Junebug23057

I recall playing and really enjoying the very first Ghost of Tsushima game in the last months of the PS4 era before the PS5 was launched. It was a fresh IP that mostly worked really well, and I gave it an 8/10 in my reviews. I also remember seeing the first trailer for Ghost of Yotei some time ago and thinking this would be just as fun as the previous one. After putting 41 hours into it, I can safely say that Ghost of Yotei does everything Tsushima did, but much better.

The story follows Atsu, a lone mercenary in the 1600s in northern Japan around Mount Yotei (Ezo), seeking revenge against the "Yotei Six," the outlaws who slaughtered her family and left her for dead years prior. I won't go into much more of the story, since I don't want to spoil anything.

The first thing I noticed about the game is the absolutely mesmerizingly beautiful graphics. The open-world environment is stunning, colorful, serene, and just so damn beautiful. While the game is open world, it is not an open world like Skyrim, but still open enough that you want to explore every corner. The second thing I noticed was the combat, since the game opens with you fighting one of the bosses from the Yotei Six. The combat this time around is more refined and focused on various different weapons rather than stances. In fact, a big part of the game's side content is meeting masters of the various weapon types and improving your use of them. In the game, you will wield a katana, a spear, dual katanas, and a chain-and-sickle type of weapon (kusarigama). I will return to this subject later in the review.

Other side content includes the liberation of strongholds and bases, just like in the first game. I chose for the most part to go about that the stealth way, so it always took a bit more time. The AI for the various minions is pretty standard, so don't expect much difference from those in the previous game. It was for the most part just fine. The biggest difference is that on occasions you have a wolf companion that helps you if you get into trouble while liberating a base or stronghold. The combat is, as previously mentioned, a bit more refined than the first game. It still heavily relies on parry followed by a swing of the sword or chosen weapon. It's relatively easy to learn but challenging to master. I wasn't super good at blocking, but I did end up completing the game on normal difficulty.

When fighting various enemies, it can be a good idea to know which weapon is best against the ones they have. Mostly I used my katana because I thought it was the coolest, but I did have to switch to various weapons the longer I progressed. I would say the weakest weapon is the chain-and-sickle one. It wasn't as cool to hit enemies from that distance, since I enjoyed sword fights the most. Also, it was difficult for me to block enemies with that weapon, since I had a hard time judging how far away they were in regards to being a threat. Another thing I really liked in the game was that you could pick up various weapons on the ground and throw them at enemies. It was basically a free kill, and since you are often outnumbered, fine by me.

You also have a rifle, bombs, throwing knives, and smoke bombs. I almost never used my bow, so I couldn't really tell you how it was. The old-school rifle or musket is also available in the game, and while it's a bit slow, it's quite effective in combat unless the enemy is close. You also have a pistol that is more powerful than I thought. You can also, like in the first game, challenge minions to a standoff duel. I thought it worked much better in this game than the previous one, and the wolf can also play a role here. All in all, the combat is more fluent and visceral than the previous game, and I am all for it.

Other side missions include finding special armor. These side missions have very well-made stories that could count as main story missions. I didn't complete all of them since I have other games to play, but I was very positively surprised by this. There are also bounty hunter missions that have some story to them; I completed many bounties for extra cash. There are also minor side missions where you either go from A to B and rescue or kill more minions. As previously mentioned, you also have wolf missions where you are supposed to bond with a wolf companion. They worked fine; however, it did end up feeling a bit underwhelming since I never really bonded with the wolf.

The main story of the game is very good. It's a revenge story that is told really well, either through very well-made cutscenes or you traversing the scenery with various exposition told, sometimes with beautiful accompanying music. The voice acting is spot on, and a big kudos to the main lead. She is both a much better-written character and much better acted than in the previous game. The other main characters are also good, but she takes the cake. The music is a character of its own. It reminded me of a western meets Kill Bill soundtrack. It worked perfectly.

The various bosses you meet in the game are quite good, and despite the game having a steady gameplay loop, it was surprisingly varied. One minor downside was the area with the ninjas, where there are very simple and somewhat boring puzzle elements. Another somewhat negative thing was that I never really felt I got more powerful. Even though there are hot springs that increase your health, I never really felt more powerful. The same with skill points: you don't get them from killing minions or bosses but by finding shrines. You can then use them on learning new moves. In the beginning, they were good, but in the end, I didn't really feel I used my new skills much. You can also upgrade weapons with raw materials and such. For the most part, it worked fine, yet when you constantly use your katana, then you will care less for the other weapons.

All in all, I would say that Ghost of Yotei is a better game than the previous one, and I really enjoyed my time with it. It gets a 9/10 from me.

As someone who has always steered clear of Souls-like games, my gaming journey has often led me to lighter alternatives, such as Jedi Fallen Order and the recent God of War titles. However, after my experience with Stellar Blade, I found myself intrigued by the genre and willing to explore new horizons. Hence, I decided to dive into Hell is Us, a new IP that caught my attention through various reviews. Overall, it turned out to be a rewarding experience, albeit with its own share of frustrations.

The story follows Rémi, a man returning to his war-torn homeland of Hadea in search of his parents. Upon arriving, he quickly realizes that the civil war is compounded by a mysterious calamity unleashing faceless supernatural creatures immune to modern weaponry. Set in an alternate history with its own religions and fictional nations, the narrative introduces a compelling backdrop for the gameplay.

Right from the beginning, the game propels players into action as Rémi's quest unfolds. There are no quest markers or mini-maps; instead, players are encouraged to navigate the world using their senses, seeking out sounds or visual cues that lead them forward. Early on, players are introduced to their first cave where they acquires their first weapon. The melee combat is the game's standout feature, bringing an adrenaline rush every time players strike enemies and regain health. Despite the limited combat options-essentially just one combo per weapon supplemented by glyph and drone abilities-the thrill of successfully executing a health-recovery strike kept me engaged throughout my 32-hour playthrough.

However, the learning curve can be steep, particularly for those not seasoned in the genre. I found myself gravitating towards dual axes for their speed, as I was not confident enough to wield heavier weapons. While the combat system is mostly enjoyable, I experienced frustrations with the lock-on mechanic. There were several instances where I swung my weapon aimlessly into thin air, especially during chaotic battles against the pesky faceless enemies, who may lack diversity in design but compensate for it with challenging encounters. Boss fights, particularly against entities with thematic ties to emotions like fear and sadness, managed to evoke a range of feelings that left me both exhilarated and exasperated.

Traversal in Hell is Us adds another layer of challenge, as players must explore without a guiding hand. Though I may have generally managed to find my way, the inventory system left much to be desired. Locating picked-up items or clues became a convoluted process that detracted from my experience. I also found the absence of a jump or climb function limiting, leading to moments where environments felt more like restrictive barriers rather than engaging spaces to explore.

Encounters with various NPCs throughout my journey often resulted in fetch quests that blended seamlessly into the melancholic atmosphere. However, it was disheartening to discover that some of these quests operated under an invisible timer, resulting in consequences such as a tragic end of a quest narrative. The game's dark themes are pervasive, with depictions of death and loss that contribute to its somber tone. There are puzzles to solve and time loops to close, yet the inventory's convoluted nature dimmed the satisfaction of piecing everything together.

Narratively, while the main story is intriguing, there are lingering unanswered questions, particularly surrounding certain characters and plot threads that feel unresolved. The interrogation sequences, full of strange visuals, provide a gripping start but leave players feeling slightly off-balance without adequate explanation. On a different note, the repetition of dialogue each time you die, preventing you from skipping the scenes, became a maddening loop that chipped away at my patience.

From a visual standpoint, the graphics are commendable, showcasing beautifully designed levels that evoke the artistic style reminiscent of titles like Bloodborne. The music, while reminiscent of haunting soundscapes from films like Annihilation, occasionally became overwhelming. The voice acting, with many familiar actors from Deus Ex: Human Revolution lending their talents, rounds out the game's atmospheric presentation.

In conclusion, my time with Hell is Us was largely enjoyable despite its frustrating elements. It is a game that demands patience and exploration, rewarding players who stick with it. The reasons I delve into the negatives are rooted in my desire to overcome the challenges presented, as I felt myself invested in Rémi's journey. For anyone drawn to the Souls-like genre or looking for a unique gaming experience, Hell is Us deserves a spot on your radar. I'd give it a solid 9 out of 10.

As a massive fan of survival horror games, I've been thrilled by the genre's revival over the past five years. When I saw the first trailer for Cronos: The New Dawn last year, it immediately reminded me of Dead Space, though set on Earth rather than in space. Coming from Bloober Team, the developers behind the stellar Silent Hill 2 remake-one of my favorite games of 2024-I had high expectations. I picked up Cronos: The New Dawn on release day and dove in almost immediately.

The story follows the Traveler, an agent for the mysterious Collective in a post-apocalyptic future. Your mission is to travel back to 1980s Poland to investigate "The Change," a cataclysmic event that transformed people into monstrous creatures called Orphans. Tasked with finding time rifts, you extract the "Essence" of key individuals who perished during The Change, aiming to bring their digital consciousnesses to the future for Ascendance to prevent the apocalypse. The narrative draws clear inspiration from Dead Space and the film 12 Monkeys. While not as wild as the latter, the influence is evident, and as a fan of the movie, I appreciated the nod.

Playing on a standard PS5 in performance mode, the game kicks off quickly, introducing its core gameplay loop. As a survival horror title, you navigate the ruins of a fallen city, investigating environments and battling various enemies. The Orphans, inspired by Dead Space, The Thing, and other body horror films, have a unique gimmick: they can merge with the bodies of dead enemies to form tougher, faster versions with harder shells. While not entirely new enemies, this mechanic keeps you on your toes throughout the game.

The arsenal includes seven weapons-mostly familiar types like shotguns, pistols, and automatic weapons, plus a power rifle with extremely limited ammo. The weapons carry an 80s sci-fi aesthetic, with decent sound effects, but ammo scarcity is a constant challenge. I relied heavily on the pistol, favoring its charged shot over the weaker single-shot mode, though it lacks the satisfying feel of shooting in games like Resident Evil 4 Remake or Dead Space. Other weapons can also be charged, but I used them sparingly due to limited ammo. Enemies react well to being shot, with decent stopping power, though it doesn't quite match the polish of Resident Evil 4 Remake or Dead Space. Fire plays a significant role, used to stall or destroy enemies, adding a strategic layer to combat. However, inventory management is the game's biggest challenge. With limited storage, I often had to leave valuable resources behind, as items can't be dropped once picked up, only stored in designated boxes. Upgrades, like additional inventory slots, are available, but each weapon occupies a slot, which feels odd given the game's modular firearm system, reminiscent of Control. I invested heavily in health upgrades, but the Traveler still felt frustratingly fragile, and the absence of a dodge mechanic was a noticeable oversight against melee-heavy enemies. Cronos:

The New Dawn is a linear experience, with optional rooms and areas along the main path for extra ammo, notes, and collectibles. I appreciated the focused design, as a tight linear game often outshines bloated sandbox titles. Set primarily in abandoned buildings in a Polish city, the game blends traversal, combat, and environmental puzzles. Most puzzles involve shooting red orbs to alter the scenery or finding fuses to unlock doors, with one puzzle feeling like it was lifted straight from Resident Evil-slightly out of place but fine. Zero-gravity sections, where you move between special pads, evoke Dead Space and work well. The game clocks in at a satisfying 16-17 hours, perfect for a single-player experience with no side missions. Multiple endings add replay value, as choices impact the outcome.

Visually, the game is well-crafted, though it doesn't reach the graphical heights of Dead Space Remake, Alan Wake 2, or Resident Evil 4 Remake. The music stands out, evoking John Carpenter's iconic scores, and the voice acting is solid, with the female Traveler delivering a compelling performance as a mission-driven protagonist. I won't spoil the story further, but while engaging, it can feel convoluted at times and could have been more straightforward. Overall, Cronos:

The New Dawn is a strong addition to the survival horror genre. It doesn't hit the perfection of Resident Evil 4 Remake or Dead Space, but it's a compelling experience that I hope finds success. I give it a solid 8/10.