Junebug23057
Se unió el ago 2010
Te damos la bienvenida a el nuevo perfil
Seguimos trabajando en la actualización de algunas funciones del perfil. Para ver los distintivos, los desgloses de las calificaciones y las encuestas para este perfil ve a versión anterior .
Comentarios128
Calificación de Junebug23057
I still remember the first presentation of South of Midnight back in 2024, which left me with a sense of nostalgia for classic titles like God of War and the early to mid-2000s Prince of Persia. The combination of quirky design and unique presentation immediately drew my interest. After its release in April 2025, I couldn't wait to dive into this brand new IP, snagging it in May.
At its core, South of Midnight follows Hazel Flood's journey after a hurricane completely devastates her hometown of Prospero. This narrative pulls players into a Southern Gothic reality teeming with folklore creatures, while Hazel navigates her role as a Weaver-a magical mender of broken bonds and spirits-in search of her mother, who has gone missing. Without spoiling too much, I can say that the story has layers worth uncovering.
One of the first points everyone recognizes is the engaging gameplay style, reminiscent of Hi-Fi Rush, though clearly distinct. While music plays an integral role in South of Midnight, the combat is not rhythm-based. Instead, it's more of an adventure platformer, featuring linear levels with opportunities for exploration where players can discover XP and hidden letters scattered throughout the environment.
The art direction steals the spotlight. Toggle the stop-motion mode on or off, and you're treated to visuals that feel as if Tim Burton directed a film around Louisiana's fascinating legends and myths. The distinct design and endearing characters complement the overall atmosphere beautifully. Speaking of atmosphere, the music acts almost as a character itself-it intricately chronicles the plot while delivering a stunning mix of bluegrass, blues, and gospel that enriches the immersive experience. Much like the music found in Far Cry 5, it's evocative and beautifully done. The voice acting is equally commendable, showcasing strong performances that enhance the game's narrative.
On the flip side, the gameplay can be a bit disappointing. Although not outright bad, it lacks the polish one might expect. The game consists of exploration, combat, and environmental puzzles. In terms of exploration, the absence of invisible walls when navigating branches and rooftops poses a significant risk of falling to your death. Additionally, various traps, whether they be mushrooms or spikes, feel more tedious than fun to avoid.
The combat, while generally snappy, occurs only in designated zones, offering no surprises when it comes to enemy encounters. The combat system itself relies on a simplistic combo and a few special moves that, while functional, don't stand up to the complexity of competing titles. The enemies you face-tar-like creatures with limited abilities-are few in number, with only about 5-6 different types, indicating they weren't the primary focus of development. Boss fights also follow a straightforward pattern, requiring specific strategies to defeat them rather than presenting real challenges.
Environmental puzzles are basic and revolve mainly around using Weaver magic to manipulate items, with a cute stuffed animal named Cruton assisting Hazel. While they serve their purpose, the puzzles are relatively easy and lack a sense of longevity.
Narratively, the story has commendable elements that reflect the passion and dedication put into the project. It's engaging overall, though some cutscenes might leave players a bit disinterested at times. I appreciated a surprise plot twist, but one issue was the introduction of characters Hazel supposedly knows well, making the player feel almost pressured to recognize them too.
Overall, South of Midnight is clearly a labor of love that showcases the potential of a new IP. While it possesses its flaws, particularly in gameplay mechanics, its heart shines through. I genuinely hope the developers will consider a sequel to refine these aspects. For now, I would rate it a solid 7.5/10.
Lastly, it's disheartening to witness the overt negativity surrounding the game stemming from various online factions. The backlash seems rooted more in bias than genuine critique-an unfortunate trend in a medium meant for enjoyment and exploration. Playing as an African American woman shouldn't be deemed "woke"; it's simply part of the narrative landscape. I encourage gamers to look past the sensationalism and enjoy South of Midnight for what it brings to the table.
At its core, South of Midnight follows Hazel Flood's journey after a hurricane completely devastates her hometown of Prospero. This narrative pulls players into a Southern Gothic reality teeming with folklore creatures, while Hazel navigates her role as a Weaver-a magical mender of broken bonds and spirits-in search of her mother, who has gone missing. Without spoiling too much, I can say that the story has layers worth uncovering.
One of the first points everyone recognizes is the engaging gameplay style, reminiscent of Hi-Fi Rush, though clearly distinct. While music plays an integral role in South of Midnight, the combat is not rhythm-based. Instead, it's more of an adventure platformer, featuring linear levels with opportunities for exploration where players can discover XP and hidden letters scattered throughout the environment.
The art direction steals the spotlight. Toggle the stop-motion mode on or off, and you're treated to visuals that feel as if Tim Burton directed a film around Louisiana's fascinating legends and myths. The distinct design and endearing characters complement the overall atmosphere beautifully. Speaking of atmosphere, the music acts almost as a character itself-it intricately chronicles the plot while delivering a stunning mix of bluegrass, blues, and gospel that enriches the immersive experience. Much like the music found in Far Cry 5, it's evocative and beautifully done. The voice acting is equally commendable, showcasing strong performances that enhance the game's narrative.
On the flip side, the gameplay can be a bit disappointing. Although not outright bad, it lacks the polish one might expect. The game consists of exploration, combat, and environmental puzzles. In terms of exploration, the absence of invisible walls when navigating branches and rooftops poses a significant risk of falling to your death. Additionally, various traps, whether they be mushrooms or spikes, feel more tedious than fun to avoid.
The combat, while generally snappy, occurs only in designated zones, offering no surprises when it comes to enemy encounters. The combat system itself relies on a simplistic combo and a few special moves that, while functional, don't stand up to the complexity of competing titles. The enemies you face-tar-like creatures with limited abilities-are few in number, with only about 5-6 different types, indicating they weren't the primary focus of development. Boss fights also follow a straightforward pattern, requiring specific strategies to defeat them rather than presenting real challenges.
Environmental puzzles are basic and revolve mainly around using Weaver magic to manipulate items, with a cute stuffed animal named Cruton assisting Hazel. While they serve their purpose, the puzzles are relatively easy and lack a sense of longevity.
Narratively, the story has commendable elements that reflect the passion and dedication put into the project. It's engaging overall, though some cutscenes might leave players a bit disinterested at times. I appreciated a surprise plot twist, but one issue was the introduction of characters Hazel supposedly knows well, making the player feel almost pressured to recognize them too.
Overall, South of Midnight is clearly a labor of love that showcases the potential of a new IP. While it possesses its flaws, particularly in gameplay mechanics, its heart shines through. I genuinely hope the developers will consider a sequel to refine these aspects. For now, I would rate it a solid 7.5/10.
Lastly, it's disheartening to witness the overt negativity surrounding the game stemming from various online factions. The backlash seems rooted more in bias than genuine critique-an unfortunate trend in a medium meant for enjoyment and exploration. Playing as an African American woman shouldn't be deemed "woke"; it's simply part of the narrative landscape. I encourage gamers to look past the sensationalism and enjoy South of Midnight for what it brings to the table.
As a long-time fan of the Resident Evil series, I had my reservations when Resident Evil 7 was first announced. The shift to a first-person perspective left me skeptical; after all, the franchise had always been rooted in third-person gameplay. Despite my initial disappointment, I finally decided to give it a chance after enjoying Resident Evil 8. Finding Resident Evil 7 on the PSN for just nine dollars felt like an opportunity I couldn't pass up.
The story centers around Ethan, an ordinary man searching for his missing wife, Mia. This search leads him to a decrepit Southern manor inhabited by a bizarre family with dark secrets. While I won't delve into spoilers, the narrative's pacing initially felt sluggish. Unlike previous entries that leaned heavily on action, Resident Evil 7 prioritizes atmosphere and creepiness. It may not reach the unsettling heights of Silent Hill 2, but it easily stands out as one of the scariest entries in the Resident Evil franchise.
The graphics in the PS5 upgraded version are stunning. Running at 60 frames per second, the game looks just as good as Resident Evil 8. The environments are richly detailed, with a pervasive sense of decay that echoes inspiration from films like Texas Chainsaw Massacre. However, I did find the game quite dark, which hindered visibility despite my setup on an LG OLED TV. The decision to limit the use of the flashlight to certain moments also felt odd, especially given the importance of exploration in the game.
Exploration is a core element, with various secrets and collectibles scattered throughout the manor. While it doesn't quite reach the heights of Resident Evil 4 in this regard, the design encourages curiosity. The gameplay blends exploration, horror, and action elements. At times, you'll encounter boss-like enemies that roam the spaces, reminiscent of Resident Evil 2's remake. While there are jump scares, they are kept relatively minimal, which is a relief. However, some of these bosses can feel like bullet sponges, detracting from the experience when you have to unload round after round just to slow them down.
The enemy variety was a surprising letdown. Unlike other titles in the series known for their diverse enemy designs, Resident Evil 7 primarily features three types of "black goo" enemies that feel repetitive over time. The additional insect foes serve as more of a nuisance than a significant challenge.
A thing I was very surprised about also, was the videotapes you could find in the game. When you watch the tapes, you end up being the camera-man in the game. I could clearly see the Blair Witch inspiration in these parts of the game. I was a good design choice.
The boss fights in the game, are for the most part very intense, and well thought out. Some of them are in a very confined space, and it really amps up the atmosphere.
In terms of weaponry, there were some curious choices. The selection, including a pistol, shotgun, grenade launcher, machine pistol, flamethrower, and magnum, felt a bit lackluster. While the shotgun proved reliable, I found myself rarely using the magnum due to the scarcity of ammunition. Upgrades to weapons, and one self were limited compared to earlier titles, with only a handful available for the guns.
Unfortunately, I did encounter a bug that occasionally silenced gun sounds, requiring a restart of the game. While this was frustrating, the shooting mechanics felt solid otherwise, dispelling any doubts that Capcom might struggle with a first-person design.
Voice acting in Resident Evil 7 is more subdued and sincere than the often hammy performances of past games. The narrative feels more mature, although certain plot holes exist that might be addressed in the DLC-they remain unexamined by me, however.
The game is fairly linear, especially towards its conclusion, where I found the ending to be somewhat anticlimactic. Despite this, the base campaign took about eight hours to complete, which felt reasonable for the price I paid.
In conclusion, while I would rank Resident Evil 8 higher, Resident Evil 7 remains an impressive title with remarkable graphics and a gripping atmosphere. It succeeded in drawing me into its eerie world and ultimately exceeded my initial expectations, earning a solid 8.5 out of 10.
The story centers around Ethan, an ordinary man searching for his missing wife, Mia. This search leads him to a decrepit Southern manor inhabited by a bizarre family with dark secrets. While I won't delve into spoilers, the narrative's pacing initially felt sluggish. Unlike previous entries that leaned heavily on action, Resident Evil 7 prioritizes atmosphere and creepiness. It may not reach the unsettling heights of Silent Hill 2, but it easily stands out as one of the scariest entries in the Resident Evil franchise.
The graphics in the PS5 upgraded version are stunning. Running at 60 frames per second, the game looks just as good as Resident Evil 8. The environments are richly detailed, with a pervasive sense of decay that echoes inspiration from films like Texas Chainsaw Massacre. However, I did find the game quite dark, which hindered visibility despite my setup on an LG OLED TV. The decision to limit the use of the flashlight to certain moments also felt odd, especially given the importance of exploration in the game.
Exploration is a core element, with various secrets and collectibles scattered throughout the manor. While it doesn't quite reach the heights of Resident Evil 4 in this regard, the design encourages curiosity. The gameplay blends exploration, horror, and action elements. At times, you'll encounter boss-like enemies that roam the spaces, reminiscent of Resident Evil 2's remake. While there are jump scares, they are kept relatively minimal, which is a relief. However, some of these bosses can feel like bullet sponges, detracting from the experience when you have to unload round after round just to slow them down.
The enemy variety was a surprising letdown. Unlike other titles in the series known for their diverse enemy designs, Resident Evil 7 primarily features three types of "black goo" enemies that feel repetitive over time. The additional insect foes serve as more of a nuisance than a significant challenge.
A thing I was very surprised about also, was the videotapes you could find in the game. When you watch the tapes, you end up being the camera-man in the game. I could clearly see the Blair Witch inspiration in these parts of the game. I was a good design choice.
The boss fights in the game, are for the most part very intense, and well thought out. Some of them are in a very confined space, and it really amps up the atmosphere.
In terms of weaponry, there were some curious choices. The selection, including a pistol, shotgun, grenade launcher, machine pistol, flamethrower, and magnum, felt a bit lackluster. While the shotgun proved reliable, I found myself rarely using the magnum due to the scarcity of ammunition. Upgrades to weapons, and one self were limited compared to earlier titles, with only a handful available for the guns.
Unfortunately, I did encounter a bug that occasionally silenced gun sounds, requiring a restart of the game. While this was frustrating, the shooting mechanics felt solid otherwise, dispelling any doubts that Capcom might struggle with a first-person design.
Voice acting in Resident Evil 7 is more subdued and sincere than the often hammy performances of past games. The narrative feels more mature, although certain plot holes exist that might be addressed in the DLC-they remain unexamined by me, however.
The game is fairly linear, especially towards its conclusion, where I found the ending to be somewhat anticlimactic. Despite this, the base campaign took about eight hours to complete, which felt reasonable for the price I paid.
In conclusion, while I would rank Resident Evil 8 higher, Resident Evil 7 remains an impressive title with remarkable graphics and a gripping atmosphere. It succeeded in drawing me into its eerie world and ultimately exceeded my initial expectations, earning a solid 8.5 out of 10.
**Review of Alone in the Dark**
Having a long history with the Alone in the Dark franchise, it's fair to say my expectations for the latest installment were high, especially given my nostalgia for its origins. My first real encounter with the series was playing the Dreamcast version in the early 2000s, and I've always appreciated the blend of horror and adventure it aimed to provide. When I finally got my hands on the current version on PS5, I was eager to see how the series had evolved. Unfortunately, while it does offer some good moments, it ultimately falls short of its predecessors and similar titles in the genre.
The story revolves around Emily Hartwood and private investigator Edward Carnby as they delve into the mysteries surrounding Derceto Manor, searching for Emily's missing uncle, Jeremy. Right from the start, I felt a disconnect with the narrative. The plot veers into bizarre territory almost immediately, with characters popping in and out as the duo transitions through a disjointed series of locales, ranging from the streets of New Orleans to arid deserts. The shifts feel abrupt and confusing, and it's hard to invest in the storyline when understanding what's happening becomes a chore.
This installment markets itself as a survival horror game-a classification I agree with, though not entirely convincingly. The encounters with various monsters, including mutant skeletons and Swamp Thing-esque creatures, become repetitive quickly. While the enemies looked decent and had varied designs, their AI lacked depth; they mostly charged at you without strategy, resulting in encounters that felt more like an inconvenience than a challenge. Surprisingly, I found myself indifferent to many of the puzzles as well, often resorting to online guides for solutions. They tend to be pattern-based and lack the cleverness that keeps players engaged.
Weapons in the game-ranging from a revolver to a shotgun and a tommy gun-perform well in terms of animation and sound design. I gravitated towards the shotgun for its effectiveness. Post-patch, the availability of ammo seemed improved, which is certainly a positive note. However, the game lacks the feeling of progression one often appreciates in games of this genre. There are no upgrades to your abilities or weapons, causing encounters to feel somewhat stagnant and unrewarding.
Graphically, the game isn't particularly awful, yet the environments lack a sense of personality or atmosphere. It felt as though the design team focused on delivering a game rather than creating an immersive world. The character animation appears stiff at times, particularly during actions like climbing ladders. While the voice acting is acceptable, the lack of clarity in the narrative made it challenging to connect with the characters.
Alone in the Dark can be completed in around six hours, but it feels even shorter due to its lack of depth and engagement. There is only one major boss encounter that appears right at the end, further alienating players from building any connection with the challenges the story has to offer. I primarily played as Edward, and I had little interest in switching to Emily due to the narrative's disjointed nature.
Overall, Alone in the Dark feels like a missed opportunity. It holds some production value, but it fails to capture the magic that made early survival horror titles compelling. As it stands, this game earns a rating of 6 out of 10. It may be worth purchasing during a sale-perhaps when it dips to around twenty dollars. For now, those looking for a gripping horror experience might find better offerings within the genre.
Having a long history with the Alone in the Dark franchise, it's fair to say my expectations for the latest installment were high, especially given my nostalgia for its origins. My first real encounter with the series was playing the Dreamcast version in the early 2000s, and I've always appreciated the blend of horror and adventure it aimed to provide. When I finally got my hands on the current version on PS5, I was eager to see how the series had evolved. Unfortunately, while it does offer some good moments, it ultimately falls short of its predecessors and similar titles in the genre.
The story revolves around Emily Hartwood and private investigator Edward Carnby as they delve into the mysteries surrounding Derceto Manor, searching for Emily's missing uncle, Jeremy. Right from the start, I felt a disconnect with the narrative. The plot veers into bizarre territory almost immediately, with characters popping in and out as the duo transitions through a disjointed series of locales, ranging from the streets of New Orleans to arid deserts. The shifts feel abrupt and confusing, and it's hard to invest in the storyline when understanding what's happening becomes a chore.
This installment markets itself as a survival horror game-a classification I agree with, though not entirely convincingly. The encounters with various monsters, including mutant skeletons and Swamp Thing-esque creatures, become repetitive quickly. While the enemies looked decent and had varied designs, their AI lacked depth; they mostly charged at you without strategy, resulting in encounters that felt more like an inconvenience than a challenge. Surprisingly, I found myself indifferent to many of the puzzles as well, often resorting to online guides for solutions. They tend to be pattern-based and lack the cleverness that keeps players engaged.
Weapons in the game-ranging from a revolver to a shotgun and a tommy gun-perform well in terms of animation and sound design. I gravitated towards the shotgun for its effectiveness. Post-patch, the availability of ammo seemed improved, which is certainly a positive note. However, the game lacks the feeling of progression one often appreciates in games of this genre. There are no upgrades to your abilities or weapons, causing encounters to feel somewhat stagnant and unrewarding.
Graphically, the game isn't particularly awful, yet the environments lack a sense of personality or atmosphere. It felt as though the design team focused on delivering a game rather than creating an immersive world. The character animation appears stiff at times, particularly during actions like climbing ladders. While the voice acting is acceptable, the lack of clarity in the narrative made it challenging to connect with the characters.
Alone in the Dark can be completed in around six hours, but it feels even shorter due to its lack of depth and engagement. There is only one major boss encounter that appears right at the end, further alienating players from building any connection with the challenges the story has to offer. I primarily played as Edward, and I had little interest in switching to Emily due to the narrative's disjointed nature.
Overall, Alone in the Dark feels like a missed opportunity. It holds some production value, but it fails to capture the magic that made early survival horror titles compelling. As it stands, this game earns a rating of 6 out of 10. It may be worth purchasing during a sale-perhaps when it dips to around twenty dollars. For now, those looking for a gripping horror experience might find better offerings within the genre.