination has been used before explaining love and the path to it or even from it, but this was done with such precise subtlety that as I read it, the honesty of this story was far more emboldened.

Blind Love feels authentic, a property all stories should strive for and this story succeeds so beautifully. It explores the reality of personal difficulties and doesn't handle them with care, instead leaves real choices up to the player and allows real consequences to then occur. I absolutely recommend this game.

I've never been one for Music Runners before. The genre has been interesting, but with every entry I see, I immediately said "There's no way I can do that and end up raging." While this turned out true for Vinyl, I'm going to be completely honest that I actually really enjoyed this game far beyond measure (and you can accept that as pun). Vinyl is rather simple looking in design. You play as a young girl riding a hoverboard across a measured landscape that generates obstacles based on a single song chosen by the player. Occasionally, you have the option to alter the genre of the song, which changes the landscape and the song's pacing as well. This is one of the several aspects that set this game above my expectations, but more so, made me feel like I was able to have more control over parts of songs I had difficulty with in order to better my score at the end.

I feel what made this game fantastic though is probably within the song loadout menu itself, and not just the in-game entertainment. I'm a huge fan of the fact that this game can have your own music uploaded to it and then the game determines the difficulty factor for you automatically. I tested this with several different songs thinking it was based on simply length, but it seems it may be more complex than that with how the song actually sounds. I'm still not entirely sure how obstacles are generated, but the diversity of their spread and gaps you must, sometimes, narrowly guide really made this game one of the better free games I've tried.

There are some downsides, specifically as proposed benefits of the game actually become complete hinderances. The curve of the track can hide static spheres, so as you turn a corner it becomes a game of chance rather than skill. Gaining and keeping a streak can cause a blurring affect on the obstacles which can make them slighlty disorienting. You can be a hairline off of where you should be and you'll lose your streak. The space bar's ability, "Shockwave", to make you tempoarily surf out of danger is great, but the game is based off avoidance and you're then avoiding that avoidance and lose out on racking up points. Basically this is a last ditch effort to "Perfect" a song, but it still seems more punishing than it needs to be. This can also lead to you being out of your power up, therefore rendering you defenseless if you land before a rough path. Often times, spaces of the track will lead you directly into a trap, losing your streak, with no way to rewind to reclaim it or use the aforementioned Shockwave ability. All these problems are really just gripes about aspects of a game that merely is training you to pay attention as you improve. Taking this into account it's important to understand that you yourself determine the difficulty of this game by primarily chosing what song you want to ride.

All things considered, Vinyl is really just fun. It's simple and will actually bring out a bit of competition in you to do better the next playthrough. It made me hunker down and remember trouble spots of songs and traps, therefore assisting with more challenges along the way. I'd love to see something larger, with a story and original music, somewhere down the line, but for now, Vinyl is probably one of the most entertaining free titles available to anyone who loves music. I highly recommend it.

David. is an action platformer that pits the titular square-shaped character against many incredible bosses strewn across a number of singular worded doors. Within each door lies in wait a boss that utilizes a certain aspect or value of vice, sin, or fear in which the creature's body or its domain are designed around the particular aspect or value. David was to bring each monster to justice, ending their reign of terror. With the avoidance of using the words "retro" and/or "minimalistic", since they have almost become default word choices towards games along the same line as David. treads, I'd like to say that David. is a fascinating, original concept and deserves to be set aside as such.

The game has a fairly basic set up, take character, use character, defeat enemy. There are no level ups or power ups or special items, except for use in the Arena Mode. It's one-hundred percent arcade-like beat, or in this case, shoot 'em up. Do not, however, confuse it with a Bullet Hell entry, for that would be intensely far from the truth. David. uses a mechanic, where the player must click on David and then fire in the direction of where his enemies stand, demolishing them in the process. Many enemies can use similar traits or use different styles of movement to confuse and trick the player, making each battle challenging, yet exciting.

There are some downsides to David. The targeting at times will feel tricky or altogether annoying, especially when dealing with larger, faster, or more numerous foes; and will be even more mind-numbing when the "Very" difficulty setting is engaged. Some bosses are unpredictable, or worse, annoyingly predictable making some fights a game of luck rather than strategy or skill. At times it will feel like you are fighting with David more than you are fighting the monsters hunting him down. Even with some rough mechanics taken into into consideration, David. is still a fascinating concept with truly amazing designs and textures, a pretty awesome electronic soundtrack, and a decent amount of challenging stages all wrapped up in an excellent little indie title for your Steam library.

Only If is visually astounding and deserves praise for unusual and innovative story telling, and that's where praising it ends. I've never been so in love with a video game's aesthetic setting of a natural park or floating Grecian pillars or surviving a dilapidated hunting cabin while being hunted by some girl's brother and friend and then within seconds being reminded it was designed by developers that couldn't be bothered by censoring themselves even once. Only If makes no attempt what-so-ever to be light or dark about its own generated humor or violence without every swear word possible; completely ripping the player out of a situation that could have brought truly powerful immersion.

Only If brings several aspects of modern gaming into a focused setting of humor, terror, confusion, frustration, and sorrow, but never delivers with what could have been a truly astounding and hard-hitting story. The game includes rich textures and breathtaking scenery mixed with interesting in-game and pre-rendered cinematic scenes making the player forget at times the game has no price tag. The game's duration and depth, especially with the richness of dialogue casting a light on what is and what is not reality and the uncertainty with either choice, is surprisingly detailed and explores just the right length of chord for the outlets it opens. Only If forces the player to make a choice, to choose a path for sake singular survival or selfless sacrifice, but eventually fails to take itself seriously once the result of either and both these choices have been explored.

Only If is one of the hardest games to not recommend, but its overwhelming flaws destroy what could have truly been a knock-out of a first-person adventure story. It blended several modern concepts into one singular medium, with a path as survival puzzling and the other as intense platforming, fusing multiple genre together and allowing them to reign but not overstay their welcome. Unfortunately, in the end, Only If fails to show restraint with its own dialogue, respect for the concept of a coherent story, and a lackluster resolution that makes all the time and efforts spent seem entirely irrelevant.

The Forgotten Ones is a Half-Life 2 Mod designed to tell a story of madness and vengeance. I suppose I should start off by saying I'm most certainly not one for the horror/scary game style, but after a year of keeping this game in the corner of my mind, I finally broke down and tried it out. The Forgotten Ones introduces you to several ideas I actually wish more games would embrace and more developers would try. Instead of rehashed characters/sprites from the Half-Life 2 library, The Forgotten Ones actually attempts originality with creatures and does not bog you down with constant enemy spawn points. While the many grunt enemies require a gratuitous amount or well placed bullets to silence, the several bosses that are strewn amid the chaotic mansion require critical and quick thinking to overcome. Puzzles, although mostly simple find item/use item style, are distanced from each other rather well; however, the enemies you will encounter between puzzles are the real test.

The Forgotten Ones does have its issues: The enemy AI humorously falters here and there, items do not always want to be picked up, there are save locations instead of quick or even checkpoint saving, and one or two places where you may no-clip through a wall or object and get stuck. Even with all those issues, The Forgotten Ones is an interesting take on the horror genre for gaming utilizing good ideas for cover and trapping enemies to conserve ammunition, a very solid mix of music and terrifying sounds that will keep you checking behind your computer chair, and a satisfying duration.

I most certainly hope you consider trying out The Forgotten Ones, its an exciting, a little rough around the edges, horror First Person Shooter with some serious attention and care in its execution.

I awoke in gentle waters. In the distance, trees of all the colors of Easter dotted the coast. As I made for shore, I began to hear the song of spring, the humming of trees, the zimming of grass, the zooming of the falling petals and leaves. A playful pair of blue bunnies hopped away, their footsteps taking to ground like my fingers would the keys of a piano. White birds dashed from tree to to tree, with the faintest zips almost synthetic. Through a clearing, a council of feeding chickens scurrying off, my presence disturbing their time of fellowship. My feet found a dirt path, a path home perhaps, or to an adventure I had not yet known. A breeze of familiarity rose up as I neared the summit of green foothills. And there, surrounded by dozens of Sakura trees, a small cabin, the only evidence of human hands among the islands. I made it to the clearing, turned, and watched as hundreds of cherry blossoms fell to its rest, like a rain of pink champaign. In the twilight, I witnessed a blue moon rise, breaching the horizon over the vast, immeasurable sea. The day's song began to fade, to melt into the soft grip of that is night, to change keys and moods within mere moments. I laid under the Sakura trees, and watched the moon reach its dominion, shining with the whole of the galaxy behind it, cheering their young sister on. In the quiet music of the night, as the world completed its change to hues of white, blue, and black, and the horns and percussion that had ruled the day were hushed by the chords and strings of the evening, I closed my eyes; unware that when I woke I would bare witness to entirely different journey of melodies.