Decay and Evangelion-esque, in which the end of the world is only the beginning, and it will only get worse from there.

A very weak game, with a minimum of interactivity and gameplay as such, but an excellently told, staged and acted story. If you find out that 1000xRESIST was made practically on the knee by talented creative people far from the industry, whose usual ways of self-expression were cut off by the pandemic, then it becomes clear why it happened this way, why the game looks the way it does, and why some decisions are exactly the way they are.

Just endure the first chapter, it’s very messy, boring and off-putting. Then it will become noticeably better and will not let go until the end.

For some reason, Halo has been turned into an action comedy, and, well, it sucks. You literally have a war of extermination going on, but a formal clownery is unfolding on the screen - the characters crack cliché jokes and sort out their relationships, also in clichés and at the most appropriate moments. Nathan Fillion even plays one of the roles - Joss Whedon must have snuck into the ranks of Bungie.

Overall, this is an okay add-on to Halo 3, no more, no less. It fulfills the series’ obligatory entertainment program as expected, but does so without zest or sparkle.

But hey, this has unexpectedly the best music in the series, the soundtrack for once is not a thousand and one variations of the main theme. The night city tracks are just mmm.

This game tries to imitate 90s point’n’click games, and they’ve clearly overdone it - some 90s point’n’click games are more comfortable to play than Perfect Tides.

The quality of the writing is very uneven, there are good subtle moments, there are frankly awkward and overly straightforward ones. In some moments it is frankly boring, in others it is soulful. The tedious walking around the locations in an attempt to understand what they want from me now is diluted by a good number of side little things that affect the ending, and sudden interactivity outside the game.

This game feels like a straight up indie made by moderately talented, trying, but very inexperienced people. I have mixed impressions, but I’ll check out the sequel when it comes out.

Reflections on art, wrapped in a cozy surreal shell with Guitar Heroes; with characters and scenery, for the creation of which they had to rob the nearest stationery store; with your own hand clutching a hammer and smashing everything around you; with art in Paint; with a dark future, an odd present and a bunch of other great strange things.

Absolute cinema.

Please don't ignore it (especially if you like rhythm games and/or story-driven indie games)

The main character of this game seems to be afraid of being alone in silence with herself. Or she may be afraid that you will be alone in silence with yourself. That’s why she speaks. Constantly. Without shutting up. And she’s a teenager, which means she’s all edgy, with a sharp tongue, against the whole world, you know.

So, in this game there is a level in the sewer, and one of the passages is blocked by sewage flowing down. And the main character, Little Red Riding Hood, sees this nuisance and says: “Cut the crap! I mean it!”

And in this game there is a level where you need to jump on platforms. The platforms on this level are pieces of earth and rocks floating in the air, some of them move there from side to side on their own. And the main character jumps onto one such piece of rock, flies up on it and then says: “Thanks for the ride! You rock!”

I love terrible puns, but there’s a limit to everything.

It’s okay. But, I must note, collectively translating the leaked pre-release build and arguing about whose version of the phrase was better was more fun than actually playing the game.