As a seasoned veteran of Lara Croft’s archaeological escapades, having played and appreciated both previous entries (Tomb Raider (7★★★★★★★) and Rise of the Tomb Raider (7★★★★★★★)), I approached Shadow of the Tomb Raider with a certain level of trepidation. I was still hopeful that this game could rise above the notorious “third entry curse” (Godfather III, anyone? How about Spider-Man 3’s toe-curling emo dance sequence?). We’ve all seen once-great franchises stumble at the last hurdle. So, while trilogies can indeed be a challenging undertaking, Yet, as I navigated through its convoluted narrative and lackluster mechanics, I couldn’t help but wonder whether the developers were simply contractually obliged to create a third entry, rather than being genuinely inspired to conclude Lara’s journey with the grandeur it deserved.

Not-Action-Nor-Adventure Genre

The encounters are spaced too far apart, akin to a meal where the appetizer arrives just as you’re considering leaving the restaurant due to hunger. And when the combat does arrive, it’s a jarring mix of laughable ease and sudden, brutal difficulty. It’s as though the game can’t decide whether it wants to be a relaxing stroll in the park or an uphill marathon in the scorching sun.

The game heavily leans towards an Arkham-esque stealth approach, with most enemy encounters designed around small groups of foes. This could have provided an interesting strategic twist, but insteadm it feels like a mechanic imposed upon the player rather than an organic choice. Guns, and headshots, in particular, feel less impactful as even naked natives use ornamental cloth helmets that protect them from bullets. And while I appreciate a good challenge, trying to accurately shoot rapidly moving targets, even with a keyboard and mouse, is akin to trying to thread a needle while riding a rollercoaster - it’s more frustrating than fun.

Ah, but let’s not forget about the traversal challenges. You’d think that scaling cliff faces, diving through underwater caverns, and swinging over death-defying gaps would hold a certain amount of adrenaline-pumping excitement. The traversal is devoid of any real danger or skill, with most routes clearly signposted and any potential excitement systematically wrung out. They’re akin to a rollercoaster that only moves at a snail’s pace - sure, it’s technically a ride, but you’d have more fun reading the safety instructions.

On Trello, It’s Great

The crafting and skill tree systems… It’s almost as if the developers wanted to include a crafting system just to tick a box, without any tangible benefit to the player. I always play in my regular hoarding mode, gathering resources like a kleptomaniac squirrel preparing for eternal winter, only to discover the fruits of your labor are about as appetizing as a rotten acorn. These systems are like meticulously building a Lego tower, only to realize it serves no functional purpose.

Despite diligently upgrading guns, swapping armor, and unlocking new abilities, their impact on gameplay is disappointingly negligible. It’s a classic case of sound and fury signifying nothing. I spent hours scouring every nook and cranny, amassing all but two skills and fully upgrading my gear, yet the final encounters were no different than when I first started. It’s as if Lara’s arsenal of skills and equipment is just window dressing on a storefront with nothing inside.

The only equipment that does make a noticeable difference is the Metroidvania-style tools, which grant access to new areas. Yet even these feel less like exciting new additions to your repertoire and more like a set of janitor’s keys, tediously unlocking doors rather than opening up thrilling gameplay possibilities.

Too Long; Don’t Play

And then there’s the story. The narrative, a key component in any Tomb Raider game, has been left in ruins, more nonsensical than a Shakespeare play translated by Google. It revolves around a Mayan prophecy of the apocalypse that, for reasons, can only be thwarted by a small Peruvian mini-civilization centuries-old. It’s an absurd premise that strains the suspension of disbelief to its breaking point. One imagines the writers sitting around a table, throwing darts at a board covered in random plot ideas, and deciding to just include them all.

The villain of the piece is a peculiar chimera of conflicting elements as if the developers couldn’t decide on a single identity and decided to simply combine two wildly disparate ones. He’s a jungle native, steeped in the rich culture and history of his people, while simultaneously acting as the leader of a multitrillion international organization. It’s a bizarre mix that’s as jarring as a Japanese haiku stuffed into a Lord of the Rings epic.

The game also introduces a multitude of side characters – a queen, a future king, a mighty village warrior – yet fails to imbue them with any real substance or relevance. They flit in and out of scenes like fireflies in the night, their names and stories evaporating from your memory almost as soon as they leave the screen. Even Jonah, Lara’s trusty sidekick, oscillates wildly between near-death experiences and nonchalant used to be an adventurer before taking an arrow in the knee talk to BFFs natives he just met.

All in all, Shadow of the Tomb Raider feels like an imitation of its predecessors, a pale shadow lacking the vibrancy and excitement that defined earlier entries. It’s like being served a store-bought cake when you’re used to homemade - sure, it’s technically cake, but it’s missing the love and care that makes it special. The game is not without its moments of brilliance – a picturesque vista here, an intriguing ancient riddle there – but they are few and far between.

Quick note: who are those people that construct colossal and intricate structures, BTW? They were certainly the most advanced civilization that that time. Or aliens. Definitively aliens

This small shot from the Mexican developer Tequila Works. A platformer, focused mainly on puzzle solving a bit of combat. It happens in the city of Seattle, during a zombie apocalypse. Zombies, platforming and puzzles.

The visuals are great. Very detailed environments and characters. The animations between stages are very well produced. It’s probably the highest point of the game. Since the very first moments I was impressed by it.

The story is bad. Lots of cliché situations and setups. Among the several problems, are:

1. Inefficient mystery: During the whole game, the protagonist have memory flashbacks. They give glimpses of what happen. But never enough to neither clarify what’s going on, nor to increase the tension. It feels that it’s a bunch of disconnected facts about the past.

2. Awful character development: despite your main character, the entire cast of characters is either boring or annoying. Or both. The character from the sewers excels in both categories.

The tension of the gameplay is valid. It’s real. The zombies offer enough challenge. It’s not like the running kind from Left for Dead nor the super slow and easy to avoid from Alone in the Dark

I feel that if Tequila Works invested in a second game, it would be much more refined in the storytelling department. It falls short on its potential.

The acclaimed author of Da Vinci Code, Dan Brown brought another story from his symbologist Robert Langdon.

Now, instead of sitting under Leonardo Da Vinci’s works to create the conspiracy and mystery, the author drank from another Italian writer: Dante Alighieri. This fellow was responsible for writing the Divine Comedy, a narration about the 9 rings of hell.

Without revealing too much information about the book itself, I did not like the book. The character seems to know all the places too well, from secret doors, geography, history, and local informants. He knows everything. Also, he remains too calm and lucid even in life-threatening situations.

All the characters, good or bad, including Langdon, are also too resourceful. Do they need to travel across the globe now? No problem, there is always a contact that can spare a private jet, boat, or helicopter. There aren’t any dead-end moments, It is too much of a straightforward adventure.

Dante’s material is fascinating, but it was overused. He is not Da Vinci, it is not believable that everything in the world somehow conspired to link to his works. Finally, Brown used too many repetitive artifacts in his writings. It annoyed me by half of the book.

I would not recommend this book. I going to read some technical books to change the air…

The Chilean designers from ACE Team are back with the new crazy game Rock of Ages. It’s a strategy and action game like none you have seen before.

You control a ball that will roll downhill until it crashes at the enemy’s castle front gates. Repeat if it is not damaged enough. Your adversary does the same. The first to break into the castle wins. You can put obstacles between your enemy’s ball and your castle, in a Tower Defense way. You should balance your time and money between preparing defenses and attacking.

It’s overall idea is really nice but actual gameplay is not that fun. Well, It is fun at the beginning. I believe that it is fun in a sandbox mode, which you might experiment a lot. But for a single single player campaign, it is very frustrating. In the defense mode, the match is too short to allow you to test different strategies (or you win, or you lose in 2 or 3 rounds), neither gives you hints of would be a good call. In the offense ball rolling mode, the strategy is simple: avoid obstacles that make your ball weaker and go as fast as you can in the final meters in order to hit the gates as harder as you can. The problem is: that’s it. Not much else to do.

Nor difficult, especially for a strategy/action game. I was able to finish the game without complex thinking. The basic defense units, presented in the very first stages will take care of most of your needs in the entire game. The extra unities, gained when you reach later levels, are just visuals, offering almost no useful functionality. In like manner, the collectible stars, which was supposed to be difficult to obtain and would give the right to pass some portals, are also a piece of cake. So, it is more a matter to go and take them.

Another polarizing aspect is the humour. I felt it is genuine and fun, but you have to give it a chance, because it is not obvious or for the masses. Each stage is thematic from historic figures like Pope, or ancient legends, like 300’s spartans. The jokes are silly and the application in the actual level is vague. Nonetheless, it reminds me the same weird fun style from Zeno Clash.

Bottom line: play this game if you want to explore an original and beautiful game. Does not expect deep strategy nor loads of LoL moments.

With the promise to bring back the fun to a popular genre – First Person Shooter -, the Epic’s Bulletstorm is a mess.

One of the main problems is the core idea: stimulate the user to perform vary the play style by using different weapons. The player now is psychologically forced to vary. And because this concept is presented and used in the main campaign, several times the player will stop to pay attention on the story – which will comment later – in order to

Several of the “skillshots” are too dependent on luck, like killing several enemies at the same time in a specific condition. It brings a lot of frustration. It’s an immense TODO list to be executed.

The other pillar of the game, extensively advertised, is the bad language. Fun at the start, it becomes an annoyance by the end of the game because the player feels it is forced and unnatural.

The story, I must say, is terrible. ALL the characters try to look bad but be good ALL the time. The players’ character best friend, the cyborg Ishi, through the WHOLE game goes back and forth saying “Ow… the pain is huge. The computer is trying to dominate my mind”… we simply not buy it. I would say that the 4 characters of the game are among the worst I ever seen.

The visuals are amazing. Even with a modest pc you will still get a fantastic looking game. The loading time are impressively quick and there were only few times when the framerate dropped. Unreal Engine showcase.

The curious part is that the gameplay is actually good. If the player were not “forced” to worry with the long TODO list, it would be much better. I didnt play the multiplayer yet, but if it follows the chaotic formula of the single player campaign combat, I think people will like at first but the annoyed soon.