Análises recentes de Kurt Russell

While the mouse controls aren't very good, everything else works just fine and the game runs a lot better than it did on Xbox One. Definitely worth the asking price, tons of fun to be had with this little gem.

Content doesn't show up ingame.

Developed by Brendon Chung, the master storyteller behind Gravity Bone and Thirty Flights of Loving, Quadrilateral Cowboy is the next chapter in Blendo Games’ series of titles set in a retro futuristic world of portable vinyl players, flying motorbikes and morally dubious protagonists. The big difference between Quadrilateral Cowboy and its predecessors, however, is that it’s a fully functional game, with clearly defined objectives and gameplay mechanics, instead of the “walking simulator” approach employed by the developer with his earlier work.

Brendon Chung’s latest title is an adventure game disguised as a puzzle-solving experience. We play as a recently graduated engineer dabbling in computer hacking and engaging in a series of high stakes heists. From the beginning of the game, we can see that Quadrilateral Cowboy’s world diverged from ours at some point, as it’s set in the 1980s, but there are flying motorbikes and VR seems to be a fully functional thing. Computers must still be controlled through DOS-like interfaces though, something that fits the cyberpunk theme perfectly, and adds a tactile dimension to our interactions with the game world.

The beginning of the adventure will teach players how to hack doors and other objects in the game world, using a portable hacking deck that must be deployed and then interacted with. The act of hacking feels real thanks to the use of believable commands typed on the portable computer’s miniature keyboard and displayed on its screen, and after a few small “test” levels, most gamers will be typing commands as if they were real life hackers.

Quadrilateral Cowboy is quite similar to Portal, introducing a new gadget, building a level around the use of that tool and then seamlessly adding it to the player’s arsenal as a thing that may or may not be used to complete later puzzles. This is usually something good, but at some points it feels like the first half of the game is a tutorial for the latter part of the adventure. Luckily, the story is intriguing enough to carry the “tutorial” parts, and the strangeness of the environments ensures that the player never feels bored, even with the most basic tasks.
Between each mission, we’ll be taken to playable intermissions which usually take only a few seconds (though the player can always explore the environment at their leisure) and through those scenes we can learn more about the world, our character and her friends/associates. For instance, we can discern that even though our character is a recently graduated engineer, the city of Nuevos Aires has no need for her skills (or her friends’ skills) and that’s the reason for her criminal activities.

As the game progresses, the plot’s pace quickens, the stakes are higher and we get to play through complex levels that make use of all the gadgets acquired along the way. Sadly, not everything is perfect, as Quadrilateral Cowboy seems to be a quite buggy piece of software (picking up gear in order to stash it may trigger crashes for no apparent reason) and some players may feel that the duration of the game is a problem (I got through the game in four hours) Still, even with those caveats, I believe that Blendo Games’ latest adventure is one of the most enjoyable titles of 2016, and I can’t wait to see what Brendon Chung’s got planned for the future.

Berserk And The Band Of The Hawk is Omega Force‘s latest musou adaptation of a popular media franchise, and it’s probably one of their best efforts to date, thanks to the extraordinary quality of the source material and the way the company’s “one versus thousands” design fits the manga’s depiction of the hero’s swordfighting prowess.

The first third of the game follows the “Golden Age” story arc, and it features high quality anime cutscenes that work perfectly as a way of easing newcomers into the world of Berserk. Sadly, since only the Golden Age arc has received an up to date official anime adaptation, these cutscenes give way to CGI once the first third of the game ends, something that I personally found a bit jarring. The narrative is easy to follow, and even players with no previous knowledge of the manga shouldn’t have any problems keeping up with the story arcs featured here. It’s important to note that all the voiced segments are in Japanese, and the actors did a truly exceptional job, bringing their characters to life in a way that elevates this particular musou over older titles that relied on English dubs. Some people may dislike the fact that they must read subtitles mid battle, but I didn’t have any problems following the plot.

As expected, Berserk and The Band Of The Hawk‘s gameplay is very similar to Omega Force‘s Warriors series, with our playable character facing hundreds of weaker opponents and fighting moderately powerful officer units from time to time. During the Story mode we’ll usually play as Guts, an incredibly strong warrior who wields a powerful greatsword and different sub weapons that can be activated in order to gain an edge during particularly heated battles. Our heroes’ main horizontal slashing attacks can be used to start combos, and their charging (or heavy) blows may be combined with normal attacks in order to create powerful finishing moves. A character growth system is also in place, letting us learn more advanced combos, and gain helpful boosts to four different stats (Vitality, Attack, Defense, Technique) which may also be further upgraded through the use of accessories that can be found after defeating key enemies or completing specific objectives.

In place of the usual Musou gauge we can find a Frenzy meter, which can be filled up by attacking enemy forces or using special items. After triggering Frenzy mode, characters under our control will hit harder, killing weak foes in just one hit, and will also fill up another meter, the Death Blow gauge. We can use this special attack to decimate scores of enemies in just one hit, obliterating most non-boss combatants in one fell swoop. Frenzy mode can be used as many times as we can fill the bar during each battle, and it can also level up, becoming even more powerful as we use it. Berserk fans hoping for gory combat will be happy to learn that using Frenzy mode lets us dismember enemies, and our character will quickly be covered in their foes’ blood.

As the game progresses, we will also unlock new costumes (which come equipped with sub-weapons) as well as a number of accessories, consumable items and different horses. Up to three accessories can be equipped at the same time, and we may use them to increase our characters’ stats (Vitality, Attack, Defense and Technique) or add new skills. Since our heroes’ weapons can’t be changed (for lore related reasons) these accessories will be extremely important if we want to succeed in harder difficulties. After a certain point in the story we’ll be able to upgrade accessories using materials found in the battlefield, and later on, we may even mix several items in order to upgrade our favorites with skills found in trinkets that weren’t in use at the moment.

Aside from the usual “one versus hundreds” gameplay style, we will also come face to face with boss characters in both closed 1vs1 arenas and larger battlefields that also include weak mobs. These powerful foes come in all sizes, will withstand Death Blow attacks, can use Frenzy mode, and may even transform into bigger versions of themselves mid fight (not unlike the bosses found in Souls games). I’m not entirely sold on the way boss fights work in Berserk and The Band Of The Hawk, since some encounters may quickly become frustrating wars of attrition against enemies who abuse special attacks or seemingly broken hitboxes, but I welcomed the extra challenge after hours of slashing through less worthy opponents.

Most battles also feature side objectives that can be tackled in order to unlock Gallery items, and they may range from escort quests (which are far better than the ones featured in the Attack on Titan game, thankfully) to defeating a specific number of enemies before a timer runs out, vanquishing a boss before they transform, or helping party members in need.

Beating stages lets us replay them in a Free Mode, using any character we may have unlocked so far (there are eight playable characters, each with their own moveset, characteristic weapon and array of sub-weapons) A roguelike inspired mode called the Endless Eclipse is also available, offering specific objectives for every character and featuring an impressive number of floors to be conquered, though aspiring masters of this mode should know that death will reset their floor progress unless they reach specific checkpoints (and that the same boss fights present in the Story mode also make an appearance here) Achieving certain milestones will not only reward us with the chance to start this mode from more advanced floors, but also with new characters, horses and costumes which can be used in the Free Mode as well (character levels are also shared in all the playable modes).

As it is usually the case with Omega Force’s titles, Berserk and The Band Of The Hawk will not win any awards on the tech department if we focus on texture quality and polycounts (though the character models are exquisitely detailed and always stay true to the source material) but the sheer number of enemies on screen more than makes up for the game’s graphical shortcomings. Performance wasn’t an issue on my computer, something that was a relief after experiencing Toukiden: Kiwami‘s PC port, and the title’s gamepad controls work perfectly. I wouldn’t recommend using a keyboard, however, as the game doesn’t support mouse input, so players using this control scheme will have a hard time adjusting the camera, for example.

To conclude, Berserk and The Band Of The Hawk is one of the best musou titles to date, offering tons of quality content, a well told story and fun gameplay that will enthrall fans of the franchise and newcomers alike.

8.5/10 – Great.

Livelock is a top-down cooperative/singleplayer shooter with RPG elements. Players can tackle the game’s campaign as one of three different characters, a long range fighter, a support character who can also play a medium range combatant’s role, and a melee tank. Along the way, gamers will collect extra weapons, and their characters will level up and get new active skills to help them fight against tougher enemy types.

The story mode clocks at a respectable 6 hours, and there are three difficulty levels, which should keep players entertained for a few hours more at least. The character archetypes are different enough to change the game’s pace quite significantly, adding to the replay value. Solo players will be happy to read that all three characters are viable for a singleplayer run of the campaign (though turning up the difficulty increases the challenge quite a bit) so the game can potentially be played three times, one for each chassis type. After the main story mode is over, there’s also a survival horde mode which can be played solo or in co-op, offering a never ending supply of enemies that will satisfy even the most hardened robot killers.

Livelock has a strong story focus, which is strange considering the game’s genre. Sadly, it’s a mostly by the numbers affair, with cliched characters and twists that can be seen from miles away. Basically, a cataclysmic event forced humanity to lie in a long sleep, leaving three cyborgs and countless machines in charge of the planet until they can reawaken the dormant humans. Players take command of one of the three cyborgs, fighting against an army of machines that has taken over the earth while their former masters slept.

The voice acting is top notch however, and each of the three different playable characters has its own personality, blurting out one liners and commenting on the state of the world during mission briefings. Gamers worried about having to sit through the game’s cutscenes and long lines of dialogue can rest easy knowing that every story sequence can be skipped at the touch of a button.

Graphically, Livelock is a very pleasing game, with plenty of eye candy wherever we look and an astounding amount of destructible objects littering each level. Audio design is also a high point, weapons sound powerful and the music tracks fit the action well.

Livelock controls like a classic twin stick shooter, with the left stick or W, A, S and D keys being used for movement, and the right stick or the mouse for aiming and shooting. Both control styles work as intended, and the game disables joystick vibration on the fly if it detects that players are using mouse and keyboard.

Most levels work the same way, with the player moving forward through the map and destroying everything between them and their objective. The game does spice things a bit however, spawning bosses, “upgraded” enemies (similar to Diablo 3‘s Unique Enemies) and different objectives from time to time. Luckily, the base gameplay is strong enough to keep players from being bored, and the scenery changes drastically from act to act. “Upgraded” enemies usually drop cosmetic loot that can be used to enhance our characters’ visual design.

The game shines when playing online with friends, as each character complements the others, and gamers looking forward to an enjoyable cooperative experience will not leave disappointed.

Ultimately, Livelock is a fun top-down shooter with fine tuned mechanics and gorgeous graphics. The story isn’t as strong as one could hope, but that doesn’t detract from the fact that the game will offer many hours of enjoyment for shooter fans.

7.5/10 (Good)

Gamers who stumble upon The Final Station's Steam Store page may probably think that it's yet another roguelike zombie survival game, the platform's latest fad. Luckily for us, they couldn't be further from the truth.

Instead, tinyBuild's latest offering is a relatively short story based survival horror game with some resource management elements. Players will control a train driver who must deliver some precious cargo in order to help stop an apocalyptic event. Along the way, the player character will have to stop at train stations in order to get a code that lets the train keep moving forward. Stations could be full of infected people, who will attack on sight and must be eliminated or evaded, or may be inhabited by normal denizens of this futuristic world.

The Final Station is a game with two distinct gameplay styles, a resource management segment and a 2d survival horror/shooter part.
When the player is riding the train between stations, they have to take care of different parts that may malfunction at any given moment, check on the passengers' status and feed/heal them if necessary. At the beginning, this gameplay segment will be quite easy, since the train driver will not have to care for many passengers. However, as gamers visit more and more stations, a growing number of survivors will join their party, and every one of them may have specific needs. Some NPCs may be injured and require medikits in order to survive, and all of them will require food at some point. In order to gather the supplies needed to keep survivors alive, players will need to explore the infected stations on foot.

The exploration part plays out like a normal 2d shooter. Gamers start the game armed with a simple pistol and a melee attack that can be used to deal with the weaker infected types, as long as they are alone. Combat is fast paced, rewarding quick thinking and good aiming. Most infected will die from a single headshot, though the game gradually introduces new enemy types, as well as two more weapons, a shotgun (which can deal with any enemy in a single shot, but requires a specific ammo type) and a rifle, which acts as an upgraded version of the starting pistol. Ammunition is always limited, and fighting every enemy in each station may not be a good idea.
Since players can't see new areas before opening the doors that lead to them, exploration quickly becomes unpredictable and almost terrifying, as a horde could be hiding behind any unopened door, but one may also find the supplies needed to save another survivor.

Every few infected stations, the train will stop at an inhabited settlement. At this point, players get paid for each survivor successfully transported to their destination and may spend those funds on weapon upgrades, ammunition, medikits and food.

Although its gameplay is competent enough to carry most of the game, The Final Station's standout aspect is its storytelling and world building. At the beginning of the journey, players know that something terribly wrong is happening and that their train could be the key to salvation, but information is scarce and nothing is certain. Along the way, the game carefully drip-feeds information through notes, e-mails, and even background art. Rescued survivors will talk to each other as the train moves, and inquisitive players will gradually be able to piece together the game's story.

The game ends just as the core gameplay loop starts to feel repetitive (for me, that was at the five hour mark) and players get to experience a strangely satisfying ending which I won't spoil here.



The Final Station is a great addition to the survival horror genre. Do My Best Games' debut title mixes competent gameplay with excellent storytelling and world building in order to create a compelling adventure that never overstays its welcome.

8/10 – Very good.

Worms W.M.D is the latest installment in Team 17‘s long running artillery strategy series about warring annelids. Due to popular demand, the game’s developer decided to go back to the series’ roots and make a true 2d game, though W.M.D still presents many changes over its predecessors.

The basic gameplay mechanics are the same as they’ve been for two decades. Players command a team of worms (which may be customized with different voice packs, gravestones and visual styles) and must defeat an opposing worm force using a wide variety of wacky weapons. The action still flows perfectly from turn to turn, and drowning enemy worms is as satisfying as it was a decade ago.

Worms W.M.D‘s presentation echoes Worms Armageddon, a game which most longtime fans of the franchise still consider as the best. From the detailed 2d art, to the removal of some controversial features such as classes or water physics, everything screams “your childhood favorite is back!” This doesn’t mean that W.M.D doesn’t try a few new things though. Team 17‘s new game introduces several new concepts to the strategy franchise, with varying degrees of success.

Chief among the game’s new toys is the ability to pilot vehicles and man static weapon emplacements. Worms can now get in the driving seat of tanks, mechs and helicopters, adding some interesting dynamics to the battlefield. Taking command of a helicopter and raining fire from above as the enemy team sits in an oil barrel filled zone never gets old. The static guns also offer new strategic options, as players have to choose between mobility and firepower, and the mounted weapons platforms can be destroyed, dealing damage to their operators when that happens.
The second game-changing addition is the crafting system. Worms can now collect resources (or dismantle old weapons to obtain the bits that make them work) and craft new weaponry, making an already unpredictable game even more chaotic. Enterprising players will rapidly learn that they can actually use the enemy’s turn to craft new gear, a welcome distraction when the opposing commander is laying waste to your troops.

Players can now make use of buildings to shelter themselves from enemy bombardment or prying eyes. Sadly, the execution isn’t as polished as one would desire, and sometimes it’s hard to tell which part of the environment is a building, and which is just part of the map’s decoration (a problem that was already present in Worms: Clan Wars, although that game didn’t feature buildings in the same way as W.M.D)

Worm customization, a hallmark of the series, has been given an incredible amount of detail. There is a leveling system that gradually unlocks more hats, gravestones, voice packs and music, making players feel as if there’s always something new to try out.

The game’s content is as plentiful as the customization options, with a generous amount of singleplayer missions and challenges, and an extensive multiplayer suite. Worms W.M.D also features Steam Workshop support, letting players download new maps created by other gamers with the included level editor.
Worms W.M.D is a successful reimagining of the long running artillery strategy series, mixing Armageddon‘s colorful visuals and tight gameplay with some welcome additions. Team 17 has created a new classic, easily recommended for both newcomers and longtime fans of the franchise.

8.5/10 – Great.

N++ is a 2d platform game in which the player guides a stick ninja to a switch, and then to a door. Along the way, gamers can choose whether to collect coins that will extend the level’s timer or not, and have to dodge various obstacles that can kill the stick ninja in one hit.

The game’s controls seem as simple as N++‘s premise, though level after level, the game’s designers go out of their way to make the player think about more advanced movement techniques in order to advance. Gamers start N++ thinking that it’s a game about pressing a button and jumping, but they quickly discover that jumps depend on acceleration and positioning, turning a task that wouldn’t normally require much thought into something far more interesting.

Coin collection is something that most platformers feature, and it’s another classic trope that N++ quickly turns into something else, as players discover that grabbing all the coins in a level isn’t always a good idea, and that greed can turn an otherwise incredibly easy level into a nigthtmarish adventure.

Later levels introduce enemies that can move and even shoot homing projectiles at the player, upping the stakes, as many of those new hazards can be bypassed if gamers don’t go after the tantalizing gold coins.

If players ever get tired of the game’s 2,360 solo levels (yes, that’s not a typo, the game actually features more than two THOUSAND hand made levels) there is a race mode and a local cooperative experience (which requires real cooperation, as one of the players may need to die in order for the other to progress in some cases, among other interesting cooperative interactions)

Hopefully the developer will be able to add an online mode in the future, though it will all depend on the game’s success.

Gamers interested in creating their own levels can also engage in that activity, as the game features a robust level editor which also lets players upload their creations so others may play them.

Visually, N++ is a minimalist experience, which is something that works on its favor at all times, letting gamers see hazards clearly.

The game’s audio design is also quite clean, and the soundtrack features a selection of techno music tracks that fit N++‘s minimalist visuals perfectly.

N++ is a challenging platformer that every fan of the genre should play. Few games can be so rewarding for those who take the time to understand their mechanics, and even fewer can claim to be as focused and pure as Metanet Software‘s masterpiece is.



9.5/10 – Excellent

Note: Playtime is not representative of my experience with the game, as I actually played most of it on PS4. My time with the PC version was mostly spent checking its stability and performance, which are top notch by the way.

Warhammer 40,000: Armageddon – Da Orks (phew, that’s a long name!) is a turn based tactics game set in the Warhammer 40k universe. It’s also an almost perfect Panzer General game, but the player commands green skinned beasts instead of Axis or Allies units.

The basic gameplay is almost identical to Panzer General‘s (or rather, Slitherine‘s most excellent Panzer Corps, which was Panzer General in all but name) Players get a number of units (which increases as the campaign advances) and they have to overcome enemy forces using tactics, rather than sheer troop numbers. Every unit has different stats, and armchair commanders need to take into account unit weaknesses and terrain if they intend to make it past the first series of missions (by the way, the game can get quite hard even on the normal difficulty setting)

Objectives vary, but there’s always victory and resource points that must be captured before the turn limit ends (and defended, as the Imperium’s forces don’t take kindly to greenskins occupying their territory) Battles take place on familiar hex maps (hexagonal tiles can be turned on or off at will) and the game maps are highly detailed and succeed quite well in their task of showcasing a ruined planet in the far future of the Warhammer universe.

While it’s possible that new players may be able to play the game without reading the manual, I would encourage everyone to give it a look or maybe twenty, since it ends up being an invaluable source of information (and the in-game tutorial isn’t as in depth as I would have liked, an issue that also plagued the original Warhammer 40k: Armageddon) It’s not particularly long, sitting at a comfortable forty pages, and it does an admirable job at explaining the differences between different units, and the impact that the terrain can have on their combat effectiveness.

Speaking of units, the variety on offer is staggering. I could spend hours picking new ones for my armies, and they are all exquisitely detailed and competently animated.

Playing as the Orks brings some interesting tactical choices to light, as many units rely on close combat abilities. Sadly, most missions don’t really feel as if the player is in command of the WAAAGH! since the enemy forces are usually similar in numbers, if not superior.

The game’s Achilles’ heel is its dificulty, as it presents some rather sharp spikes, even at the normal difficulty setting (in all fairness, I haven’t tried turning the game down to easy, but its predecessor was TOO easy when I tried that, so I would think that isn’t a good solution to the problem at hand) Some people may find the challenge a bit too severe, and I wouldn’t blame them, though most of the problems seem to stem from the lack of good tutorials inside the game (which is why I highly recommend reading the manual)

Visually, the game is competent, but not extraordinary. The maps are highly detailed, as I said previously, and the units are all quite beautiful, with competent animations (though people not used to this kind of game may find them a bit too austere) Sound design is also competent (with special mention to the voice overs used during the game’s many story panels) and hearing bolter fire, lascannon shots, or even listening to the units moving (they all have specific sounds) is always enjoyable. The soundtrack is serviceable, and it’s always in the background, never getting in the way of the action.

Strategy fans will get a great deal of enjoyment out of Warhammer 40,000: Armageddon – Da Orks, and 40k enthusiasts will get even more, due to the game’s faithful representation of the tabletop game’s units. It’s not perfect, and it’s sad that the development house didn’t include a better tutorial, since not all players will read the manual, but it is a welcome addition to the videogame branch of the Warhammer franchise.



Note: The game also features a multiplayer mode (of the Play by Mail type) but I did not get the opportunity to try it.

7.5/10 (Good)

Be wary, this game is really addictive.
The basic concept is that you are in a futuristic motorbike with a laser machinegun and you are being chased by a swarm of things that will hurt you if they touch you.
You move with standard twin stick shooter controls and aim your machinegun to get rid of the enemy swarm. The action is really fast paced, and you need to keep a keen eye on the swarm, lest they overwhelm you.
When you die you get a score based on your survival time. The first 3 achievements are relatively easy to get, but the 4th one can be a bit of a pain in the rear.
Definitely recommended, even more so when you consider the price (it's free!)
Made by the same guy who made UBERMOSH.