❤️
cover
The Simpsons Game Bangumi
2007年10月30日
平台: PSP / PS2 / PS3 / Wii / Nintendo DS / Xbox 360
The Simpsons Game is a 2007 platform game based on the animated television series The Simpsons made for the Nintendo DS, Wii, Xbox 360, PlayStation 2, PlayStation 3 and PlayStation Portable. The game was published, and distributed by Electronic Arts. It was released in North America in October 2007 and worldwide in November 2007. It features an original storyline written by The Simpsons writers Tim Long and Matt Warburton. In the self-referential plot, the family discovers that they are forced to participate in another The Simpsons video game. Similar to the show, the game pokes fun at popular culture, other video games, and Electronic Arts, its publisher.
2026年2月23日 玩过
2026年2月23日 评论 Final reevaluation - I know it's silly. This is the 4th time I've returned to this game. Idk, it haunts me. I love the show, and this is clearly the best Simpsons game ever made, and I have such sweet memories playing through it. So I just couldn't let go. That's a good thing though. In my previous three attempts I only played through the early chapters of the game, up to the Lard Lad boss fight. This time I played it to completion, which illuminated several things to me: I stand by all my previous criticisms of the gameplay. It's ridiculous just how janky and poorly thought-out it is. But kinda what I realized in my current playthrough is that this game is not about platforming or combat. It's not even about puzzles really. It's about creating situations and making the Simpsons characters (and the player) work together to solve them. The frustration it causes is part of the experience. I don't know whether this was intentional or not, but I suspect it is. The Simpsons were designed as flawed characters and this might be a way of reaffirming that, when even with superpowers they're still kinda incompetent. It might also be trying to convey something about how difficulties and frustrations in life (especially family life) can lead to a more rewarding outcome. The game is structured like an adventure with a huge variety of tasks, seemingly designed specifically to be memorable rather than fun. Upon completion levels truly feel like obstacles that you've overcome. This game is so ridiculously meta. Everything in it, from the story to the mechanics and presentation. It literally has the comic book guy tell you how everything in it is a cliche. Which, to further add to my previous point, the Simpsons as super-powered video game characters might just be one big parody. The game constantly pokes fun at itself, including its gameplay, structure, story, developers and publisher (EA), as well as the player. It has a lot of commentary on the nature of video games as a medium. It talks about the ephemeral present state of video games and the importance of their preservation; how games have evolved and how priorities of players and developers have changed; the ethics of commercialization/licensing; and it includes a lot of mini-games that ape/satirize important games throughout history. Overall it feels like a love-letter to the medium, perhaps even more so than a love-letter to the Simpsons (even though it does have a lot of references to the show, which are nice to see). That being said, I still can't rate it higher than this. No matter how meta and intentional the flawed gameplay is, it's still flawed. Also, despite having a generally well-written and fun story with several memorable locations from the show, I feel like it gets too crazy and fantastical. The original show is very grounded and mostly tackles issues of everyday life: family, school, work, etc. This whole game feels like a huge epic Treehouse of Horror episode, except it's not horror-themed. One thing I can finally say is I think I've resolved my inner conflict of wanting to love this game and being unable to. I think I've come to accept it for what it is and made my peace with it. This was one of seven games that kept haunting me. I've been meaning to rethink my approach because I couldn't reconcile my feelings with my direct experiences. I think this playthrough gave me a new framework through which to analyze those or at least attempt to see them from a new angle and try to identify what keeps bringing me back to them.
completed ❤️
cover
恶魔城X：月下夜想曲 豆瓣 Bangumi Eggplant.place
9.4 (23 个评分) 其它标题: Castlevania: Symphony of the Night / 悪魔城ドラキュラX 月下の夜想曲 … 1997年3月20日
类型: 横版过关 / 角色扮演 … 平台: PS4 / PS3 / Xbox 360 / PSP / PS … 开发者: Konami Digital Entertainment, Inc. / Konami Computer Entertainment Nagoya Co., Ltd. 出版发行: Konami Corporation / Sony Computer Entertainment America
在里希特击败德古拉的四年后，某天他突然神秘的消失了。据说一个叫沙夫特的巫师在暗中预备召唤德古拉回到这个世界上。里希特是中了他的咒语才消失的。随着贝尔蒙特末裔的消失，各地的妖魔鬼怪又开始兴风作浪，恶魔城又出现了，吸血鬼之王随时都有可能降临。
　　正邪势力均衡受到了破坏，产生的巨大能量使一个人从长久的睡眠中苏醒过来，他就是在数百年前和拉尔夫·C·贝尔蒙特一起打败德古拉的吸血鬼贵公子阿鲁卡多。他意识到自己的父亲即将给世界带来巨大的灾难，必须有人来阻止这一切。在贝尔蒙特家族没有人能够胜任的时候，他就要承担起这个义务。就这样，吸血鬼之王的儿子成为了这个故事的主角，作为一个德古拉家族的叛逆者，也是拯救这个世界的英雄。
　　说到德古拉成为暴虐的吸血鬼的原因，是因为德古拉和一个名叫莉莎的民间女子结合，并生下了阿鲁卡多（阿鲁卡多的英文“alucard”出自1943年的电影《德古拉之子》，此名也是德古拉”Dracula“名字的反写）。
　　世俗的政权和民众认为莉莎是一个巫女，所以残酷的执行火刑的方式把她杀害。德古拉因此对人类产生了强烈的憎恨，从而发誓要毁灭所有愚昧无知的人类，以自己的理念建立一个新的世界。然而这个计划的代价是现在世界上所有人类的毁灭，这对于立志保护人类的贝尔蒙特家族来说是绝对不允许的。不仅是贝尔蒙特家族，任何一个热爱生活的人都不能眼看着德古拉一意孤行，以自己的好恶来决定世界的命运。就这样，阿鲁卡多带者一颗人类的心灵，和玛丽亚一起在恶魔城中救出了里希特，消灭了沙夫特，将复活的德古拉重新封印，并净化了他的灵魂。
　　可阿鲁卡多毕竟是吸血鬼的后裔，他明白自己在大义灭亲之后仍不能见容于这个世俗的社会，所以他唯一的选择就是继续逃避。但玛丽亚在和他接触的过程中对他产生了好感，决定和他在一起。这样一来，阿鲁卡多原本平淡沉闷的生活里多了一丝生机。而里希特考虑到自己的能力有限，于是决定隐居，将封印吸血鬼的圣鞭交给了自己的亲戚莫里斯家族。在此后近200年的时间里，贝尔蒙特家族的人没有在对抗吸血鬼的历史中出现，恶魔城的传说仍然会延续下去。
2026年2月22日 玩过
2015 was the year of Castlevania for me. I played most the games in this franchise that year. Didn't beat any metroidvania ones. SotN was the one I put the most effort into, playing it on PS Vita, but bailed at some point in the inverted castle. I love these games, but they're so long.

Years later I installed it on my Vita again. This time a different version, thinking my save was gone. So I started playing from scratch and got pretty far.

But recently I found out that my save was still there, it was just for a different version of the game. So once I got the right version, it worked. I pulled up a map to help me readjust. Turns out I had abandoned the game with one boss battle left! I spent over a decade thinking I hadn't beaten the game, when in reality I'd pretty much did.

Not gonna review it. I think it's been talked about so much that there's nothing I could point out that hadn't been mentioned before.
completed ❤️
cover
Serious Sam: The First Encounter IGDB
2001年3月21日
类型: First-person shooter 平台: Windows 开发者: Croteam 出版发行: Gathering of Developers
A first person shooter extravaganza where you take the role of Serious Sam, a badass killer whose goal is to defeat monsters commanded by Mental, an extraterrestrial entity that wants to destroy humanity.

Serious Sam is a high-adrenaline arcade-action shooter heavily focused on frantic arcade-style single player action. In a world where cyberpunk meets fantasy-fiction and advanced technology is mixed with black magic and psycho-powers, Sam travels through the beautiful world of ancient Egypt and several diverse planets, confronting countless Mental's minions on his way to the Mental's base.Key Features

Frantic Arcade-Style Action - Fight your way through 15+ nightmarish warriors in Mental's army, including the charging Sirian Werebull, screaming Headless Kamikaze and other crazy monsters, and finally challenge the multi-story Ugh-Zan boss!
2026年2月20日 玩过
2026年2月20日 评论 "It ain't the size that matters, is how you use it." - Lately I've been going through old video game magazines and game-related TV programs, and it kinda occurred to me just how many games gamers in post-USSR got exposed to that are niche or obscure in the West. It gradually changed by the late 00s as the internet became more accessible in that part of the world, and big foreign companies began to get a better grip on marketing there. But Serious Sam was really big in Russia. Far as I can tell, much bigger than in the US. It was so big that all the way into 2005 gaming mags continued to publish maps and mods for it on their discs. And this popularity was completely deserved. To begin with, few games in 2001 could boast levels as huge as in Serious Sam. And it's not like this scale came at the cost of visuals. SS was still one of the best-looking games of the year, especially if you take its aesthetics into account. But it wasn't really the graphics that made it so special. The big open areas would mean nothing if it was just decorative. Jumping into the game knowing nothing about it was an experience. You appear like the Terminator, from a time portal in ancient Egypt, a setting that wasn't very much explored by first-person shooters (Powerslave and Hexen 2 come to mind with their claustrophobic and confusing level design). In front of you is a huge temple, seemingly devoid of life. Behind you is the infinite expanse of the desert. Tribal ambient is playing in the background. To say this game had atmosphere would be an understatement. A strong sense of mystery grabs you and doesn't let go until the very end. The level design, beyond just being functional, creates spaces that feel inhabitable. Whenever I feel the desire to immerse myself into an ancient-Egyptian environment, I jump into this game. There's a persistent feeling of exploring an actual dead civilization. But it's not before long that first enemies appear. You start the game with a knife and a single revolver. Almost immediately you find a second revolver. And within minutes you find your first shotgun. The progression in The First Encounter is near-perfect. This is something they fucked-up in the sequels (not counting The Second Encounter) and DLCs.These early weapons are only good against early enemy types. But then every time a new weapon gets introduced, you encounter a new (or old) type of enemy that this weapon is most effective against. This way the game teaches you which enemies should be attacked with which weapons. It also gradually throws at you combinations of various enemies to teach you which ones should be prioritized. This prepares you for the later levels where you're gonna be encountering huge hordes and have to think on your feet. Contrary to what many people think, Serious Sam is not a game about kiting and holding down the left mouse button. If you play like that, you're sure to die quickly (unless you play on Tourist). In fact even the movement patterns of some of the earliest enemies teach you to dodge and switch to the third-person view for better spatial awareness, so you could anticipate threats coming from various directions. There is really a very high skill ceiling here. I'm by no means an expert at this game (in fact I mostly play it for relaxation), but I've personally known people who treated Serious Sam as almost an esports discipline. One of my closest childhood friends was one such person. In fact some of my earliest online deathmatch experiences were playing Serious Sam with him and his friends. I've heard people describe this game as "too basic" and what this tells me is that it completely flew over most people's heads. It is forever doomed to be viewed as that game with huge crowds of enemies and giant bosses, when it has so much more to offer. Every enemy is fun to fight with. There are no highly-mobile tiny enemies that are hard to target or the kind that pull some cheap bullshit. In comparison, Serious Sam 3 has annoying little spiders and the Witch-Brides that stun you, disappear and are invulnerable most of the time. There are no Lost Souls or Archviles or those piles of slime from Duke3D, and you never feel like your weapons are not adequate enough to deal with your enemies. Every weapon relates to one or several enemy types, and every enemy type relates to one or several weapons. The game originally had something like 30+ levels, more than half of which got removed in the final product. A lot of other content like enemies and weapons got discarded too. That is to say the game was designed meticulously. Cohesion was clearly a priority. But the way people act, you'd think the devs just threw a bunch of shit into big arenas and called it a day. Occasional puzzles and optional NETRICSA messages add to the atmosphere. The puzzles are never too difficult because they usually require you to flip some switch, and the level-design is extremely intuitive. I don't think I've ever gotten lost in any level in this game, and it's not like the levels are linear either. There is a lot of room for traversal and strategizing. There were two areas that I remembered from my childhood as being really bad. One was this big tunnel somewhere towards the end, which upon the revisit turned out to be much milder than I had remembered. The other is the final arena before the final boss. Now that thing is still a nightmare. You get locked in a comparatively small arena with 6 enemy spawn points surrounding you on all sides, and you have to survive waves upon waves. It's one of those moments where you'd be forgiven for using cheats to just fly over it. The rest of the game is absolutely incredible. And, what makes it special, is that there really is no other game like it. People often call it a Doom-clone, but it's really not. Doom's level-design is much more claustrophobic, and its weapons get progressively more effective with the exception of the shotgun which remains the go-to weapon in short distances. It doesn't really throw hordes of enemies at you. Doom 2 kinda does, but not nearly with the same variety. A lot of enemy types, like werebull, headless kamikaze, Aludraan reptiloid and others are not common enemy types in other first-person shooters and certainly don't have equivalents in Doom, but each of them adds unique mechanics that cascade in depth when put together in various combinations. There's just no other game where the combat consists of rapid weapon-switching while dodging and preventing the horde from reaching you by strategically prioritizing targets. And then between combat you get to explore huge gorgeous locations to the accompaniment of a beautiful and atmospheric soundtrack. And then on top of that there's tons of humor. Serious Sam is truly a masterpiece and one that hasn't been rivaled, nor has there been any attempt to clone it. It occupies its own niche and completely dominates it.
completed ❤️
cover
求生之路2 豆瓣 维基数据 IGDB Bangumi Eggplant.place Steam
8.6 (125 个评分) 其它标题: Left 4 Dead 2 / 惡靈勢力 2 … 2009年11月17日
类型: 第一人称射击 / 射击 … 平台: PC / Mac / Xbox 360 / Linux 开发者: Valve Corporation 出版发行: Valve Corporation
《求生之路2》（Left 4 Dead 2）是2008年由维尔福软件公司开发、以丧尸为主题的恐怖生存类游戏《求生之路》的续集，游戏初次于2009年电玩E3展亮相，并已在2009年11月18日于PC以及Xbox 360平台上发行。
2024年2月24日 玩过
2024年2月24日 评论 I've always considered Left 4 Dead 2 a general improvement over the original, but tbf it's more of an expansion pack than a sequel - And if you really break it down, while all the new content and features are great and well thought-out, they're not essential for the gameplay. The original game created a formula that worked incredibly well. Every weapon and enemy felt unique and there was a gentle balance. If you really think about it, the new weapons here are mostly alterations of the old weapons. For example, I love AK-47, but it's just a slightly slower and more powerful version of the M4 from the original, which in itself was a faster and more accurate version of the UZI. But this game also adds another submachine gun as an alteration for the UZI. In the end, while these new weapons are fun, they don't really add anything substantial to the game. The M4 was a massive upgrade for the UZI, but these altered weapons are just flavors of the same. The melee weapons are fun and can be very useful to break through large crowds when combined with adrenaline, but they kinda take away from the survival aspect. Worth remembering that the original game was kinda suspenseful. I jumped into the single player (which is how I first experienced the game back in 2008) for a bit today, and was feeling a little vulnerable because I knew I couldn't count on the AI companions. You can forget about the power fantasy of slashing through hundreds of zombies with a samurai sword. A single smoker or hunter could take you out single-handedly, let alone a tank. But each special zombie there had a purpose: A Smoker would pull you away from your group and incapacitate you. If a Hunter ambushed you while you're on a ledge, he could push the companion(s) next to you off of it, possibly killing all of you. The Tank presented a threat that necessitated cooperation from the entire group. Kinda same with the Witch, except it was more about the group consciousness (each member following the right conduct individually) than a direct cooperation. The new enemies of Left 4 Dead 2 are kinda pointless: The Jockey is basically a slower Smoker. The Charger is almost indistinguishable from the Smoker. Functions exactly the same, except he has to come closer for the attack. The Spitter is probably the one thing I hate about Left 4 Dead 2. She is pretty much useless if encountered alone, but if she attacks you while you're surrounded, you basically have zero ways to avoid death. In addition, she functions as this game's anti-cheat, attacking anyone who manages to find a place that's inaccessible for the zombies, even if her spit technically shouldn't be able to reach that place either. But to me and my friends finding those places was part of the fun. It added an exploratory element to survival maps. Finally, the original had a very strong and coherent atmosphere that consistently permeated everything, from the levels to the menus and the general art direction. The game intentionally evoked grindhouse zombie movie vibes, and this vision was followed with the character design, visual effects (film grain) and the amazing loading screens. I have to say, Left 4 Dead 2's art direction does not feel as strong. While they continue the same theme, setting the game mostly in daylight takes away from that vibe, as most zombie movies (and horror movies in general) heavily rely on darkness. Well, Dawn of the Dead and Day of the Dead didn't, but this game also doesn't make introspective statements on consumerism, class inequality or military-industrial complex like those movies did. So it ends up feeling more "normal". In addition, as much as I appreciate the import of the old campaigns and suvival maps here, their presence further dilutes the atmosphere of this game. Perhaps a better idea would've been to leave L4D2 alone and make another edition that would combine 1 and 2, and give it away for free to the owners of the second game. All that said, obviously I love Left 4 Dead 2 and have played it way more than the original. Most of the new content, although very unnecessary, is a lot of fun, and the addition of the Steam Workshop makes life so much easier (back in the day me and my friends used to download custom maps manually from l4dmaps.com, and I can no longer find some of our most-played maps there). But despite all the objective improvements in the sequel, I've always had stronger feelings towards the first game, and I believe it's not just nostalgia. Left 4 Dead represented a unique and coherent vision that was innovative for the time. Left 4 Dead 2 meanwhile ends up feeling like an optional content pack that you wouldn't be missing out on if you skipped. Although, if it was an expansion pack, it would've been an amazing one.
completed ❤️
cover
Moto Racer IGDB
1997年8月1日
类型: Racing / Arcade 平台: Windows / PlayStation 开发者: Delphine Software 出版发行: Electronic Arts
Moto Racer is an arcade style motorcycle racing game developed by Delphine Software International and published by Electronic Arts for Microsoft Windows and PlayStation. It features both dirt and street bikes, and a variety of tracks.
2024年4月11日 玩过
2024年4月11日 评论 In the conversations about great arcade racers I've never heard Moto Racer's name come up - In fact I don't think I've ever heard anyone talk about this game ever. The only reason I know about it is my vague memories of playing it as a kid. I feel like the gaming community is biased towards certain titles due to their reputation. Because this here is the original Sega Rally, except with motorbikes. And it really makes this distinction tangible with higher speeds, fragile vehicles and more verticality in the tracks. There are two types of races here: your regular speed racing and motocross, and there is a different emphasis in each. The first is a suspenseful, adrenaline-pumping experience that requires hyper attention and reaction. But, when you're able to pull off some of the rather snaky series' of turns at 200+ km/h it feels extremely rewarding. The motocross tracks give you more time to assess the upcoming turns, but add the challenge of calculating the trajectory of your air time that's gonna result from driving up the hills at high speeds. It's all much simpler and more intuitive than it sounds though. One kinda stand-out feature is the ability to speed up by doing a pop-a-wheelie, which is something that's not explained to you in the game, even the control scheme doesn't tell you about it. It's handy after crashes, but normally you don't need to speed up, as you're already going so fast, it'll only make your bike harder to control. The graphics and music are gorgeous on some tracks and kinda vary in quality on others. Some songs with vocals sound pretty corny. The game does let you select which song is gonna play mid-race, which is pretty cool, but it's just extra busywork that nobody needs. Perhaps, if the game let you pick a selection of songs like EA BlackBox's NFS titles do, I might've even rated it higher. Because, although this game doesn't really do anything exceptional, everything it does do is extremely well-done. Certain tracks provide such a stellar audio-visual experience that, if the game managed to keep this up for its entirety, it would've really been a perfect experience. I guess, if I really had to nitpick, I'd complain about the pop-in, which, from the footage I've seen, is as bad on PC as it is on PS1. But it's not THAT bad, and is actually better than most old racing games I've played.
completed ❤️
cover
战锤40K：战争黎明 豆瓣
8.3 (6 个评分) 其它标题: Warhammer 40,000: Dawn of War 2004年12月31日
类型: 即时战略 平台: PC 开发者: Relic Entertainment 出版发行: THQ
《战锤40000：战争黎明》（Warhammer 40,000: Dawn of War，台译《战锤：破晓之战》）的繁体中文版将由台湾英特卫发行繁体中文版。《战锤40000：战争黎明》以着名纸上战棋游戏“战锤WarHammer”为主题的开发的3D即时战略游戏，四个种族：星际战士、混沌军团、欧克蛮人、神灵族因各自的利益在星际间战斗。各有高达十多种兵种、兵器及特殊能力，将原本纸上游戏中的各种设定都忠实搬到玩家的电脑上。
无需生产
《战锤40000：战争黎明》最大特色就是无需生产，而是以“占点”的方式来获得各式资源，游戏主要在强调“前线作战的激烈度”，不会有繁复的收集资源和生产过程。
战场以进攻来作为获得补给的方式；以组为最小单位的部队，使得交战的双方之间之间的冲突规模更大、更加频繁。战场上随时有数十名模型制作精细、动作生动丰富的士兵在交战，场面壮观华丽。《战锤40000：战争黎明》也支援8人连线对战。
近战与远距战斗动画
由于几乎每个即时战略单位都做了动画，游戏提供了细腻逼真的战斗细节描绘，您可以看到混沌军团的大恶魔一击将十多名敌步兵扫开打飞，然后再一斧头砍爆倒在地上的人；陆战队员平时以重机枪射击，敌人接近时则会抽出长刀上前厮杀；巨大的无畏级诸多即时战略战斗的热血、残酷细节呈现。
四个种族各自有不同的特色：风格各异的兵种、建筑，四种独特的科技树，连基地的建造方式也各不相同：兽人是用轰炸机空投建筑和部队，而星际陆战队则是由行星轨道上的母船直接把增援打下去。您会看到巨大的铁球呼啸着从天上掉下来，轰然扎进土?，然后展开变成基地。
12个不同的兵种
游戏中每个种族有12个不同的兵种，各兵种还能配置不同的装备：装备喷火器、重机枪、狙击步枪等等以适应不同战斗的需求。士兵会以组为单位指挥，这使得游戏即能制造出庞大的场面又可保持良好的操作性。《战锤40000：战争黎明》还引入了士气对部队的影响，假如您的部队被凶猛的火力交叉射击，或者是被狙击手攻击而无法还击，他们的士气都会降低。而若是在指挥官的率领下突击，则会因士气高涨而战斗力大增。
无论哪一种游戏中的士兵在装备着远端武器的同时都具备了近战能力。当两支部队相遇时，起先是双方互相射击，而后随着距离的接近各自拿出战斧和大刀呼喊着冲向对方。战斗迅速被扬起的烟尘笼罩，变成一场混乱的肉搏。同时Relic还特意加强了肉搏的重要性，在一群手持战斧的欧克兽人冲进己方阵形之后，枪支的射击很难对他们造成太大伤害，这时最好的办法就是枪枝上刺刀后再和这些蛮子拼个您死我活。
策略得以做最大延伸
在《战锤40000：战争黎明》中建造或者是升级部队所消耗的补给点乃是需要靠扩张来维持，在战斗中每当玩家占领了一个战略位置之后都会以一定的速率得到补给点数，若是在此地造上一个基地，增长的速度就会增加。
战略位置通常遍布整张地图，这意味着想占领一个点很容易，但您的士兵有限，想把他们全守住却很困难，也就是说在游戏中主动攻击一方会获得更多的资源是说《战锤40000：战争黎明》中的战斗会比寻常的游戏更加的激烈。
士兵会视手中的武器自动攻击适当的目标，手持重机炮的步兵会自动选择轻步兵做为目标，配备电浆枪的步兵则会选择敌重步兵，配有火箭发射器的步兵则会朝敌炮塔或载具开火，即时战略兵种间相生相克的控兵基本功现在可以放心交给电脑AI而不需手忙脚乱地拖着某个单位绕着队友团团转。
2024年7月14日 玩过
2024年7月14日 评论 Dawn of War is one of those rare cases where a game does everything right - The squad-based system ensured that battles became much easier to manage compared to most RTS games that were still using the old 1 soldier per unit system. Each squad being able to recover deceased soldiers, improve equipment or get a commander attached to it meant there was more micro-management and depth to every battle. And the morale system, and how you engage with it, contributed to that as well. The idea to make it about conquering strategic posts and fortifying, made this not only a more cerebral experience, but also more immersive and realistic. It meant that you were no longer just finding your way to your enemy's base, but fighting for the actual land, piece-by-piece, progressing forward slowly and trying to hold the positions you've already conquered. And the map having cover spots only added to the realism of the action. Of course, the presentation was just amazing for 2004. Possibly the best-looking graphics in an RTS game up to that point. And the melee combat for the first time in the history of RTS didn't look like a bunch of guys just wailing at each other repeatedly. Thanks to animated finishers and the general physics, the battles looked more alive and real than ever. All this to the accompaniment of Jeremy Soule's perfect soundtrack. Perhaps the only real downside to this game is the story being rather generic, but even there the likeable characters and amazing voice-acting make it so much more entertaining than it has any right to be. There is a rather minor problem, which Detectivefail mentioned in his review , which is the pathfinding. While the exact example he showed is not a common occurrence in my experience, the one very common and similar issue I have with the original DoW is that when you've equipped some soldiers with longer-ranged weapons (like machine guns or rocket launchers), and you order them to attack, the squad will run up just close enough to the enemy that these specially-equipped soldiers can reach them, while the rest of the squad will just stand there doing nothing. Like I said, it's not a major issue, for you can just order them to come closer, but it's one that's consistent and thus becomes kinda annoying. But really, it's easy to look back at this game and see problems with it now, but for 2004 it was an absolutely mind-blowing experience. Every magazine I read was giving it between 9 and 10 out of 10, and rightfully so. This game straight up killed the RTS genre. Going back to Warcraft 3 (which was just 2 years old by this point), the former king of RTS, was so jarring after this. It was truly some next generation shit. And, honestly, for years afterwards I didn't see another RTS that was this well-made, and I practically stopped playing them at some point, with few exceptions. The fact that this game is still so much fun every time I play it is a testament to what a masterpiece it is. And the expansions (in particular Dark Crusade) only polished it to the point of perfection. Btw, did anybody notice how Tartarus (the planet the game is set on) is just Central-Eastern Europe + The Pontic Steppe? Seriously, look at the loading screens, they just took the actual map and removed a few mountains and water sources. You can still easily recognize geographical features, like Crimean peninsula, Carpathian mountains, Volga and Dnieper rivers, Denmark, etc.
completed ❤️
cover
星球大战：前线 豆瓣
其它标题: Star Wars: Battlefront / Star Wars: Battlefront (2004) 2004年9月20日
类型: 射击 / 动作 平台: PC / Mac / PS2 / Xbox 开发者: Beenox Studios / Pandemic Studios 出版发行: LucasArts Entertainment Company LLC
Star Wars: Battlefront is the first in the Star Wars: Battlefront series and is a third/first-person shooter video game based around battles featured in the Star Wars movies. It was developed by Pandemic Studios and LucasArts, and released on September 20, 2004 for Xbox (playable on Xbox 360), PlayStation 2, and PC, the same day as the release of the Star Wars Trilogy (DVD) set. Players can either play Star Wars: Battlefront online, or offline with up to 4 players (on consoles).
2024年9月9日 玩过
2024年9月9日 评论 The core gameplay in this game was better than in the second one - Flying classes were actually useful. Level design was excellent on every map, whereas in the sequel there were quite a few mediocre ones. Some of the maps here are my favorites, and they never got ported into the sequel. There was aircraft in land battles, and you could switch to the cockpit view. Even the graphics were somewhat better because they had lighting and blur effects that were removed in the second game for some reason. Although, of course the models and textures are better in the second game, but that's to be expected. Still, I would say the original looked better for the year it came out in. The sequel had more content, sure, a better campaign mode, better Galactic Conquest, space battles, and the ability to play as the Jedi. But the core gameplay actually suffered. The last class became locked, which meant fewer strategic options at the beginning of the battle (the most crucial time), and the new class (also locked) wasn't really so good that unlocking it felt rewarding. I found myself switching between classes way more in the original than in the sequel where I usually just stick to the first one (especially now that grenades stick, so it's easier to take out vehicles without a rocket launcher). And playing as the Jedi is not very fun after the novelty effect passes, especially when confronting other Jedi. At the end of the day, the original does fewer things, but is close to perfection at them, whereas the sequel has more, but is somewhat flawed. I still come back to the first game every now and then to replay my favorite maps with my favorite classes, because there are experiences that the sequel just cannot replicate.
completed ❤️
cover
极品飞车16：亡命天涯 豆瓣
7.3 (10 个评分) 其它标题: 极品飞车16 / NFS16 … 2011年11月15日
类型: 竞速 平台: PC / PS3 / Xbox 360 / Wii / 3DS 开发者: EA Black Box / Firebrand Games 出版发行: Electronic Arts
《极品飞车16：亡命狂飙》由Black Box制作，将在11月15日在北美上市，11月17日在欧洲上市，11月18日登陆Xbox360，PS3，PC，Wii，N3DS，还将陆续登录iPhone以及安卓平台。本作中，玩家将参与到从旧金山到纽约的非法，高刺激的飙车世界。警匪追逐将不是唯一的设定，还包括边境爆炸，紧张刺激的城市竞速，包含火箭制导攻击的冰山和峡谷竞速。游戏采用寒霜2引擎，因此只支持Windows Vista及以上操作系统。
2024年10月13日 玩过
2024年10月13日 评论 Narrowly Avoiding Death: The Game - Need for Speed: The Run is one of the most unique racing games I've ever played, and I regret not giving it more attention when it first released. Although it's a racing game, it's structured more like a single-player action-adventure. Every race is something like a level or mission, with its own scripted events and checkpoints. Instead of advancing in the ranks, you're progressing through the story until you reach and beat the final boss. While this does make the game more linear than your standard racing game, it's not like the racing genre is about non-linearity. And, for what it is, this game still has quite a lot of it. You are forced to make a lot of difficult choices, because: Every track features a bunch of shortcuts, most of which are much tougher to drive through, but will reward your skill. You get to earn more nitro by driving more recklessly, incentivizing you to take more risks. Every car has a noticeably different handling, and you're risking losing the race by selecting a car that you haven't tried, and it being a poor choice for this particular track or just hard to handle in general. Risk in general is the main theme here. I've never seen another racing game that conveys the sense of speed quite as well as this one. The steering is rather tight, which means you have to watch the road really carefully, as often you'll only have milliseconds to react to the suddenly appearing obstacles on the road. But it's these little moments that make up the heart of this game. With realistic (for an arcade racer) physics and a cinematic camera, dodging other cars and objects on the road becomes extremely rewarding. I'd say half the times it's sheer luck. And the experience is enhanced when you're going through set-pieces like falling rocks or avalanches and succeeding on your first try. These things just keep getting crazier as you progress through the game. I don't really wanna mention examples because it's kinda spoiling it. These events are so fun to encounter when you don't expect them, you should really experience it for yourself. Every track surprises you with something new and creative. You also get chased by cops, and the collision physics here are the best in the series, which makes ramming cops a joy. They can ram you too, which makes them simultaneously more of a threat than in the previous games, adding suspense to an already adrenaline-pumping situation. I don't think I've ever played another racing game that made me exclaim "WHOAH!" "WTF!" and "JESUS CHRIST!" as often as this game did. Just the amount of raw emotion I got from it is unparalleled. I think I could've given this game a perfect rating, if it wasn't for such a focus on its mediocre, underdeveloped story and some technical flaws that I'll get to. The premise of NFS: The Run is that you're a street racer who owes money to the mafia or something like that (I honestly don't remember), and you join this mega-race called The Run, which spans the entire US from coast to coast. There is a story here, and that's kinda all I can say about it. Occasionally there are QTE-scenes, which are okay, but they don't really add much to the game. By the end of the game, I felt like the developers meant the story to be more important than it came off as to me. Because they implemented these "characters," which you only really learn a little bit about from like a paragraph of text during a loading screen before the levels where you have to race them. It's usually stuff like "Jake used to be a criminal, but then he fell in love with a girl and they wanna start a family, so he bet all his money on this race." And it's like "okay, Jake, I guess I'm gonna ruin your dream now." Then at the end you get this cutscene of just him meeting with the woman that got him into the race, and she says "Okay, here's the key to the box with the money. Also, do you wanna do another race?" This ending is so anti-climactic, it would actually be better to not have an ending. Personally, with a story this weak, I'd probably go for a more action-packed cutscene than this, or make the final race end with some kinda grand set-piece that transitions into the credits. It does somewhat compensate for a poor story with the diversity of visuals. They stick closer to a realistic look than a stylized one, but there is some stylization. Some tracks look pretty mediocre, but others can be really gorgeous, especially towards the end, as you start reaching the East coast. The level in Philadelphia has strong Halloween vibes. Also, what I like about this concept is that you get to drive through locations that resemble previous games in the series. And, I feel like the devs were aware of it and intentionally designed them in a familiar fashion. Because this game has some cars from the previous games (with vinyls and all), such Nissan Skyline from Underground, Nissan 370z (substituting for 350z) from Underground 2, BMW M3 GTR from Most Wanted, Audi R8 from Carbon, and others (including cars belonging to other characters). There is a challenge mode, which includes Underground, Carbon, and Most Wanted-themed challenges. They're kinda lackluster because they don't really do much other than putting specific in cars in specific locations, not even slapping a color filter on top, but it's still such a nostalgia bomb. And you can play through the main campaign using these cars, except not every car is available in every level. And car-selection process here is one of my biggest problems with this game. For some reason they don't let you select your car before each stage, instead forcing you to drive into this gas station (why not a garage?) in the middle of the race, breaking up the flow of the game, and letting your opponents get ahead. That is, if you manage to spot it in time and risk turning towards it when you're driving at an insane speed and hyper-focusing on the oncoming traffic. Plus, after you've selected the car, you have to gain speed again, letting the opponents get even further away. The game is very simple in concept, which kinda makes every little flaw stand out more. And stuff like this can be very frustrating in a game as suspenseful as this. There isn't really any customization here aside from some cars having an extra pre-made setup, and sometimes letting you choose an extra color. You can't really customize your experience much either. For example, there is no music selection anymore, and you can't even regulate sound levels, which is really annoying. Because I feel like this game's soundtrack is quite good, but sometimes I could barely hear the music behind the sound of engine and effects. Also sometimes the game would randomly default my control settings, forcing me to spend another extra 5 minutes quitting back to the main menu and resetting them. In conclusion, I feel like this game had the potential of being a masterpiece, but a few issues held it back. It takes a very simple concept and executes it really well, but the simpler the concept is, the more perfection you kinda expect from it, and this game still has a way to go towards perfection. If it had a genuinely good story or no story at all, perhaps it would've left a better impression. As it is though, NFS: The Run delivers a unique action-packed racing experience, but falls short of achieving true greatness.
completed ❤️
cover
完美世界国际版 豆瓣
7.6 (5 个评分) 2006年12月30日
类型: 大型多人在线 / 角色扮演 … 平台: PC 开发者: Perfect World Entertainment 出版发行: Perfect World Entertainment
《完美世界国际版》是由完美世界（北京）网络技术有限公司开发的一款大型多人在线全三维网络游戏。游戏以盘古开天地为引子，在中国上古神话传说的基础上营造了一个独特的历史空间，具有史诗般的背景和波澜壮阔的剧情 ，为玩家展现了一个古老神秘、充满未知的奇幻世界。
2024年11月25日 玩过
2024年11月25日 评论 I suppose there's always bias when it comes to your first MMORPG - Certain things, like the audio-visual aspects, are entirely subjective and can never be surpassed again, especially when it comes to a game that constructed an inhabitable world out of them, where you spent countless hours forming social bonds and creating sweet memories that will haunt you for the rest of your life. But I still believe there is something objective to be said about why this game still remains one of my all-time favorites (in its past iteration ofc), while other MMOs have failed to grab me in any significant way. There was always this talk of World of Warcraft and how it's so much better than everything else. Perfect World has always been viewed as a kind of low-tier cheap grindfest that isn't worth playing. I've played dozens of other MMORPGs since and still I have not seen another game do what Perfect World does. Upon examination, World of Warcraft turned out to be extremely linear, to the point that it's hard for me to even view it as an open-world game. Every location is surrounded by impassable mountains and has two narrow entry points. You are stuck to the ground and forced to complete quests in a more or less linear progression. Most MMOs I've played are like this. Perfect World, on the other hand, is a game about freedom. It promises you a world without borders, and it commits to that vision fully. Not only are you free to traverse the entire map from the very start of the game, you can explore it in three dimensions. In other words, you can fly, and fly pretty much anywhere. And this is where the game ends up feeling like a much more believable world to me. You can go to the remotest parts of the map and find traces of human (or inhuman) presence there. Some tiny shack somewhere in the woods, an isolated temple in the mountains, ruins of an abandoned military fort on the side of a canyon, and so on, and so forth. Discovering these locations and pondering on the life and activities of the people or creatures that left them behind or currently occupy them is what endears you to this world and makes you wanna keep coming back. I've seen some people, playing PW for the first time, freak out and laugh at the height of the player's jump. To me, as someone for whom this was their first MMO experience, it's the other games that felt weird. It simply does not make sense to me why you would limit your character's movement with realistic physics, when you're trying to build an engrossing fantasy world that the player would want to explore. This jump height was a necessity to climb on big structures or even tiny 1-story buildings. It's yet another thing that adds to that spirit of freedom the game cultivates. Also, it's just more fun. You don't even have to do quests in this game. You can just start it and have your own Bilbo Baggins adventure by just traveling from one side of the map to the other. Which is something me and my friend did once. Instead of fighting enemies, we avoided them. And, whenever we met other travelers, we hung out with them and learned about them and the game. And then we'd discover amazing places, like castles floating in the sky, underwater structures, all manner of cities, towns, and villages, each with their own unique designs. The first guild I ever joined was the best guild I've ever been a part of in any game ever. Every time I'd come home from school and log in, there'd already be a conversation going, and it was about various fun subjects, not just a discussion of the game's mechanics or some boring shit like that. And the chat interface here is infinitely more convenient than in WoW or any of its clones. People were always happy to help each other with quests, and sometimes lower-level players would join in, even if they couldn't help, just to go on adventures together. Of course, at the time, there was a necessity to join a guild, because there was no auto-pathing. You had to actually read your quests and then ask people for help. After auto-pathing and a bunch of other QoL improvements were introduced, the guild system kinda fell out of relevance. I could talk about the actual gameplay, like stats, spells, mobs, etc., but I find that this stuff is usually the same in every MMO, and, honestly, the least interesting aspect of these games. I've never played an MMO to grind and level up, and I didn't do that with PW. I had fun with the game instead. I treated it as a place of wonder, and that's what it really was to me. Most other MMOs I've played are too focused on these mechanical aspects, I think they fail to capture the same feeling of freedom and discovery. Sadly, this game fell to the same problem every GAAS falls to. Over time, the changes introduced to the game have gotten greedier and greedier. By now the official version of the game is nearly unrecognizable. I play the fan-favorite version 1.3.6 on pwclassic. That's still not the same though, because there are too few people there. It's always amazing to revisit this world, but, without other people, it's less of a world.
neverending ❤️
cover
命运战士3：偿还 Bangumi
其它标题: Soldier of Fortune: Payback / Soldier of Fortune: Pay Back 2007年11月14日
类型: FPS 平台: PC / Xbox 360 / PS3
Soldier of Fortune: Payback is a first-person shooter video game and the third installment of the Soldier of Fortune game series, following Soldier of Fortune 2: Double Helix. It is the first game of the series released for the Xbox 360 and PlayStation 3. The game was released on 14 November 2007. The game involves a revenge plot against a worldwide terrorist organization. This time around, the player assumes the role of Thomas Mason rather than John Mullins.

Unlike the previous two Soldier of Fortune games, which were developed by Raven Software using the id Tech 2 and id Tech 3 engines developed by id Software, Payback was developed by Cauldron HQ.

The game was met with tepid, mostly negative reviews, with many saying the game looked pretty but the gameplay was uninspired. Like the other two games in the series, Payback had great character modelling and gore effects. Owing to the level of violence, the OFLC of Australia refused to classify the game. After the game was effectively banned in Australia, a modified version was released on February 28, 2008, that removed radical violence and dismemberment.
2025年1月5日 玩过
2025年1月5日 评论 Okay, is it worse than Soldier of Fortune 1 and 2? Sure. Is it a bad game though? Hell nah. - This is what back in the day we'd consider a B-tier shooter. A budget title, but clearly with some effort put into it. You have to give it props for not CODifying the experience. Despite some flaws with poor AI and enemy placements, it still mostly maintains the formula of SoF2, minus the stealth missions (and thank goodness for that). For this reason the core gameplay is quite enjoyable, even if the game doesn't evolve much throughout. It teaches you the way it functions, and keeps providing a fair challenge for most of the game. The aspect that did surprise me was how much of a gun-porn this game is. The way the guns and reload animations are modeled and brought to life, you can tell the animators were enthusiastic. Before every mission you can select 3 weapons and a grenade type. This is something that's been done in other games before it, but just the sheer variety of guns and augmentations here is probably the highest you would see by 2007. And every gun feels genuinely different to shoot, and the augmentations do make significant and noticeable improvements or alterations to the way the guns behave. And all this extends to the multiplayer, which is one of the most fun I've played ever. Now, this game came out only a few days after CoD4, but it had a lot of features that CoD4 was praised for and popularized. The level design in both singleplayer and multiplayer is pretty good. Definitely above what Call of Duty was doing at the time. You get plenty of space to maneuver and outflank opponents, plenty of rooms and buildings that are completely unnecessary, but make the world feel more believable. Speaking of the world, the game's visuals are gorgeous. The blur and bloom effects help create a very stylized and, at times, surreal aesthetic. Some screenshots bring to mind comparisons with Crysis (to make it clear, I'm not saying it's technologically as advanced as Crysis, but some screenshots do look prettier) and CoD4, both heavyweight releases of 2007, although the game does have its fair share of ugly areas. But in particular the smoke and fire effects are standouts, as well as the skyboxes. I've seen a lot of criticism regarding the game's dismemberment system, and yes, it's far inferior to its predecessors. But, combined with ragdoll physics and good feedback, it's still a lot of fun, and more fun than the games without dismemberment. Honestly, try shooting a guy in the face with a shotgun point-blank and tell me it wasn't satisfying. The last two missions though are pretty horrible. They keep locking you in rooms with little cover, throw at you enemies with powerful weapons that can kill you in one or two shots, and often intentionally throw a bunch of smoke grenades in to hide them, not to mention the smoke and dust they raise from using explosives. You gotta understand, these enemies are so deadly that if you are seen by two or three of them, you're literally dead that very instant. So not being able to see them or find cover is just cheap. Furthermore, sometimes you'll clear a room, and, upon exiting, you get shot by two guys, each sitting in a corner on either side of you. Like, it's literally impossible to survive that scenario unless you KNOW they're there. I ain't gonna lie, those last two missions really tested my patience, especially the penultimate one. The last one was relatively easy once you know what you're doing. The ending is a real let-down too. Not that this game has an interesting story, it's basically a Dolph Lundgren/Stephen Seagal movie, but the characters do have some charisma. The protagonist is a kind of old school Duke Nukem/Serious Sam type of guy, and his banter with the dispatcher is endearing. So, after all that the two of you have been through, you kinda expect some conclusion, but they basically drop a cliffhanger on you. Lame! Still, I have to say, I enjoyed the majority of this game. Despite the last two missions being kinda abysmal, they're only a tiny part of the game, and the checkpoints are quite generous, although I would like to see a quicksave feature in a game that's clearly a PC shooter at heart.
completed ❤️
cover
Bad Boys: Miami Takedown Bangumi
2004年2月27日
类型: AAVG、TPS 平台: GameCube / Windows / PlayStation 2 / Xbox
The player takes the roles of Miami Police Department detectives Marcus Burnett and Mike Lowrey over alternating levels. The game contains five acts, each containing several levels.
2025年1月7日 玩过
2025年1月7日 评论 Short, but sweet! - This is in the vein of Kane & Lynch or 25 to Life. Very reliant on precision and cover. It even has a rudimentary cover system, but I ended up almost never using it because you can get much better protection from hiding behind things manually. That way you can even throw grenades or sometimes even shoot enemies without them being able to shoot you. Also, when you run, you are much less likely to be hit, which is realistic and rarely seen in hitscan shooters. The thing that kinda stands out about this game is the amount of destructible objects in the environment. Technically you're penalized for destroying them, but it's so much fun that you just don't care. I think they just take away points that would unlock pointless shit like mugshots or target range challenges. You can apparently also unlock cheats. I got one unlocked after beating the game, it's called 'decapitation' and it does nothing apparently (does not decapitate enemies when you place headshots!), and there's no explanation for what it's supposed to do. You can also disarm enemies by shooting their weapons, which is pretty cool. If you shoot a disarmed enemy, you also get penalized, but, again, it's so much fun. I give up, please don't shoot! Yeah, we're not that kinda police, buddy. I loved the aesthetics too. Of course, it's Miami, which means sunshine, blue skies, palm trees, etc. The actual locations have a lot of character. Some places are downright gorgeous, for example the office of one of the main bad guys has sunlight pouring in through the blinds in the most unnecessarily sublime way possible. This game has atmosphere, and that's probably the main reason to play through it. The story here is not good, but then again neither was it in the movies it's based on. FWIW, I enjoyed the cutscenes here much more than the movies. At least they're not filmed by Michael Bay, which means they're actually watchable. And some of the dialogues were funny. In addition, the characters will constantly banter throughout the game, and their banter is context-sensitive, which leads to a lot of accidentally hilarious moments too. As a cherry on top, the main antagonist's name here is Mendoza . It is a very simple game, and most of what it does is executed well. The level design is good, but the AI is a bit too stupid. Also the boss battles are kinda awful. You instinctively try to treat them with the same logic as the rest of the game, only to realize that it doesn't work. In fact, there's a very specific order of actions you need to follow, so in essence they're more like puzzles, but you won't figure that out until you die at least 2 or 3 times. I think, if this game was remade today with better physics, better AI, proper cover system, and co-op, it could've been amazing.
completed ❤️
cover
毁灭战士 豆瓣 IGDB Eggplant.place
9.5 (6 个评分) 其它标题: Doom Classic / DOOM(1993) … 1993年12月10日
类型: 第一人称射击 / 冒险 … 平台: PC / iPhone / iPad / PS4 / Xbox One … 开发者: id Software / Zenimax Media Inc 出版发行: id Software
Doom is a 1993 first-person shooter video game by id Software.
It is widely recognized for having popularized the first-person shooter genre, pioneering immersive 3D graphics, networked multiplayer gaming, and support for customized additions and modifications via packaged files in a data archive known as "WADs".
Its graphic and interactive violence, as well as its Satanic imagery, also made it the subject of considerable controversy.
In Doom, players assume the role of a space marine who must fight his way through a military base on Mars' moon, Phobos, and kill the demons from Hell.
2025年1月19日 玩过
2025年1月19日 评论 I'm pretty sure I've played through individual episodes of the original Doom before, but this was the first time I did it in one playthrough - I did episodes 1 and 3 on PS Vita via Chocolate Doom, which I understand is one of the more vanilla-accurate source-ports, whereas episode 2 at first I did half in the recent DOOM I+II "remaster", but then downloaded GZDoom and did the whole episode there from start to finish. Doom is obviously a phenomenal game for 1993, from both the technical standpoint and the mechanical one. Much has been said about this. But I was surprised at how well episode 1 holds up. I would say, even by modern standards, it's a near-perfect experience. If the entirety of Doom was just that episode, I'd give it the highest rating. But it's unfortunately in the second and third episodes where some flaws come up that mostly have to do with poor level design. I'm not saying that Sandy Petersen and Tom Hall are bad level designers, I do think they did much better job in their later games, but there is a noticeable difference between Romero's levels and theirs. You start seeing some bullshit enemy placements, some poorly-balanced difficulty, some mazey corridors, and those delightful tricks a-la "hey, here's some ammo and medkits that you might wanna pick up-- Syke! That's actually an inescapable trap that's gonna kill ya." And there's really nothing particularly wrong with the overall experience of these episodes as a whole, but the moments of confusion and frustration stick in your mind so vividly that it's hard to retain that amazing impression the first episode made. The game's reputation though is perfectly understandable, as these rather unpleasant moments were probably completely overshadowed by the absolute excellence of the rest of the game upon release. However, since 1993 there have been many games that arguably provide a better "Doom experience" than the original Doom. Therefore my rating here reflects how the game feels to play today. In fact, this is gonna be a controversial take, but I think Doom is best played with GZDoom. Sure, the ability to use the Y-axis and jump do make some of the maps easier, but the amount of immersion they add is invaluable, not to mention they make some of the more egregious design choices in episodes 2 and 3 much easier to swallow. Plus there's a plethora of other quality-of-life improvements.
completed ❤️
cover
星球大战绝地武士：黑暗力量2 Bangumi
其它标题: Star Wars Jedi Knight: Dark Forces II 1997年9月30日
类型: FPS 平台: Windows
The storyline in Jedi Knight follows Kyle Katarn, who first appeared in Dark Forces. Katarn's father had been murdered by a Dark Jedi over the location of "The Valley of the Jedi" and the game follows Katarn's attempts to find the Valley and confront his father's killers.
2025年2月7日 玩过
2025年2月7日 评论 Played with OpenJKDF2 - The way Dark Forces II conveys scale is unlike any other game I've seen. You feel tiny in the world of enormous imperial megastructures that extend into the clouds or burrow deep underground. And, continuing the direction of the first game, this feels a lot more like an action-adventure, as opposed to straight-up shooters of the same era. You do a lot of platforming, careful balancing on thin girders, and climbing into inaccessible areas. The level design is truly astonishing and a massive improvement over the predecessor, while still following the same general approach. At almost every point there are two or three different ways to go, not to mention countless secrets, all utilizing three dimensions. A lot of the times you will see some almost inaccessible ledge and think you're not meant to go there, but after a lot of trial and error, you finally get there, and you realize that it's either a secret area or yet another path towards your main goal. It's like the developers thought through every little part of every level. Yet the levels never feel confusing. I only got lost once, though admittedly in a quite egregious example of poor design, where you had to notice a tiny button placed on some random wall. Throughout the rest of the game the progression felt more organic than most games. As far as the combat, I would say it's somewhat worse than the previous game. The guns are less balanced, with a couple of them being clearly superior, rendering the rest kinda useless. For example, I don't think I've used the crossbow once beyond the first testing. However, now you get a lightsaber, but, sadly, melee combat here is just abysmal. You kinda just swing your lightsaber like a club, and it murders all regular enemies with one hit, which is fine. But once you get to boss battles, it becomes a shitshow. Best tactic is always to run around them in circles and mashing the left mouse button, hoping one of your hits will land. This tactic, however, doesn't work on the last two bosses, because one of them jumps around more than Irish rappers, while the other keeps going back to a place that heals him, and the only way to stop him is to literally stand in his way and take damage. You also have Force powers now, but they're also not very useful. Force jump and Force speed are great to navigate the levels, but the levels are designed with their usage in mind, so it's not like these powers give you any specific advantage. Force heal is useful, but it sucks all your mana and takes a long time to recharge, leaving you unable to use other powers. It is way more efficient to just eat bactas instead. Force pull lets you disarm enemies, and it's funny to watch them run around helplessly, but it gives you zero advantage in battle because it's quicker to just shoot them, plus the range of Force usage is so tiny that you have to approach them pretty close, where it's hard to dodge bullets. There is a moment in the game where you're allowed to pick between the light side and the dark side, and I have no idea what exactly you're supposed to do. I somehow ended up being light side, and it felt like it just happened automatically. After I beat the game, I unlocked all powers with a cheat code just to see what they're like, and the dark powers all seem very underpowered and useless. Grip incapacitates an enemy for like 3 seconds, after which they will continue shooting you. Lightning is almost impossible to aim, and does very little damage. Bottom line is: this game is still mainly a shooter. Lightsaber and Force powers feel like gimmicks that don't add much. Unlike the powers though, at least your lightsaber blocks enemy attacks and can serve as a torch in dark areas. But the powers are a complete waste. Even in late game, guns are still the preferable way of disposing of enemies, which is not very jedi-like. In Jedi Academy this was handled much better: your guns becoming less and less relevant as you become more powerful as a lightsaber combatant and Force user. There is a story here with FMV cutscenes, which is really cool, especially for 1997, before the prequels were made. It's like getting a new Star Wars movie and being able to play through it. That being said, it's more like a B-movie, which, tbh, I appreciate. Because EU content often violated the themes established in the movies, and this here is not an exception. A lot of plot details here are pure nonsense from the perspective of the movie lore, so I like the fact that at least it doesn't take itself too seriously like SOME games (****cough****-KotOR2-****cough****). It's silly and fun, with some wacky characters and low-budget special effects. Despite some shortcomings, this game is really a blast to play through thanks to its impeccable level-design. It really feels like an adventure in a world you get to explore and craft memories in, as you complete challenges and progress through the story. For 1997 I think it's phenomenal, preceding and exceeding Unreal in a lot of aspects.
completed ❤️
cover
英雄萨姆4 豆瓣
其它标题: Serious Sam 4 2020年9月24日
类型: 第一人称射击 / 射击 … 平台: PC / Xbox One / PS5 / XSX / Stadia 开发者: Croteam Ltd. 出版发行: Devolver Digital
《英雄萨姆》系列是由克罗地亚开发公司Croteam制作的一个节奏极快、包含了各种各样的武器和怪物的第一人称射击游戏，它具有大量的幽默成分和独特的风格。

　　本作是该系列的第四部作品，在早期发布一张艺术图中，胡须满面的硬汉萨姆肩扛重型武器，直面外星飞船降临，而背景则为大家所熟悉的巴黎埃菲尔铁塔，开发商力图把本作打造成迄今为止《英雄萨姆》系列最疯狂、最伟大的一代作品。
2025年11月5日 玩过
2025年11月5日 评论 Underrated masterpiece - *[sets up the beacon] Bacon set! Bacon… Bacon? … I shouldn’t have skipped breakfast.* Time for another hot take I guess because I am seriously confused as to what everyone is smoking when reviewing this. SS4 is the most coherent and balanced that the series has ever been! I love Serious Sam, but I’ll be the first to admit that every single game in the series is noticeably flawed, some more than others. But generally the good overweighs the bad. In the case of the first game, it WAY overweighs it! But even that game has moments of mounting frustration. For example, that giant fucking tunnel of endless enemies (which I suppose they tried to recreate in SS3 and made it even worse), or that arena before the final boss. Let’s just say, sometimes Serious Sam does not know moderation. But that is perhaps the only thing you CAN’T say about SS4. While the previous games orchestrated these large-scale scenarios, the moment-to-moment gameplay often suffered. SS4 DOES NOT have that problem. You can clearly tell that there’s been more thought put into level design, enemy placements, item placements, difficulty balancing, weapon balancing, physics, animations and the overall polish. I will say this one thing about SS4: it does not really capture the magic of the first game. You can almost say that it opts for a different formula. SS1 was about horde-management: you had to make quick decisions on which guns to use against which enemies and which enemies have to be taken out first to prevent the horde from reaching you. It’s a very unique approach to first-person shooters that I’ve never really seen executed well in any other game, even the sequels. With every new SS game, I had the feeling that Croteam doesn’t fully understand what made the first game click and were only occasionally able to recreate the highs of the first game, seemingly by accident. SS4 plays a little different. Weapons seem to be effective against a wider range of enemies, which dumbs down the strategic element. But in return you get a more intuitively engaging combat. The way the movement, animations and gunplay were overhauled, it makes it more fun to just jump around and blast monsters with your double-barreled shotgun while dodging their attacks. It’s a more classic, Doom-style FPS. In fact, with this game I often felt like it’s what Doom 2016 should’ve been. I think SS4 takes at least some inspiration from it, but doesn’t stray as far away from the classic Doom formula as Doom 2016 did. The game is much more careful about how many of each type of enemy it throws at you in any given fight. You no longer feel swarmed by headless kamikazes or werebulls. Crowds are very manageable as long as you play it smart. In other words, it’s become more fair and skill-based. However, that means much fewer moments of that classic Serious Sam gameplay. I suppose the frequency of their appearance is comparable to SS2 and 3, except now the game is still fun when they don’t happen. Sam is faster than ever and can level up and unlock passive skills, adding even more variety to the gameplay. Plus instead of power-ups that get used on pick-up, you now get gadgets that you can use whenever you feel like. This is super useful, because you can store them and unleash all of them at the same time during the more intense battles. The levels are also more varied and bigger than ever, and you can traverse them much easier. Sam’s movement reminded me a lot of the aforementioned Doom 2016 and Titanfall 2, except here you can’t grab onto ledges, double-jump or use a jetpack, and you almost feel like you should be able to. There is a lot of verticality in levels, and with how actions transition into one another, it would really make sense for you to be able to leap into the air or grab onto the edge of a roof and pull yourself up. But even without that, exploring the levels is probably more fun than ever. There are huge optional areas that the game will never tell you about, which will take you like 5-10 minutes to clear out. It also helps that most levels (the sunny ones) look gorgeous, even though I was playing on minimal settings (which it’s a miracle that the game even runs at a playable framerate on my potato laptop, Vulkan ftw). Don’t forget to change the color preset though, the default is too bland. - The moron who burns twice as bright, dies twice as fast. Fun fact, the quote he’s paraphrasing is NOT from Laozi, despite the characters in the game stating so. It’s a common misattribution. This time around there is a much heavier emphasis on the story, which I would’ve probably normally thought was a bad thing, but it’s actually really well-written. It’s a kind of self-aware 80s B-movie type story, but it’s fucking hilarious. I can’t recall the last time I laughed so much when playing a video game. Sam has always been a kind of a wisecracker, but here his one-liners are genuinely funny and make the overall experience of the game way more enjoyable. There is also a cast of supporting characters, all of whom are genuinely likeable, which is again very rare for the series. SS1 had pretty much no story, SS2 had a mushroom drug trip of a story with immature humor, and SS3 in retrospect feels almost like a testing ground for what they did here. When the final credits came on, and the characters were sitting around the fire and reminiscing about those who didn’t make it, I genuinely got emotional. One aspect of the game that I feel is a downgrade is the music. It just sounds kinda generic. Every previous game had a kind of ethnic tribal ambient shit going on, or something like that. Whereas here it’s like a mix between melodic metal and orchestra (symphonic metal? Idk), which just isn’t my kinda thing, and I don’t think it fits the aesthetic and tone of the game as well as the older soundtracks did. Also, it definitely makes this one feel less atmospheric. There was a kind of sense of mystery as you explored abandoned ruins of ancient civilizations in SS1 and 3 (to a lesser degree). Here you don’t have that. But there are a couple of themes that are variations of older themes, and they hit you in those nostalgic feels. *[when fighting a giant crustacean boss] Stop being so shellfish and die!* I do think the game drags a bit in the middle, both in terms of the gameplay and the story, but it does pick up towards the end, especially if you’ve upgraded dual-wielding and sprinting. Around that time the game starts throwing huge crowds of enemies at you, and you become an absolute death machine. It turns into a slaughterhouse in the best way possible. Some of the weapons now have alternate fire modes, which makes, for example, the original shotgun remain useful even after the double-barreled one is unlocked. And idk how I'm gonna go back to the old rocket launcher without the homing missiles... And then the fucking death-ray for the plasma gun? chef’s kiss I feel like a sadist saying it, but it’s so fucking satisfying to use. That thing rips everything TO SHREDS! Imagine a fucking Quake rail gun that shoots at the speed of light? Yeah, something like that. The final mission is just incredible. The Ugh-Zan fight is obviously a very appreciated nod to the first game, but the way it’s executed is so much more fun and so epic. I’m not even gonna describe it here cause I don’t wanna spoil it for the people who haven’t played yet. A lot of people have complained about the Legion system. Some saying it’s underutilized and others that it’s just a trick. To the former I wanna say that it would’ve been ridiculous to have more than one battle this fucking huge. It’s only appropriate that it’s used for the final mission only (and a quick glimpse of it in the prologue). To the latter I’ll say: who gives a shit if it’s a trick? It works. It does successfully create the illusion that you’re fighting like a million enemies. In fact, if some reviewers didn’t mention that most of those enemies are just sprites, I wouldn’t have even noticed. The game’s tone in general is that of a big-budget blockbuster, and it supports that with a lot of cutscenes and scripted set-pieces. But this is probably the first time in the series where that actually kinda works. It definitely feels like the first AAA Serious Sam game where everything seems to be working exactly as planned. There is still some jank here and there, but for a game that provides this much freedom in exploration and variety in weapons, enemies, upgrades, etc. I think it would’ve been impossible to avoid all jank altogether. Now some people have said that the Siberian Mayhem is a better game than this. I honestly can’t imagine how it could be because this here is a masterpiece in my opinion. I still prefer the first game over it, but I have my doubts that Siberian Mayhem is gonna be a perfect blend of SS4’s and SS1’s best qualities. But we’ll see. Playing this actually made me wanna revisit all the other games in chronological order because of how good the story was here and this game being a prequel, which also makes it perfect for newbies. I haven’t played Fusion yet, and SS2 recently received an update that integrated my favorite mod into it, so it’s a good excuse to revisit the entire series.
completed ❤️
cover
英雄萨姆3：BFE 豆瓣
其它标题: Serious Sam 3: Before First Encounter / SS3: BFE … 2011年11月22日
类型: 第一人称射击 平台: PC / Mac / PS3 / Xbox 360 / Linux 开发者: Croteam Ltd. 出版发行: Devolver Digital
《英雄萨姆3：BFE》将是《英雄萨姆：第一次遭遇》的前传，玩家将在《英雄萨姆3：BFE》中看到一些熟悉的场景，游戏中英雄萨姆所遇到的敌人中也会有一些老面孔。除去经典元素外，新场景和新的敌人也将数量众多。

游戏整体感觉还将与《英雄萨姆》系列大致相同，动作和幽默元素是绝对少不了的。《BFE》中加入了一些新的设定，比如近身攻击和可破坏的场景，而且该作将支持最多16人合作游戏。
2025年11月27日 玩过
2025年11月27日 评论 “Oh, it’s not over until I teabag every last one of you alien motherfuckers” - Serious Sam 3: BBFE ( the extra B is for BYOBB ) There is a lot of bad critique of Serious Sam. I think it’s one of those niche franchises that doesn’t get understood by the mainstream audiences, like Dynasty Warriors. It’s kinda ironic that the same people would often be super elitist about the Souls games as if they’re misunderstood gems, when they’re literally mainstream hits. I’m not gonna spend my time explaining why Serious Sam (1) is one of the greatest shooters of all time. Maybe I’ll do that in a SS1 review. But what can be said about SS3 in comparison to the other games in the series? I guess, if I was a hack, I’d complain about reloading, aiming down sights and sprinting, as if added mechanical depth is somehow a bad thing, or about some minor irrelevant detail like sand particles or something. I’ve come to realize that a lot of media criticism is people making shit up to complain about because they don’t understand why exactly they dislike something. I’m not saying this doesn’t happen to me either btw. After SS4, I was happy to jump back into the classic gameplay loop of horde management with rapid weapon-switching and dodging with high spatial awareness in structurally-complex levels. Something only enhanced by the added sprint mechanic, as Serious Sam always encouraged constant movement. It’s funny, but the feeling of “homecoming” was also there when playing SS3 for the first time, as it followed the “controversial” SS2 that had deviated from the classic formula. To be fair, SS3 is not quite the return to the heights of the first game. I can totally see someone ditching the game in the first five missions because honestly they’re just bad. They’re very maze-like, and the game throws groups of same enemy types at you, and you don’t have a lot of weapons. This is also where you get introduced to spiders, one of the new enemy types that … uh… I mean, I don’t have to tell you how annoying it is to fight small and fast enemies that can climb walls and sneak up on you. You’re also introduced to the new melee system from the very beginning of the game, and it’s pretty fluid and does come in handy every now and then throughout the game. But once you escape the city, that’s where the game really opens up and starts feeling like Serious Sam, and that classic gameplay loop returns with a vengeance. The levels are as big and well-designed as the first game, and looking gorgeous in the new engine. Sand floats in the wind, heat shimmers on the horizon, lens flares extend from hi-res sandboxes that stretch out into infinity. Particle effects really add a sense of presence to the place. Hitting walls or ground lifts dust into the air like a John Woo movie, enemies get gibbed in the most satisfying ways and blood leaves splatters on the hot concrete and covers your weapons if you’re close enough to get splashed. Now, I don’t think setting a game in modern-day Egypt recaptures the sense of mystery that the old games had, but it is such a nostalgia trip. Fuck the decayed Shadow Moses in MGS4, SS3 sets the whole game in the same location as its first antecedent, separated by thousands of years. You get to revisit several levels from the original Serious Sam and see them ravaged by time. But the sense of mystery is still not completely lost, as you get to descend into enigmatic alien structures that are shrouded in darkness and filled with distant lights, the nature of which you can only ponder. In addition, I love how the game has these Arabic graffiti and ancient Egyptian hieroglyphic inscriptions. When you point at them, you get a translation, and it’s always something cryptic. In SS4 they also had this mechanic, but the texts were usually either jokes or tips, so it felt very player-centric, but here they serve no purpose, which makes you feel like you’re immersed into a real world. All of this is accompanied by the same kind of folk-ambient soundtrack with traditional Arabic and Egyptian motifs. While I’m on the topic of location, I’ll address two of the biggest criticisms I’ve heard of the game in this regard. People seem to really dislike the fact that Croteam reused assets from a canceled military shooter project. I don’t understand this point, considering how these assets perfectly match the vision of this game. You start off in a modern city, then transition to medieval villages and Arabic fortresses, and the game just pushes further back in time through Egyptian ruins the further you progress. Not a very apt comparison, but it’s just like Apocalypse Now in this particular regard, and I just love it. A lot of people seem to hate the tombs because they’re dark and claustrophobic. It’s a surprisingly strong point of contention, considering the fact they constitute a relatively tiny portion of the game. But personally, they reminded me of that anecdote from Akira Kurosawa I once read, where he was talking about how some people hated the on-Earth portion of Tarkovsky’s Solaris because of how long it was, but to Kurosawa spending this much time on Earth only made him miss it more once the movie progressed into the space, and this melancholy was part of the experience. Again, not a very apt comparison because Serious Sam is like the furthest thing from a Tarkovsky movie, but these tombs had exactly the same effect on me. I dreaded going into them, but it was such a relief to get out of them. Seeing that daylight seeping through an opening in the distance always filled me with joy. I get that all these comparisons to deep arthouse movies may be out of place in a review of a silly gibfest about a wisecracking tough guy straight out of 80s action movies, but really most of the time in Serious Sam you spend immersed into these mysterious and empty landscapes and kinda crafting your own narrative while exploring them. This is what makes video games such a unique art form. They lend unique experiences to every player and result in unique interpretations. Also, while I haven’t gotten too far from the topic of reused assets, a lot of people seem to dislike the Doom enemies from the canceled Doom project that Croteam once pitched to id Software, but I think they fit this game really well and add mechanical variety. Cloned soldiers are your generic hitscanner zombies and get easily dispatched with an assault rifle. Scrapjack, the local Mancubus lookalike, basically functions like Zumbul from the previous games. And Khnum (Baron of Hell) plays the role of a Reptiloid. The one new enemy I absolutely hated is the Witch-Bride. She teleports and can grab you from a distance and send you into a seizure during witch you can barely aim, but she is ONLY vulnerable when she’s attacking you. Now, individually she’s not a threat, but when there’s more than one of them or they appear alongside a horde, they become a major pain in the ass. This is probably the only outright egregious design choice in the game in my opinion, and I just don’t understand why and how they decided to do this. In SS4 she was fixed and became actually fun to fight. I was kinda dreading the big tunnel at the end of the game, but honestly it wasn’t that bad. It gets dark and epic, which is a kind of callback to the Cathedral in The Second Encounter, with the soundtrack playing a variation of its motif. The new weapons – dynamite and devastator – are super useful against crowds. Again, some people complained about the sand rising in the air and making it harder to see, but that’s only a problem in the final level, and it’s by design. It’s supposed to add a challenge and prevent from just spamming dynamite (because there are infinite supplies in that level). One thing I kinda disliked throughout the game was that there’s this sandworm roaming on the edges of the maps, preventing you from venturing into the empty dunes. Not that there’s anything to be found there, but I loved how the first game let you do that and just waste your time if you wanted to. However, it’s cool to see that the sandworm was incorporated into the story and becomes a major part of the final boss fight. The fight itself was fine, I think. It’s kinda gimmicky, but I’d rather that than just shooting a giant bullet sponge. I went into SS3 expecting it to be a 7 or 8 out of 10, remembering its flaws and whatnot, but tbh I actually had a blast. Sure, a very slow start, but once the game picks up, it’s that classic incredible Serious Sam gameplay, and it doesn’t let up till the end. The first five levels are bad, but they’re not exactly awful, and there’s still enough new content there to keep you curious to progress. And the Witch-Brides appear like maybe five times throughout the whole game, and most times it’s one at a time, so they’re not major problems. If it wasn’t for these two issues, it would’ve been an easy 10 for me. P.S. Don't forget to choose the vivid color profile in the settings.
completed ❤️
cover
Sunset Riders IGDB
1992年12月1日
类型: Shooter / Platform 平台: Sega Mega Drive/Genesis 开发者: Konami 出版发行: Konami
The Genesis port of the Arcade Classic
2025年5月19日 玩过
2025年5月19日 评论 Despite having grown up with a Sega Genesis (MD to be precise), I'm not a huge fan of that era of video games. - Most times when I go to revisit a 16-bit game from my childhood or play a new one, I don't enjoy them as an adult. In a lot of cases it's the insane difficulty or the unfair challenges, but often just the nature of them being mechanical to the point of breaking immersion. Sunset Riders is one of the few games of that era that I feel has an appealing aesthetic, well-structured progression, and a high skill ceiling, while also being accessible to casual players. I've beaten this game several times, and each time it's a blast from start to finish. You shoot everyone in sight while dodging bullets by sliding, jumping, switching between two elevation levels, or entering saloons for some hot hooker action (the sex is not shown but heavily implied). The gameplay is dead simple, yet every minute of it is meticulously designed to make you feel like the protagonist of a John Woo movie or Neo from The Matrix. And it never grows stale either because levels are rather short, and each has its own quirks while also standing out aesthetically and featuring regular scripted scenes. I've never played the Arcade version, which everyone says is superior, but I did play a bit of the SNES version once, which is supposedly closer to the original. I still have to play through it to make up my mind completely, but based on what I've seen so far I will say that I prefer the Genesis version. Firstly because of the colors: the skies are "Sega-blue", and the landscapes have a more natural palette. Secondly because IIRC the two extra characters in the SNES version play the same as the two they kept in this version.
completed ❤️
cover
毁灭战士3 维基数据 Bangumi IGDB
其它标题: Doom 3 / Doom 3: BFG Edition … 2004年8月3日
类型: Shooter 平台: Linux / Windows / Xbox / Mac 开发者: id Software 出版发行: Activision
《毁灭战士3》（英语：Doom 3）是一款杂惊悚与科幻于一身的第一人称射击游戏，游戏由id Software开发，PC版于2004年8月3日由Activision发行。游戏故事除了英文名称外，并未有完全跟随《Doom》的发展，并采用了全新的id Tech 4引擎。游戏目前已发布了Windows、Linux、Mac和Xbox版，虽然Xbox版画面精细程度略于PC版，但其卖点在于支持两位玩家协同作战。故事主要发生在2145年的火星联合宇宙航空公司（UAC）研究中心。
2025年5月11日 玩过
2025年5月11日 评论 After about 20 years, I finally completed Doom 3. A game I could once only dream of playing. - Doom 3 had everything to become one of the greatest game of all time: several years of development, the most advanced graphical technology, huge budget, legendary game designers at helm of the production. So what went wrong? I've always said this, and I'll say it again: circa the first hour of the game is near-perfect. A masterclass in how to establish an atmosphere, build suspense, create a sense of place and presence, and fully immerse the player into it. From the start Doom 3 positions itself as a horror game first. Which isn't as much of a leap as some people would have you believe. I mean, Doom 1 was as much of a horror game for its time as Doom 3 was for its. For example, I find Doom scarier than Resident Evil. And if you take Quake as part of the same lineage, then Doom 3 totally makes sense. In fact, it almost completely follows the Doom formula, with only three real differences: Now there are logs to pick up and read or listen to. The scale is somewhat smaller, probably to make the groundbreaking graphic fidelity playable on weak computers. Everything is really dark and you're given a flashlight, which you can't use while wielding a weapon. These three changes work really well to accommodate the new direction. Reading or listening to testimonies of frightened employees heightens the fear of the unknown. Smaller scale means fewer enemies in claustrophobic environments, which means each enemy is more intimidating. And the flashlight thing is a genius decision that makes the player choose between the ability to see and the ability to defend themselves, creating a persistent sense of vulnerability. For probably the first third of the game, it plays by these rules. Incredible sound design sprinkles echoing noises, and a plethora of scripted scenes make enemies crawl out of the most unexpected locations. The overarching message the game conveys with its design is: YOU ARE NEVER SAFE . Occasional discovery of survivors make you truly treasure this fleeting "human" contact, as you know you're not gonna have another one for a long time afterwards. Mars is an inhospitable place. Every now and then they let you see the surface through windows or even get a quick walk outside, and it's a dead lifeless place with a seemingly constant storm. You really get the sense of isolation and loneliness. I think Doom 3 is probably the closest thing you'll have in video games to the movie Alien (with Quake 4 being the closest to Aliens). That is for about the first third of the game. That's when everything kinda starts crumbling. The game doesn't know how to progress as a horror game, so it tries to progress as an action game. The problem with that is: it's not really a vehicle for an action game. An okay action game at most, not a good one. Small corridors mean that there's less place for maneuver and less potential strategic depth. I feel like almost every location has something like 2-3 possible strategies, and you have to figure them out, like a puzzle. If you fail to do that quickly, you get attacked. And, when you get attacked, it hurts really bad in this game. Particularly because it makes your screen shake like you're having a seizure, and that completely throws your aim off. If you get ganged up, it's near-impossible to hit anybody, even the person demon standing right in front of you. The thing with the flashlight, from being a genius mechanic turns into a major nuisance, especially when dealing with hitscan enemies, which the game throws a lot at you in the last third of the game. These hitscanners only really work in the early game, when you face one or two of them at a time, and preferably in an area with lots of cover. The AI is really good though, similar to Quake 4. These guys can traverse several rooms or even elevation levels to find you. One time a pinky forced me to hide under floor tiles, and once it saw that it can't get to me, it ran away to ambush me later. There is a really cool kind of a "dance" you can do with most melee and projectile-shooting enemies, where you try to get close for a shotgun hit and run away when they're attacking. With some enemies you can shoot down their projectiles, which also adds gameplay depth. But the hitscanners, lost souls, and spiders are really annoying. As you progress through the game and encounter more and more enemies, the sense of horror completely fizzles out, but annoyingly the game doesn't stop repeating the same tricks. Reading/listening to the logs becomes a massive chore. All that "People in sector G reported seeing shadows" becomes kinda stupid when you're running around with a rocket launcher and a BFG, mowing down several enemies at once. And this really becomes a major problem towards the end, when they throw gangs of monsters in tiny rooms with you. By the middle of the game, I felt that it had outstayed its welcome. By the end I was exhausted. Which is a shame because there is a lot of cool stuff towards the end, but all the excessive action kinda ruins the atmosphere. I think Doom 3's main problem is that they wanted to do something different, but couldn't commit to it for the fear of alienating the core fanbase. Because Doom 3's main strengths are not in its combat. Don't get me wrong, the combat is fine. It's like a Doom lite. But once the atmosphere dies and all you have left is the combat, you start feeling like you could've been playing something better. Doom 3 is like an elaborate joke with a great set-up and a disappointing punchline. Still, for what it's worth, it's a solid game. I think the BFG Edition is probably the superior experience. It gives you an attachable flashlight, brighter environments, and more ammo. Sure, that takes away from Doom 3's horror aspects, but I think it's probably better to drop the pretense from the get-go and just have fun with what it is: an action game. Not a great action game, but a solid one. One worth playing through once or twice.
completed ❤️
cover
雷神之锤4 Bangumi
其它标题: Quake IV / Quake 4 2005年10月18日
类型: FPS 平台: PC / Linux / Mac OS X / Xbox 360
　　《QUAKE 4》将会是系列中第一款让你扮演真正有名字的主角的游戏。他是一名太空舰队队员，名叫Matthew Kane，是突击队中的精锐，有着神秘的过去。Kane被派遣到Rhino 小队中，这个小组和多个小组一起被派进攻strogg 的故乡——Stroggos行星。实际上，《QUAKE 4》是《QUAKE 2》的后续之作。在《QUAKE 2》中，主人公是一个无名的太空船员，他的任务是击退恶心的strogg，这些strogg为捕捉到的生物装上机械部分来改进他们的身体，然后为他们植入神经控制将他们转变为没有头脑的奴隶。游戏的巅峰战斗发生在Stroggos行星上，主人公来到这个行星，杀掉了stogg的首领“makron”，可惜这个致命的打击并没有结束这场斗争。现在地球派遣了像Rhino 小队这样的太空舰队进攻strogg行星，以永久地解除整个宇宙受到的威胁。
2025年4月27日 玩过
2025年4月27日 评论 One of the greatest first-person shooters of all time - Now, if you're playing Quake 4 on a console, you will never in a trillion years experience the game. You'll think you have experienced it, but you'll be cheated. It's such a sadness that you think you've played Quake 4 on your ffffucking console. Get real! I'm sorry, but people rating this low having only played the console version are just being ridiculous. Quake 4 is without exaggeration, one of the greatest first-person shooters of all time. In terms of gameplay perhaps only second to F.E.A.R. It's probably the last of that era between the Doom-clone FPS and the CoD-clone FPS. This was the period when FPS games were generally not designed for consoles, and were able to utilize the superior hardware of computers to their full potential. And they really went all out with this one. Projectile-based weapons, a mix of long-range and melee opponents, each with their own unique tactics and vulnerabilities, ragdoll physics, some of the best level-design ever, and insanely smart AI that will play mind games with you. This is some of the pinnacle of PC gaming, and you cannot possibly play this on a console and understand what makes it a masterpiece. The levels are laid out in such a way to always provide you a mix of cover and enough place to maneuver it in several different ways. You have to think on your feet, sometimes rush opponents, sometimes retreat, constantly move, jump, duck, flank them, and land as many headshots as possible. You're given 10 weapons, each of which functions differently and affects different enemies differently. As a result, when they throw several enemies in a room with you, you have to not only think of how to approach them and who to take out first, but also which weapons to take them out with. There is just an incredible strategic depth to everything you do in this game and a very high skill ceiling, and it's all very fast-paced and adrenaline-infused. You're constantly on the verge of death, and being able to narrowly survive encounters is exhilarating and rewarding in a way that makes you feel like an action hero. The aesthetics instill a constant feeling of suspense, with occasional moments of awe and fascination, as they depict strange and beautiful alien structures and constantly force you to push yourself into increasingly dangerous and uncomfortable scenarios. The art design in this game mostly echoes Aliens and Starship Troopers, but with a tinge of impressionism. The result is something weird and memorable. This screenshot I took towards the end of the game, in my opinion, perfectly encapsulates Quake 4's visuals in a nutshell . A futuristic soldier lying torn in half next to what seems like Disney magic. It's also genius how they played with the setting. You're fighting against the Strogg, creatures that view flesh as weak, so they "enhance" it with technology. Quake 4, being a sequel to Quake 2 where the concept was first introduced, and built on Doom 3's engine, weaves a meta-commentary on the relationship between biological creatures and technology. The interactive screens from Doom 3 take on a new meaning here. You're a human being interacting with technology (the computer) that allows you to interact with technology (in-game computer). Then there's the famous spoiler moment, which I won't talk about here, but it kinda moves the gameplay from a more realistic type gameplay to a more old school type, where you move faster and take on more enemies. In other words you (d)evolve from a normal human to a Quake 2 protagonist, an archetypal grunt that used to be the central character of every FPS at the time. A more efficient killing machine, but is something of humanity lost in the process there? Do video games allow us to transcend our limited biological nature, or do they deprive us of something essentially human? Seeing how young the medium is, I think it's still a valid concern, akin to how AI is viewed today, but it's one that isn't talked much about. Of course this flew over everyone's heads because most gamers want mindless entertainment. Judging by the majority of the reviews (which spoil the only major plot twist in the game btw, so I don't recommend reading them before playing the game), most people expected a Call of Duty. One guy literally called it a "2005 Xbox 360 launch title FPS", which is just utter nonsense. If you're gonna buy a sports car and try to drive it on off-road surfaces, it's not the car that's the problem, it's you.
completed ❤️
cover
魔兽争霸3：混乱之治 豆瓣 Eggplant.place
9.6 (47 个评分) 其它标题: Warcraft 3: Reign of Chaos / Warcraft III: Reign of Chaos 2002年7月3日
类型: 即时战略 平台: PC / Mac 开发者: Blizzard Entertainment 出版发行: Capcom / Sierra
《魔兽争霸III》获证实为一款极其出色的电脑游戏，发行起计两周内便售出550万套，而其中450万套更是预订销售。玩家可以选择在《魔兽争霸III》中操控四个种族，其中两个在前作《魔兽争霸II》已曾经出现，分别是人类 (Human) 和兽族 (Orc)，另外两个则是《魔兽争霸III》新增的种族暗暗夜精灵 (Night Elf) 和不死族 (Undead)。娜迦族 (Naga) 在制作时曾经设想作为第五个可操控的种族，但在游戏测试时删去，而官方解释就是加上娜迦族之后很难保证游戏的平衡性，而今它则出现在单人任务模式和中立生物当中。
《魔兽争霸III》与暴雪公司之前发布的《星际争霸》一样，可谓一款成功的即时战略游戏。游戏包含了大多数即时战略游戏所具备的要素：资源采集、基地建立和战斗指挥。游戏的操作方式亦类似星际争霸，秉承了星际争霸易于操作的优点，并简化了星际争霸中一些繁琐的操作，例如玩家可设定电脑以“自动施放”部份常用魔法，从而省去人手操作的过程。
此外，亦可从四个种族之设定见到《星际争霸》的影子，譬如暗暗夜精灵则像《星际争霸》Terran 般可以移动自己的基地，而不死族与 Protoss 皆能制作一种专门用于侦察的隐形单位，且于造建筑物时农民于可离开建筑物（犹如“召唤”建筑一样而非“建构”建筑）。
2025年4月25日 玩过
2025年4月25日 评论 review - What makes Warcraft 3 a classic is not necessarily its near-perfect map design, addictive RPG elements, beautiful graphics and music, or its well-paced, well-written and well-directed campaign. But rather that on top of all that it served as a platform for endless creativity in the form of custom maps, some of which changed the gameplay to the point of being a different genre, and one (we all know which one) ended up inventing a whole new genre that at least for a few years grabbed all the attention of the video game industry.
completed ❤️
cover
黑暗领域2 豆瓣
8.4 (5 个评分) 其它标题: Darkness 2 / 黑暗2 … 2012年2月7日
类型: 第一人称射击 平台: PC / Mac / PS3 / Xbox 360 开发者: Digital Extremes 出版发行: 2K Games
游戏厂商2K Games近日宣布《黑暗》即将推出续作《黑暗2(The Darkness 2)》。根据国外媒体报道，《黑暗2》预计游戏正式发售日期是2011年10月7日，，并将在PC，XBox360和PS3平台推出。
前作《黑暗》是由Top Cow出版的同名漫画“The Darkness”所改编的暴力风格动作射击游戏，玩家扮演Franchetti家族的杀手Jackie Estacado，他在迈入第21岁生日时，体内潜藏的黑暗力量突然复苏，这股黑暗的力量有多种形式，玩家可借着吞噬、刺穿等方式来残杀敌人，但这个力量必须要在黑暗下才能展现。
《黑暗2》的时空背景将设定在前作结局发生的两年之后，玩家将再次扮演第一作的主角Jackie Estacado。本次游戏剧本依然由英国漫画家Paul Jenkins负责，而开发工作则由开发过《杀戮地带》、《生化奇兵》等知名游戏的研发商Digital Extremes负责。《黑暗2》将继续Jackie Estacado的故事，他现在是弗兰凯蒂家族的老大。在抑制了黑暗之力（The Darkness）之后，黑暗之力想要自由。在一场黑帮之战之后，黑暗之力和Jackie再次聚合，Jackie将找寻幕后黑手和帮助他的黑暗之力的动力。
游戏继续支持使用火器的同时，用你的恶魔之手释放挥鞭攻击，攫取物体，投掷物体和敌人。
“《黑暗2》是一款充满黑暗和想象力的暴力游戏，有着风格化的美丽梦魇”，2K总裁Christoph Hartmann说道：“《黑暗2》将继续发扬2K Games一贯创作充满质量，创新和深邃叙事的游戏的优良传统。游戏将建立一套独特的黑暗对战光明的战斗姿态。融合Jackie的火器和充满超自然力量的恶魔之手和黑暗力量，我们很自豪地宣布这款新作。”
项目主管Sheldon Carter在本周GDC期间接受Destructoid采访时暗示了剧情主线的一点信息。
不过他也没有谈论多少详细内容，Carter重点说了说《黑暗II》中主角Jackie的超能力以及他利用黑暗力量的另外一些方式。
其中一个新方式是：两个恶魔手臂可以协同合作。左臂可以抓住一名敌人，右臂处决他。左臂主要负责“抓取”，你可以利用它来抓住物体并扔向敌人——甚至刺穿他们。
《黑暗》是一款第一人称的射击游戏，由Starbreeze Studios开发、2K Games发行。于2007年6月份在北美和欧洲发售。该游戏是基于同名漫画改编。发售平台是X360和PS3。
2025年4月13日 玩过
2025年4月13日 评论 Near-perfection - Wow, this game has aged like the finest wine. It was already on my list of all-time favorites, but I think I'm gonna move it way higher, maybe even to the top-10. The story is downright genius. Not only is it a brilliant meta-commentary on the series and on video games as a medium, but it also weaves Gnostic themes into there and explores the application of video games as a tool of metaphysical examination. Even the other aspects of the game, such as the comic-inspired visuals factor into it. Even its cliffhanger, which is annoying (mainly because we never got a sequel) makes so much sense and fits so well thematically with what the game was going for. And it does it all while not violating anything set up by the original Darkness and even enhancing that game's meta-text. God, it's so fucking good, a pure work of art. And, of course, judging by the reviews I've seen, this game's story flew over everyone's heads. Well, I'm not gonna discuss it here for the same reason I've never written a Silent Hill review. Instead I'll talk about the gameplay. This is probably the most mechanically-deep corridor shooter ever made. Despite the total linearity, there is an incredible amount of strategies you can employ to deal with the opponents, who come in a variety of types, forcing you to always consider in which order to take them out or whether to retreat. You can grab and throw objects, use some of them as shields, use powerful melee attacks, which then allow you scripted kills that will restore your health, ammo, mana, or give you a shield. You can dual wield a variety of different weapons and choose to combine weapons of different types for unique combinations. And dual-wielding in this game is without a doubt the best you'd ever see in any shooter ever. The way your guns will glide and zoom in automatically, allowing you to maintain your accuracy without the need of right-clicking to aim down-sights. Hell, you can even grab your darkling sidekick and throw him at an enemy. And on top of that you get to buy upgrades, which give you even more mechanics. The possibilities are ridiculously numerous. Every level is extremely creative and radically different from the previous. There's one level in a whore-house, were you get to see some actual fucking (so glad this game wasn't censored). The haunted-house attraction ride in the abandoned circus, where you have to tell apart enemies from the animatronics is fucking genius. Very reminiscent of a similar level in Max Payne 2. You get to go through all these cool-ass locations and events, shredding people into pieces with some insane, beyond Soldier of Fortune, dismemberment system, pulling their fucking skulls and spines out of their asses (literally) and eating their faces with giant snakes. Just from the conceptual point of view, this is the coolest game ever made. And you have these stunningly gorgeous and unique-looking visuals. No other game looks more like a comic book than this. Sadly, this also flew over a lot of people's heads, as I've seen them call this game cel-shaded. Apparently most gamers don't understand what cel-shading is. The developers of this game hand-crafted every single texture to look cartoony, which makes the overall picture capable of looking like a comic-book while still getting all the benefits of complex lighting and shading that would've been lost in a cel-shaded game. With the exception of one tiny stealth section, there is literally not a single downside to the experience. It's just a pure joy at every moment which then grows with profundity and reaches an emotional catharsis. It's games like this that showcase the potential of video games as an art form.
completed ❤️