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鬼泣5 豆瓣
8.9 (114 个评分) 其它标题: 恶魔猎人5 / デビルメイクライ5 … 2019年3月8日
类型: 冒险 / 动作 平台: PC / PS4 / Xbox One / PS5 / XSX 开发者: Capcom 出版发行: Capcom
这次的《鬼泣5》重新由Capcom本部制作，玩家们热切期待的老但丁将很有可能再次回归，并且本作会以尼禄为主角继续《鬼泣4》的故事，相信能带给玩家原汁原味的体验。
2025年6月22日 玩过
2025年6月22日 评论 Disappointing end - I don’t normally spend as much time pondering on how I feel about a game and what I should rate it. Video games are a unique medium. We form much stronger connections to them because they’re interactive and make us an active part of the experience. Then memories of those experiences last for decades to come. I still don’t know what it feels like to die as a gamer, but I’ve been close to death, and video games were probably the most prominent thing on my mind. They say life flashes before your eyes before you die, and for us, gamers, video games are a major part of life. I played Devil May Cry 3 on PC in 2006. I was 12 or 13, probably both, as it took me months to beat the game. Wasn’t used to completing them and would normally abandon a game after a few hours, but this one kept calling me back to it. I became invested in the story, and its world became as tangible to me as the real world, perhaps even more so. I began to learn its patterns, traversing it back and forth. In at least one of the later missions you can actually walk all the way back to the beginning and see the location change. This world wasn’t static, it was changing with time. Events of the game reflecting on it, reshaping it. The characters I’d grown attached to were evolving as well. Worldviews changing, relationships developing, family ties breaking up and reconnecting. I think it was the first game that genuinely brought me to tears. I was changed by the experience. I still didn’t understand much about art, but in that moment I knew that video games weren’t just entertainment, but rather something that could elicit profound transformative experiences. Of course later I played the other games in the series and became a fan. In 2007-08 I eagerly anticipated a new chapter in the story. Bought magazines that featured articles on DMC4 and eventually one that featured a demo. When I finally laid my hands on the full game, I was ecstatic and loved every minute of it. This is my life now. These are memories I’m gonna be taking to my grave. I’m not gonna continue this story with how I felt about DmC and the announcement of DMC5 and my subsequent inability to play it for several years, cause the point of this is not to retell my biography, but rather to provide a context through which I’m judging this particular game, DMC5. It’s easy to say, “oh, you had expectations that the game couldn’t possibly live up to,” but that’s not really true. My love for the series is not based in rationality, which is why I use the word “love.” I embrace it for what it is with all its flaws. So, jumping into DMC5 at this point I was inclined to love it too. My first experiences were amazing. Gameplay-wise this is probably the best Devil May Cry game ever made. It takes all the best ideas from every previous game, puts them together, and throws in a few new ideas that surprisingly only improve the already near-perfect formula. Nero’s Devil Breaker abilities allow him to not only retain his Devil Bringer powers from DMC4, but also add variability and dynamism to the gameplay, forcing the player to adapt to changing mechanical variations on the fly. Dante was already an absolute beast in DMC4, but the revised Rebellion sword and the new super-powered Devil Trigger make him near-godlike. Though I do wish this new DT worked more like the Majin form in DMC2, where it activated while you’re low on health, adding an element of calculated risk to it. V’s playstyle is probably the most accessible and button-mashy, but it still has its own degree of nuance, and would probably be more challenging on higher difficulties, due to his inability to protect himself in melee combat. It’s something new for the series, and I welcome the variety it adds. The biggest addition here though is the new camera system. While it does push the game further away from its survival horror roots and make the visuals less painterly, it provides more immersion and opens the game up for a more precision-based platforming and a more complex level geometry. Speaking of levels, they now have branching paths, adding even more replayability to a series known for having multiple characters, unlockables, secrets, and upgrades, making for exciting ‘new game+’ playthroughs. While playing through the main campaign, I kept running into old enemies, weapons, and various other references to the previous games, which served as major nostalgia bombs. I had an absolute blast revisiting old characters and familiar combat scenarios. Then of course there’s the desolate family mansion, the very existence of which, as a location you get to walk into, carried a lot of sentimental weight. Its placement within a ruined world seemed fitting. Ruins and dilapidation are a major theme in the first half of the game. When I saw the trailers and other promotional materials, I was worried the game would end up looking nothing like the previous entries, abandoning the trademark gothic aesthetic in favor of a more alien and fleshy look that would fit better in a Resident Evil game. But initially I was somewhat relieved to see that my worries were unfounded. You do indeed get to visit a variety of gothic-looking locations, and now see them from a new, more immersive angle with a new camera system and more complex level design. This is mixed with a variety of more modern-looking environments that still gave me a sense of melancholy, as they reminded me of my childhood roaming post-Soviet abandoned structures. Although I was a bit saddened that you don’t get to interact with the world as much as you did in the older games, you do still get to explore it quite a bit and take in the atmosphere. That being said, most of the second half of the game does indeed take place in a one giant pile of flesh. The artists did their best to add variety to it, but it still gives me a lingering feeling like I’m not in the Devil May Cry world anymore. To be fair, there were fleshy locations in every previous game, but they were much shorter and in some cases more surreal and hellish-looking. I’m not gonna comment much on the music, as I don’t really know much about the subgenres of metal. I think there’s considerably more industrial and nu metal here than in the previous games, but I might be way off. Regardless, I did enjoy it for the most part, maybe even more than the previous games. There was a bit of brostep there, but it was used very sparingly, so it doesn’t become an issue like in the reboot. Well, now that I’ve addressed almost every aspect of the game to the degree that I needed to, I want to talk about the story, which I find to be probably the most important aspect of this game, as it was supposed to be the missing link between DMC4 and DMC2. A game that would fill in all the blanks (which the series had a lot of) in the DMC lore and deliver resolutions to unresolved storylines. [SPOILERS AHEAD] From the start we're introduced to a non-linear narrative, a tool very effectively utilized by DMC5 to tell the same story from multiple angles and give the players a chance to play as each of the three main characters. There is a sense of urgency that permeates the entire game. Characters are addressing the devastation and immediate threats while moving towards a larger goal: the confrontation with Urizen. It’s a very functional storytelling, rather minimal on purpose throughout its majority, focusing more on reinforcing character relationships and moving the story forward. With this approach it's only natural to expect that there will be a lot of revelations towards the end. It feels like a buildup towards something major. At some point we find out that Urizen is Vergil, and V is also Vergil, and Nero is Vergil's son. Then we fight Vergil, and... that's it? Wait a minute, where are all the answers? Why is Vergil alive? How did he escape Mundus' realm? Why has he reverted back to his villainous nature after his redemption arc in DMC3? What happened to Dante that made him so gloomy in DMC2? Who is Nero's mother? How did Vergil, with his utter hatred towards humans, made love to (or raped) a human female? Furthermore, are we not gonna see anything of Sparda and Eva's life? Seeing Eva in the trailer made me feel like this was a glimpse into a deeper personal story, something which would address the always nebulous past that lingered as a phantom over every game in the series, but nope. That one moment in the trailer was literally one moment in the game. The ending that was supposed to compensate for the minimalist storytelling throughout the game ended up not doing it, making me feel cheated, and making the entire story feel very lackluster. The final fight between Dante and Vergil, which is supposed to echo their iconic fight from DMC3, is interrupted by Nero, who forces both of them to stop fighting by literally beating them up, which is odd as he's only a quarter-demon, while Dante and Vergil are both at the peak of their powers. And they just kinda submit. Vergil says to Dante, "if I beat Nero, that counts as beating you," which is a sentence that absolutely baffled me. What are we doing here? I thought this was a fight for the fate of humanity. I thought Vergil needed to be stopped so that Qliphoth could be destroyed. And I thought Vergil would not stop because he's pursuing his old goal of gaining more power cause apparently he had learned nothing from the events of DMC3. But apparently this was all about Dante and Vergil figuring out who was stronger? Their entire rivalry throughout the series was just about that? I mean, that’s just childish. They both seem like middle-aged men at this point [kinda messing up the continuity because DMC2 is supposed to be chronologically the last], so what’s happening? 'Naturally', after Vergil loses to Nero, he suddenly joins forces with Dante and goes to destroy Qliphoth together with him. Qliphoth, which essentially becomes the main antagonist now, is killed off-screen (I mean, we see it die, we don't see it get killed), robbing us of a climactic resolution. And then Dante and Vergil remain in the Underworld fighting each other for eternity… Okay, where is Mundus again? He wasn't killed in DMC1, right? He's still in the Underworld, so how do we not get a repeat of the Vergil epilogue from DMC3 here? I'm gonna be in the minority here, but I feel like this game's ending makes no sense and absolutely ruins Vergil's character and the ending of Devil May Cry 3. He already went through a redemption arc and learned of his mistakes in that game (if not to change his opinion on humans, at least to change his approach), and there was a perfect send-off. I don't see why he even needed to be resurrected. There are so many loose threads in the series, couldn’t they let him stay dead and focus on other characters? The trailer made it seem like this was going to be the most story-driven DMC game yet, and it should’ve been. I mean, DMC3 had a great story. DMC4 was a bit underwhelming, but we all understood that this was due to the game’s troubled development cycle. But DMC5 was supposed to be the sequel we all needed, and for most of my playthrough I was convinced that it was. I know it might seem silly to lower a game’s rating by two points based primarily on the ending, but my perception of video games as a medium is that they’re more than the sum of their parts. A video game should always be judged based on the experience it provides to the player. As a long-time fan of the series, I felt kind of cheated with this entry. This is a game I’d been waiting to come out for 11 years, and then waiting to play for another 6 years. I’m not saying it had to be perfect (God knows, most previous games are far from it), but this ending just feels like a slap in the face. And the truth is, if it wasn’t for the nostalgia, would I even be considering giving it a higher rating? I mean, it is true that it has possibly the greatest combat in the genre, but most of my enjoyment of the game came from the nostalgia. I don’t particularly care about a game’s mechanics as their own entity because that view of video games robs them of their transformative nature, making them not more than entertainment, little distractions from actual life. I don’t play video games to have fun. Video games are my life, as I established at the beginning of this review. They mean a lot to me, and this series means a lot to me. Therefore, I can’t view this game from an objective standpoint or as an independent entity, as if it wasn’t a part of the series. As if the story in this game didn’t matter. It matters a lot, and unfortunately it drags the entire series down. Truthfully, I don’t even have the desire to replay this game right now. Maybe in the future. I will probably want to re-examine it many times throughout the course of my remaining life (if I do get to live long that is), but for now I feel like this is actually the worst mainline entry in the series (for the record, I don’t view DmC:DmC as part of the series).
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教父:暴徒战争 Bangumi
其它标题: The Godfather: Mob Wars 2006年9月19日
类型: ADV 平台: PSP
Based on the 1972 film of the same name, The Godfather immerses you in the dangerous world of the Mafia. The game features GTA-style gameplay, a new storyline, and voice-acting by original cast members.
2025年7月16日 玩过
2025年7月16日 评论 It's better than the flagship version - Getting rid of the pointless open world has significantly improved the pacing. The strategic mode makes taking over rackets feel much less repetitive. There's much more variety with the card system, and it gives you better sense of running a criminal empire, letting you recruit new members, assign them to various tasks and take over territories. The melee combat is also much more convenient, as the attacks are now bound to keys instead of the analogue stick like in the PS2 version. Still, the ranged combat is still somewhat problematic, and even more so because of the lack of the right analogue stick. It functions well most of the time, but I've died several times because I couldn't freely control camera and freely aim while moving.
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俄勒冈之路 豆瓣
其它标题: The Oregon Trail 1971年12月3日
类型: 模拟 平台: PC / Mac / iPhone / iPad / Wii …
The Oregon Trail 是一款由Don Rawitsch, Bill Heinemann, 和Paul Dillenberger在1971年制作， Minnesota Educational Computing Consortium (MECC)在1974年出品的电脑游戏。游戏最初是被设计用在教学上的，意在让学生们体验19世纪俄勒冈大道上开拓者们的真实生活。玩家将会作为1848年的一个马车队头领，引导一群乘坐篷车的移民经俄勒冈大道由密苏里州的独立城前往俄勒冈的威拉姆特峡谷。这款游戏有许多个版本，这些版本都是由获得此游戏版权的不同游戏制作人和游戏公司出品的。同时，这款游戏也有众多的衍生版本和劣仿版本。
2025年8月7日 玩过
2025年8月7日 评论 Too hot. Can't play normal games for the fear of the computer melting. Forced to play old text adventure instead. - You go into the journey blind. I've never been on long road trips, let alone ones that are life-threatening. I don't know how to pack for this, so I wing it. Quickly I realize that I've bought too many bullets and not enough food. Anyone looking at us from the outside would think we're a bunch of psychopaths. Not a problem however, because you can hunt on every turn, which is what I ended up doing. It's like that episode of the Simpsons where they hunted bisons into extinction. I was honored to join the great American tradition. My daughter broke her arm somehow, and we all contracted a mild disease and then later a bad disease. I don't know how, probably from all that bison meat, some of which might've been infected. Ran into a gang, survived the shootout. I guess things never change. Ran into a few friendly riders too. In the end I made it to Oregon City though. Everybody is alive. It was much shorter and easier than I thought. The president himself congratulated us, which was quite a surprise. We settled in Oregon and became Oregonians. Is that all? But the little square on the command line is still blinking. Life is not over yet. Was this all worth it? Why did we risk our lives? Just to settle for a meaningless existence in this god-forsaken desolate wasteland? The little square is still blinking, but all my commands yield syntax error. I've lost control over my life. I am a nothing now. All I can do is helplessly observe the time passing in hopes that my life will abruptly end due to some unforseen disaster. At least out there on the road there was a purpose. A desire to make it out alive. I fought diseases, gangsters and wild beasts just to make it to the next town. Just to feel the warmth of the next sunrise illuminate the stubble on my face as I watched what other perils the merciless road would throw at us. What lied there beyond the next hill. But out here? None of it matters. Nothing matters... I'm just reclining in my rocking chair and looking at the clock, waiting to die. Welcome to Oregon.
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极品飞车7：地下狂飙 豆瓣
8.9 (7 个评分) 其它标题: NFSUG / NFS7 … 2003年11月17日
类型: 竞速 平台: PC / PS2 / Xbox / NGC/GameCube / GBA 开发者: EA Black Box / Pocketeers 出版发行: Pocketeers / Electronic Arts
《极品飞车》最新作《极品飞车：Underground》(Need for Speed: Underground)将可以让玩家创作完全独一无二的爱车。只要你在比赛中赚了足够的现金，就能购买很多加工汽车的物品。但创造出一辆终极跑车也未必能使你成为最好的赛车手的，这还需要你有高超的驾驶技术才行。从图片上看，画面再度加强了反光的效果，用诸神的话说“车子的反光让你觉得放在那里的是一块铁”。反光加强的程度达到了连街道的地面都几乎成了镜子，反光的感觉异常强烈而不符合逻辑，不过这样的好处就是画面看起来更加华丽了，画面的真实性虽然不能与GT系列比较，但赛车游戏那么多，夸张的表现也未尝不是吸引玩家的一个好手段。
2025年9月19日 玩过
2025年9月19日 评论 the feeling was unprecedented - The Fast and The Furious franchise is a joke nowadays, but the first movie was genuinely decent, and that first race in it was something special. Nobody had filmed race scenes that way. Apparently, the guys at Black Box felt the same and tried to recapture the experience. Did they succeed? A resounding yes! Night city drenched in neon light, colorful cars breathing fire through their exhaust pipes, smoke and water particles up in the air, the streets disappearing in the blur. When Need for Speed: Underground came out, it was more than a racing game. It was an experience. It was the first exemplar of the genre I can recall that wasn’t just about winning races. Your personally customized car represented who you were and, as you progressed through the campaign, it would level up, like in an RPG. That added a whole new level of immersion, making the player an active part of the in-game world, instead of just a guest who comes in from time to time for a quick driving session. You owned your car not just in the sense of possession, but also in the sense of embracing what it represented. And that world you were entering, the titular “Underground” had its own culture that manifested both in style and gameplay. Drift and drag races were rather unique game modes that had you utilizing a whole different set of skills that you normally wouldn’t in other racing games, but on top they represented the main artistic influences of the game even better than the regular racing modes and were arguably more fun. Scoring combos in the drift mode is super addictive and there’s an incredible amount of mechanical depth to it in that your car is gonna react differently to when you start turning, when you hit the brake, how long you hold it, etc., and you can pull off different combos with that. Every drift session will feel different on each playthrough. However, I suppose to a lesser degree the same can be said about practically all game modes in NFSU because of the amount of variables that have been introduced. The tracks are predominantly designed in a similar way to Hot Pursuit 2, having plenty of shortcuts that may or may not do you more harm than good. It’s always a risk that you have to consider. But now there’s also the traffic, which a lot of people hate. I’m not gonna pretend like it’s not frustrating to fail a race at the last moment because a random car blindsided me in such a way that I had zero chance of avoiding it. But I think these moments should be weighed against all the instances when you almost magically glide between several cars and don’t get hit, feeling like a racing Neo that just dodged a few bullets. The traffic gives the game this unpredictability that increases the adrenaline and the feeling of reward you get from winning. One aspect that comes up a lot is the rubber-banding, which is admittedly a little excessive in this game, but I would argue that this type of gameplay wouldn’t work without it. There is actually a mod that disables it, and I have tried it, and it makes the game brutal. Because out of every ~4 opponents the game throws at you, there’s always gonna be one or two that are faster than you. When you have a racing game where cars can be improved, it’s very hard to maintain a balance of difficulty, unless you make every opponent have similar upgrades to you, which in a way defeats the point of upgrades. Rubber-banding is a solution that allows to retain the sense of progression while gently adjusting the difficulty. In later games, it would be tweaked to feel much more organic. It’s always hard to return to an older game once the sequels have improved its formula, and I think this can also be felt with the nitro, which in the later games would become replenishable, being the last puzzle piece in completing the formula in the same vein as Call of Duty did with the replenishable health. Same can be said about the campaign, that feels rather simplistic compared to what Most Wanted and Carbon would do. It’s basically just a series of races with almost redundant cutscenes that lack the charm and character of the later games. But really, back in 2003 none of us thought of what this game COULD be, as we were absolutely enthralled by what it WAS. I’ve never really been a big fan of the racing genre, but this game stood out from the rest with its unique gameplay and style. The motion blur when you’re driving at high speeds and the world just disappears around you while ADF’s Fortress Europe is blasting in the background, the feeling was unprecedented. And many years later, despite now recognizing some gameplay flaws, the magic of it all is still overpowering.
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星球大战绝地武士：西斯之谜 Bangumi
其它标题: Star Wars Jedi Knight: Mysteries of the Sith 1998年2月17日
类型: FPS 平台: Windows
The single-player story is set five years after the events of Dark Forces II. The player controls Kyle Katarn, protagonist of Star Wars: Dark Forces and Dark Forces II, and later in the game, Mara Jade, one of the most popular Star Wars expanded universe characters.
2025年9月27日 玩过
2025年9月27日 评论 While retaining the core gameplay of the original, this expansion somehow manages to do everything wrong - I praised Jedi Knight mainly for its intuitive level design and a sense of scale it conveyed. These games being primarily adventures, the actual levels you go through are the key to creating a memorable and fun experience. Mysteries of the Sith's levels are claustrophobic and confusing. You spend most of your time crawling through maze-like tunnels and clearing out small rooms. The arsenal is the same, except you can now use one of the weapons as a sniper rifle. I forget which one, because I only used that ability once, when the game forced me to, and then promptly forgot it existed. There is never an incentive to use it. You also get some new force powers, but like the rest of them, they are useless. Most of the game is more or less fine, and I was ready to give it a 7, but it seems like the levels grow more and more confusing, and the enemies grow cheaper. As I mentioned in my review of the original game, I only got lost in it once. Here, I got lost so many times, I stopped counting. The last two levels were especially egregious. The last level in particular is a huge maze with tons of melee enemies, often lightsaber wielders, and we have already established that the lightsaber combat in this game sucks. But while the original game never forced it on you except for some boss battles, the last two levels in this game make all your ranged weapons unusable. The final boss battle is another pain in the ass. You have to somehow figure out that Kyle needs to get onto that platform, which he struggles to do because apparently a little ledge is too much of a challenge for him, AND you need to turn off your lightsaber when he does. Just how are you supposed to figure that out??? I had to watch a walkthrough on YouTube. Anyway, another aspect that I really liked about the original was the FMV cutscenes, which here you don't get. Instead there's pre-rendered in-engine cutscenes. And, while the story in the original wasn't great, the cutscenes added a lot of charm. The story here is not really a single coherent story, but more like just a series of events that happen to Mara Jade and have no real consequence upon anything. Except for the last two missions, where suddenly Kyle Katarn does meth and goes insane, and you have to calm him down by beating the shit out of him and making him step on a platform while he's high and his motor skills are fucked. Ugh.... Conclusion: I really wish this expansion did not exist. Because it looks like something you should play, but it's really half-assed and doesn't understand what made the original great.
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星球大战：绝地武士2 - 绝地放逐 Bangumi
其它标题: Star Wars Jedi Knight II: Jedi Outcast 2002年3月26日
类型: FPS/TPS 平台: PC / NGC / Mac / Xbox / PS4 …
A long time ago, in a galaxy far far away...

皇帝身亡，新共和国成立，天行者卢克成为新一代绝地大师，四分五裂的帝国残余仍然威胁着新共和国，原力黑暗面也继续腐化着渴望力量的人……
2025年10月11日 玩过
2025年10月11日 评论 More like a proof of concept for what would eventually become a fully realized experience in Jedi Academy - Despite being a huge fan of Jedi Academy (that game is in my top-10 OAT), I could never bring myself to beat Jedi Outcast, despite the two games sharing 99% of their DNA. I've made multiple attempts, and would always give up at some point. Playing through it this time, it's really become obvious to me why. Jedi Outcast has easily the worst level design out of all Jedi Knight games, and one of the worst in any game ever. I think about half of the levels are just atrocious. At first it surprises you with very nice physics and animations, making the battles much more pleasant than before, but then once you kill everybody and start aimlessly wandering around samey-looking corridors, the pleasantness quickly evaporates and the frustration starts growing rapidly. It doesn't help that aesthetically it's so fucking ugly. I had to increase saturation using ReShade because otherwise I had a strong aversion to even launching the game. An average level in this game goes something like this: You walk into a room, there are 3 doors there, only one of them can be opened. That door leads you to a switch, which is offline. So you run around for like 10 minutes trying to figure out what to do, and then you spot this tiny vent somewhere in a dark corner. You break it open, crawl through it and end up in another room that has several doors, two of which can be opened, and one of them will just be a dead end, and the other one leads you to a switch that will open another door in the first room (and it might not even tell you that it did that), which will then lead you to another switch that will lead you back to the second room, through the third door that will make the original first switch in the first room work, which will then open one of the other doors in the first room. Yes, it's something like this, I'm not exaggerating. But traversing these levels is made much more infuriating by the game constantly throwing grenadiers and snipers at you, obviously placed in locations you can't easily reach. Things only become better in the second half of the game (though there is that one horrible forced-stealth level there). Not only does the level design get more streamlined and tolerable, but also it starts throwing normal enemies at you: mostly stormtroopers and jedi. This is where the game truly shines. The lightsaber combat here (and in Jedi Academy) is fucking amazing. This is the reason why I'm rating this game a 7, there is just NOTHING like it. One hit may be a death sentence, but first you need to break through the opponent's defense, and this can be achieved in various ways. As you progress through the game, you unlock 2 styles of combat (in addition to your default one), accordingly fast+weak and slow+strong. And these genuinely change the way you fight. With the former, you're gonna try and land as many hits as possible while catching your opponent off-guard. With the latter you will want to place that one powerful blow, which has the potential of breaking through the opponent's guard. You can combine these with the acrobatics this game introduced, which can led to some truly badass kills. For example you can hit your opponent while doing a somersault over them, and if that's a kill, the game will show it in slow-mo from a cinematic angle. Then of course there are the force powers, which initially suck, but they keep leveling up as you progress through the game, making the second half of the game rather addictive, as you keep telling yourself "just one more level" out of the curiosity for what the force power upgrade is gonna be (I mean, I already knew, but that only made me more eager). Once most of your force powers are level 2, you become a competent fighter, but once they are level 3, you clear out entire rooms of stormtroopers like it's nothing. Which kinda brings me to another problem with this game. Sure, playing around with helpless stromtroopers is fun, but it's not challenging enough. You really wanna be fighting them jedi. I know that Jedi Academy gives you just that, but here you're still mostly going through regular troops for most of the game. Honestly though, if I got this game before Jedi Academy, I'd probably spend most of my time battling in the multiplayer (even if with bots). That's where you can really just throw in a bunch of jedi and fight. And just that alone makes it a decent game. You can really throw away the campaign (especially since the story is kinda mid as well). I think a lot of this game's problems arise from the fact that Raven Software wanted to do an action game (that's what they do best), but were forced to try and maintain the adventurous spirit of the series. This is probably where the confusing level-design comes from, and things like the inventory and bacta tanks. None of this stuff is in Jedi Academy, and it doesn't feel like a lesser experience because of it. Quite the opposite. They should've really embraced the jedi combat and gone all-in on it. As a result this game feels more like a proof of concept for what would eventually become a fully realized experience in Jedi Academy. Last thing I'll say is that unfortunately most gamers seem to think that Force Unleashed was the first Star Wars game that allowed you to grab enemies and throw them around, but no, it was actually Jedi Outcast. And it's way more fun here because they're much less of a canon fodder, plus the controls are so much better.
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死或生2 Bangumi
其它标题: 生死格斗2 / デッドオアアライブ2 … 1999年10月16日
类型: FTG 平台: ARCADE / PlayStation2 / Dreamcast
《死或生2》是“死或生”系列编号作品的第二作，简称"DOA2"，宣传语为"无与伦比"。

本作引入2对2"组队战斗"系统，特定角色组合可发动专属合体技。新增F键防御机制与自由移动系统。

游戏模式方面：包含需使用全部角色进行连续闯关的计时挑战模式，以及战斗与剧情动画交替推进的故事模式（过场角色模型直接用于战斗演出）。

战斗系统调整：投技指令简化，反击选项精简为"上段/中段拳/中段踢/下段"四择，强化攻守平衡。

场景互动革新：水面/雪面设为滑倒区域，打击技极易触发暴击。多层结构场景首次引入无缝机关（如墙壁危险区/悬崖坠落机制/滑道地形），其中悬崖坠落不会直接导致K.O.。

本作经历系列最多次版本迭代：街机调整版、家用机移植版、完全重制版《死或生2 终极版》及衍生作《DOA ONLINE》，共计5+1次更新。
2025年10月14日 玩过
2025年10月14日 评论 It's impossible to convey in words the tactile sensations of playing Dead or Alive - but I think this is the only game [series] that makes you truly feel like a master of martial arts. The flow of its combat is unmatched. The way your kicks and punches connect or combos break into scripted animations resembles those highly-choreographed masterpieces of wuxia cinema from Hong Kong of the 90s. It does for the fighting genre what Devil May Cry did for hack-n-slash or what Serious Sam and F.E.A.R. did for first-person shooters by creating a system with mechanical depth that feels very organic. When you dodge your opponent and transition into a three-punch combo and then they break it by grabbing your fist, pulling it towards them and elbowing you on the head, it's all so fluent you almost forget that this is just a bunch of code. As a player, you feel as if you're fighting a real opponent and are able to match their skills in martial arts with yours. It's truly phenomenal. Plus now that the game is capable of rendering 3D environments, they're also part of the gameplay and add to the sense of realism. Animations are context-based. When you corner someone and grab them, your character might pick them up and pin them back to the wall with a hit. And of course you can knock people off the platform you're standing on onto a lower one with an appropriate animation. I don't know which game invented that, but it's a feature in many fighting games by this point, and it works really well with the general direction of DOA2. But I think this technological advancement into complete 3D is also the reason for this game's impressionistically poetic art-direction. Just like in its antecedent, the story is very minimal and confusing, which I found both engaging and occasionally hilarious. You try to piece together what's happening from detached lines of dialogue. But very often the game opts for no dialogue at all, and simply savors the mood of the scene by framing a character in their dynamic environment exposed to the elements, be it snow, wind, sunset, etc. There is an almost Daoist levity to it all. You could even say it's aesthetically complimenting the sense of flow that the gameplay exudes. That being said, there is still one thing I dislike here. Just like in the first game, there is a dire lack of content for a single-player. I understand that these games are designed for multiplayer, but I don't really care. For me, having played this game for about an hour, I've pretty much experienced everything the game has to offer. I wanted to do some single battles, but it doesn't even have that, only tag team and sparring (aka practice). Pretty much once you've beaten the extremely short story with every character, there's nothing else to do here. P.S. Oh yeah, I almost forgot: booba!
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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.
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英雄萨姆：西伯利亚狂想曲 豆瓣
其它标题: Serious Sam: Siberian Mayhem 2022年1月26日
类型: 第一人称射击 / 冒险 平台: PC / PS5 / XSX / Xbox One 出版发行: Devolver Digital
欢迎回到《英雄萨姆4》的世界，体验萨姆·斯通冒险故事中的全新独立篇章“西伯利亚狂想曲”。你要穿越光脑的俄罗斯大地，追讨总是先你一步的叛徒布兰德将军。道阻且长，沿途风光无限好。

《英雄萨姆：西伯利亚狂想曲》由Timelock Studio和Croteam共同开发，以不为人知的故事、尚待探索的地域，以及英雄萨姆标志性的“抗疯牛”枪炮大乱斗，让大家耳熟能详的故事老树开新花。参战吧，同志！
2025年11月8日 玩过
2025年11月8日 评论 Idk, again I'm baffled at the critical consensus here - which is that this expansion is supposedly better than the main game. In terms of qualitative changes, this has 3 new weapons, which are basically just variations of the old weapons, and some new gadgets I think. Nothing essential was changed for the better. But I do think it's worse in some aspects. The levels are slightly more linear. When playing Sam 4, I don't recall ever dying because I left playable area, but here I did twice, and there was one place where they put some tiny bushes as a wall. I think the biggest problem here however is that coming off of Sam 4, which was super intense in the last chapters, you're having to start from scratch with none of the skills or weapons and fighting smaller groups of enemies. We've already experienced the growth, I don't think there's any point in making us go through it again. Story-wise also, I didn't care for any of the characters here. This feels like deleted scenes of a movie. Kinda cool to see, but also you realize why they were deleted. It took me 3 hours to beat it and felt like a completely optional/skippable experience. I like how authentic the Russian environments look though. There are also some references seemingly placed there specifically for the Russian audience (Serious Sam is big in Russia). For example, I found a graffiti that said "Cool Sam is the best!" and below that "He's serious, not cool" and then something else below, I don't remember. "Cool Sam" is how the title was localized in Russia, so he's mostly known under that name there.
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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.
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Serious Sam 3: Jewel of the Nile IGDB
2012年10月16日
类型: Shooter / Indie 平台: Linux / Windows / Xbox 360 / Mac 开发者: Croteam 出版发行: Devolver Digital
Serious Sam 3: Jewel of the Nile follows the legendary hero to the mysterious Temple of Isis on the Island of Philae where a monstrous temple guardian lies in wait. Set in the midst of the events in Serious Sam 3: BFE, Sam and his team will battle through three new campaign missions against the unrelenting hordes of Mental’s forces.
2025年11月27日 玩过
2025年11月27日 评论 Liked this even less than Siberian Mayhem - Three missions, and all three are simple keyhunts. And just like Siberian Mayhem, it takes place in the middle of the original game and feels like deleted scenes that were deleted for a reason. I was excited to play around with a jetpack, but that was very brief. Also there are some major issues with darkness here. In the main game there were a couple of areas that felt too dark, but it was manageable. Here there were 2 rooms that were just pitch-black and no flashlight. It genuinely felt unfinished. I had to shoot rockets at walls just to see where to go. And then there was one cutscene like that too. On the plus side, they brought back the reptiloids, and the last mission had some greenery, which was sorely missed from the main game.
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惩罚者 豆瓣
9.0 (9 个评分) 其它标题: 快四 / 无敌（网友戏称） … 1993年4月22日
类型: 横版过关 / 乱斗/清版 … 平台: MD/世嘉五代 / Arcade/街机 开发者: Capcom 出版发行: Capcom
1993年推出的街机动作游戏。
英文名：《THE PUNISHER》
2025年12月30日 玩过
2025年12月30日 评论 A Streets of Rage clone with a more dynamic and intuitive combat - Hitboxes are more generous, there are more cool weapons, and you get to shoot people sometimes. But it certainly doesn't capture the same magic aesthetically. Plus the whole experience is kinda brought down by the harsh time limit. Also, this is one of those games where the "easy" mode is actually the "waste my time" mode. Fuck off, I play all the old retro games on easy! I have better things to do than replaying the same levels for 20 times just to get validation from other weirdos. I'm not gonna sit here and take shit from a pixel drawing of some fat dude.
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蜘蛛侠 Bangumi
其它标题: スパイダーマン / Spider-Man 2000年8月30日
类型: A-AVG 平台: PS1 / PC / Dreamcast / Nintendo 64 / Game Boy Color
A supposedly reformed Dr. Otto Octavius is holding a scientific demonstration at Science Expo 2000, in New York City, but is interrupted when an impostor Spider-Man attacks the crew and steals his equipment. Eddie Brock tries to take pictures for J. Jonah Jameson of the Daily Bugle, but the impostor shatters his camera. In rage, the Venom symbiote surfaces inside him, and he swears revenge on both Jameson and Spider-Man thinking them to be evil and destroyers of innocence. Peter Parker (the real Spider-Man, in attendance) is framed for the incident and the police begin to track him down. Meanwhile, Dr. Octopus and the Carnage working together release a strange fog which spreads through the entire city.
2026年1月15日 玩过
2026年1月15日 评论 PS1 perfection - It's crazy how ahead of its time this game is. Despite having no analogue stick, with the movement and the camera control being tied to the same buttons, the game controls perfectly. You never feel like Spidey is doing something you don't want him to do. And somehow the camera also manages to be very cinematic, panning, zooming in and out at crucial moments, and still staying focused on what's important. The amount of freedom the game offers to each challenge is even greater than in some of the later entries in this franchise. There is always a lot of room for you to surround the enemies or stealth, or you can just face them head-on and fight. If you choose the latter, beyond regular attacks there are various special moves you can do with your webbing. You can also grab enemies from behind, climb on top of them and beat them, or you can pick up objects and throw at them. The possibilities are numerous. Same goes for the movement. Beyond just basic jumping, climbing and web-swinging, you can zip or point at a specific spot and let the wall-crawler find his own way there, foreshadowing a system later used in 2012's Amazing Spider-Man. The story is rather simple, but it's the perfectly recreated aesthetic, tone and level of detail that really carries it. This positively feels like the most "Spider-Man" Spider-Man game. Cameos from other Marvel characters are super welcome. It was especially nice in the pre-internet and pre-MCU era, when you didn't necessarily have direct access to other Marvel media. As a kid, I was geeking out at the appearances of Daredevil, Human Torch and The Punisher here. And then there's the enormous amount of Easter Eggs, which encourage exploration and repeated playthroughs. Again, in the pre-internet era just seeing covers of comic books you didn't have was amazing, and you would want to scour every corner of this game, often finding some really cool secrets. Now, as a kid I played the PC version, whereas this time I was doing the PS1 version. The PC version had a few hilarious bugs, where Spidey would get stuck on a wall during a cutscene or forget to web-swing and fall to his death, forcing you to replay the level. To my surprise a couple of bugs still remain in the PS1 version, but nothing nearly as dramatic. Still, I kinda prefer the PC version for its better looks and performance. The PS1 version often has pretty brutal slowdowns. That being said, it might be possible to achieve the best of both worlds using Duckstation. This game is really as perfect as you could get for its era and platform. If it wasn't for the later introduction of the dynamic open-world in Spider-Man 2 on PS2, I'd say this is the quintessential Spider-Man game. I think for its time it achieved what Batman: Arkham Asylum would later achieve for the Batman franchise, that is a complete translation of the spirit of the source material into the video game form.
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50 Cent: Bulletproof IGDB
2005年11月17日
类型: Shooter 平台: PlayStation 2 / Xbox / PlayStation Portable 开发者: Genuine Games 出版发行: Vivendi Games
Take on the role of 50 Cent as he gets caught in a web of corruption, double-crosses and shady deals that lead him on a bloody path through New York's drug underworld. Working with the unlikeliest of allies, the streets heat up as 50 takes on the most dangerous crime families in the city, uncovering an international conspiracy with devastating implications.

Intended exclusively for mature players, this unapologetically violent game features the monetarily monikered rapper in its starring role, as a streetwise tough seeking revenge against a mysterious gang of thugs that filled him with lead and left him for dead. The hero can gain access to a variety of firearms and other weapons, and can learn more than 25 deadly reversal moves. In the third-person shooter style of the popular 128-bit generation Grand Theft Auto games, players follow a series of missions that lead them through the game's storyline.

Bulletproof features previously unreleased music and video by 50 Cent, and the game allows players to set up their own music and video play lists of this included material. The voices and likenesses of other famous musicians portray supporting characters, including Lloyd Banks (lock pick), Tony Yayo (demolitions expert), and Young Buck (weapon specialist) as members of 50's G-Unit posse, Eminem as the "shady" Detective McVicar, and rap music luminary Dr. Dre as the wizened back-alley arms dealer Grizz.

You are the rapper 50 Cent in the streets of New York. You receive a urgent page for one of your old cell mates K-Dog, which leads you into a ambush where 50 Cent gets shot nine times and is left to die. After 50 survives you are back out in the streets sneaking for revenge. 50 gets caught up in a underground world working along side with G-Unit soldiers Lloyd Banks, Young Buck, and Tony Yayo. You go through the game dealing with shady deals and people while taking on the most dangerous crime organization in all of New York City. 50 puts in work to uncover the truth behind the international conspiracy that is being fueled by the streets.
2025年12月21日 玩过
2025年12月21日 评论 Classic case of feature creep and a lack of coherent vision, along with just poor execution (probably due to being rushed). - 50 Cent: Bulletproof tries to be everything a third-person shooter can be. It features dual-wielding with an ability to mix different weapons, a cover system, animated "quick" kills, unlockables, an ability to use objects or humans as shields, NPC companions, ability to loot bodies and probably some other shit I'm forgetting about. The problem is that half of these features seem to be thrown into the game randomly and don't interact with its systems, and the other half are just not well-executed. If I was trying to fix the game, I'd probably turn it into a proper cover-based shooter like Gears of War or something, because that seems to be the only gameplay loop that works here. The shooting is very precision-based and, for some reason, the aiming here is done in Deus Ex's style, which makes no sense for this type of game. Deus Ex is an RPG, and there its aiming system reflects your accuracy skill, which can be leveled up with experience. But Bulletproof is a shooter, where your aiming is completely up to your actual real-life skill with the gamepad. So why do I have to wait for the reticle to narrow down to increase the accuracy? This means the best strategy is to keep your distance from the enemies and snipe them out. Also, when you're in cover, your reticle narrows down faster, allowing you to take out enemies faster. Literally my favorite part in the game was that one tiny segment on a subway train where there's plenty of cover and the enemies also keep their distance. Unfortunately, that's the only section in the game where they do that. In most cases they'll charge you, making the aiming system completely redundant. So just run around with an automatic weapon and spray. "Quick" kills (called here "counter kills") are supposed to alleviate this problem. But there's a reason I put "quick" in quotations. For some reason they're in a very slow slow-mo, which means they completely kill the flow of the game. They even stop the music just to make sure you really don't wanna use them ever. Grabbing objects or humans and using them as shields is very unreliable. Only specific objects can be grabbed, and I don't understand why sometimes I can grab people and other times I can't. But it still doesn't really affect the gameplay in any noticeable way other than obscuring your vision a little bit. The enemies won't behave differently, and the game is not so hard that you really ever need to use this mechanic. Like I mentioned earlier, you can unlock stuff with in-game currency. If you're a fan of G-Unit, you're gonna wanna buy all the music because the game allows you to let it play in the background. There are also music videos, which are irrelevant now because they're all on youtube. Then there's the quick-kills, which are basically just different animations and are kinda useless mechanically. The only really useful thing to spend your money on is the weapons and ammo, and that doesn't really give you access to a lot of new guns. In most cases I already had all the guns I needed, so I rarely ever spent money on anything. Which is good because you can forget about looting bodies. Idk who thought it was a good idea to make the player stop in the middle of the action and hold down square over each enemy corpse. Yet another thing that completely kills the flow. And it's not like you can clear out the room first because the bodies will disapper in like 10 seconds, so you really have to do that shit while there are other enemies running around and shooting at you. But honestly, if you just ignore (which you can do) all of the "cool features" and just treat it as a basic third-person shooter, it kinda works. It would've been much more fun though if the game wasn't yet another victim of consolification. It being stuck on PS2 introduces problems that simply wouldn't be there on PC. For example, there's clearly a need for more buttons. For example, the "Use" button is the same button you use for reloading, sticking to walls, looting, perfomring quick-kills and swapping your weapon with the one on the floor. This obviously introduces a lot of problems. Like often you'll swap your weapon in the midst of the battle when you just wanted to reload because the floors are usually covered with weapons of dead enemies. Also, if you're standing over a corpse and your clip is not full, it doesn't matter whether you hold square or press it, 50 Cent will reload the weapon. Problems like this could've been completely avoided on PC. Also, I suspect that the game wouldn't have had its weird aiming system if it wasn't trying to compensate for the limitations of the analogue-aiming. I think easily the biggest problem of the game though is how a lot of the objects you have to interact with to complete the mission tasks are completely unremarkable. This has led me to get stuck several times, not knowing what I'm supposed to do. The game isn't being very clear with the task descriptions either. For example "destroy the evidence" may mean anything. Turns out it was a bunch of TVs with a bunch of tiny VCRs or something next to them. I destroyed the TVs, but I didn't even notice the VCRs because they didn't look like something destructible. They completely blended in with the environment. And the same can be said about a lot of important items in the game. The final thing I'll comment on is the story. It's there, and it's apparently written by Terence Winter of the Sopranos fame, who also wrote Get Rich or Die Tryin', 50 Cent's biopic. I think he always does a good job, but here I just feel like there isn't really enough room for him to develop characters or themes. I can tell that the writing is witty and will make you chuckle every now and then, but the story overall is nothing to write home about. The overall direction of the cutscenes is pretty Sam Raimi with crash zooms and rapid editing, which is cool. Overall, I think 50 Cent: Bulletproof is a flawed, but interesting title because of its aspirations. It was too ambitious for its own good, but it's still kinda cool to see what an odd beast it resulted in. I think there's definitely a lot of charm to it, and the core gameplay works fine enough that you can have your fun with it. But it is not a "good" game. It's a struggle, with moments of brilliance and fun scattered throughout. But goddamn it do I love its atmosphere, and ofc, as a lifelong G-Unit fan, I love the music. P.S. Ironically, the PSP "version" (an entirely different game) is a much simpler, but much more coherent project. I wouldn't say it's better necessarily because you kinda get much less with it, but, for what it is, it's totally a more polished and functioning product.
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Heroes of Might and Magic II: Gold 维基数据 IGDB
其它标题: 魔法门之英雄无敌II / Heroes of Might and Magic II … 1998年12月31日
类型: Turn-based strategy (TBS) 平台: Windows 开发者: New World Computing 出版发行: The 3DO Company
Lord Ironfist is dead and the Kingdom is plunged into a vicious civil war by his feuding sons. At stake is the ultimate prize: control of the land and succession of the royal throne. Will you support the villainous usurper and lead the armies of evil or be loyal to the righteous prince and deliver the people from tyranny.
Chose your allegiance and take what is rightfully Yours!
2024年6月15日 玩过
2024年6月15日 评论 A little too flawed to be a masterpiece - I played through the main campaign as the bad guy and the Price of Loyalty expansion. I kinda wanted to try and beat the rest of the campaigns because in some aspects this game is amazing, but at some point this goal became a torture. I have to take a LONG break from this game. I'll explain why, but first I'll try to break down what makes HoMM 2 different from the first entry in the series. So, on the surface this seems like an improvement and expansion of everything, but with the added complexity, certain patterns emerge. There are 2 spectra that interact with each other: Army build up vs. Character progression Magician path vs. Commander path These spectra are felt much stronger here than the first game because every aspect of the game was expanded with more elements. In the first game you were able to kinda do everything, whereas here until the late game you're constantly low on resources. This ends up being a blessing and a curse. On one hand, it forces you to choose a path and makes every playthrough slightly different. On the other hand, the resource scarcity simultaneously kinda chokes this system. Because it gives you many choices, but really the most effective one is still somewhere in the middle. So yeah, you can play many different ways, but you're constantly gonna be losing to your opponent unless you choose the path of balance on both spectra. Another thing that kinda chokes this system is the ridiculous imbalance. Some units (black dragons) are just superior to everything else in the game, so it only makes sense to play as the faction with that unit. Some spells (dimension door) are too. Pretty much, if you build an army of black dragons and learn dimension door, you're unstoppable. Still that doesn't stop the gameplay from being insanely addictive, not due to some cheap tricks, but because of how good it is. There's a lot of strategic depth, yet the game is simple enough not to overwhelm you. The visuals and audio are some of the most beautiful in any game ever. And by drawing from a diverse roster of fantasy creatures and environments, the world of the game ends up feeling huge in scope. In addition, with some maps taking forever to beat, each one feels like an epic adventure. Like a world unto itself, not merely a stage in a larger story. But trying to beat this game is psychological torture. It starts off normal, but becomes sadistically tough in the latter missions of each campaign. And the thing about this game is that it gives you a million chances to recuperate, rebuild an army and attempt to turn the tide. What this means in practice is that some maps will take days, if not weeks to beat. I've genuinely driven myself sick of this game. The main campaign was tolerable, which gave me a false sense of confidence. But Price of Loyalty is just fucking insane. I have no idea how one is supposed to beat it. In the last mission, the red player is running around with hundreds of bone dragons, vampires and liches per each hero and castle. So I cheated. Summoned deathstacks of black dragons, and to my surprise still managed to lose a couple of battles. I could never get like 300 black dragons through fair means, but the enemy had 300 bone dragons per hero somehow. HOW? Finally, the thing that led me to give up was two bugs I encountered in that last mission. One was when I was fighting the last castle of the yellow player and he cast a duplicate spell on his mage. I killed the mage and the duplicate disappeared, but continued attacking me. It became like an invisible and invincible enemy with 0 units, I had to bail. The other bug was that the last castle of the red player was simple not attackable. I pointed the context-sensitive cursor at it and it didn't change. No matter where I clicked, my hero would simply run there and do nothing. So I just placed my hero in front of it, hoping the red player would eventually spawn a hero of his own and I'm gonna attack him (which makes it a castle attack if he's in the castle), but he never did. I will still count that as my victory, even if through cheating, but I would say the AI was cheating too. HoMM 2 is a fantastic game with some major mechanical flaws and unfairly brutal campaigns. I'm not really removing points for the latter because I almost never play campaigns in strategy games, as they're just the same as skirmish/scenarios, with a tacked-on story and arbitrary tasks. But I think the campaigns here really helped bring out all of the game's mechanical flaws to the surface. EDIT, 20th April 2025: Thought I'd take a long break before returning to it, but, despite the game's flaws, it has a very strong residual presence. As tough as its challenges are, its world is an alluring archetypal fantasy, almost dreamlike. For a game I have no nostalgia for, the attachment I've developed is unparalleled. So I bit my lips and grinded through the last three campaigns. I have to say, these tiny campaigns had some very cool map designs, but the balancing is still insane. Couldn't beat it without cheats, probably ever.
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黑暗 Bangumi
其它标题: The Darkness 2007年7月25日
类型: AVG, FPS 平台: XBOX360 / PS3
《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。 　
2025年3月29日 玩过
2025年3月29日 评论 When I first saw footage of this game back in 2007, it immediately captivated me. - This game looks unlike anything else, only bearing some minor resemblance to Starbreeze's previous title, The Chronicles of Riddick: Escape from Butcher Bay, which in future I'll refer to as just Riddick (because fuck the acronym TCoR:EFBB). Having already been a huge fan of Riddick, I was dying to play The Darkness, but, since it was a console exclusive, I wouldn't play it until circa 2015, years after I played and loved its sequel. And at that time it was a major disappointment to me. Going into it now, with lowered expectations, I was able to appreciate it a lot more, but still this is one of the most polarizing games I've ever played. The game's art direction is clearly its strongest suit. I don't think there's another game that conveys the lonely bleakness of dimly-lit streets and alleyways, working-class apartments, secret dens, bunkers, and cathedrals. I think the main visual motif here is "there's always a little bit of light in the darkness," as one of the main characters puts it. Which works really well with reinforcing the game's main theme: the inevitability of loss, and the beauty of transience. There is clearly a point at which the story hints at death being the reliever of pain and struggle, with the implication being that one should learn to let go, but then it does a 180 and basically forces the player to give in to rage and bloodlust. Is it trying to say that a circle of violence cannot be broken? Either way, it felt like it canceled out a lot of what I felt I (and Jackie, the protagonist) had achieved throughout the game. I have a hypothesis on the secret meaning of this narrative, but I won't share it here. Otherwise there is no clear explanation. The story is quite minimalist, probably on purpose. I think the game succeeds at building an atmosphere and a strong cast of characters, with some of the best voice-acting I've heard in a game, and an excellent visual presentation, as well as the soundtrack. This is the kind of game where just inhabiting its world is pleasant enough, especially if you're in a melancholic mood. It seems to savor the gloomy sadness of encroaching doom, which all characters seem to be trapped in. When it comes to the gameplay however, oh boy, this just might be the worst mainstream FPS I've ever played. I think I've played budget Polish titles that were more enjoyable. First of all, for a console FPS, it expects an unrealistic level of precision, while the auto-aim is straight-up broken. Having played Watch Dogs, Sleeping Dogs, and Red Dead Redemption on this same console recently, I can tell that aiming can be done relatively well on a console, but in this game it's abominable. It isn't helped by unstable framerate, which often dips seemingly below 20, and it makes the aiming even less responsive. While I'm at it, I want to point out that I decided to not take this aspect into consideration when rating the game. It's a shame The Darkness didn't come out on PC and that its PS3 version sucks, but that's not necessarily the fault of the game itself. You are given 4 superpowers, and the aiming becomes a bigger problem when using your most-commonly used power, which I call "the claw" (idk what it's called really). The gist of it is: one of your tentacles has a sharp end, which can impale enemies, grab objects and kill lights. Pretty neat, except it never fucking hits what you're aiming at, except for those times when you're aiming a few millimeters away from your target, which is when it hits exactly where you're aiming at. The thing is so frustrating to use, but basically you need to use it all the time to destroy the lights, because your superpowers (most importantly armor) only work in the darkness. This is a cool mechanic in theory, but it's so poorly implemented here because all levels are painfully linear, and you have to keep stopping at every light to kill it in case you might want to retreat there when you're being ambushed by enemies. In fact, unlike in the sequel, here you are very vulnerable. So, while the sequel is a fun gorefest, the original Darkness is a slow and methodical shooter. Not because it's designed to utilize such a playstyle but because that's the only playstyle works. What makes it egregious though is that you're almost constantly forced to get very close to enemies. One of the first things you are taught is that you can perform quick kills by just pressing the attack button when you're up close to an enemy. Except this only works with SOME weapons, and the game will never tell you which ones. Figure it out with trial and error. The aforementioned claw also has a very limited range, except when you're up close to an enemy, which is when it stops working altogether, becoming a real pain in the ass to use. And good luck grabbing an enemy when there are other objects in the room. Another super-power you have is taking control of one of your snakes, which can crawl through vents and other such shit, and can kill enemies too. It completely debilitates you, and controlling it is a pain in the ass, so I never used it in battle. Then you have the "super guns" for lack of a better name. It's just a pair of guns that uses your Darkness energy instead of bullets. Another useless power, as you always have ammo, and it's not a good idea to waste your Darkness energy during a fight, leaving you without your armor in the end. The last power, a black hole, will also suck out all of your Darkness energy, but it's basically a nuke. Throw it into a crowd of enemies, and they will all die. It's a cool power, but its limited range also makes it kinda worthless. Because you wanna use it at larger groups of enemies, but those are specifically the groups you wanna stay far away from, from where your black hole wouldn't reach them. So the best tactic is to basically forget about the powers and just run around and shoot everyone, except on PS3 hitting anyone is a blind luck. At certain places you'll find these little holes, which are like portals to another dimension , from where you can summon 4 types of darklings, little goblins that are supposed to aid you. You have: berserker, who lunges at enemies and beats them to death gunner, who doesn't understand the concept of walls, so he will usually stand somewhere and shoot at a wall kamikaze, who will explode upon encountering an enemy lightkiller, who will maybe, sometimes, if he feels like it, kill some lights, but otherwise will very slowly shoot electrical charges at enemies. They're all worthless because they always stay beside you. If you're standing in front of a room full of bad guys, they will not proceed unless you walk into it first. And obviously the light killer won't kill any lights that you can't kill faster. And, if you thought walking through linear corridors and stopping every couple of seconds to kill the lights wasn't tedious enough, the game also encourages you to stop at every corpse and devour its heart. Which further discourages you from having any fun with the claw, grabbing enemies and throwing them some place far away, because you then will have to go looking for their corpses. As a cherry on top, despite the linearity of levels, the level design is pretty confusing. There were several moments where I had no idea where I was supposed to go or what I was supposed to do. Sometimes it's a tiny entrance somewhere in the corner, which is hard to see in the darkness, as it's not highlighted by anything. Later in the game there were turret sections (because why not at this point?), and after one of them there's a sequence where a monster grabs your vehicle and you're supposed to shoot at it non-stop for like 2 minutes. I died there two times and started thinking I was doing something wrong. Then I looked it up in a walkthrough, and they said you just gotta keep shooting at it. So I tried it a couple more times and finally it worked. I literally didn't do anything different. When you're not shooting things, you can walk around metro stations and talk to characters, Deus Ex-like (which was also the case in Riddick). Often these characters will give you side-quests, which will send you between different locations and back to metro stations, forcing you to sit through a lot of admittedly really cool, but repetitive loading screens. Completing them will unlock extra content like concept art, comic books and scripts of the game. It's all pretty cool, but I don't care. I'm not gonna be reading this stuff in front of a TV. Towards the end I started skipping any and all sidequests. In the end, the Darkness is a really mixed bag. I admit I ended up enjoying a lot of it. Despite all the gameplay flaws, there are a lot of memorable and beautiful moments that will stay in your memories longer than the flaws. But, good God, I never want to touch this game again. It is a clunky piece of shit. I can't believe the same developers that did Riddick, which is a near-perfect game, flopped so fucking hard with this. I've heard Nightdive Studios hinted at remastering this game, and I really hope they do. With mouse aiming and stable performance it will be a much more tolerable experience, and with mod support it might even become good. Then anybody will be able to experience the beauty of its world and characters without having to put themselves through torture the way I just did. One thing I still don't get is how this game got such good reviews, when, for example, Clive Barker's Jericho, a very comparable game in terms of its reliance on minimalist story and strong atmosphere, was trashed by gamers and critics alike. In terms of gameplay, Jericho is a fucking masterpiece in comparison. I hate you all.
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合金装备：和平行者 豆瓣
8.6 (15 个评分) 其它标题: 潜龙谍影：和平行者 / Metal Gear Solid: Peace Walker 2010年4月29日
类型: 射击 / 冒险 … 平台: PS3 / Xbox 360 / PSP 开发者: 8-4, Ltd. / Kojima Productions 出版发行: Konami Corporation
由《合金装备4》原班人马制作的系列正统最新作《合金装备：和平行者》在E3上公布登陆PSP。本作的主人公与《合金装备3》相同，是美国的传奇英雄Big Boss，游戏的时间背景为《合金装备3》的10年后，也就是1974年，地点则是中美洲的哥斯达黎加——佣兵部队“Outer Heaven”的所在地。
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合金装备索利德 豆瓣
9.2 (8 个评分) 其它标题: 潜龙谍影 / メタルギアソリッド … 1998年9月3日
类型: 射击 / 冒险 … 平台: PC / PS3 / Nintendo Switch / PS / PS5 … 开发者: Digital Dialect / Konami Computer Entertainment Japan, Inc. 出版发行: Konami Corporation
潜龙谍影系列（英文：Metal Gear Solid、日文：メタルギアソリッド，中国大陆旧译“合金装备”，台湾与香港旧译“燃烧坦克”或“燃烧战车”，台湾于PS时期则改译为“特攻神谍”），由日本科乐美（KONAMI）公司发行、小岛制作室（KOJIMA PRODUCTION）的小岛秀夫主导开发的战术类动作游戏系列及相关产物。
小岛秀夫最初由小时候的捉迷藏游戏中得出灵感，打算制作一个类似电影《第三集中营》的游戏，并最后确定潜龙谍影的游戏模式。
2025年4月4日 玩过
2025年4月4日 评论 Never thought I'd see the day I am no longer in love with MGS - This is a big deal because I remember how much of an impact this game had on me when I first played it. Seeing how my life was mostly me playing video games and watching movies, you might even say this was one of the best moments of my life. But it wouldn't be the first of its kind. I've learned to accept disappointment as a normal part of maturing. It simply means that my taste has become more sophisticated (as arrogant as that sounds), and that I'm now able to enjoy other works of fiction and interaction that used to be impenetrable for me. This must've been the fourth time I've played through this game. I had never noticed how clunky the controls are, how rigid Snake’s movements are, how limiting the camera is, and how cheap and unfair a lot of the challenges are. Every action seems to be separated from the other, which is very counter to how people move in real life. In MGS there is no flow to movement, it's a bunch of starts and stops. The stealth system works when the game gives you open locations with a lot of alternative ways to hide from the enemies or dispose of them. But at least one third of the game is forced combat sections or tiny corridors where your stealth options are limited to one or two. From about the Raven fight onwards, the game starts getting increasingly worse. The Raven fight itself is pretty terrible, utilizing none of the stealth mechanics you've been taught up to that point, but around the same time (I forget whether before or after) you get introduced to these landmines which, even when you use your heat vision, you still can't tell the hitbox area. It's made worse by the camera, which sometimes zooms in so close, you can't tell what's a meter away from you. I literally had a situation where I walked into a room with several landmines and got hit by each one of them. It would've been fine if they were limited to specific areas where you know to use the heat vision, but you just keep running into them randomly throughout the rest of the game. Then of course the Gray Fox fight is a brawling contest. The Psycho Mantis fight is pretty cool conceptually (and visually), but how are you supposed to learn to plug your controller into the second slot without the Colonel telling you? IIRC somebody said the code was on the box of the game, but obviously that doesn't age well because most of us play this game digitally. Then there's the wolf cave, where you're forced to fight wolves with a shoddy auto-aim. Half the time you don't even see them until they attack you because they're fast and come from outside your field of vision. The radar can help you spot them, but to aim at them while they're off-screen is near-impossible. And then you gotta look through same-looking texture to find your way out of there. Then the game forces you to backtrack almost all the way to the beginning of the game. In some games backtracking is fun because you return to the locations that have changed since you last visited them and they themselves become the destination or a new path opens within them, but here you're supposed to progress forward, but are forced to go back only to return forward again. The locations are the same, there are hardly any changes (except some new items). This just breaks the flow of the game and doesn't make much sense story-wise. Oh, Meryl's bleeding? Let me leave her to bleed in the line of fire while I go rummage through the old locations to find a sniper rifle. There isn't even a time limit, you can spend hours there, there's no urgency. Then you return to the place to fight Sniper Wolf, and it's a horrendous fight because all you do is aim in first person, controlling your reticle with your d-pad, and shoot. You can't shoot her more than once at a time, and you can't shoot her arms while they're poking out from behind the cover. It doesn't feel real, it's almost like a bad mini-game. And then later you have to do the same thing AGAIN. Then of course there's the torture room, which I never liked. In fact I've never gotten the true ending of the game (I watched it on YouTube) because I could never mash the button fast enough. I hate this bullshit in any game. It's an exercise in breaking your own controller (or an entire PS Vita in my case). Then there's the Communication Towers: run through endless floors and shoot enemies that come from upstairs and downstairs simultaneously, with your shitty auto-aim failing to lock onto them half the time. After the first tower there's a moment where the game literally misleads you by placing you near a frozen door and placing a C4 next to it, indicating that the door should be blown up. Except you don't need to go there in the first place. I must've wasted like 20 minutes just running upstairs and downstairs that first tower again only to realize I wasn't supposed to be there. The first Liquid fight is almost as bad as the Sniper Wolf fight, except your character doesn't need to lie down every time you pull the weapon out. But there are more obstacles in the way, and the lock on did fail me a couple times. Before and after that there are THREE (!!!) elevator fights, which are again forced combat sequences in a stealth game with bad combat. Then a second Raven fight, which is similar to the Ocelot fight, except more difficult. It's alright overall, but because of how fast Raven is, your own slowness and clunkiness are felt stronger. It's all about quickly pulling out a weapon, shooting, and retreating, which the transitions between these actions are very rigid and grating. On top of that your rations can randomly freeze up in the middle of the fight, which took me by surprise and caused a death. Then MORE BACKTRACKING... Ugggghhh...................... Finally, the final battle with Liquid, and it's another brawling contest. MGS is not only classified as a stealth game, but it's often considered one of the greatest stealth games of all time. Having come out the same year as Tenchu and Thief, it is hailed as one of the big three games that have revolutionized the genre. But is it really a stealth game? I think at least 40% of it is not, and that's not counting all the cutscenes. I think MGS above all is an interactive movie with some various types of gameplay sprinkled throughout. This is probably why I fell in love with it initially, and why the first game was always my favorite. I've never been much of a stealth-head, and I remember enjoying how simple the stealth mechanics in this first game were. But idk how I never noticed before how bad everything else is in the game, and even stealth is often very limited. And the backtracking feels like an attempt to pad out the game by making the player literally replay the levels he's already beaten. I guess I was too enamored with the story to notice the gameplay flaws. After all, this is one of the greatest stories in the video game medium... Which isn't a very high bar to reach. It was undoubtedly one of a kind for 1998, which is why I'm giving it an extra half a star, and it certainly blew my mind when I first played it. I had never seen a game that touched on so many mature themes and have characters with fleshed out worldviews and grey morality, at least not one where this was all delivered with good voice-acting and cinematic cutscenes. For the time, writing like this felt supernatural to me, but in the years since I played it I've grown as a writer and as a human being. Now I can see the seams, and the clunkiness of the narrative is more apparent. Everything I said before is still true, but the way it's written and delivered no longer impresses me. To begin with, most of the story is essentially conveyed through exposition dumps. It's always a character getting on his/her soapbox and explaining everything to the player/Snake in a long-winded monologue. A lot of the times the transition to that monologue is really inorganic and out of place. The character might be talking about something mission-related and then suddenly veer off into something really personal, completely unprovoked. There is no flow to dialogues, their only function is to convey information. In addition, Snake is almost a non-character. His behavior is really inconsistent. One minute he's acting like a battle-hardened veteran that's not in touch with his emotions, next minute he literally begs Naomi to talk to him because he "needs it". By the end of the game he becomes absolutely sentimental and starts rambling about his feelings left and right. Don't get me wrong, I'm not saying a battle-hardened veteran wouldn't have these feelings. What I'm saying is people like that usually suppress them. It's a real problem in a lot of men, because we live in a patriarchal system where we're supposed to conform to stereotypes about masculinity which ironically objectify us as much as feminine stereotypes objectify women. A man is supposed to be tough and quiet and in control of his emotions. This type of worldview by a certain age becomes so ingrained in a man's psyche that it would take years of therapy to fix it. A character like Snake who starts off as a tough guy who mistrusts anyone and in a few hours becomes introspective and open to fall in love with a complete stranger is just unrealistic, almost cartoony. And this is really what can be said about any significant character in the game. Meryl is a very stereotypical and antiquated image of a woman. Despite her being a soldier, she appears weak and becomes a damsel in distress and a love interest for the protagonist. Liquid is a cartoon supervillain with a ridiculous "evil" plan that makes no sense. So, you were expecting Solid (I'm sorry, you both are snakes, so I'mma call you by first names) to activate the nuclear device the entire time? Excuse me, then why the hell were you sending your crew members to fight him and even attacked him yourself on a helicopter and blew up the entire roof with rockets? Are you retarded? Seriously, is Liquid retarded because he was made out of recessive genes? Anyway, it was really hard to take anything he says seriously because he speaks with such theatricality that he comes off as a caricature. A lot of the story was just yapfest. Unnecessarily overcomplicated, going into weirdly obsessive details about things that don't matter (e.g. why do we need to know how exactly FoxDie attacks human heart? The important thing is that it does, we don't need a scientific explanation of how). As a result it's pretty hard to digest and probably what contributes to the illusion that makes it appear deeper than it really is. Once you really break it down to its themes and what they say, there's nothing extraordinary about it. The overcomplicated plot is also not a good thing. Those numerous plot twists delivered in a rapid succession make it resemble a soap opera. In conclusion, I found MGS to be a mixed bag. It has plenty of great ideas both story-wise and gameplay-wise, but it also has a fair share of terrible ideas and terribly-executed ideas. I hate to say it, but upon revisiting this game, it was a huge disappointment for me, and I have no desire to play it again.
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恶魔城：暗影之王 豆瓣
7.7 (6 个评分) 其它标题: Castlevania: Lords of Shadow / CSOL … 2010年10月5日
类型: 动作冒险 平台: PC / PS3 / Xbox 360 开发者: Mercury Steam Entertainment S.L. / Climax Studios 出版发行: Konami Corporation / Konami Digital Entertainment GmbH
平行时空中不为人知的悲伤往事
　　此作年代比《无罪的叹息》还要早50年，制作人为小岛秀夫，因此不属于IGA正史之列。故事发生在中世纪南部欧洲，主角加百列·贝尔蒙特是在光明兄弟会中长大的孤儿，教会赐予他大天使加百列之名，他是兄弟会有史以来武艺最为高强的战士。但他并非真正贝尔蒙特的族人，贝尔蒙特此姓取自其儿时仰望的一座高山的名字。
　　加百列的妻子玛丽被黑暗魔物杀害，灵魂被禁锢。为拯救爱妻以及找出事件真相他踏上征途。在圣湖守卫潘与教会长者佐贝克的指引下，加百列击败了狼人之王、死神之王、吸血鬼女王这三位暗影之王，获得了能让死者复生的上帝面具。关键时刻佐贝克抢了面具，原来他才是真正的死神之王，他利用加百列来现实自己的邪恶愿望，玛丽的死也是他用法力操纵加百列下的手。紧接着，真正的幕后黑手撒旦出现并夺走面具。
　　就在加百列成功封印撒旦后，吸血鬼女王卡米拉的恶魔城混沌深处，原本被封印的被遗忘者（《无罪的叹息》中的隐藏BOSS）因卡米拉的死亡，即将冲破封印重返世间。为消灭可能给世间带来灾难的被遗忘者，加百列必须获得吸血鬼之力。因此他咬吸了女吸血鬼劳拉的血液，成为吸血鬼后他进入混沌消灭了被遗忘者。虽拯救了世间，但他依然对杀死妻子玛丽的罪行无法释怀，在怨恨与痛苦交织下，加百列变成了吸血鬼德古拉，最终隐藏于黑暗之中。
2025年3月31日 玩过
2025年4月1日 评论 Castlevania: Lords of Shadow is more than a Castlevania game - If you wanted to view it as one, it does have all the hallmarks of the series, but, if you don't care about Castlevania, you will find that it functions entirely autonomously as a self-contained and unique title. The elephant in the room is the God of War formula, which can be an immediate turn-off. But, if you're willing to stay open-minded and give it a chance, you'll discover that it's not limited by this formula and improves everything about it. In structure the game has more in common with something like Ubisoft's Prince of Persia series with a sprinkle of Metroidvania influence. It is linear, but the levels have a lot of twists and turns, some of which will need certain gear to unlock, which you will find later in the game. This makes the world feel like an actual place and adds replayability without detracting from the sense of adventure that the game ultimately aims to create. In your journey you will explore ruins of dead cities, abandoned castles and temples, reclusive villages, and many natural landscapes. Locations inspire awe and fascination, making you wonder what civilizations must've built them, what life there used to be like, and how it all collapsed. Along the way you find notes of dead warriors, telling you of their grim last moments, which further reinforces the main theme of the game: the ravages of time . What you're essentially doing the entire game is trying to reverse it, to save those who are long gone and restore some kind of mythical order that has obviously not been around for a long time. It's all over, but there is a semblance of hope that is pushing the protagonist forward. I'd be lying if I said the game is well-written, but the environmental storytelling alongside perfect voice-acting helps the game convey its main themes even with mediocre dialogues. But to return to the topic of combat, which occupies about half the game, alternating with serene exploration and puzzle-solving, it exemplifies how simple incremental changes can lead to a disproportionate increase in depth. Aside from being somewhat faster than God of War, it introduces two new systems: Dodge-meter Light and Dark magic The way it works is: if you successfully dodge enemy attacks, next time you hit enemies, they release these magic orbs, which you can then absorb either as light magic or dark magic. Your light magic will then help you restore health, while your dark magic will increase your damage. This is brilliant on so many levels. Firstly, it incentivizes you to actually use the dodge move all the time. This is an organic way of telling the player how the game should be played without forcing them. Dodging in this game is absolutely paramount, everything revolves around it, similar to Killer Is Dead. You have to employ the samurai tactic: attack and retreat. Choose the right moments, it's all about the timing. And then you gotta choose the moment to absorb the magic points because that immobilizes you, leaving you vulnerable. You have to make the decision whether it's worth the risk. Secondly, if you wanna heal yourself, you need to activate the light magic and attack opponents. Which means you're still participating in the healing process while continuing to fight. You are encouraged to be aggressive and "take" health points instead of just receiving them, which reinforces player agency. Alternatively, you can choose to get reckless and activate the dark magic in hopes that it'll help you kill the enemies faster and then hopefully you'll find a health altar afterwards. Sometimes this can save your life, as killing a dangerous enemy fast might be a more effective strategy, like a cornered boxer who chooses to fight his way out of the corner. Just the amount of different possibilities and strategies that arise from just that is incredible. But then on top of that your combos and secondary items will perform other functions with the magic enabled, varying based on whether it's light or dark. And, despite all that complexity, it all feels very intuitive and easy to remember. Another thing that's improved compared to God of War is the QTEs. I'm sure everybody dislikes them. Lords of Shadow standardizes them by making it not matter which button you press. It's all about the timing now. And these moments are usually accompanied by slow motion and a minimalist interface that you don't have to pay too much attention to, making the action on the screen spectacular and more easily observable. And there's a lot to observe, as the art design in this game is simply amazing. This is easily one of the most stunning games I've ever played, and this applies not only to how the environments look, but almost every single object in the game (not counting some breakable crates and stuff like that) is designed with so much creativity and style. Barring the original Silent Hill games, I can hardly remember another game that paid this much attention to little details. And it's all accompanied by a beautiful orchestral soundtrack. I've always liked the first Lord of the Rings movie more than its sequels because it always felt like a journey through a fantastical and mysterious world with a variety of vivid locations, and different trials and tribulations that you go through with the characters. This game is probably the closest experience to that. Probably an even purer one, as you're the one experiencing it. P.S. this Kojima trailer is fantastic and does the game absolute justice.
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鬼泣3 豆瓣
9.3 (23 个评分) 其它标题: 恶魔猎人3 / Devil May Cry 3 2005年3月1日
类型: 冒险 / 动作 平台: PC / PS4 / Xbox One / PS3 / Xbox 360 … 开发者: Capcom Production Studio 1 / DIGITAL Hearts Co., Ltd. 出版发行: Capcom
鬼泣3，游戏名，由卡普空第一开发部（Capcom Production Stduio 1）制作发行。《鬼泣2》发售后，由于口碑未如理想，卡普空决定以回归《鬼泣》为重点，开发系列续作《鬼泣3》。《鬼泣3》于2005年3月1日在PlayStation 2发售，取得极高的评价，重新将“鬼泣系列”推上高峰。
本代的故事剧情拉回一代之前，叙述刚成立恶魔猎人事务所的 但丁（Dante），在神秘男子带来口信后，展开了与众多入侵恶魔的对决，与但丁为双胞胎兄弟关系的维吉尔（Vergil），也将以敌对的身分登场，展开一场西洋双手剑对日本武士刀的华丽对决。 鬼泣3
《恶魔猎人3》使用新的 3D 游戏引擎制作，大幅强化了游戏的画面表现，并支援杜比 Pro Logic II 环场音效，在声光效果、剧情演出、平衡度、镜与动作上都有大幅度的改进，并由有「恶魔画师」异名的 ATLUS《真‧女神转生》角色设定画家金子一马担任但丁的恶魔化造形设计。在游戏系统方面，则是加入了 6 种各有所长的战斗风格，其中「枪手（Gunslinger）」、「剑圣（Swordmaster）」、「骗徒（Trickster）」与「皇家护卫（Royalguard）」，分别具备远距离、近距离、回避与防御等专长项目，综合了前两代的各种战斗方式，并加以扩充。游戏中玩家将必须要适时的发挥这四种战斗风格的长处，才能顺利过关。 　　枪手具备各种花式的枪抱攻击方式，包括在空中倒转往下击出一连串弹幕的「Rain Storm」，如同耍双节棍般以散弹枪朝四方乱射的「Fire Works」，以及双枪可同时攻击不同目标的「Twosome Time」﹔剑圣顾名思义则是使剑的高手，可以施展出将剑高速回旋的「Prop Shredder」，将剑射出的「Sword Pierce」，以及空中连续斩击的「Aerial Rave」。 　　骗徒则是擅长各种灵活轻巧的特殊行动，包括飞檐走壁的「Wall Hike」，以及高速衡刺的「Dash」等。「皇家护卫」风格具备以往系列作中不曾出现过的「防御」能力，使用此战斗风格的但丁将会已类似中国功夫的防御架势，来抵挡敌人的攻击，并具备将敌人攻击力积蓄於自身体内，再瞬间释放出来的特殊攻击方式，可说是一种攻守兼备的新风格。