Game
Log.

Everything about this is just genius! From the game mechanics to the writing and the credit song!

I have nothing else to say except that this game is absolutely a masterpiece. This easily became the best game of my life.I haven’t played the DLC yet. I have yet to start that. It’s just fighting Simon for six hours straight has drained me completely. I need a break, I will revisit after a while.

This is a wonderful small game which is only about 25 minutes. It managed to make me feel and gain more respect for the bosses in games. Especially, the fromsoft games.

Easily one of the best games I’ve played this year. The narrative was so gripping and fun to watch/play. There were multiple situations where I was dreading which route to take and that is an amazing thing to have in my book.The only reason this doesn’t get the fullFive stars is because the dispatch gameplay relies a bit heavily on the RNG; which makes it a bit difficult to get hang of it.With that said, I fully recommend anyone who is on the fence to play this. Don’t be scared to pick the most ridiculous options; just have fun and this game rewards you in spades for that. Man! I love this game! Definitely gonna replay it again!!

Shadow of the Erdtree is an incredible expansion—massive, dense, and full of that classic FromSoft magic—but it isn’t perfect. For most of the journey, I was blown away. The Shadowlands feel like a condensed, more focused Lands Between, packed with layered paths, hidden systems, and some of the most intricate level design FromSoft has ever attempted. The new weapons alone justified an entire new playthrough. Hand-to-hand, great katanas, reverse shields—there’s so much here that genuinely changes how you can approach a build.The bosses? Mostly phenomenal. Aggressive, cinematic, and constantly pushing you on the back foot the second you walk through the fog. The final boss in particular is a monster and easily one of FromSoft’s hardest fights.But then… you get to the ending.And for me, it landed with a dull thud.If I’m left feeling like something is missing, then yeah—definitely an anti-climactic ending. I sat there thinking, “Okay? Miquella wanted Radahn to be her consort… and then?” That final cutscene felt completely out of place, like something that should’ve played before the fight, not after. It explained nothing we didn’t already learn from the NPCs. Even my friend said it “gives the bridge cutscene a run for its money for worst cutscene in the game,” and honestly… yeah.It doesn’t ruin the DLC by any means—everything leading up to it is excellent—but it absolutely leaves a gap where an emotional or thematic payoff should’ve been.Still, despite the rough ending, this DLC is one of the most ambitious expansions ever made. It captures that same awe I felt the first time I stepped into Limgrave: the sense of being lost, tiny, overwhelmed, and fascinated all at once. FromSoft clearly treated this like a victory lap, and in almost every respect, they earned it.One of the greatest DLCs ever made—just wish the final moments landed as hard as everything else.

The comeback is real.After all the memes, all the patches, and all the pain, Phantom Liberty feels like CD Projekt Red finally delivered the game they wanted to make back in 2020. The base game was always ambitious, but it stumbled under its own weight — broken promises, broken NPCs, broken police. But now, with Update 2.0 and this expansion, it feels like they’ve burned it down and rebuilt it from the ashes.Dogtown isn’t just a new district — it’s a full-blown reimagining of what Cyberpunk 2077 can be. Compact, vertical, dangerous, and dripping with atmosphere. The neon still hits hard, the grime still seeps into your skin, but now the city actually feels alive. Vehicle combat, a new police system, dynamic drops, an overhauled perk tree — everything’s sharper, smarter, and more cohesive. It’s not just a patch; it’s a redemption arc in code.The story itself is CDPR back in their element. A tight, political spy thriller full of twists, betrayals, and impossible choices. Idris Elba’s Solomon Reed is phenomenal — his calm intensity and perfect line delivery steal every scene he’s in, even with Keanu Reeves back as Johnny Silverhand. The writing and pacing feel far more focused. It’s slick, cinematic, and constantly throwing you into high-stakes scenarios that actually let your decisions matter.There’s a new ending too — one that recontextualizes the entire base game in a surprisingly emotional way. Depending on your choices, it can completely rewrite V’s fate. That level of agency was missing from the original Cyberpunk 2077, and seeing it here makes the whole experience hit harder.On the technical side, it’s absurd. With DLSS 3.5, path tracing, and RTX Overdrive, this is the best-looking game on the planet — bar none. The lighting, reflections, and atmosphere are so good that sometimes you can’t tell where the cutscene ends and gameplay begins. Dogtown looks like a living, breathing film set where every wall tells a story in flickering neon. Even on my Steam Deck, it runs spectacularly well!But not everything’s perfect. The final boss is underwhelming, some of the dynamic “everlasting” events get repetitive, and a few minor bugs. Yet none of that kills the vibe. It’s a polished, stable experience that makes the old launch feel like a bad dream.As a whole, Phantom Liberty elevates the entire game. The 2.0 update makes the base systems actually fun — perks matter, builds feel specialized, and combat finally rewards creativity. It’s still more of an action game than an RPG, but the action is so damn good now that it doesn’t matter.In the grand CDPR pantheon, I’d place Phantom Liberty below Hearts of Stone (because that story is untouchable). This doesn’t just expand Cyberpunk 2077 — it redeems it. If you ever bounced off the original, now’s the time to come back. This is the version they meant to release all along.

There’s something magnetic about L.A. Noire. It’s not perfect — not even close — but it’s one of those rare games that gets under your skin. It’s clunky, dated, and slow by modern standards, yet I can’t help but admire the ambition behind it. It’s a game that aimed higher than almost anything of its time and somehow managed to pull off something unforgettable.Set in 1947 Los Angeles, the game feels less like a Rockstar sandbox and more like a fully playable noir drama — where the streets are hot, the shadows are long, and everyone has something to hide. You play as Cole Phelps, a former Marine turned LAPD detective, climbing through the ranks of a department rotting from within. The city is gorgeous in that eerie way only post-war America can be — bright lights hiding broken people. Team Bondi went to obsessive lengths to recreate real 1940s L.A., down to building blueprints and aerial photos from the era, and you can feel that research in every street corner.What really defines L.A. Noire, though, is its obsession with faces. Using its then-revolutionary MotionScan tech, every character’s performance was captured with uncanny realism. It’s weird now — too human to feel stylized, too stiff to feel alive — but that uneasiness becomes part of its charm. When you’re interrogating suspects, watching eyes dart and lips twitch, you’re not just reading dialogue; you’re reading people. The game asks you to observe, to trust your instincts, to pay attention in ways most games never do.Gameplay-wise, it’s a strange hybrid — half detective simulator, half early 2010s open-world relic. You investigate crime scenes, gather clues, interrogate suspects, chase perps on foot or by car, and occasionally get into shootouts. None of it is particularly deep, but the rhythm works. Every case feels like an episode of a lost noir TV show — complete with a beginning, a twist, and a quiet, unsettling conclusion. It’s structured, linear, and surprisingly procedural for a Rockstar game, but that’s part of why it’s interesting. It’s more about routine than chaos, about how repetition and bureaucracy wear you down.Of course, it’s messy. The open world is mostly decorative, the mechanics are inconsistent, and the famous “Truth / Doubt / Lie” system never quite functions the way you think it will. Yet when it clicks, it’s fantastic — you’re flipping through your notebook, connecting small details, second-guessing expressions, and trying to outsmart the person across from you. It’s immersive in a way that goes beyond realism; it’s performative. You feel like an actor in a noir scene, rehearsing morality under the spotlight.But where L.A. Noire really shines is in its mood — this haunting tension between surface glamour and buried corruption. Every case starts clean and ends dirty. The city’s a machine that eats good men, and Phelps, with his rigid sense of justice, slowly realizes he’s just another cog. It’s a game about the illusion of order — about a man who wants the world to make sense in a time and place where nothing really does.Team Bondi fell apart after this, and L.A. Noire never got a true sequel, which feels almost poetic. It’s a one-of-a-kind experiment — ambitious, awkward, and strangely beautiful. Like the city it depicts, it’s glamorous on the outside but cracked underneath.

I didn’t expect a DLC to hit this hard. Hearts of Stone feels like someone took the best parts of The Witcher 3—the writing, the atmosphere, the strange sense of humor—and then wrapped it around a story that’s smaller, sharper, and somehow more personal than anything in the base game.Right away, it’s clear this isn’t just more Witcher 3 content. It’s a story that knows exactly what it wants to say. There’s a villain who steals every scene, characters that stick with you long after you’re done, and moments that make you stop mid-quest just to take it all in. It’s mature in the best sense of the word—less about good or evil and more about choices, pride, and what you do when the bill finally comes due.The quests are some of the most creative I’ve ever played. There’s one moment (you’ll know it when you get there) that feels straight out of a fairy tale and a nightmare at the same time. The writing dances between funny, eerie, and emotional without ever feeling forced. CD Projekt basically flexed here—they knew exactly what they were doing.And the best part? It doesn’t overstay its welcome. After the massive sprawl of Wild Hunt, Hearts of Stone feels refreshingly focused—like a perfectly told short story set in a world you already love.It’s rare for an expansion to make the main game feel richer in hindsight, but this one does. If The Witcher 3 was Geralt’s epic, Hearts of Stone is his ghost story.

I’m done with this game. I was having fun in the beginning but the missions kept getting more tedious and annoying to do. Each mission got me to take up to 30 minutes to do with several tries. I can’t anymore. I’m not having fun at all.

Uncharted 4 feels like a series growing up with its audience. It’s still packed with the blockbuster spectacle you’d expect — crumbling towers, daring escapes, and breathtaking vistas — but the tone is more grounded and reflective this time around.The gameplay doesn’t reinvent the series, but the refinements are noticeable. Stealth finally feels like a real option, the rope swing adds new ways to move and fight, and the puzzles are smarter than ever. It’s still linear, still cinematic, but now with more variety to keep the long runtime from dragging.Where the game really shines is in its story and characters. This isn’t just another treasure hunt; it’s about obsession, family, and what it means to finally let go. It’s more serious than past entries — sometimes at the cost of the goofy charm — but it gives the adventure real weight.It’s not the most purely “fun” Uncharted, but it is the most thoughtful. As a finale, it sticks the landing.I’m very glad I played all the games through. I might play Lost Legacy again, but not for a while because it’s still fresh in my mind, unlike this game.

Arkham City is where Rocksteady doubled down on everything that made Arkham Asylum so special—and it shows. The combat is deeper, the stealth more varied, and the traversal feels fantastic with gliding and grappling now refined into something that makes exploring the city endlessly fun. Boss fights like the tense chess match against Mr. Freeze stand as all-time highlights, and the overall atmosphere of a city turned into a prison is unforgettable.That said, bigger isn’t always better. The story often feels like one long detour—Batman chasing the cure from one obstacle to another while Hugo Strange and Protocol 10 amount to little more than background noise. Strange knowing Bruce’s identity is a wasted thread, and side quests are hit-or-miss: some, like teaming up with Bane or falling into the Mad Hatter’s hallucinations, are fantastic, while others are padding at best.Still, it’s hard not to be impressed. The city itself is packed with memorable landmarks that make navigation intuitive, and the rogues’ gallery—from Penguin and Two-Face to Joker’s shocking final act—keeps the pace alive even when the story stumbles. Where one review might call it overrated and another a masterpiece, the truth sits somewhere in between: Arkham City isn’t flawless, but its highs are so high that it remains one of the most important superhero games ever made.

This one is an interesting game. The concepts and the writing are brilliant, but it gets really buried under a pile of jank. Like, what the point of the pixel mini-games? It felt like it just meant to pad up game time. The levels also end very abruptly where it always feels like the game crashed.I really did enjoyed the performances and writing. Most of the comedic scenes landed for me. The camerawork also excellent in this. This game was filled with cinematic shots.The optimization for PS5 is not good at all. This game is plagued with Frame drops and audio delays. It also makes my PS5 sound like a jet engine. Reminds me of my Base PS4.

Uncharted 3 is the series at its most conflicted. On one hand, it’s the most polished and spectacular of the trilogy—cargo planes, burning chateaus, collapsing ships, and an endless desert stretch that still looks incredible today. Gunplay feels tighter, melee is flashier, and the spectacle is turned all the way up.But that spectacle comes with an identity crisis. Naughty Dog couldn’t decide whether to keep the pulpy, supernatural vibe or pivot toward the grounded tone that would lead into The Last of Us. The result is a game that often feels like it’s switching genres mid-scene. The Djinn hallucinations feel ripped from another franchise, and Talbot’s unexplained teleporting/mind-control moments go nowhere, leaving the villains hollow. Even the story structure leans too heavily on fake-out deaths and disconnected arcs—like the pirate ship, which looks amazing but adds nothing to the plot.What keeps it all together is the core trio. Nate, Sully, and Elena still have heart, with the young Nate flashback standing out as one of the best character beats in the series.Messy? Absolutely. But boring? Never. Uncharted 2 may be the better complete package, yet Uncharted 3 remains one of the best thrill rides in gaming—an uneven, swaggering spectacle that still knows how to wow.

Uncharted: Drake’s Fortune felt like a promising proof of concept—fun and cinematic, but still rough around the edges. With Uncharted 2: Among Thieves, Naughty Dog didn’t just build a better sequel; they found their identity. This is the game where everything clicked, setting a new standard for action-adventure storytelling.From the opening moments—Drake bleeding out on a derailed train hanging over a cliff—the game makes its intentions clear. It’s bigger, bolder, and far more ambitious. Seamless transitions between cutscenes and gameplay were a revelation at the time, and the pacing never lets up. Rooftop chases, collapsing hotels, a runaway train, a convoy battle in the mountains—every chapter feels like its own Hollywood set piece, but with the added thrill of player control.What really sells it, though, are the characters. Nolan North’s Drake is charming and vulnerable, Elena brings warmth and sincerity, and Chloe makes her debut as a sharp, morally ambiguous foil. Their dialogue feels effortless and human, while Lazarević, though a simple villain, provides a strong counterpoint to Drake’s reckless drive.Mechanically, everything is sharper than the first game: smoother shooting, heavier melee, even a splash of stealth. The platforming is still linear, but the environments are so dynamic it hardly matters. That said, the game isn’t without its headaches. Gunplay can feel inconsistent, a few encounters are unfairly tuned, and then there are the yetis—terrifying at first, but eventually reduced to little more than frustrating bullet sponges.And then there’s the ending. After hours of near-perfect pacing, the final boss fight is a letdown. Lazarević, powered up with mystical resin, can only be beaten by shooting pods around the arena twelve times. It’s repetitive, awkward, and drags the finale down when it should be soaring.Still, even with its stumbles, Uncharted 2 is a landmark. It showed that games could deliver spectacle on par with cinema without sacrificing interactivity. It’s the blueprint for modern action-adventure, and Naughty Dog’s first true masterpiece. The yetis may annoy, and the final boss may frustrate, but the journey getting there is unforgettable.

The first Uncharted I ever played was actually Uncharted 4 (and then Lost Legacy). Not the smartest move. My brother and I were so confused by the story that we just skipped cutscenes and focused on the shooting. Fun, sure — but we had no clue what was going on. Years later, I decided to do it properly and finally went back to where it all began with Drake’s Fortune.And honestly? It feels like a really polished prototype. The cinematic presentation is still impressive, with seamless transitions, pulpy banter, and Greg Edmonson’s adventurous score carrying a lot of weight. Nate, Elena, and Sully have great chemistry, and that heart makes the treasure-hunting story work even when the gameplay struggles.And it struggles a lot. The combat is repetitive and exhausting, with wave after wave of grenade-spamming bullet sponges, clunky aiming, and a melee system that never feels satisfying. The infamous Jet Ski sections are somehow even worse than their reputation — steering and shooting barrels feels more like punishment than variety. Even the late-game supernatural twist leans awkwardly between Indiana Jones and Resident Evil without fully committing.Still, I had fun. It’s short, cheesy, and rough around the edges, but the charm shines through. Drake’s Fortune is like the first pancake in the batch — a little burnt, but still tasty. Not the best Uncharted by a long shot, but worth playing to see how it all began.