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I'm cheating a bit here because I only played the demo, but this came and went without any kind of exposure but I think it might interest some people here. It's cheap to compare a game to others in an effort of explaining it but I like doing it because it's also quick and easy to get the message across – so this is basically the indie baby of classic Resident Evil and Killer7. At least as far as its gameplay foundations are concerned, the overall tone and setting is somewhere between SMT and Paradise Killer with very weird, supernatural characters that float somewhere between being human and godlike entities. You're playing as some normie girl working a boring late-shift job but suddenly stuff happens and you receive the boon of being able to perceive an alternate dimension where demons live. Gameplay is presented from a bird's eye view reminiscent of the aforementioned RE classics (there's even an option to toggle between direct and tank controls) and mostly consists of figuring out classic adventure puzzles. An early example is that you come across a computer that doesn't have a keyboard attached and is locked, so you need to find a keyboard and a passcode. It's basic, but it works in the sense that it shuffles you through its claustrophobic levels to force you to combat the demons. Combat then is where it morphs into Killer7 because holding the trigger to ready your weapon switches to first person while activating your demon-sensing ability highlights weak points on enemies. Smaller enemies die from one critical attack (melee or ranged are available), bigger ones might need multiple shots. Landing multiple of those critical hits in succession fills up a special gauge for a an extremely powerful shot that discards any normal enemy and is necessary to defeat bosses (at least as far as I can tell – there's only one boss in the demo). You can also attack enemies 'normally', ie. without first scanning for their weak points, but it's suboptimal and kind of a waste of ammo. The risk-reward here is that your scan has rather short range, so while enemies are easier to dispatch, they're also more likely to counterattack. I quite liked the demo, just quickly glanced at metacritic and it's around the 80% mark, so it seems the full version is pretty good. Might pick this up sometime this year. Quick note as well, despite the RE inspirations I wouldn't call this a horror game, it's more of a surreal, slightly spooky atmosphere it conjures.
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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.
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I've got 4 hours in on this since launch, including an unusual day session today because I've (half) blagged the wife that I'm feeling under the weather and need to take it easy for a busy weekend's work.🤧😃. Will look to get to level 5 tonight. I'm really liking it. It's looking and playing really well on PC, with a saturated graphical style similar to the Outer Worlds, but very much refined. It's very early, and I don't want to end up with egg on my face by over-enthusing, but it's far better than I was actually expecting. What I want from an open world RPG is, just now and then, to happen upon an NPC just through exploration, who draws you into a quest that branches into numerous paths and lasts for ages, offering lore and moral dilemmas along the way. That's happened already. Great. But it happened rather early in Starfield, and never happed again. So, here's hoping. I'm working on a one handed shield bearer on this first play thru. I've heard there are easier builds, but the combat is so fast, brutal and well put together that I'm having a whale of a time. I'd say it's one of the best first person mêlée games I've ever experienced. You're character really does what you want her to, and you know instantly if you've run out of steam in a fight, with a very well put together UI for things like stamina and special move cooldowns. I'm loving it up to now.
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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.
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I bloody love this weird little game. Thanks for listening. Seriously though I’m obsessed with the multiplayer, specifically ‘No Cross’. I only dabbled with it previously but for some reason I’m absolutely hooked this time round. Basically it’s 10v10 (or so) on a largish map. The middle of the map is a wide inaccessible gauge and on each side there are various buildings, huts, vehicles and such. Some high points, some low. So you’re forced to use sniper rifles and your binoculars to spot people on the other side. After 10 minutes you swap sides. As you can imagine it’s really slow paced with dollops of tension. I’m pretty poor at it tbh but I have a blast every game regardless of how well I’m doing or if I’m on the winning side or not. Seeing a glint of someone’s scope that gives away their location and doing your best to take them down is exhilarating as fuck. The campaign I have played some of but not much. It is as great as the others in the series and the invasion mechanic works brilliantly and adds so much more to it. Getting invaded proper puts you on edge. Playing as the invader too is remarkable. You feel like a right cheeky cunt sneaking around and ruining someone’s day. It doesn’t ruin their campaign tho and when they die they can either start at last save or before the invasion and of course being invaded can be turned off completely. The only mad thing here is the lack of maps. ‘No Cross’ literally has only one map. Don’t get me wrong it’s pretty perfect for the game type but it is a bit odd to release with only one map. Anyway if you have gamepass I highly recommend No Cross or the invading part. Excellent experiences.
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The writing is great, it looks wonderful but I’m stuck on the first dice game to get the ring to feed mutt 😭 I just don’t understand the bloody game despite all of its instructions. My dog is hungry I must work it out! Stop saying I’m bust!
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What I'm about to say here is either going to reaffirm why you want to play this, or it's going to reaffirm why you don't. There's no in between, and it's because, at the root of it, Dynasty Warriors is much like war - it never changes. You still slash, stab, swipe and scream your way through hundreds, if not thousands of enemies on any given level. You still play out the Yellow Turban war. You still run into Lu Bu, Cao Cao, and all the other DW staples that have been a part of the series since at least the second entry. All of these things are entirely unsurprising. What is surprising, at least to me, is the way this is all presented. Instead of picking a war general and playing (insert number) levels, then picking a new one and doing it again, you play as The Wanderer - a nameless grunt who fights with and against the different characters from Romance of The Three Kingdoms. This is good. It gives you more choice over weapons. You have control over your special moves. You can pour points into upgrading skills and strengths. In a small but effective way, it shakes up the Dynasty Warriors formula. Is it deep? God no. Does it make a difference to your motives? Weirdly, yes. The gameplay loop is presented differently here, too. Like I said, the set up used to be choosing a character, playing the story, then picking a new one and doing it again. Dynasty Warriors 9 tried to mess with this and introduced an open world aspect, but it was TOO open world and felt fucking awful. This game drops you into an overworld, Final Fantasy-style, and has you traipsing from village to village. Small fights will appear from time to time, where you drop into a small cut-out section of a level and need to fight 400 enemies, or a couple of generals, or whatever else. Once done, you'll go back to the overworld and continue your business. You then have medium-scale battles - same again but with a bigger section. Finally, you have the big ass battles. The ones we've been seeing since DW2 on PS2. These come with battle prep, information on win and loss conditions, and all the other stuff we know and love. Each village on the overworld has an inn, where you can read letters, pick up bonuses, or create gems to pour into your stats. You can also mess with your moveset and weapons here. Like I said, none of this is a massive change from what the series has done in the past, but the QoL improvements have made it an exponentially more enjoyable experience than these games have been in years. The small battles for example, there's barely any loading going from the overworld to the fight. It means it's worth taking the small detour to get into a kick off, because you don't wait around too much. I've just got access to a horse, so running around the overworld is quicker now, too. Honestly, if you have a passing interest in this series, give it a go, but only once it goes on sale. I got it free, and I know I'd have felt ripped off paying full price for such a basic, PS2-era feel. If you're not into the hack and slash these games have always offered, there's literally nothing here that's gonna convince you otherwise.
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Randomly decided to fire this up yesterday, maybe finally a topic other people will join in at some point. Anyway, after a solid 40 minutes in the character creator, which is simultaneously very good but also oddly lacking in some areas, I went through the tutorial area they showed in that gameplay clip a few months ago and then did the first proper mission afterwards. Decided to play an elven mage which resulted in a couple of not-important lines during dialogue so far, so I guess the times during which elves were this universe's slaves are over. Combat wise the mage can choose between flinging ranged attacks from a staff or using a magically infused short sword in close combat, in addition to your usual skills you unlock via (a very convoluted) skill tree. My mana pool is very low at the moment so I can barely use those right now, so I hope that changes, because the basic stuff feels a bit dull I think. Not bad, but ... pedestrian? But then again I've barely started and haven't really used the command wheel for my party members either, so I'm not going to judge it on that front yet. Visually this is probably the most impressive game I've played all year and a far cry from BioWare's usual output and an excellent showcase for Frostbite. I'm playing performance mode and it's basically a flawless visual experience, really smooth, really clear, barely any noticeable pop-ins or other distracting graphical scratches and such, while also maintaining all the visual flourishes you'd expect from a current-gen AAA product. I only very briefly switched over to quality but didn't see any noteworthy improvements that would warrant the more sluggish framerate. Annoyingly, while there are a ton of accessibility options, you can't turn of the quest marker for the main quest, so you permanently have some weird snowflake on the screen. Hopefully they patch that out before I'm done with it. The only other gripe I have with its visual presentation is the artstyle, or rather character proportions, as everyone's head is simply too big. We're used to this for dwarven races, but it looks really weird on slim builds like elven characters. But I do enjoy the overall experience so far. Feels good to play a high-end RPG again, even if this falls into a very streamlined action RPG territory that's very far removed from its Origins, eh, origins. Very linear so far, more reminiscent of the earlier games than Inquisition in that sense. So far I like that aspect but that might shift after a couple of hours.
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I got my first match nerves out of the way so I'll start the thread up, but also as a way to encourage others to download it 👀. I ran online with Luna Snow, I think her name is. Did 2 matches and won both 2-0 (best of 3). Chucks healing ice at people and wears booty shorts. I think I did reasonably well with 0 experience in the genre and no idea of how to strategise. I just chucked ice at things if they looked like they were dying, if I even noticed them, and other healers did the same for me. In the second match I did here it looked like there was one Wolverine who clearly got the memo "kill the fucking healers first". Brains and brawn that guy Seems fun but chaotic and hard to get a handle of the UI you're supposed to be looking at. Luna has a move on the shift key which increases her DPS and HPS, I think. She has a move on right click which delivers a freeze on a target and heals her, so that's her self sustain. Her ultimate gives HPS and DPS depending on pressing Q to toggle. E is a sort of tethered heal between you and another character, to give them a passive defensive buff. Very straightforward with Luna, easy to get to grips with in a game that's sort of overwhelming. Healers have always been my preference. That said I don't think she'll be a long term pick, once I get comfortable. I'm interested in the more complicated ones eventually, and I'd like to try a tank as well so I have an alt if the strat role is taken, leaning towards Steven Strange because he's voiced by Grimoire Weiss and thinks with portals, so his match chatter actually sounds good I've also played Cloak and Dagger, who's harder to heal with but the stance swap thing seems interesting. Can't quite figure out the shadow powers, apparently they blind and hide people but I feel like I have to be on the receiving end of this in a match first before I even know what this means and how it impacts strategy. You can shoot a rectangle line AOE heal at people and a little healing bubble which if FFXIV has taught me anything, fucking nobody will be standing in that thing Anyway two people on the first match had 0 percent accuracy on some rounds, it was hard and I was sad. But I got MVP in my 2nd match with her tho, maybe she's cool I'm liking what I'm seeing with Iron Fist, for DPS. He has a defensive stance which procs a stinger attack and can triple jump, all his attacks reduce the cooldown of his defense stance. He also has self sustain with E. He's really agile, just seems like the goto for that role and I don't think I'll be changing my mind
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The Half Life 2 documentary made me start up a new save on that game, but then I decided why not play the original. I've played it before but it was on PS2, which has huge auto aim and kinda comes from a point in time where this genre wasn't well served at all on console (arguably, I'd still say this is the case, but PS2 was so much worse). I put it on hard mode, cause I beat Doom Eternal like that so surely I'll be fine. Anyway this game is a dick, it comes from a school of design that feels so odd to return to cause it's really unfair but also that is the point. Not in a Dark Souls way, it's more like it's trying to be an action horror comedy or something. Black Mesa is out to kill Gordon all the time, walk down a hallway and shit is blowing up. They hide things out of sight and then jump you with vortigaunts on both sides and you die. You quick save a lot. There's a lot of 'ffs, how was I supposed to know the platform would crumble beneath me into a room of headcrabs for guaranteed damage or that the elevator would break and drown me in radioactive piss'. But you just continue on anyway I think it's cool though cause it makes Black Mesa feel so dangerous. It helps an old game like this still feel immersive cause the place is trying to fucking kill you all the time, whether it's the extra terrestrials you imported via the bit of cheese you pushed into the laser or cause of the facility's in built security systems. Sometimes when talking about stuff that's old and influential it's easy to file it away as 'important, but not worth going back to'. But a lot of the time the reason that something is influential is cause it was super fucking good and that quality isn't always something which fades over time, even as other things build upon it. The approach to set pieces in Half Life is a lot purer than modern games cause it's always happening around you and you are always in control, you have to react to what's going on and adapt. It doesn't feel like it's awkwardly pausing the bit where you play the game for an interactive cutscene or anything like that. The way it combines combat, exploration, platforming, environment hazards, horror, it reminds me of RE4 in how it constantly introduces new gimmicks and knows when to retire them just in time for something new and fresh. Constant forward progression that always feels satisfying It also still plays really well, far faster than Half Life 2 and a billion times faster than Alyx. I think once they started fucking around with physics in 2 it slowed the pace of gameplay by like a third, at least. Became more about interactivity and puzzling than run and gun violence and explosions. I like how you have to chuck grenades into unknown areas to smoke out enemies, it's more a strategic weapon than it is a damaging one cause of the potential to get sucked punched by some bullshit you don't see. The trap mines are also fun to play with. I'm at the Surface Tension level and will probably beat it over the weekend, then onto HL2. I'll have to play Portal 2 at some point cause that's one I've never completed on any platform. I do remember the final chapter or two being a pile of shit on PS2 so I hopefully it's less of a hassle here, probably not.
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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:
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That is '1000 times resist', according to one of the creators I think. I put this on hiatus a week or so back, but wanted to write down my thoughts on the first half anyway. I think some of us have this on our backlog It is a sort of 'walking sim' type deal set in a very Yoko Taro-coded version of the future. A mass extinction event occurred, aliens invaded and spread a virus. The game jumps back and forth through time via a sort of memory technology called 'communion'. You're playing as this character called 'Watcher' and you live in this enclosed, somewhat infantilised sisterhood where everyone's names is their role. Nobody can ever take off their mask. There's a sort of COVID allegory to some of it, but also as the name suggests there's a theme of resistance and cycles which gets into slightly more interesting real world allegories, which I'll leave out here but they're mentioned in reviews if you're curious. Put in simple terms, it's an interesting sci fi story with lots of overlapping layers that develop its themes in interesting ways and are successful at generating empathy for their characters. Playing the game is a real struggle though, which is why I put it on break. You just talk to people in it, and you navigate these really confusing environments. It all sort of looks a bit like a second life level, or a custom map from VR chat or something like that. In a way the aesthetic is kinda refreshing or maybe nostalgic if you've ever played F2P MMOs from the noughties or something. The game does find some neat tricks with perspective, how it changes camera angles from third person free form to first person to fixed angles, trying to inject things with a cinematic flair. But it is a bit like doing the fetch quests in FFXIV or FFXVI and having being a bit traumatised by that design it makes it very hard to recommend. You'll see a few articles on some gaming sites praising the story, like massive praise calling it the greatest of all time. I'm not on that level with it, but I do think it's doing something interesting but in a way that's kind of draining to interact with, personally speaking. So I'm very mixed on it, but I'll probably try to see through the second half over Christmas. It seems like the kind of story where you can take an intermission cause of how it's structured
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I thought there might be a thread for this, but there isn't. So I'll be the one to make one for the weird indie game Premise is you've got 50 games which are emulative of the style of 8bit to early 16bit era, all released by this fake company called 'Ufosoft' which shut down in the 90s. Games which are dungeon explorers, side scrolling beat em ups, weird puzzlers where you're a chameleon blending into tiles, a kinda horse betting game. Game where you hop around platforms kicking soccerballs at things. A platformer all about suiciding yourself. Apparently there's a full 20 hour classic FF style turn based RPG in there, and an Ultima style first person dungeon crawler. Lots of weird shit The games are hard. You have to actually learn them, it ain't Warioware. Naturally, as an impatient person, I'm full of salt and rage at some of it. But it is interesting, the games get more sophisticated and better to control over the 'years'. Eg, pick up the final game they released, Cyber Owls, which is a beat-em-up that 'released' in 1989, and compare it to Fist Hell from 1987. Similar mechanics but more intuitive movement and faster gameplay. Also some of the games have couch multiplayer. Some of the games are good, some seem crap though like the weird egg dungeon crawler at the beginning where they kill you for walking right. I don't have much history with this era of gaming but it's been talked up a whole lot this year so after enjoying Balatro so much that it's potential GOTY for me I thought I'd try to expand my horizons on here. So maybe I bump this later way more keen on it, or someone else might find it interesting. I did find this one potentially interesting title, Bug Hunter (1984), which is this strategic kinda turn based bomberman game you see below where you have to kill bugs. I think the idea is to find your niche and get comfortable with a few familiar games first before branching out into the more scary ones (which for me, are platformers. Fuck man, great way to get me tilted 😠) Very original idea for a game, but fuck I bet it took a shitload of work to get 50 of them. Some are a bit more throaway like the camoflague gecko game though so maybe there's some sensible overlap that they achieve when implementing them This seems to just be Windows currently, but you could probably play it on any old machine. Definitely expect to see it on Switch eventually
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I picked up the early access version of this, but made the fatal mistake of starting Balatro at the same time which has taken all my attention span and locked it away and thrown away the key. So I only played maybe 2 hours of this. I'm at the apartments It's familiar and different, I was struck by how the VA and framing of scenes feels like a pretty close take of the original without it feeling like an overt homage or anything. The original has very unvarnished vocal performances, I think the main VA was an amateur, so that sort of enhanced the uncanniness of some of it. This isn't quite the same but close enough It looks very good but also incredibly unpolished. It's a very sharp looking game on PC, they seem to have went very hyperreal with it. Not saying it looks realistic just that the high res visuals, the lighting and fog give it this sort of dreamy, heightened kind of look that I'm not really able to explain. Maybe screenshots do it better, I dunno. But it has lots of visual glitches, things like turning the camera causes the culling to not work correctly and objects and lighting activate in front of you. There's some weird occlusion glitch where there's this ghosting all the time, not the spooky kind. Everything between the camera, James and the area in front of James has this visually buggy look when moving the camera. That might be caused by some setting I can turn off, but I don't know what. I only mention the boring technical stuff cause it's a game primarily about immersion in a slow moving narrative, so disruptions like that do stick out a lot more. There's some black crush in these screenshots cause they were converted from jxr, which is a HDR format, and badly compressed to jpg I think it's really impressive what they've done here though. It seems to understand the original well enough and makes sensible changes to not make it too much of a rethread. Example being you walk past the point in the original where you expect to get the radio, but you don't, you get it later and in a different way. Everything takes maybe twice as long, unsure whether or not that will be something I enjoy more or less as it goes on. It has the same town layout, I think, but the distance has been increased and there's more in between areas. So if you haven't played the original in a long time, like me, then it exists in this strange foggy realm of forgotten memory yet also familiarity, like you've been here before. But I'm struggling to have a good time with it. The technical issues are really hard for me to overlook, which is why I mention them so much. I'm usually able to sort of push past stuff like this, but I've not played a lot of UE5 games so I don't think I quite realised how much this game will keep skipping and jumping forward a few frames like it's an old film with a bunch of damage on it. The VRR causes constant flicker in the apartment area on OLED, I guess cause the frame variance is so high. So you can turn that off, or play on a different screen. I also find the combat a bit too much, it's very aggressive and seems to be about spacing, attack patterns, recognising stun animations from attack leadups, knowing when to use your limited ammo or combo into the stick. It reminds me how Homecoming looked. It's not a bad system they've designed, but it goes harder than what I was personally looking for and I'm finding that just to be a bit of a hassle. I'm dying a lot and getting filtered by combat I'll admit, but I was expecting that side to be more basic. So objectively speaking it seems like a good game marred by really bad technical issues, subjectively I'm much more mixed tho. I'll take my time and maybe I'll come around, I'm not coming at it looking to hate it or anything. As mentioned I'm really impressed by the specific changes Bloober have made to some things
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Found out about this by chance when I went through the Golden Joystick nominees and after watching its trailer I immediately bought it. Looked like it'd hit all the right notes for me and thankfully that proved correct. It's from a small French studio called Plane Toast (the food-puns seem to be all over the place) and seemingly their first project. You play as a young adult girl who receives an SOS signal from the ship her sister disappeared in six years prior, proceed to leave the space station you're currently residing at and start following the trail of the signal to a mostly deserted colony planet where you grew up. It's not the most unique setup, but it gives you an immediate emotional hook for what is essentially a purely exploration-driven open world game. And it mixes in some slight Dune-ish mystery elements via the titular Sand Witches and some subtext about environmentalism and corporate greed in there as well. The gameplay foundations are very light, there's a bit of climbing and platforming, there's a lot of driving around, and the only thing you find when exploring are either materials to build new tools or certain items you need to collect quests. Because there are still some people living on the planet and they're struggling to survive, so they're more than happy to have a newcomer there who can help out. Story progression is linked to the tools you build, as unlocking one moves the plot and timetable a bit forward. There's no combat, so when I say tools I mean a gadget to allow you to use ziplines or a scanner for your car to more easily find interactable objects, among them signal blockers which jam your map and are basically UbiSoft towers (they only reveal a couple of question marks on the map though, not a hundred). I can't put my hand on what it is exactly, probably just all the gears perfectly fitting together, but it's an incredibly engaging experience IMO. It's not a deep game by any means, at least mechanically. Think of it as a less obtuse version of Sable, or the bigger cousin of A Short Hike, and you get the idea. The world is densely packed and gives the impression of being vast, but you can drive around from one edge to the other in I presume less than five minutes. But it does evoke an incredibly sense of place, mostly due to the strong artstyle, great soundtrack and grounded, believable writing. It's also unmistakably French, and I don't say that with any kind of fun-poking subtext, because the media landscape has become very unified in recent years, so it's nice to see something European with a unique cultural influence for a chance. I guess part of why I like it so much might also be because it just came out of nowhere, which nobody reading this and deciding to pick it up will have the luxury anymore, but I do believe it's a really good 'experience' if you like more challenge-free games. I'm not quite through yet, but I suspect it will conclude at around the 10 hour mark, which seems like a reasonable length for a game without much mechanical depth. One last thing: I play it on Switch because I don't have a PS5 or a decent PC and I wouldn't really recommend that version. It permanently runs sub-30fps and has horrible pop-in and dynamic resolution drops. It speaks to the quality of the game that I'm still enjoying it, but unless you have no other option like myself, I'd strongly recommend playing it anywhere else.
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I think this is only on pc currently, but I can't see why it wouldn't come to everything at some point. First thing to say, it's not a racing game, it's a platformer. It's sometimes a Crazy Taxi em up, but it's core game is a platformer. It's structured like Mario 64, and the guy who made you (you being the taxi) is called Morio. It's kind of funny, looks like a Saturn game, and the villain is Alien Musk, who is evil, owns a car company, and wants to get to the moon. I kind of both really enjoyed and was hugely frustrated with Yellow Taxi. It controls like a kart, it's very nippy, but not very precise, so it being a platformer leads to issues. The way the game is laid out is, bar a couple of levels, when you open new worlds (via portals in Morio's home) the point is just to find these corrupted cogs that open up the next world. It feels aimless, beyond the message that pops up saying you've unlocked the next world it doesn't really give you any feedback. However, there's specific characters you can help who will then reappear later, they can be useful, but again, I'm missing some I think, because I mustn't have encountered them. The cogs start off relatively easy to find, and on the Crazy Taxi stages taking people to places rewards you with cogs sometimes, on these levels you have a time limit, with extra time rewarded. As you progress you end up having to boost off ramped scenery to take to the air to land on a small platform to boost and boost cancel to gain height. Eventually cogs are on needle like steeples way off in the distance I did have an abundance of of cogs initially but the requirements ramp up towards the end. Fortunately I discovered there's an area outside Morio's house, and that has levels within it, if you saved those people, which means more cogs to choose from At points I found Yellow Taxi Goes Vroom hugely frustrating, and when I was missing a ton of cogs for the final world I wondered if I'd bother finishing it. I was controlling it like a racing game, using the triggers, maybe if I'd used the A button it would have been easier to control. Its good but it's fiddly. That said I watched a video of someone else and they were ridiculous at it. I did beat it too, so maybe I did ok
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My battle brothers First up, so far, orcless. Zero orcs. This time you're fighting the Tyranids, a hive mind swarm of demon like creatures (who may not be demons in the lore, but they've blade like appendages rather than arms), and while you might first encounter a small cluster, generally this prompts waves to follow. A lot of the time you're fighting them in standard combat, swinging your chainsword, countering and dodging the larger monsters, and taking out the distant projectile throwing Tyranids with your bolt gun. There'll be points though where you have the high ground and have to try to delay the swarm by throwing grenades or exploding barrels as the Tyranids scamper over to swarm your position It's fun, it's a bit basic and samey, but it's fun. In some ways I wish you felt a bit more indestructible than you do, but I suppose that's less interesting as a game, and the Tyranids are a threat. There's also another enemy type that's more like the rats from A Plague Tale, nicely you generally get a flame thrower for these sections, that's fun If its anything like the original it's going to kick on in the 2nd half, and there'll be some more variety. I think I'm currently trying to get to a lost/stranded Magus, which feels quite early in still. Also I watched this this morning which was quite a good background to Titus up until this point, I'm not sure how much he's a character outside of the games, but there's a lot there
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Been playing this for around 6 hrs on Series S - and it's quite enjoyable. Has some similarities, in terms of roguelike progression, as Into the Breach, although game presentation and pathways are significantly different. I've defeated the first boss, and so I'll see how well it keeps my interest (probably up to a point where it turns into a grind (or not)). Anyway it's certainly a bit different in looks at least to the mainstream.
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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.
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Got Ubisoft+ to play this and 3 days early. I’ve put about 7 hours into this now and I’m quite enjoying it but some of the bad does come in dribs and drabs. Too much of the game so far has been stealth sections in which you cannot use weapons and if caught you surrender and are pushed to the beginning to have to do it all again. Someone at Ubisoft must have thought the stealth section of Ocarina of Time was the best bit 😆 When not doing this though and playing along at a leisurely pace in cities or travelling the large gorgeous world it’s quite a blast and I look forward to getting more into it.
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Seems a lot (relatively speaking) people got this, so I think a topic here makes sense after all. I don't think this needs context, but just for the record: this is a collection that includes three classic Castlevania games initially released for the DS (Dawn of Sorrow, Portrait of Ruin, Order of Ecclesia) as well as both the original version of Haunted Castle, an arcade game from the 80s, as well as a complete remake with SNES-style visuals and some other changes of this last game. I started with Dawn of Sorrow, because it's my favourite of the bunch and also the first one that came out (despite being placed at the bottom of the list in the menu). Plus from what I recall it's the one that made most 'use' of the touchscreen, so a good litmus test for this specific release, too. On Switch you can use the touchscreen if you're playing in handheld mode, so there's nothing lost there either way, but the alternative is holding a shoulder button and moving a cursor around, which is a less than ideal alternative. Thankfully the magic circles you have to draw are now also QTEs, but stuff like destroying ice blocks is a bit finnicky so I decided to play that section in handheld mode. IIRC the further you get the less frequent these gimmicks become, so it's only really a small issue in the first hour or two. We've already discussed the multiple screen options in the News topic so I'm not going to repeat those, but I noticed there's also a setup where both screens are displayed vertically, like they were on the original system. I think it would have been really cool to have that setup in Tate mode, but that's really just a nitpick because it would only really be useable on Switch (and maybe PC depending on your monitor setup). As you can see in the picture there's a lot of extra stuff in there as well, like the complete OST that works as a music player (and those games have some of the best tracks in the entire series IMO), a gallery which even includes the game manuals, and you can also choose which version you want to play (EU, US, JP and in Ecclesia's case, even the Korean version, though I'm not sure what's different about that one except the language). In any case, I've been really enjoying the little time I played so far. I usually only associate consoles and games I played as a kid with nostalgia, but the moment I stepped into the first area with its wonderful music I got hit by quite the wave of good old times. Absolute recommendation, these are classics for a reason and M2 did a great job of porting them over, as usual. Not to mention that we get a completely new remake as a bonus, too. [Also, a bit off-topic: while I was going through the gallery I noticed a promo picture for Castlevania: Judgement, which was on the back of one of the manuals back then. I wonder if they plan on re-releasing the 3D games as well considering we're now kind of 'through' with the 2D games. I realise they're not as well-regarded, but I think the PS2 ones are somewhat decent and Judgement, despite being a super broken and unbalanced fighting game, is quite a fun little guilty pleasure with a ridiculously good OST.]
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This just came out a few days ago on PC (not seen any info about a console release?), it’s really good imo. It’s like a turn based tactics game with some emphasis on moving enemies around and throwing them out of windows, a bit like into the breach, but also quite a bit different too. But that’s why when I first saw a video of it I was interested in it because I really really like into the breach. you basically setup all the moves of your wizards, and can see what the enemy will do before ending a turn you have the chance to rewind move by move, but when you end the turn that’s it for that turn you can’t go back any more. You have lots of special powers like one wizard bouncing a laser type attack between enemies pushing them in different directions, preferably all out of different windows. at first I was struggling with the different abilities and making the most of them but I’ve got into it and using the abilities better now, at first I was getting through the levels ok but struggling with the extra objectives, now I’m getting a lot more of those done too but not always, they add to the difficulty so it’s not too easy. so yeah it’s very good the writing is funny too. ~£15 with a launch discount on steam.
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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.
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Had this lying around for a while and decided to give it a go at last. I'm completely unfamiliar with the original, I know it melted video cards back in the day and I do have the remaster/remake, but never got around to playing it. So I couldn't tell you whether this was a sequel or a reboot or something in between (though I think it's a sequel). In any case it drops you on an alien planet as a dude with no memory, gives you a jetpack and a gun and then asks you to talk to aliens that are surprisingly open-minded about a human running around and shoot a couple of spiders (or rather tons of them – I played for 2 hours and already killed 200 enemies). Fundamentally this is an open world game designed with late PS2, early PS3 design principles in mind, there's a couple of points of interests your map reveals by you running around close to them and completing them usually results in immediate rewards like a larger health bar etc. There are shades of RPG in that you have two separate skill trees for traversal and combat, each of them using different kinds of XP so thankfully it doesn't force you to choose between cool Jetpack stuff and cool shooting stuff, but rather how you prioritise developing either independently. The early game is super talkative to the point where I think it's maybe a bit overdone. Think ME1 Citadel but without the smart word-building. It does a somewhat good job of introducing its own lore and vocabulary (in a nice touch, you can make a glossary pop up mid-conversation) during these early moments, but you will feel relieved by the time the world opens up and you can wander/glide around on your own. I have invested zero points in combat so far but the shooting feels good (even if movement not always does), thanks to some aggressive auto-aim on console that works almost like a lock-on (you can turn it off if that's not your style). There's also an energy shield at your disposal that works as expected and can be used as a melee attack up close while the Jetpack can help you dash around on the battlefield. There's also some super attack that freezes enemies around you – so definitely more than enough tools to have some fun, though I admit none of them are really necessary when fighting spiders. Though I presume that will change as it goes along and enemy strength increases. Visually this is a splendid production that yet again proves we don't really need AAA budgets, with really beautiful flora and some great use of bloom and diffuse lighting to give it that distinct alien 'Outlast' shine. It doesn't, however, run super clean, at least on console. Quality mode feels a bit sluggish and Performance mode has frequent dips in busy areas and screen tearing. It doesn't bother me too much and it does talk about some VRR thingies in the options, but I can't try those out with my TV. The other downside of its presentation are rather dated character models and animations, though that's usually the case with these mid-budget games and I really don't mind it at this point – especially when the writing is very early 2000s anyway, it's not like it'd pull you in with masterful dialogue anyway. But so far this makes a really nice first impression if you go in with the right expectations. (Not a glitch on the gun, it just looks that way.)
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Hi Guys, Fallout London is a new total conversion mod for Fallout 4. It's free to download on GOG, but installing it is a bit of a pain in the ass. So I've taken it upon myself to write a short "How to" on installing this game. The reason it's a pain to install is it's made to run on an older version of Fallout 4, even though it's a new game. Most of what I describe below is how to downgrade your Steam version of Fallout 4 to install Fallout London. The first thing to do is to go to Steam, and download/install Fallout 4. Most people will have this game in their library by now. Then, go to GOG and download the installer for Fallout London. Once Steam has installed Fallout 4, minimize Steam, and bring up the Windows Run box with 'Windows Key + R' Type into the Run box "steam://nav/console" Next, you need to copy the following commands into the Steam console, one line at a time, pressing enter after each command. download_depot 377160 377162 5847529232406005096 download_depot 377160 377161 7497069378349273908 download_depot 377160 377163 5819088023757897745 download_depot 377160 377164 2178106366609958945 download_depot 377160 435870 1691678129192680960 download_depot 377160 435871 5106118861901111234 download_depot 377160 435880 1255562923187931216 These commands will force Steam to download older game files for you. But it will not put them into your Fallout 4 installation folder. You will need to do this yourself. This may take a while, depending on your internet speed. Once each command has downloaded correctly, you'll get a report that looks a little like this. "Depot download complete : "C:\Program Files (x86)\Steam\steamapps\content\app_377160\depot_377162" (1 files, manifest 5847529232406005096)" There will be a report for every command you pasted into the console, so seven in total. Once this has been completed, open up your file browser, and go to "C:\Program Files (x86)\Steam\steamapps\content\app_377160". Inside this folder, you'll find seven folders starting with "depot_" and a number. Open your Fallout 4 install folder in a second window. It's usually "(Steam Hardrive Letter)\SteamLibrary\steamapps\common\Fallout 4 Go back to the window with the "depot_" folders, and copy the contents of each folder to your Fallout 4 install folder, overwriting any files with the same name. Go to the Fallout 4 install folder, and navigate to the "Data" folder. We now need to delete the Creation Kit files added by the last update. Select all files that start with "cc". There will be several. Delete any file that starts with "cc". Next, on your web browser, go to https://www.nexusmods.com/fallout4/mods/42147?tab=files&file_id=253313, and download Fallout 4 Script Extender (F4SE). You might need to sign up for this site to download it, but it's free. Once it's downloaded, extract it with your zip program of choice, and copy the contents of the zip file to the Fallout 4 install folder, again overwriting any files with the same name. And the final step. Run the Fallout London install program you downloaded from GOG. point it to your Fallout 4 install folder, and click next. Then let it do its thing. A couple of final notes, guys. First, disable cloud saving as this mod might screw up your regular Fallout 4 save. And second, in order to play regular Fallout 4 again, you'll need to uninstall the game completely, and then reinstall it without the mods and patches I've described above.