The goal is to be as precise as possible; tell people to turn their loud headphone music down and clean up the <i>Jormy</i> <b>Starbucks</b> coffee cups left by the game's myriad twins, triplets, quintuplets, septuplets… yeah, there's not a lot of NPC/AI variety -- Seaside Valley development cutbacks and all.
Or something.
I played the first Gears of War, and right now, Gears 5 has barely changed the flavour of the original. And while the original might have been a revelation, Gears 5 presents as a detriment.
The further you get into the game the more it does begin to feel meaningful, but early on it just doesn't <i>impact</i>.
Moreover, failure to get that timing right essentially leaves you open to a smart, reactive player capable of truly reading the play.
So, if you like lateral thinking, great [branching] storytelling and excellent voice-acting, and can look past a drab, repetitive sheen that is less gameplay heavy and more set-dressing, you’ll still find a gem in this H.P. Lovecraft love letter to the sea, left in an old bottle to wash up on your shore.
A great foundation that is mechanically sound and will delight in the early hours. Stick around too long, however, and Chaosbane reveals a dearth of classes, enemies and environments. Also a weak endgame.
Her and Hugo's mother, <b>Beatrice</b>, spends most of her time with Hugo and has an understanding of alchemy as a result of his illness, which becomes important later.
Days Gone is contextually broken, its gunplay is deplorable, its ‘open-world’ premise is a joke and its narrative consistently overrides that open-world ‘design’ goal.
If, like me, you’ve always just shied from games that punish for the sake of punishing, but thoroughly enjoy a story with mystery, excellent dialogue and unique fantastical components, Sekiro will punish, but it will also deliver in damascus folds. Folds upon folds. Prepare to die though, and much more than twice.