Reviews - MarBronx

Several survival horror games limit the survival component to the core idea of "kill or be killed". Players assume that the only way to endure a hostile and terrifying environment is with the help of a weapon, and from that point on, it all revolves around how big is the next unlocked weapon. In a time when survival horror games and action movies repeat more this proven formula, Amnesia: The Dark Descent returns to its roots and immerses us in the psychological horror of a vulnerable protagonist, with no option to fight back, being its role solely of a prey desperately trying to buy as much time as possible to escape. This gameplay principle is combined with an eerie and desolate ambience, taking us through 19th-century castles, mysterious North African crypts, sewer systems, morgues, prisons and gory cult locations, intertwining fiction and reality in an almost literary narrative. Gameplay has simple rules, but its difficulty stems in part from the continuous tension of being hunted by enemies, which can be particularly frustrating on higher difficulties. Nevertheless, overall, it delivers what it promises.

The ambience is varied but imbued with a sense of claustrophobia, where darkness plays a key role. Most places can't be well navigated without an oil lamp, and the sounds of the surroundings, accompanied by unsettling but masterfully created musical cues, serve as sources of both orientation and anxiety. One of the strong points of Amnesia TDD is the high level of interaction with multiple objects, some of which are carefully designed and full of historic symbolisms or features that contribute to the plot. Enemy models are grotesque, intended not for a thourough appreciation but for a repulsion that keep the player at a distance. For the majority of the game, the transitions between backgrounds are fluid and can captivate curious players for many hours.

Opinions about the plot are mixed. Some think it fails to engage the player given how confusing it is, while others think that, although good, it fails to build momentum. For me, the story delivers as well as I expected for a solo horror game. Full of puzzles, mysteries and sudden revelations, the story has a non-linear narrative that gradually unfolds through scattered notes written by the protagonist, showcasing amazing storytelling and depth of emotion. It feels like reading pages from a book written by a troubled individual, filled with fears, regrets and desires for revenge that push him to the brink of madness. On top of that, within the game files there are fascinating short stories that greatly contribute to a broader understanding of the plot and can be of interest for many hours.

The gameplay is the most distinguishing feature of Amnesia TDD and, in general, of most titles of Frictional Games. A defenseless protagonist is thrust into a world of horrors without weapons and limited lighting, and must navigate carefully avoiding vicious and relentless enemies that act as predators. It is as simple as that. However, there is a mechanic that directly impacts survival and relates to the psychology of the protagonist as the narrator of his story: sanity. The lower your sanity, the more distorted the environment becomes, the more frightened is the protagonist and the higher the chances of being spotted and killed by enemies. Preserving sanity requires juggling between staying in well-lit areas, keeping a safe distance from enemies and solving challenging but not overly difficult puzzles. While innovative and interesting for casual players, the sanity mechanic can easily become frustrating in hard mode, considering that when sanity drops to zero the character dies and you have to restart from a way earlier point in the game. Another aspect that could be improved is the occasional awkward interaction with obstacles and player movement, leading to small mistakes that feel clunky and often result in death. This, coupled with the crucial need for tinderboxes in hard mode, can make the game feel like a chore, artificially difficult, annoying and almost impossible to progress without a guide (which, of course, removes all the immersion and challenge from the game). However, it's worth noting the potential for replayability through the DLC Justine (which has a short but interesting story) and the custom stories that open up a world of player-made possibilites and are as easily moddables as some big gaming titles like Half-Life.

Amnesia TDD is definitely not a game for everyone, considering how scary it can be or how dull it may be perceived if one endures the horror elements. However, I think it brings a breath of fresh air to the increasingly hackneyed genre of survival horror games with its evocative ambience, distinctive storytelling and challenging gameplay.

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When I thought Killing Floor was already good enough with their simple and engaging features, challenging difficulty and variety of weapons, I was introduced to Killing Floor 2. I have to admit that at first I wasn't comfortable with the major conversion that this sequel brought, but I slowly learned to appreciate it for its strong team-based multiplayer gameplay, well-crafted maps, new bosses with unique weak points that require specific strategies, the dynamic perk system and the constantly updated arsenal of weapons.

Graphics are the obvious mayor upgrade, and they don't disappoint at all. Maps, models, weapon skins, bosses and even the trader feel refreshing enough so one might think it's a completely different game. Characters' voices in some cases remain the same as in KF1, but they now have their own face, body and personality. Additionally, there are many more new characters, and they are available for free, which I greatly appreciate because most DLCs in this game (although this has changed in 2022 and sparked disputes among the community) are cosmetic. So, the trend seen in most games towards pay-to-win is different in KF2.

Incredibly, the weird plot of KF1 is somewhat more deeply developed in this sequel, which support the changes in characters and maps. For example, some map settings are related to the inclusion of new bosses, whether it's because of the objective or simply the landscape. The coherence between all these factors makes the game present a well-rounded proposition.

The gameplay is the most benefited from all the upgrades, to the point that it is completely different from the prequel. Firstly, player movement is more dynamic, with the addition of sprinting and parrying features. There's also the addition of new perks and a tactical system of abilities, allowing you to improve the strength of your chosen perk or opt for flexibility instead. In third place, there are new zeds that add a layer of difficulty to each wave, demanding new strategies to eliminate them without casualties, especially on higher difficulty levels. All of this, along with the new maps and character customizations, revitalizes the survival component of the game while giving a lot of versatility. There's also the rework of old map modes like objective and the addition of new ones like VS and weekly, which makes the experience less repetitive.

In summary, KF2 offers a lot of new features for both veteran and new players, which may appear to them as an "easier" version of KF1. Nonetheless, it fulfills all expectations: you will find loads of zeds, achieve loads of kills and earn loads of dosh. Perhaps the only drawback is the system requirements, so don't expect this to run on your PC if you barely can run KF1, as it demands a lot more in terms of graphics and processing power.

Hotline Miami is a good example of how an indie game can be a piece of art, and it's not just because of the developers' odd decisions, like encouraging play the game through piracy. The game is as gory as you can get from an 8-bit top-down shoot 'em up, but it masterfully mixes this violence with surrealist environments, a hypnotic soundtrack, an unpredictable meta-narrative and fast-paced gameplay that isn't made for players who can't endure a degree of frustration. However, I think this game is a one-off, so it could feel like an LSD trip, leaving you wanting more.

I'd say aesthetics of Hotline Miami are its defining feature. Drawing inspiration from stuff like 2011 film Drive, it has been a source of influence for music and other video games. The glowing color palette is in line with any retrowave cultural production. The iconic characters have given birth to a multitude of video game crossovers. The atmospheric, addictive, and praised soundtrack is almost guaranteed to be found in any synthwave/cyberpunk music playlist. It's true that at first glance the graphics are nothing spectacular, and by some standards, they can even be too dull. But Hotline Miami doesn't need to rely on any AAA standard to deliver what it wants. In fact, low-detail graphics suggest more than they show, which is perfect for a game with an ambiguous message that isn't easily grasped. The gore is a bit over-the-top, but its contrast with the background gives a feeling of constant alertness, where anything can happen at any second and you have to react fast to stay alive. Transitions between action scenes, aftermaths, and more relaxed and nostalgic ambiences are done well and captivate the player into the gameplay and story.

The plot is exquisite if you're into the theme of blurring the line between reality and imagination. Story is told in a non-linear, fragmented manner and is lead by an unreliable first-person "narrator" who shows you what he sees and does without saying a single word. It's all set up in Miami at the end of the '80s, a backdrop where something is always going on, where decadence is at hand, and where speed and drug consumption make it difficult to tell what is real and what isn't. And as if figuring the base of the story isn't difficult enough, the plot gets more intricate as you progress, introducing dangerous characters and organizations. There is a system of secrets that somewhat rewards those who replay the game in search of answers. But there are also meta-narratives. While not explicit, in several parts Hotline Miami breaks the fourth wall and addresses the player directly, adding a layer of intricacy to the story.

The gameplay is simple to learn and intuitive but difficult to master. The player is as vulnerable as their enemies, so trial and error is a must to progress through the maps. Movement and shooting are well-paced, giving the game a clear level of difficulty that isn't impossible to overcome. There are some parts where the protagonist is dizzy, which is coherent with the somewhat unresponsive controls and is great for player immersion. There is also a good variety of weapons and, most notably, masks. Those are not just cosmetic, but they have different features that can be experimented with, providing a notable degree of variety in gameplay. Finally, there is a score system after clearing each map that rewards bold moves, constant weapon switching and "creative" killings, which aligns with the ultraviolent theme of the game. So, the surrealist ambience, obscure story and fast-paced gameplay come full circle to create an addictive experience that hooks you one way or another.

Despite what appears to be a diverse potential for different playing tactics, Hotline Miami is quite short and even with all the mentioned features it doesn't give much incentive for replaying, except if you're a maniac of achievements and self-improvement. The good news is there is a longer sequel available.

In sum, Hotline Miami is a game that people interested in indie games and/or good lore won't be disappointed with if they give it a try. It even has visual art and music that can be the sole point of interest for some people, and it is quite enjoyable. However, as addictive as it can be, one should not expect to spend many hours playing it, so it could be a good idea to remain hooked up to research all the influences on the developers and interpretations of the story.

Team Psykskallar's latest attempt to introduce psychological horror into Half-Life excels in terms of ambience and modeling, pushing GoldSrc to a whole new level. However, compared to their previous work, Cry of Fear (CoF) has a rather frustrating gameplay, exemplified in its awkward inventory system, unforgiving difficulty and glitches/game-breaking issues that significantly impact the overall experience.

CoF stands out graphically for a HL Mod. The map design and ambient lighting successfully create the gloomy atmosphere required for psychological horror. I praise how some objects and locations closely resemble real-life Sweden. Original soundtrack also contributes to the ambience, striking a balance between despair, sorrow and tense calmness that fits well with the story's development. The new textures and behavior of NPCs almost make you forget that the game runs on HL engine. Also, their twitching stance and symbolic traits add to the underlying madness of the plot.

As for the story, it can be confusing at times but all in all it is as well-developed as in Afraid of Monsters (AoM). Immersing oneself in the depressive, hateful and unhinged perspective of the protagonist is the perfect complement to the story's progression through gameplay, although dull voice acting and many second-hand references to other games in the genre (such as Silent Hill) hinder it reaching its full potential. If you have a genuine interest in psychological narratives, you won't be disappointed.

Sadly, CoF's biggest flaw lies in what a game should deliver to us first and foremost: gameplay. While it introduces interesting mechanics and features such as a limited 6-slot inventory, dual-wielding weapons and bosses with specific weaknesses, the downsides are a quickly-depleting stamina bar and the scarcity of ammo, which can easily get annoying and frustrating, especially on higher difficulties. There are also glitchy features like an awkward jump+crouch maneuver that is necessary in some parts for progressing and NPCs that can either stand still near you or attack from an absurd range while walking through walls.

Maybe what is most painful about gameplay (and this applies to AoM as well) is backtracking. With a small inventory and underwhelming weapons, revisiting the same areas with little variation and encountering more powerful enemies is the opposite of a challenging game. As a result, higher difficulties can lead to almost certain rage-quitting and may not be worth the experience. Furthermore, while devs claim there is replayability through collectibles, I feel that those alone aren't enough incentive for more than 8-10 hours of gameplay (though I may be wrong about the Co-op campaign, haven't played it yet).

In summary, Cry of Fear is definitely a survival horror mod/game worth trying, but I agree with other reviewers that it doesn't live up to the hype that many people give it. It is good, but far from perfect.

When I first played this game, I've mainly interested in the mining feature. However, then I learned that Minecraft can really help improving the creativity of people, just having an idea and begin to construct. The only bad thing is... if you don't have a plan or idea to do, it doesn't worth trying this. The game itself doesn't engage you, you have to engage to it planning something.

The graphics are horrible, but I learned that is its particularity. Has some other interesing features like crafting. In conclusion, it's a nice game if you are extremely bored.