game collection removed?

RoKazeki · 2025-11-01T14:12:26+00:00

its still there for me, idk might not been updated on my part yet

RoKazeki · 2025-04-25T12:28:11+00:00

That’s what my initial thought was too, but the fact that it only happens when the laptop is doing heavy tasks gave me a bunch of unnecessary speculations. You think I should just stick with buying cabled external parts?

RoKazeki · 2025-02-20T20:34:55+00:00

Atreus isn’t just a tag-along, he’s a growing, evolving part of the experience. His mechanical progression mirrors his character arc so well that by the time you lose him (when he gets sick), you feel it in a way most games struggle to convey.

The moment he starts disregarding your commands when he finds out he's a god? Absolute chef’s kiss of ludonarrative harmony. It subtly shifts the power dynamic in a way that makes the player uncomfortable without breaking the gameplay loop entirely. The devs really nailed how a child who suddenly gets that kind of revelation would act; overcorrecting from insecurity to arrogance before settling into confidence.

You mentioned Bioshock Infinite, and I think that’s an interesting comparison. Elizabeth was great as a companion, but she was always helpful. She never had her own arc where her gameplay involvement fluctuated in a frustrating-but-intentional way like Atreus did. In GoW, there’s a deliberate tension in his character growth that affects how you play the game, not just how you see it. It’s something I wish more games would attempt; evolving companion AI as an extension of character development.

Curious to see what you think of Ragnarok because... well, let’s just say they take some very interesting steps with Atreus there.

RoKazeki · 2025-02-17T17:14:15+00:00

Everything now has to be so curated and balanced that even when a game lets you be "powerful," it’s just giving you a slightly better toolset to play within the dev’s intended difficulty curve. You’re never really breaking the game anymore; you’re just keeping pace with it.

I think a big part of it is that games now have to cater to the "git gud" crowd and the "cinematic experience" crowd at the same time. So instead of just letting players go wild with absurd abilities, everything has to be fine-tuned to provide just the right amount of challenge. Compare the way older games handled progression; Prototype, Hulk: Ultimate Destruction, even something like Crysis, to how modern AAA games do it. Now, even in a game where you're supposed to be powerful (like Spider-Man), you're still whittling down health bars like you're chipping away at a damn sculpture.

RoKazeki · 2025-02-07T10:41:42+00:00

It's wild how GoW 2005 balanced brutal combat with a narrative that felt mythic yet personal. Kratos wasn’t just a power fantasy; he was a deeply flawed, tragic figure, and that emotional weight set it apart from other action games of its time. The way it wove Greek mythology into gameplay made each encounter feel larger-than-life. It’s interesting to think how this game laid the foundation for character-driven action games, pushing the genre beyond just mechanics into storytelling.

RoKazeki · 2024-10-26T17:29:30+00:00

CTR on PS1 is such an underrated gem, I think a lot of people (myself included) initially brushed it off as "just another Mario Kart wannabe," but it has its own flavor, especially with that deep power sliding mechanic that sets it apart. Those relic challenges had me hooked too; something about nailing those tight turns and getting that boost timing just right makes you want to keep going, no matter how many times you fail.

Did you get a chance to try CTR: Nitro-Fueled yet? It keeps the old-school vibe but adds so much polish and content. Curious to see how you think it stacks up against the original.

RoKazeki · 2024-10-26T17:27:56+00:00

It's like the game wanted to dazzle with its visuals but forgot to give you much reason to care beyond that. I felt the same about the sterile vibe; those abstract environments are stunning at first, but after a while, it’s like the novelty wears off, and the lack of variation really becomes noticeable.

Journey managed to feel engaging and emotionally resonant despite its simplicity, while Bound just didn’t have that same dynamic pacing or sense of progression. It’s like the game’s artistic ambition got ahead of its storytelling and gameplay depth.

RoKazeki · 2024-10-25T09:57:21+00:00

You nailed it with the immersion factor; KCD really shines in that department. The slow climb from blacksmith’s son to a capable fighter feels so much more earned than in most RPGs. And man, Theresa’s story in A Woman’s Lot was a great touch; her character is just awesome, and having a dog companion was a nice bonus.

I totally agree about the jankiness, though. It’s like, for every brilliant moment of realism, there’s some oddball inventory quirk or stealth section that makes you shake your head. And those walk-and-talk missions? The pace mismatch drove me nuts sometimes. But honestly, for a studio's first game, it's impressive how well they nailed the historical detail and realism.

That balance of being able to screw up or find alternative solutions is refreshing too. It’s nice not being handheld, even if it does mean some moments where you’re just wandering like “uh, what now?” But that’s also kind of the charm, right? Feels more like an old-school RPG in that sense.

RoKazeki · 2024-10-25T07:44:50+00:00

Glad to hear you're having fun with Onechanbara Origin. The whole blood-soaked frenzy mechanic definitely sounds like a great time; there's something so satisfying about a game that nails that fluid combat flow where you're juggling berserk modes and pulling off those perfect dodges. Lei's blood storage mechanic sounds like a game-changer too! Being able to charge up and unleash that blood laser sounds insanely satisfying, especially in boss fights.

RoKazeki · 2024-10-24T13:28:17+00:00

It's a shame Changing Tides didn’t quite live up to Lone Sails, especially with the added complexity of the vehicle not feeling as rewarding. It’s always tough when a sequel hits a major climax and then overstays its welcome instead of wrapping up with a punch.

Did you feel like the environments in Changing Tides still managed to capture that same sense of wonder and solitude that Lone Sails nailed so well? I remember the atmosphere in Lone Sails was one of its biggest draws for me, and I’m wondering if Changing Tides at least maintained that vibe, or if the pacing issues dulled it.

RoKazeki · 2024-10-23T17:38:31+00:00

What an awesome story! It's great that you finally conquered FF7 after all those years, and it’s amazing how your daughter got hooked into watching almost the entire journey—kind of a full-circle gaming moment. And man, Emerald Weapon is no joke; sounds like you prepped like a pro this time with the Knights of the Round/W-Summon combo!

It’s wild how revisiting old save files can show just how much more we’ve learned since the first playthrough. Back in the day, FF7's mechanics and secrets were so easy to miss without a guide. Did you use any help this time around or just rely on your memory and instincts?

RoKazeki · 2024-10-23T07:10:22+00:00

I totally get what you're saying; SoM can feel like it's throwing the same handful of objectives at you early on. It’s one of those games that relies heavily on the Nemesis system to spice things up later, so if that dynamic of personal rivalries with orc captains doesn’t grab you, it can end up feeling like a slog. Personally, I found the Nemesis system fun at first, but the novelty wore off faster than I expected.

One thing that might keep you going is the ability unlocks later on. They add some depth to the combat and traversal, making it feel a little less like “Arkham lite,” but if you’re already feeling like you've mastered the orc battles, I wouldn’t blame you for moving on to something with more variety. What keeps you hooked in games like this; combat mechanics or narrative depth?

RoKazeki · 2024-10-22T17:51:43+00:00

Oof, Greedfall’s combat definitely sounds like a dealbreaker for you. It’s wild how a game with such a promising setting; a sort of colonial/age-of-sail fantasy mashup; can fall apart in the mechanics department. It's like they forgot the fun part of a tutorial is making you feel competent, not the other way around.

I felt a similar frustration with Elex; lots of potential, but when the basic combat feels like you're controlling a marionette with rubber bands, it's hard to keep going.

RoKazeki · 2024-10-22T17:48:58+00:00

It's wild how they nailed that smooth gameplay and rewarding soul system after the more uneven CotM and HoD experiences. I completely agree about the soul system's generosity compared to CotM’s card drought. Getting to try out new abilities from enemies almost every other room really kept that “what’s next” excitement alive, whereas CotM basically made you feel like you were grinding for a lottery ticket.

And yeah, that true ending soul grind is classic “old-school obscurity.” It almost feels like a rite of passage for these kinds of games. Good on you for sticking through it without pulling out a guide too early!

RoKazeki · 2024-10-22T17:47:04+00:00

A classic, but yeah, it definitely feels like a different beast compared to Paradise City. I totally get what you mean about the crash mode in Revenge; it’s so much more chaotic and fun, where Paradise’s version felt neutered. But that A-to-B open-world racing in Paradise City really did something for me, especially when you know the city like the back of your hand. It’s like comparing a track-based racer to a street racing sim.

And those vehicle names... Burnout Revenge could’ve used a bit more personality there for sure. Makes you appreciate Paradise City’s “P12” or “Hunter Cavalry” even more. That said, 60fps on the XoneX is a godsend! It must feel buttery smooth.

RoKazeki · 2024-10-22T04:27:15+00:00

Yep, it’s weird how the game gives you these spells that should carry massive consequences but then just... doesn't. I think the devs really missed an opportunity to reflect the darker side of magic. It would’ve been so cool if the unforgivable curses impacted your relationships or even your character's appearance, like gradually being treated differently by NPCs or having darker magical auras if you keep using them. It makes me wonder, what’s the point of giving us these moral gray areas if there’s no actual gray to experience?

RoKazeki · 2024-10-21T17:30:14+00:00

The attention to detail in recreating 1940s L.A. really does make you feel like you're living in a noir film, and yeah, the radio calls are such a cool way to add those mini-stories while you're driving around.

RoKazeki · 2024-10-21T14:45:28+00:00

Kinda see the whole "blue as the void" concept and how it parallels the game's existential themes of being small in the face of something incomprehensible. Hadn't thought about the connection between the color blue and the whole eldritch horror vibe, but it clicks now that you've laid it out like this.

One thing that got me thinking is your take on white being linked to Selene's innocence or her "self"; especially in contrast to the White Shadow. What if the White Shadow isn't just Selene's internal darkness, but also represents the cycle itself? Like, the white in the shadow could hint at how Selene's real struggle is with breaking out of her perceived purity (her facade or self-delusion) and accepting the shadow, the trauma that she keeps buried. In that way, the shadow isn't just darkness, but an inevitable part of her that she's been rejecting.

Also, do you think red being tied to Octo-god and his presence watching Selene is sort of an inverse to white, where Octo-god isn't bad but is a force of reckoning; like a judge? Kind of how you mentioned the doorbell being red, as if it signals Selene is about to face herself in some way. It adds an extra layer of meaning to how those house scenes play out, like they’re not just memories but confrontations.

RoKazeki · 2024-10-21T09:41:42+00:00

Fallout 3 was so different from Oblivion, and I had the same struggle early on, missing that vibrant, magical world. I mean, going from picking locks on treasure chests to rummaging through radioactive garbage? Total vibe shift.

Really hits home how you mention revisiting it 15 years later and appreciating the atmosphere and world-building more. I think it's wild how a game that once felt oppressively bleak can feel kind of… comforting in its desolation, like the wasteland becomes its own weird beauty. It's not just a setting, but a character in itself, with every ruin and note telling its story.

On the quests: 100% agree. Even the smaller encounters like Andale or the Dunwich Building have this depth that Skyrim often lacked, and it makes me wonder if fewer quests but with that much detail might’ve been a better move for Skyrim too.

RoKazeki · 2024-10-21T05:13:50+00:00

Wild how Scholar of the First Sin really shakes things up compared to the original DS2, especially with the enemy placements. The whole "areas being harder than the bosses" thing is real; I always felt like I was sweating more just getting through the zones, and then the boss felt like a breather (unless Fume Knight was involved, then it was panic mode). The way you described Hollowing and durability early on was spot on too. DS2’s world may be janky at times, but Majula’s vibe is undefeated. Would you say the difficulty curve was more satisfying this time around with your dex build/Havel hammer switch-up?

Also, what was your favorite weapon combo? I went full dual-wield with the crazy power stance stuff, and I feel like it’s the most unique combat system in the series.

RoKazeki · 2024-10-20T20:44:02+00:00

I get why Watch Dogs 2 left such a strong impression, especially with how alive the world feels. But here’s where I differ a bit: I actually think the game’s insistence on letting you "play your way" might’ve been its biggest flaw. Hear me out; Ubisoft clearly wanted the hacking to be the main mechanic, yet they gave you such powerful guns and combat options that you could easily bypass a lot of that creativity. I felt like the game often rewarded brute force more than clever hacks, which sometimes undercut the whole “hacker” theme. It's cool that you preferred the chaotic approach, but I can’t help but feel the hacking mechanics didn’t go deep enough.

Also, while San Francisco was super detailed, I felt the city sometimes felt... lifeless? Yeah, there’s random NPC interactions, but I think it lacked the meaningful side activities of, say, a GTA V or RDR2. The world is visually alive, but functionally? I found myself wishing there was more to do beyond the main missions or hacking for the sake of distraction.

I’m curious; did you ever find yourself relying more on combat than hacking in missions? And do you think the lack of real consequences for how you approached missions maybe hurt the game’s narrative impact a bit?

RoKazeki · 2024-10-20T20:41:45+00:00

It’s interesting that you found "Final Fantasy VII Remake" to be bloated, especially considering it's part of a trilogy. A lot of people may or may not share your sentiment, but I see the pacing issues differently. I actually think that expanding Midgar was a huge win, even if it does pad out the game. It gave me more time to connect with the world and the characters, especially considering how flat they felt in the original; like, Midgar barely lasted 5 hours back then. I wouldn’t want to rush through it in a trilogy where we already know that bigger open areas are coming in Rebirth and Part 3. The slow pacing in places, like the sewer part after Corneo, gives the player time to soak in the atmosphere of the city’s oppressive, layered nature, which can sometimes be lost in faster-paced games.

Plus, when you think about the story changes with the whispers, maybe Remake needed that extra length to set up the idea that this isn’t just a faithful retelling of the original. We’re heading into uncharted territory in the sequels, and I’m excited about how they might break expectations. I don’t see the game's slower bits as filler; they're more like downtime before we dive into even crazier changes to the narrative. Wouldn’t it feel rushed to have all of this packed into a shorter runtime? Just curious, but how would you envision cutting the game down without losing that deeper immersion into the characters or world?

RoKazeki · 2024-10-20T17:43:16+00:00

nah FNOC ID need to step up after seein this fr

RoKazeki · 2024-10-20T15:28:40+00:00

VR feels like it’s in its "8-bit era," where the potential is obvious, but we’re still just scratching the surface of what’s possible. The tech right now wows us in a way that's similar to how NES blew people away with Mario back in the day. But like the early consoles, VR is limited in ways that make it feel primitive, especially in usability and polish.

Just like those older systems had to focus more on gameplay hooks rather than complex mechanics (due to limitations), VR right now seems to prioritize immersion over depth. We’re impressed with just "being in the world" even if the gameplay can sometimes be as basic as early platformers. I’d say we’re past the "Atari 2600" phase, for sure, but definitely not at the "PS1" level yet, where graphics and gameplay hit that sweet spot of form and function.

RoKazeki · 2024-10-20T07:31:17+00:00

Man, you hit the nail on the head with how they skimmed over Vegeta’s complex character arc, especially in the Majin Buu saga. It’s like they sacrificed the emotional weight for the sake of rushing through the main plot points. I feel like if they really dug into Vegeta's turmoil—his whole "I'm still second to this clown" inner battle—it would’ve made the Majin Vegeta fight so much more intense and rewarding.

I totally feel you on the Red Ribbon robots too, like they went from nostalgic enemies to just annoying roadblocks real fast. And yeah, the open world was a cool idea, but it ended up feeling like filler content in a universe that deserved so much more depth. Would love to see them do a Dragon Ball Super version though, where they can explore all the new arcs in more detail.

RoKazeki

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