Junebug23057
Joined Aug 2010
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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.
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.
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.
After a surprisingly captivating first season, Wednesday Season 2 on Netflix had a lot to live up to, especially for someone like me who wasn't initially sold on Tim Burton's vision but ended up hooked. Delays from strikes and likely other production issues pushed the wait, but the return to Nevermore Academy promised more of Wednesday's dark charm. Unfortunately, Season 2 stumbles in recapturing what made the first season special, earning a 6/10.
The season follows Wednesday Addams as she hones her psychic abilities, faces a new tormentor, and works to prevent her roommate's death. The central mystery splits into two arcs, but the pacing feels off. Revealing the main villain early saps the suspense, making the first half feel flat. The stalker subplot also fizzles out, while the second half shifts to a family drama that's decent but lacks the buildup to feel truly earned.
The biggest letdown is the handling of Enid, whose bubbly energy and dynamic with Wednesday were highlights of Season 1. Here, she's barely present, clocking in what feels like under 12 minutes in the first four episodes. Her reduced role and toned-down personality are baffling, diminishing the show's heart. The body-swap episode in the second half brings some humor, but it's not enough to make up for her absence. Speculation about scheduling conflicts or tensions (perhaps with Jenna Ortega) might explain this, but it's a major misstep. Enid's Season 1 romance with Ajax also gets shortchanged, with their relationship abruptly dropped in the first two minutes of Season 2, which feels inconsistent with her character and dismisses the previous season's slow-burn buildup. It's totally out of character, that Enid just humped and dumped him. And then was like Thank you Next!
Pugsley's increased screen time is another odd choice. Isaac Ordonez's performance feels exaggerated, with facial expressions that come across as unconvincing, making his scenes more irritating than engaging. Joy Sunday's Bianca gets significant focus, but her subplot with her mother feels either poorly reintroduced from Season 1 or newly inserted without enough context, leaving me confused and detached. Thing, the quirky hand, also feels underused, stripping away some of the show's playful weirdness. The absence of Percy Hynes White's Xavier didn't bother me, as I wasn't invested in him, but it adds to the sense of a disjointed cast.
On the brighter side, a new character, Agness, injects fresh energy with her quirky charm, and her actress shows real star potential. The subplot involving Tyler offers a surprising twist, hinting at redemption in Season 3, which was a pleasant surprise. However, the Nevermore Academy funding subplot feels tacked on and fails to captivate.
Overall, Wednesday Season 2 loses much of what made the first season shine. The sidelining of Enid, abrupt dismissal of her romance with Ajax, and uneven mystery arcs overshadow the show's potential. While Agness and a few moments like the body-swap episode provide glimmers of hope, the season feels like a missed opportunity. Here's hoping Season 3 recaptures the magic. Rating: 6/10.
The season follows Wednesday Addams as she hones her psychic abilities, faces a new tormentor, and works to prevent her roommate's death. The central mystery splits into two arcs, but the pacing feels off. Revealing the main villain early saps the suspense, making the first half feel flat. The stalker subplot also fizzles out, while the second half shifts to a family drama that's decent but lacks the buildup to feel truly earned.
The biggest letdown is the handling of Enid, whose bubbly energy and dynamic with Wednesday were highlights of Season 1. Here, she's barely present, clocking in what feels like under 12 minutes in the first four episodes. Her reduced role and toned-down personality are baffling, diminishing the show's heart. The body-swap episode in the second half brings some humor, but it's not enough to make up for her absence. Speculation about scheduling conflicts or tensions (perhaps with Jenna Ortega) might explain this, but it's a major misstep. Enid's Season 1 romance with Ajax also gets shortchanged, with their relationship abruptly dropped in the first two minutes of Season 2, which feels inconsistent with her character and dismisses the previous season's slow-burn buildup. It's totally out of character, that Enid just humped and dumped him. And then was like Thank you Next!
Pugsley's increased screen time is another odd choice. Isaac Ordonez's performance feels exaggerated, with facial expressions that come across as unconvincing, making his scenes more irritating than engaging. Joy Sunday's Bianca gets significant focus, but her subplot with her mother feels either poorly reintroduced from Season 1 or newly inserted without enough context, leaving me confused and detached. Thing, the quirky hand, also feels underused, stripping away some of the show's playful weirdness. The absence of Percy Hynes White's Xavier didn't bother me, as I wasn't invested in him, but it adds to the sense of a disjointed cast.
On the brighter side, a new character, Agness, injects fresh energy with her quirky charm, and her actress shows real star potential. The subplot involving Tyler offers a surprising twist, hinting at redemption in Season 3, which was a pleasant surprise. However, the Nevermore Academy funding subplot feels tacked on and fails to captivate.
Overall, Wednesday Season 2 loses much of what made the first season shine. The sidelining of Enid, abrupt dismissal of her romance with Ajax, and uneven mystery arcs overshadow the show's potential. While Agness and a few moments like the body-swap episode provide glimmers of hope, the season feels like a missed opportunity. Here's hoping Season 3 recaptures the magic. Rating: 6/10.
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