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Spent around 5 or 6 hours with this over the last couple of days... and so far so decent I'd say... For those who don't know the game is set in an alternate 1950's version of the Lake District where the Windscale disaster has covered much of the area in radioactive fallout. You have the age old condition of amnesia and wake up in a bunker with no recollection of how or why you're there... there's no character creation to start you off (I've no idea if you'll ever see the character, so far I haven't) and there's also no character voice over, which I don't have problem with tbh. Upon leaving the bunker (which in reality is about 3 rooms) you set foot in to the first of around 4 open areas you're free to explore and find leads which are how this game handles missions. Usually these are in the form of collectable journal entries or through conversations with characters you'll meet along the way... and the way these work is you'll never be able to do them all as completion of one characters leads will more than likely cancel someone else's in some way or another. I'm aiming to try and suss out who seems decent, I'm not feeling the General of the Protocol at the minute (the Army) he seems a little on the heavy handed side. Combat, so far, isn't anything to write home about... I'm mostly hitting things with a cricket bat at the minute, I have a shotgun and rifle but as they're single shot they're only so much use in a fight... and taking on more than two armed people head on in this is virtually suicide too. The other thing is there's no XP system in place so there's no real reason to go looking for trouble... getting stronger happens through finding skill books and crafting blueprints. I think the mystery of the story might be the main pull of the game for me. It looks nice enough to me, I think you can tell the game is cross generation but it's far from ugly. I think as I feel now, thanks to the more real world setting, I'll be getting more out of this than I did Avowed but I guess I'll have to keep playing to see.

Kinda surprised there's no thread on this yet, but anyway. I've tried to get into the Yakuza series over and over again. I love the juxtaposition of serious gangster shit and nutty stuff like collecting softcore porn and helping a Michael Jackson ripoff remake Thriller. For whatever reason, though, it's just never quite managed to get its claws into me. After 15 hours, I think this might have changed that mindset. It's like Black Flag through the lens of a JP developer, and I'm having a blast with it. Collecting crewmates, making friends, just being a pirate in general, it's just fun. I'll post more a bit later, but I wanted to open the conversation, because this is dumb in all the best ways.

Backlog time! Through pure coincidence I picked the right timing though, because this game takes place during Valentine's Day (I always enjoy playing games 'seasonally correct'). A rather quick and accurate way to describe this is Hotel Dusk through the lens of Life is Strange. With the former it shares the setting (hotel) and the sort-of detective gameplay, while the latter clearly influenced the overall tone and presentation style, with it being a slow-paced 3rd person adventure and every interaction prompting a short commentary from the protagonist. Unlike HD's Kyle Hyde, Sophie isn't a detective, but a young cleaning lady who likes to balance out her uneventful and sheltered life by snooping around the rooms she's tidying up. In a sort of meta-context, I found this rather interesting, because as gamers we're no strangers to walking into an NPC's house and stealing everything the game allows us to, but add a bit of narrative context and it suddenly feels quite wrong. Though what starts as a questionable, but in context also understandable hobby then evolves into a mystery thriller and it's here where it becomes difficult to talk about the game because it's entirely built on the premise of being this emergent choice-driven adventure. I can't really give many examples without spoiling anything, but there are a lot of variables that are considered here, and not all of them lead to the outcomes you might expect. But at the same the writers don't throw any far-fetched curveballs at you, every outcome feels organic and logical in the context of the people involved with dealing with it. This is all super vague but again, examples would spoil the fun, because even some minor details are impactful here. I think one I can give is that early on after finding out something mildly disturbing in a room, you get the option of calling one of two co-workers, and that person will then become your confidant and have an impact on proceedings. So that's the first of a lot of branches the narrative can split into. I did go over the achievements (which aren't hidden, fair warning) after I saw the credits and there is a surprising amount of different outcomes. Some are more positive than others, but the developers seem to go out of their way to not proclaim any of them 'good' or other 'bad' endings. They are, again, just very organic conclusions to the actions you took. 'My' Sophie, for example, might not have had the most fulfilling job experience in the hotel, but at least she found love. Others might not, but might climb up the career ladder instead. Others might do neither, or both. But it's never the 'pick upper-right option for best outcome' kind of design. In terms of production values I think this is a beautiful example of what you can pull off when you align your goals with your financial means. Both the setting and protagonist choices are very clever in that regard, because as a cleaning lady on duty, you're not supposed to wander off (= smaller game world) while the guests are obviously all out and about (= fewer NPCs). It never feels arbitrarily restricted though, except maybe for a trolley blocking a way at a certain point. The way its cutscenes are shot, with fixed angles and little movement, is probably also a byproduct of its budget, but gives its cinematography a very classic movie feel. Through some strong art direction and good usage of colour this is a very attractive game I think that doesn't even want to punch above its weight class. It's only the rather stiff body and facial animations that can sometimes make scenes feel a bit lifeless, but the really good voice acting (English and French are done by the same Canadian voice actors) usually manages to make up for that. If I had to point out one thing I disliked it would be the somewhat fiddly interaction with items. There's no highlight feature à la Life is Strange, so you have to align your tiny cursor with the object and if the latter is something small, like a key, it's particularly easy to just miss it and mistake it for a non-interactable decor item and run around in circles until you desperately try again (personal anecdote). This is all a very roundabout way of me saying that I really enjoyed this. At about 5 hours for one playthrough it's both a nice palette cleanser but also a very fulfilling and interesting game in its own right. While the branching narrative will probably lead some players to replay it multiple times, I usually tend to stick with 'my' story in these games and move away after the credits roll. Though with its relatively compact playtime in mind I could see myself coming back to it maybe in a year or so. But very much recommended if you like narrative games and/or either one of those other titles I mentioned in the beginning.

Saw that this is getting sold for 15-20 bucks, so I decided to unwrap my full price release day copy and give it a go. Only played the first hour so far, which is the usual prologue/tutorial affair, pairing your player character up with her mentor while she explains both game features and a bit of the lore. I'm rather lost on the latter to be honest – the titular Unknown 9 are a group of knowledge keepers who fell victim to their own hubris or something, but the intro sequence only showed eight of them, so I predict a 'chosen one' plot twist at some point. The gameplay is probably best described as low-budget Last of Us/Uncharted hybrid without guns. You go through linear levels, do some easy-mode platforming and climbing and some areas are filled with enemy goons you then have to dispose of, either in hand-to-hand combat or stealth. The game seems to nudge you towards stealth, which I've been following so far. It's very by the books: tall grass makes you borderline invisible, you can take down enemies from behind, get a one-off chance to disappear again if you cross LOS. Where it tries to differentiate itself a little bit is through the player's supernatural powers, which allow her to use some sort of spirit world wallhack, affect pre-determined objects around the map or take control of an enemy for a short time, Geist-style. Conceptually it's all very cool, and I quite enjoy watching the takedown animation, which sees her pull out the soul of an enemy and knock it out, as she lacks the physical strength to do so with their material bodies. But in terms of how it plays you can tell that while this wants to align itself with the TLOU style, it only had a fraction of its budget to pull it off, and it shows (and feels). As mentioned, there's also combat, which seems more of a last resort if stealth should fail. So far it seems very basic, with one standard attack and one stronger attack activated by holding the same button. You can also use your special powers here, though, and there's a skill tree which I haven't looked at in detail yet, so maybe it'll be more open later on. So far I can see why this hasn't really lit the world on fire, because it's about as janky as your average Piranha Bytes game. Considering they went through the effort of hiring a proper actress for the main role (she's played by Anya Chalotra from the Witcher series), it's rather jarring how bad facial animations have turned out, with the protagonist in particular having severe dead-eye-syndrome. Visually it's also rather low-end and doesn't even run that well with a wonky 30fps target, though I might have to get back to this because I was playing it in its 'ready to play' state but not after the installation was fully complete. Didn't find any fidelity settings either, so I actually might have been playing the Xbox One build (speaking of: for such a small studio to be forced to build last-gen versions still is a bit nonsensical IMO). One really cool thing about this is its setting though. There's only so many dieselpunk games taking place in India out there and while I haven't seen too much of it yet, this might end up being its biggest strength. But yeah, really janky, low-budget stuff that was probably too ambitious for the amount of experience and money involved. I don't know if anyone here played Velvet Assassin on Xbox360 but it sort of reminds me of that game, in the sense that it's similarly janky and out-of-date compared to its contemporaries but wraps a stealth game into a somewhat unique package.

Somehow I was convinced radiofloyd played this when it came out in Japan and made a topic. I played it for about five hours over the weekend, which is roughly the length of the tutorial/prologue. Origins and VIII are the only Ys games I've played, so I'm not an expert on the matter. Chronologically this seems to take place almost at the very beginning of Adol's adventures (after 1 & 2 to be exact), but in classic fashion it's not really necessary to be aware of those other games. Characters hint at certain things early on, but it's very much self-contained otherwise. So in Nordics you end up in a very cartoonish, pop-culture version of northern Europe with Vikings Normans who have claimed the northern seas for their own. After some exposition and the game introducing major NPCs, stuff happens, magic happens, and you then sail around the archipelago with a young Norman princess, Karja, in tow. While the whole Norse/Viking theme has been a bit overdone in the west in recent years, it's nonetheless interesting and refreshing to see it through the anime/Japanese lens for a change. I'm definitely quite enjoying the setting, and Karja is a surprisingly likeable sidekick, a bit of a tsundere voiced in a very bratty tone, but with a reasonable side to her as well. I remember some people, myself included, being a bit disappointed when they announced it would only feature a party of two, but after experiencing the battle system for a bit I can see that any more would easily have overwhelmed the player. There's a couple of ways in which you can fight: the basic one is just running around as either Adol or Karja, attacking by yourself and letting the AI take over the other character. I find this relatively useful when engaging groups of smaller enemies, in a 'divide and conquer' kind of way, as the AI draws some aggro, too. While playing like that, however, you can always change to the other character by pressing a button, which happens instantly and also works mid-combo. There's not much use for that early on, but I can see maybe casting special attacks with longer durations and then immediately switching to keep the pressure on as an option when unlocked. There's a second Duo mode for combat which activates while holding the right trigger and it's here where it becomes a bit much to wrap your head around early on. In this mode, both characters are linked by a magic chain and can't move, but they can block and parry (with very forgiving timing) and attack in unison while also having access to a different set of special attacks fueled by their combined Mana pools (in a funny twist, you can also use these if one character can make up the cost with their mana bar in case the other doesn't have enough – no idea how the developers expect you to properly gauge all that mid fight while parrying and dodging). But all this is only the very baseline as the game keeps giving you tools upon tools in rather quick succession. Early on you unlock a grappling hook for traversal, but it can also be attached to enemies, you unlock launchers for air combos or a unique move activated by holding the attack button which lets Adol cast a burst of fire and Karja a pillar of ice, affecting certain elements in the area (plants, water etc.). And that's just the feature handed to you in the first 5 hours. I find it a bit overwhelming at the moment, but it's cool to see so much depth and potential – I did really liked VIII, but combat in that game mostly revolved around last-minute dodges and not much more. The other big part of the gameplay, outside the usual traversal and exploration, is naval combat, which I think is a first for the series. So far this feels like its weakest link, as the ship is rather unwieldy – but not in a physically realistic, but rather a 'that's an odd control scheme' kind of way. In the early game you have two options to attack, a long-range cannonball to slightly damage and stun ships, and a short-range barrage which does enormous amounts of damage. So you use A until you get close, use B to finish them off, rinse repeat. It does suggest a lot of upgrades to you ship which I'm hopeful will make these encounters more fun and engaging the further along you get, so I don't want to judge that aspect too harshly as of yet. It's not as immediately gripping as the ship combat in AC Black Flag for example though, just to set expectations. I'm playing it on Switch, and compared to VIII, which suffered from severe aliasing or IX with its wonky framerate (at least going by its demo), this feels like a more polished product all-around, with clean visuals and an almost rock-solid 30fps with good frame-timing. The downside of this is that a lot of objects and NPCs pop in very close to the character, which I'm not too bothered about, but not everyone is as forgiving. I suspect the PS5, or I guess even the PS4 version, to have none of these issues, but in any case there's a demo on every platform to check for yourself. As always, can't do screenshots on Switch anymore, so here's a Karja plushie:

Guess I might as well, even if ultimately nobody else is going to play this. A bit of backstory, this is the third game from Red Thread Games, Ragnar Tørnquist's studio, which he founded to conclude his Dreamfall saga (with Chapters) roughly a decade ago. Their previous game, Draugen, is IMO an overlooked gem in the 'walking simulator' genre, easily on par with the likes of The Vanishing of Ethan Carter and What remains of Edith Finch, so I might as well use these lines to recommed it. Dustborn started development shortly after Draugen's release five years ago, so for a double-A title that's quite a bit of a ride. I remember posting its first screenshots in a forum that got closed down in 2020, which feels like an eternity ago and predates all the Sweet Baby backlash internet assholes have been throwing at it. It takes place in a near future in the USA, or rather the SA, because united they are no more after the assassination attempt on Kennedy failed and took his wife's life instead, turning him into a cynical and bitter person who proclaimed half of the country a police state and left the other half to do as they please. The game is build around the idea of a road trip and you and your fellow travellers ride a bus from the west to the east coast, looking for some sort of safe haven where they plan on selling some valuable cargo. Fundamentally this is some kind of Life is Strange esque narrative adventure, in which you run around blocked-off areas to explore a bit and talk to people. It doesn't have 'person X will remember this', nor are your choices black and white. There's also no morality bar or something like that. Instead, your choices affect which one of three main personality traits of your companions will end up being the most pronounced. So if I keep using the brutish Sai to knock down walls and afterwards compliment her for doing so, she will slowly turn into a 'punch first, ask questions later' type. It's not a high-level examination of psychology, but an interesting take on this whole morality aspect I think. What it doesn't do well is the mise-en-scène of all these dialogues, because frankly there isn't any. It's people either standing or sitting around, looking at each other and talking, while you can spin the camera around a bit. This is most likely a budgetary constraint but it does drag it down - maybe it's a personal preference, but even very static over-shoulder dialogue sequence à la Dragon Age Origins would have been better than what they used here. Unfortunately the writing can be very hit and miss as well. There's one moment where you have to cleanse Echoes from people, which are remnants of misinformation-spreading propaganda thought bubbles influencing people in their line of thinking. At some point I noticed this must be some commentary on social media and then, not two minutes later, one of the characters just literally spelled it out. But there are some good moments as well and your crew, while not particularly likeable, is at least an interesting bunch. Oddly for a game in this style, Dustborn also has combat segments. It's super clunky and unpolished, but I can't deny that it can be some fun and is a nice diversion, especially as it amounts to, at best, 5 minutes every hour of playtime. There's basic attacks, dodges, parries, some special moves, team-up attacks. It's simple, but cute, though the lack of lock-on means you miss quite a few of your bat swings. Both in combat and during some dialogue scenes, you can also use the main character's Vox abilities, which is kind of this universe's X-gene and gives certain mutants Anomals special powers. In your case, that means controlling people with your voice, which can influence dialogue branches and, among other things, stop opponents in their tracks during combat. During the latter it's a pure gameplay system, but using it during dialogue sequences does have repercussions on your standing with teammates or how the story progresses. There's also a (surprisingly fun) rhythm minigame in there, as the cover under which the group travels is that of a band. And a sort-of ghost-hunting minigame (for the aforementioned Echoes) that unlocks new Vox powers. And maybe more, I don't know – I'm only about four hours in but the game just seems to throw random stuff at the wall in regular intervals. I've not fully formed an opinion on it yet. I think the first 90 minutes to two hours are almost excruciatingly boring as it just drops you into the narrative without much introduction (for that, you need to read a prologue comic from the main menu) in regards to what you've been doing prior to the title screen and why you should care. At a certain point it introduces a couple new characters from the protagonist's past, and then goes on a tangent with a bit of mystery stuff and I started enjoying it a lot more. Guess we'll see where it goes from here. On last note but I like the visual style. It's a clean, comic-style look somewhere between Borderlands and Sable, and chapters are introduced with fake comic book covers and such. Gives it a lot of personality the in-engine stuff not always manages to fully pull off in motion.

Let me start by saying I hate the Americanised spelling of the title. I'm just copying exactly what's there, though, so don't pull me up for it. Now let me follow up with what @Sly Reflex said for EDF 5... "If you've not enjoyed these games before, abandon thread now. There's no point in you wasting your time here. It's more of the same with tweaks, mostly good tweaks, but nothing that's going to convince you you want to spend time with the series." I've been playing this online co-op with Rosie (it was one of her free games the other week, so I'm like a pig in shit), and honestly, it's tons of fun. The story follows on directly from EDF5, and the invaders aren't happy about earth turning the tide in the last instalment, so they've amped it up to wipe out humanity altogether. I've currently only played as ranger - the default character - but there are a couple of tweaks that are fantastic for QoL. You now have a slot for a backpack weapon. This could be anything from a vehicle to a healing grenade, to regular grenades, to your very own turret. This is a great addition that means you're not completely fucked when the crowds become overwhelming and you're trying to reload. I've been using turrets a lot, just to try and thin the herds in harder levels. The turrets also have a decently large angle of fire, so they're not bad as anti-air solutions, either. D3 have added a visual indicator of damage. Great for the numbers people who like to try and figure out the hit points of any given enemy. I've not given it my full attention, but I do keep a side-eye on the numbers as they tick up and consider whether it's worth reloading or not. Lots of new enemies, as well as plenty of familiar stuff from 5. Off the top of my head, I think there are at least 8 new enemies. That brings it out to about 12-15 different enemy species, not including the kaiju or palette swaps of enemies. Some of the older enemies have been tweaked. There's a new variation on the jumping spiders, for example, that fires electric threads. So that's a new one to consider. I don't know if it's just because we're both playing ranger, or if it's because we suck, or if I've been carried more than I realise in 5, but this one FEELS harder, too. So much so, we've been playing on normal just to try and boost our armour and weapons before heading into hard/hardest/inferno. One of the big criticisms I've seen online is that some assets, maps and exact missions have been recycled into EDF6. Without delving too much into spoiler territory, this is true, but it's also done in a really smart way that feeds the narrative beautifully. Look, this is still B-Movie bullshit, but it's B-Movie bullshit that makes sense(ish). I've been all in on this series since 4.1, and I fully believe that if you didn't like it before, you won't like it now. It's still janky, it's still running on the same 20-year old engine the last few games have utilised, it still descends to single digit frame rates when shit kicks off, and enemies look like they're animated by the same guys that made Jason and the Argonauts when they're in the distance. However, if you've been on the fence, or unsure, or just haven't had much experience with it in the past, I think this is the one that's worth jumping in to. Don't expect much fun in single player. Get a mate or three and have an absolute blast in co-op. Honestly, I think the series has taken over my brain a little bit, because I'm currently playing this 4-5 nights a week with Rosie then dipping into 5 with Sly and a couple of people online each week on top. It's great fun, and if Helldivers 2 has ran its course for you, I think this is definitely worth taking a punt on. Maybe wait until it drops to £30, though. There's enough content to justify full price IMO, but it's far too samey level to level to drop £50-60 on.

I find myself needing to take breaks from FF7 Rebirth. What better then to play the last of the Classic Era I am the least familiar with? I played this originally with the PSOne collection many years ago now. The newest playthrough is via the Pixel Remaster. So let's get this out of the way. The story isn't the main focus of this one. This is a "four chosen heroes gather to protect the elemental crystals that power the world". I'm already two and half hours in and the story has been on the lighter side, so far. As is the tone. This is almost at odds with FF4 and FF6 that start strong on the story front. You play as four characters almost from the very beginning. So there is no real "main one" to focus on. So what is the main focus of this one? Job Classes. This is basically the last game to refine the job system that debuted in FF1. Here's the gimmick though: You level up your job class and past a certain cap. Unlock a skill IE use of White Magic that you can retain when transferring to another job. For example, when the job classes are first unlocked. I set one character as a Monk IE the physical powerhouse. A couple levels in, you unlock "Barehanded". A skill the grants other job classes the physical strength of a Monk, when unarmed. Therefore, that character is now a Black Mage. Who when the skill is set also happens to be one of the strongest attackers in the party. This opens up a lot of variety to each build and character. Magic is also done a bit differently in this. You don't "learn" a single spell. You buy them from a Magic shop. Now levelling up White and Black Mages grants higher levels of proficiency. The initial unlocked skill grants use of Level 1 White/Black Magic EG Cure, Fire etc This goes upto level 6. So it pays to have one of two of your characters set long term as a Mage. Blue Magic also returns. Which is weirdly done. Because you don't influence enemy attacks in anyway. You just have to wait and see if the enemy has something you can learn. You don't even gain the "Learn" ability until Blue Mage lvl 3. This is the kind of grinding that I find really relaxing. Especially with the speed up battle option.

A bit surprised this doesn't have a topic yet as I think the other games did have a few fans here. But then again I bought this on release and only now felt in the right mood to play it, so maybe it just came out at the wrong time. This immediately feels a lot more like 1 than 2, which is most likely a byproduct of it being made by Deck Nine (Before the Storm) who feel probably more comfortable reproducing what worked in the first place and a desire to, well, get back to what worked in the first place. Alex, the protagonist, is extremely approachable in an almost ironic way as she's a bit of introvert with a loaded background, so not unlike Max from the original. Setting the game in a small, rural area in some fictional part of an American mountain range gives it a very idyllic and soothing feel where standing around and rotating the camera is a joy in itself. A byproduct of this is that it also goes back to a fixed cast of NPCs with their own jobs, motivations, backgrounds and personalities. It is not without its faults – Alex' superpower is 'just there' and I find it baffling how the promo material spoiled this game's Aerith moment – but I felt right at home from the first minute. It's just a wonderfully cleansing experience, though it'll probably throw some existential angst in my direction soon (I'm only on chapter 2). One other thing I want to point out is that it looks phenomenal. The lighting, use of colours, the significantly improved facial animations all result in this not being the best-looking LiS title but a genuinely beautiful game even by other standards. It's also the first game in which I actually noticed Raytracing (which can be activated in Performance mode, too) when looking at the extremely realistic reflections on Alex' glasses. They look so good in fact that they almost clash with the slightly dreamy and soft art style. Playing this amidst the recent Square Enix news feels a bit bittersweet as well because I'm unfortunately not expecting them to finance another one of these anytime soon. So I'm definitely taking my time with it and enjoying the ride. Edit: Glasses

I wanted to play this from when it first came out, but refused to pay full price for a SpongeBob game in... 2023. Huh, I thought this was more than a year old. Anyway. It's a typical mascot platformer that seemed to breed and multiply in the PS2/Xbox/GameCube days, but brought to life with a glorious new-gen shine. I sound highly cynical, and to be honest, I am on this one. It's linear to a tee (definite positive), but you get a few little side quests that require a touch of exploration - collect a number of golden coins, find a specific character, discover golden spatulas. However, a lot of these extra bits and bobs are locked behind power-based gates. Things like a karate kick, or swinging on a fish hook, or a mega smash. What this means is that if I want to collect everything, it's not a one and done situation, but I essentially need to play the game twice. It's false padding. Anyway, how does it play, I (don't) hear you ask? Meh. It's serviceable. Jumps can be very awkward. Combat can be awkward. Skills can be unresponsive. However, despite all this meh-ness, there's still enough to keep me playing. I think this might be one of the first games I finish this year. Won't be getting 100%, though. Fuck that noise.

I'd never heard of this before, but it looked awful so I downloaded it for a laugh. Honestly, I haven't even gotten into the gameplay yet, but it's the most PS2-ass game I've ever seen in my life. It has boob jiggle, a la Dead or Alive (also apparently from some of that series' devs), and this is introduced in the first cutscene. The animation, even in the cinematics is janky, stunted, and exactly like you'd expect from an early 2000s title. If you'd told me this is a Remake or remaster from that gen, I wouldn't have been surprised. I hope this creeps into so bad its good territory.

I was pretty close to just bumping the old thread because man, is this Persona 3. I'm sure there are plenty that want a remake as faithful as this but I was more on the side of using the opportunity to take a second run at it and tighten it up a bit and improve some of the story of the game. There are quite a few changes to the dungeon crawling element, a lot of additions in presentation and mechanics such as the ability to pass a turn to another party member after hitting a weak spot which makes the game easier. But I was a bit disappointed with the AI party members since there are less tactics than the original and they don't use the new mechanics. Just for nostalgia's sake I tried to play it the old way but it's so not optimal. It just seems to be thoughtlessly added and it's clear they're really expecting people to play it with direct control of the party. I just always thought it was cool to be the leader of an autonomous group and it's just faster too. But oh well! Bosses haven't really been touched very much either, mechanically, despite those getting quite a bit better in later games is a big missed opportunity too. Other difference is it obviously looks better... actually, I dunno, it doesn't have the creepiness of the original to me, something to do with some of the colour grading maybe. Looking too clean isn't hitting quite right. More of the game is voice acted, I think it might be a little rewritten but I'd have to look at side by sides to be sure but it's mostly the same stuff happening and even acted out the same way. I'm not new to this game but I think to someone that is or is coming from Persona 5 it's still gonna feel like an older iteration despite the new coat of paint. It's still one of my favourite games, and I've barely stopped playing it but it's my fault, I did at one point dream of a game that felt like a sequel to P5 but with P3's story and it isn't that. It's P3 with some modern concessions.

Played roughly five hours of this over the weekend. It's very similar to the first game to the point where I was thinking of just hijacking that other topic, but I'll play by the rules. When I say similar, I mean that you play as the same character, in the same world, meeting up with the same NPCs. It's been too long for me to remember if the world is actually 1:1 or rather some sort of "remake", but I think it's the latter. The story is a bit weird (alien invasion, protagonist gets infected, mumbo jumbo) and there's absolutely zero explanation as to why he has to start from scratch again in terms of skills and abilities, which I actually found very charming in an unapologetic 'I'm sequel to videogame!' kind of way. The biggest difference to 1 so far is that you don't start off as a walking paper cutout. Sure, most of the enemies can and will kill you, but against mutated rats and insects you actually stand a chance. I see this as neither a good nor a bad thing. It's obviously designed in a way to be more approachable and short-term rewarding, but I actually enjoyed the feeling of being at the absolute bottom of the food chain in Elex 1 and having to rely on Quest XP to level up or companions to do the dirty work for you. But I realise just as many if not more people will prefer being able to swing a pipe and do actual damage from the first hour onward. There's a couple of cool little details I noticed about NPCs. For one, they use that Uncharted system where, if someone in your party gets interrupted during dialogue because a combat encounter happens, they actually finish their lines later when everything has settled. There was also one cool moment where I saw two NPCs talking to each other and I pressed the button to talk to one of them. She then said I shouldn't interrupt her, finished her discussion, and then went back to me to scold me before the actual dialogue branch started. I've actually never seen that in an RPG, or any game for that matter. It also negatively influenced my standing with her, as there's some invisible relationship thing with major NPCs going on, too. Of course this being a certified eurojankTM game, you have to accept that it's not a looker, that combat is still very wonky, and the unusual unpolished aspects that come with it. But I'm really enjoying it so far, particularly as I've always liked PB's dual progression system with skill points and trainer perks. Makes the whole thing a bit more tangible as it bypasses the illogical construct of the classic RPG fundamentals. Not that this is an issue in other games, but it's a design idea I find very clever. Sidenote, this is also their first game that runs almost flawlessly on console. Performance mode on Series X only ever drops a few frames in very busy village settings, otherwise it's rock solid. Definitely not a game for everyone, but I think shiny and dwarf and some others might enjoy this. I'm not sure if I'd recommend playing both Elex games and I'm not far enough into this to say which one is better. So far this seems a bit more streamlined, but I've also read that the mid- to endgame is inferior to the original -- guess I'll see, but so far, so good.

Ok, so I’m 2 hours into this. I’m an absolutely massive Yakuza/LAD fan. In over 40 years of gaming, this is by far my favourite franchise. The reviews for this have been universally high. Let’s get the bad stuff out of the way first: charging separately for the New Game+ mode, sucks. There’s an entire dungeon, and trophies/achievements locked away behind that. That’s pissed some people off, and I think understandably so. There’s also multiple Micro transactions, ranging in price from £5 for instant level up boosts, to £12/£15 for other stuff. I won’t be bothering with any of that, and so far, the game hasn’t been obnoxiously highlighting them. Right. I’m 2 hours in, and it’s pretty much just been cut scenes. Which is pretty typical for a LAD game. That being said, I’ve already noticed two improvements that have been made to the combat system. You can manually control the movement of each character before making a move, making it much easier to pick up items to hit enemies with. One of the more annoying elements of the previous game, was that if you bumped into another enemy in the middle of your attack, their was a good chance they’d hit you, and cancel your move. That’s been scrapped entirely, thank god. There’s no difficulty options. When I watched the IGN video review, they specifically mentioned how annoying the difficulty spikes became about halfway through LAD. That was what made me eventually give up on my PS4 playthrough, and I found challenging to get through when I eventually finished it on PS5 last December. The reviewer said that there’s none of that difficultly spike nonsense in IW. Hopefully, he’s right… In terms of story, there’s no “Previously on LAD” to catch up newcomers to the story. Most games in the series have optional “movies” to watch, which explain what’s happened before. There’s none of that here. So if IW is your first time to the series, I’d suggest watching a video of at least what happened in the last LAD game. I won’t spoil what’s happened so far. But, I will say, it’s been an absolute joy seeing Ichiban and his friends again. Kiryu is my favourite character in all of gaming, but Ichiban is quickly becoming a firm favourite too. He’s likeable, charismatic, and amusing. Whereas in LAD: Gaiden, you had to wait a few weeks for the English dub to become available, here it’s available right from the start. I played LAD in English, and had no issue with doing so. So, I’ve chosen the English dub for this. There’s been a lot of hate thrown at Jong Jea, the YouTuber chosen to portray Kiryu. I’ll reserve judgement for his full performance. The footage of Kiryu doing karaoke that leaked a few weeks ago was legitimately awful, autotuned to buggery. But, I’ll give him a fair chance. What I can say though, is I’m very dubious about his ability to pull it off. Kiryu is a legend approaching the end of his “career”. From the lines leaked previously, he sounds far too young. Still, I won’t write him off just yet. Im away on holiday for a week after today, so won’t get to play much more. But once I’m back, this will be getting my full attention.

Its a game where you drive a train. Got this recently on switch, was previously sort of interested in trying the ps4 version, which supports VR so thats cool, but didnt get round to it. And sort of though i might find playing it really boring. Not really sure where my interest in this came from, saw some youtube videos on it and wanted to try it. have been enjoying it, its not the most amazingly exciting thing ever, struggle to explain why im enjoying it but think it helps that its something a bit different and new, to me anyway - thats what i was thinking after the first few missions. Later i got to the 3rd set of missions which are much more involved, with more speed check areas where they try and catch you out like by putting a high speed limit check just before a stop or reduced speed limit, its much more action packed, been really enjoying this set of missions. the main thing to do in the game is stop at the right position at the next station, this is worth the most points etc, and im rubbish at it. But im quite good at doing the extra stuff like arriving on time, dimming lights for other trains, and beeping and pointing at all sorts of stuff. Theres a point button. As in finger pointing. Apparently train drivers are supposed to point at things (and say a catchphrase) to keep them more engaged and stop them from falling asleep or something. i think it helps that this is more arcady than a full on train sim, and the line choice of the tokyo ring road (yamanote line) so has loads of stops and scenery and stuff to do. There never seems to be more than 2 mins between stops. anyone else played one of these? i could find a useful video explaining it better or something but heres this instead

First "new" game of 2024! (Technically, I've had the twin-pack of this and T7 sitting on my shelf for ..a while) NOTE: I did look to see if this had a Thread already. But aside from a News Thread. Only saw pages for the older SC's titles. Anyway, I've started this up with Libra of Soul. Haven't even touched Story/Arcade modes yet. Immediately, I'm hit by how much lower budget this than previous titles. The previously bombastic opening cinematic that this series has been known for since Soul Blade? Not present?? Now regardless of otherwise decent gameplay, SCV was a clusterfuck that nixed the series. But purely from this secondary mode, I'm unsure why we are immediately back at SC1 in terms of the narrative. Hopefully this will be explained in the story mode? Although basically the traditional Edgemaster Mode by another name. It starts with character creation. Which I haven't liked since this series got it in SC3. But modern gamers loves this shite so whatever. A brief look, turned into an hour play session. My character (Zark VI, naturally) adopted the Siegfried weapon style. There was no rust this time. Muscle memory kicked in with the first battle. Admittedly for the specific challenge missions (Critical Edge only etc) I did have to look up the buttons. But the general move set was with me from the offset. When thinking about it, the last SC game I played (SCV) would be 12 years old at the end of this month. So I was surprised by the moves and combo strings I could pull off. It's definitely ticking the familiar boxes for me so far. Eager to get back to the next session.

A Space for the Unbound is an adventure game set in Indonesia in the 1980s. It’s about a couple of high school students but there are magical elements to it too, which gives it the atmosphere of something like a Studio Ghibli or Makoto Shinkai film. I’m impressed with it so far. If nothing else, l would love to see a Final Fantasy game made in this style.

Started this earlier (didn't try the demo earlier in the year) played for around 2.5/3 hours. Not sure what to think of it yet, it OK to play I guess... definitely not as tight as Elden Ring, there's been a few times where it's seemed like the buttons were a tad unresponsive... and I've also been stun locked which is very annoying. Looks wise it could quite easily be a sequel to Bloodborne... it's very similar. Looks pretty decent though, nice and sharp... I'm playing in quality mode but I have no idea what that does to resolution and framerate in this though. Like most Soulsborne games I'm feeling a little lost at the moment tbh... what with the amount of random items I'm picking up and the amount combat notes being thrown my way... we'll see how far I make it in this as I've read it's fairly difficult and unlike Elden Ring I can't ride on the coat tails of better players so don't be too surprised if my next post on the game is in the "Sacked that off mate" thread.😂

FromSoft isn't messing around! Giant Mech✔️ Missile launcher✔️ Big gun✔️ Laser sword✔️ Jet propelled agility✔️ ..And go! This isn't Metroid however, this is your standard tool kit. Master it quickly. You get about the first couple minutes to introduce you to the controls. Then, you're on your own. Free to roam and battle as you wish. Your first objective has four markers, to be approached in any order. Naturally there is a lot of distance between each and From is quick to demonstrate that the enemies have the advantage. This is their base, you are the intruder. Be prepared to fight waves around any given corner. Some nice little Codec-like voices are your only warning the enemy has spotted you. The controls have come a long way since early AC's. After only an hour or so, I get what they were saying about taking what they've learned from Souls (more from Sekiro, really) and applying it to AC. Combat is fluid, reactionary and fast-paced. It all feels really intuitive, however. I imagine the first boss will be a rude awakening to any new to AC. I died a handful of times. But, this isn't Souls. This ain't no Vanguard either. I didn't defeat the boss by learning it's patterns, tells and counteracting them. No, I beat the boss by making the most of my own abilities. Your handler gives you one hint to dodge a specific attack. But it's more important than it seems. I mentioned Sekiro before, because you have the same meter system to the boss fights. Get the bar into the red with sustained damage and not only does this put the boss in a stunned state. But they take more damage too. Be careful that it does work both ways. Not to mention the cooldown to all your weapons and dodge/agility capabilities. This is all demonstrated in the first boss fight. When I "got it", I smashed the boss quite easily. I didn't get long to play today and likely even less time tomorrow. But just from the opening mission, I'm very impressed.

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I've played a few hours of this and I think I get it enough for some early impressions. It looks kinda out there but it also sticks to a lineage of Hero Shooters for the most part. There are 10 classes to choose from: 4 damage dealers, 3 tanks and 3 support. But one of each are unlocked as you rank up (or available from the start if you pay more (yes, there's a bunch of this malarkey, battle pass etc. 😐 )). So how a general game plays out is you pick a class, anyone can be any, it doesn't force anyone into a certain one but I can't see a lot of success in not having someone be one of each. There's 5 people on a team but you are also pitted against another team who is racing you to different parts of the map to dispose of these dinosaurs that are falling out of portals (I'll get to that). You don't interact with the other team, they're ghosts you're competing with in the first round. The second round it changes to something a little different. There's different modes it might change to but most of my games it became a payload pushing mode. Standing next to it will move it and you have to protect it from the dinos. But your opponents are on the map with you, pushing their own payload and it's here there is some decision making. You can go and attack them but your payload is less protected. Though they do meet in the middle so conflict will happen. Another little trick you have is once a match you'll have the ability to summon and control a dinosaur used to go and make the opposing teams life a problem. It's very clunky to use and quite easy to waste if you're not careful but it can be a tide turner. I'm not gonna say too much about the classes because it's one of those cases where if you've played Overwatch you know the deal. They're mixed up a bit but it's generally a familiar feeling game in this regard. What's interesting, in a way, is despite this ridiculous premise of fighting hoards of dinosaurs in a futuristic city is it does try and contextualise all this with an ongoing plot. You and your team crash land on an island where a chaotic AI is sending people back in time at the point when dinos appeared out of portals and destroyed the city (though at first they think it's a simulation). The AI is then analysing combat data and for what reason? I dunno yet. It trickles this out as you play since your team are analysing as well, to figure out what the hell is going on. I appreciate the commitment to the bit but it does lead to a problem of the game feeling too same-y since you're always in a similar urban area and there isn't much using the environment since it's a very grounded game and pretty close quarters. Add some spongy dinos to that and you end up in situations that feel really limiting. I guess it does feel like a game from a few generations ago. Its been making me think of Monday Night Combat, which is a game I've not thought about since then. That time early in the 360 gen where you had all these shooters with hoard modes. So I've been getting a nostalgic feeling I didn't expect but I don't think it's the kinda game I want to play to the extent it clearly wants me to. It's charming, and I generally enjoy it but... some multiplayer games don't get a playerbase when I can't help but think they should have. I don't think this is that. But this is just after a few hours. Maybe something will click and I'll see something special but it's not obvious from the jump, which you really need in a multiplayer game.

After falling off Final Fantasy XVI last weekend I've been putting a fair amount of time in to this over the last week or so... for the most part I'm enjoying it a lot. I'm not entirely sure what you'd class this as, real time strategy?... the only game I've played that's remotely close to it is Gears Tactics which was turn based this occurs in real time and only slows (or pauses if like me you prefer it that way and change it in the options) when you use skills. Other than that the marines will engage when spotted entirely on their own. I'm playing on normal and the game certainly isn't a push over... so much so that engaging the aliens should pretty much be avoided if possible and trying to be as stealthy as possible is the preferred method of advancing through levels. There's a lot of spinning plates to juggle in regards to the marines themselves ammo count, tools (for welding doors shut and unlocking encrypted doors), first aid kits and stress levels which can give you negative traits if they get too high. Marines can be wounded and require medical treatment which results in lost days, same with the negative traits these can be removed in the medical center but also cost days. This wasn't a problem in the early game but come mission 6 there's a kill clock introduced and a 25 day countdown to nuclear containment protocol... so that sucks. It looks fairly nice and the sound is great with all of the noise you'd expect... pulse rifles and smart guns sound spot on. Some of the marine sound bites play a little too often for their own good though. Unfortunately the games a little buggy at the moment too, to the point where the X button sometimes stops working altogether in-between missions (thankfully hasn't happened mid-mission yet) and sometimes the elevator prompts straight up don't work... quitting out and reloading generally fixes these though. Not my usual gaming fare but I'm glad I've given it a try... just hope I don't get sterilised via nuclear explosion...😂

Bought this a while ago and finally found myself in the right mood to play it this last week. The synopsis for this is rather short: you play as Meredith, who travels to a fictional area in Oakland to simultaneously get away from her job for two weeks and step in for her father who's the local postman. In gameplay terms this means that you drive around and deliver letters and parcels, occasionally getting dragged into a discussion by the townsfolk who you can open up to and build relationships, of either the pragmatic, platonic or romantic nature. The way you handle these interactions does have consequences, but we're not talking Mass Effect here. There are no twists and turns and everything you do either results in people being friendly to you or not. It's a snapshot into a common, unremarkable life, not a blockbuster life-saving adventure. It's hard to talk about this without making it sound boring, but there is something in its monotonous parcel delivery gameplay that helped me unwind and refocus. I'm not going into too much detail about this in a topic about a game, but it did nudge me a little in a certain direction I've been thinking about recently in terms of where I am and what I'm doing with my life. It very subtly deals with issues like midlife crisis and burnout without ever mentioning either of these words. And some themes can hit close to home, depending on your circumstances – Meredith's boss calling her almost every other evening despite her being on vacation really rubbed me the wrong way, but for all the right (read: authenticity, believability) reasons. There are multiple themes like this spread across all those little interactions, from leaving old friends behind in search of personal fulfilment or even making new ones by discovering the next chapter in your life. I might be overselling the game a bit here, but playing it is less about the things happening on screen but more about those that it might kickstart outside of it. That's not to say it's a chore to play. The mail delivery part is roughly a third of what you do per day, with dialogue et al taking more space. It's here the game is at its best, even though it's hardly Shakespearean or anything. In fact, a lot of characters are somewhat stereotypical, but they are grounded enough to be believable and imperfect enough to be likeable. As mentioned earlier, your choices influence relationships and there are multiple endings to the game as well. It also doesn't overstay its welcome with its roughly 9 hour playtime – I played two "ingame days" per day for a week which felt like a good mixture. I don't think this is a game you should (or would) run through in one setting. Being an indie title, there's of course some compromises to be made here. Animations are very limited (the screen fades to black when entering/leaving a vehicle). Facial animations are barely non-existent. The visuals can look sublime in one instance, for instance when you see the sun shine through the leaves, but absolutely horrendous in other moments. But none of this really detracts from the experience. The voice acting, for example, is surprisingly strong, and easily bypasses the slight problems in terms of facial animations. There was one bigger point of critique that started taking shape in my head as I went on and that is the almost romantic portrayal of mail delivery services, which I know, both from discussions in my life and from reports of our local postman @OCH, is far from the truth. Thankfully, the developers do acknowledge this with a note in the credits, which I find really heartwarming and sensible. It's a difficult game to recommend. For me it was one of the most impactful titles I've played this year, someone else might just find it slow and boring. The surprising amount of positive reviews on the Xbox Store seems to indicate that it resonated with a lot of people though. I think it's still on offer at the moment, at least on Xbox. If not, it's on Gamepass IIRC (not anymore) and if just one line of this text block didn't strike you as boring I'd say give it a shot.

Put about 30 hours into this so far. For the most part, it’s pretty good. I’m no expert in this series, I finished (and really enjoyed) Diablo 3 on PS4. I tried the Remaster of 2, but it played like arse so I soon gave up. I’ve gone with Barbarian, as I always enjoy being the “tank”, dealing out massive damage while taking a fair bit myself. The skill tree for each class is quite large, but also forgiving. If you don’t like a particular ability, it costs a minimal amount of cash to refund an ability, so you can try something else. One thing i will say, is the game isn’t great at explaining what things are, or what they do. Some skills/abilities use/give ‘Thorns’. I had to turn to google/YouTube to figure out what the fuck they are. Some treasure chests require a specific kind of key. Google/YouTube to the rescue again. There’s a fair bit the game just simply doesn’t tell you, and there’s no tutorial list/lore book that makes that kind of thing easier to find. Performance wise, it’s relatively stable. During the beta, the queue times to get into a game could be astronomical. I’ve not had an issue getting into a game, it usually takes less than a minute. What has been an issue, is constant crashing. Every now and then, I can be about to check the map, spend an ability point, trade in some gear. And the game just freezes completely. Resulting in having to shut the game down entirely, and reload it. On PS5, that takes less than a couple of minutes. And it frequently auto saves, so it’s not like I’ve lost tons of progress. But still, it can be annoying. Some sessions it doesn’t happen at all. Other times, it can crash 3/4 times in a couple of hours. Not sure if it’s just a PS5 issue specifically. But hopefully it gets fixed. Now, onto micro transactions, everyone’s favourite. The mobile version was plagued with absolutely shitloads of them. Thankfully, that’s not the case here. There’s the option of paying real money to unlock character specific gear. But you get plenty of stuff chucked at you without having to resort to that. The seasonal Battlepass hasn’t started yet, that’s apparently in July. For which you have to make a new character if you want to unlock all the stuff in it. Doubt I’ll bother doing that constantly, but I’ll probably run a Necromancer/Sorcerer for my next character. Haven’t finished the campaign yet, but think I’m not far off, I’m on Act 4. Oh, and you don’t unlock a horse until the start of Act 4, which takes quite a while.

The very king of fighting games is back, and I'm head over heels with the little beauty. It looks and plays incredible. So much detail and so fluid in motion. I know I'll be posting in this thread in five years time, although tbf, probably as the avid spectator to online tournaments that I've been for 10 years by now. Truth is I've never been able to play the thing to any degree of competence, I just like watching other people do it. Having said that I've decided to do something I've never done when (trying) to play it. I'm going to go with grapplers. Maybe slowing things down a bit for myself might be more appropriate for my age - (advanced)!