Recensioni recenti di SparkyMcSparks

Major compatibility issues that create progression blockers in campaign. Can't get past the start of Act 3 the audio always goes out and then the game freezes during loadscreen, or if I do manage to load in half the world is not streamed in and then it freezes after a few moments. No way to progress further in the campaign and tried all the suggestions I could find on the Steam and Gears support forums.

At the time of writing during Early Access and price point, I cannot recommend the game in its current state.

While some of environments and scripted mission beats are nice, the gameplay itself feels like it lacks meaningful design and since the core mechanics are the same in every level it's really holding the experience of the entire game back.

- Confusing intro to the spaces where enemies have a prolonged grace period to spawn in plain sight but you aren't allowed to fire your gun, also allows all the AI to sync up in firing their guns at the same time at the start of action which is very overwhelming and unforgiving
- No real telegraph of when you're about to get hit, just an endless flow of bullets coming at you non-stop and getting hit feels unexpected and unfair each time
- The AI feel like they just want to keep spamming the fire button, no clear opportunity to attack back
- The entire time you'll be crouched and peeking an eye around corner of objects, there's no sense of sparring with the AI just you suppressed the whole time
- When you do manage to kill off some of the AI, the last few alive create lull moments of "give me some people to shoot" as you're waiting a significant amount of time for them to pop out. Becomes very obvious when the music stops and there's significant periods of silence waiting.
- Questionable cover placement and sight lines where AI might barely have their gun muzzle around a piece of cover but are very accurate, or they're landing perfect shots through foliage / plants
- Dying is extremely punishing and requires an entire mission restart unless you grind for points. No causal option to just keep progressing

It'd be misleading to chalk this up to 'the game is intentionally meant to be difficult and challenging', but really it's just lacking a defined set of gameplay rules / patterns to play within and develop meaningful strategy. You'll be on your knees blindfiring from cover and feeling sucker punched every time you get hit.

Will update review as product changes since it's Early Access, would like to see the core experience get refined before getting new content.

Great party game requiring friends in the same room since there's no online matchmaking. Easy enough that the kids can join in to play in VR or on the flatscreen with gamepads.

Came for the gameplay, stayed for the memes.

When there was so much potential for an emotional story here the creators have opted to spend most of their development time on technically dazzling but mindless VR interactions. The experience is short, mechanical, and tiresome with the store page's press release exhibiting more energy.

It's a 5 minute demo of what feels like a proof of concept for a bigger game. This being something they've made either for funding or internal greenlight, but boy is it fun!

If you like scripted cinematic FPS campaigns from games like Call of Duty or Battlefield and are looking for what those would not just feel like in VR, but designed for VR from the ground up, Mars VR is worth the cup of coffee admission to play!

It's not perfect, groundbreaking, or long enough to stand on its own as a game, but what it does do it does well in providing a sampler of FPS mechanics that show promise of what a FPS VR game should feel like.

This short and charming 10 minute animated VR film has a touch of WALL-E as you follow a decapitated robot head who is stuck with a broken voice box. He tries to escape a giant garbage facility where robots are being deconstructured, embarking on a small journey that will decide his fate.

While it cleverly uses the medium of VR to draw your attention 360° around the space, my main (and only) crticism is the VR film utilizes cuts that work in traditional film, but in VR it's really jarring. I would suggest fade in / out during transitions or having the player on a moving platform that narratively worked in the world, to mitigate the jerky feeling of unanticipatedly being teleported.

This was an otherwise enjoyable short VR film! I'd suggest watching it sitting down in a swivel chair, or know that your viewpoint will be moving in the film while you stand still.

What the game does phenomenally well starts and ends with the story. The gameplay resolutely avoids all the creative possibitilies of its situation, and instead, offers an appetizer style of gameplay moments from prior games like Advanced Warfare, Ghosts, and Black Ops.

As Reyes, Captain of the Retribution Space Warfare Carrier, you'll be opening all your own doors, hacking blockers in your path, front lining battles, and pushing progression buttons all the while your subordinates idle nearby with deadpan stares that lack eye blinking. Interestingly enough, you do have a voice as Reyes which further pulls you into the story, but delivery is flat and never quite achieves a sense of personality like in the past with Captain Price, Soap, or Sandman.

Do I have something visceral against HUBs? I don't feel so, I try to keep an open mind. It would give me enormous satifascation (and relief) to like HUBs in a game, but I suggest they made a tactical error when they created a HUB in a manner which the pacing has the effect of an overly written daytime soap, and then expect us to hang in there for the entirity of the performance.

Long stretches of cutscenes / vignettes bridge together short-lived moments of gameplay, and often enough, come as a sharp intervention during gameplay. Player control is something you'll often find yourself yearning for as hand-holding sytems like the "auto pilot" mode from the Jackals extend their reach into traditional first person shooter gameplay.

Conor McGregor has a cameo much shorter than any of Stan Lee's in the MCU, and at times you forget Kit Harington is a villian with his lack of a meaningful menacing presence. The game takes away control by hitting you on the head as a reminder with a fullscreen shader video of an angry and sullen monologue where Harington looks like he can barely contain his doubts about the project after the Reveal Trailer dislike frenzy. Your Humanoid robot, while pulling cues from the beloved TARS robot in "Interstellar", never reaches his full potential as a significant companion due to the lack of direct interactions during gameplay -- take away the witty lines and he'd be just another redshirt.

Difficulty was unusually harder than past titles, playing on Regular felt like Veteran in addition to a very noticable lack of check points requiring you to play through significant battles from the start. Most battles are chock-full of spider bots as if a saving grace for fun gameplay, and enemies have a dinstinctly similar color pallette as both the environment and your allies making it indistinguishable on who to shoot half the time. Between your screen going blurry from a single hit, mud and smoke covering your screen, or total black out, designers relentlessly (and unashamedly) throw as many HUD shaders at you to make it harder to see and hit enemies.

The campaign isn't all bad though, it starts to get its footing towards the end with missions that have you on a frantic chase through a French Gothic style building or infiltrating an enemy sub-orbital space station. Judging by the evidence on the screen while playing, it feels like there was a disconnect between the writers and designers, with everybody reassuring themselves that since they hired game writers who worked on The Last of Us, inspiration would overcome the team for gameplay.

As someone who is a big sci-fi and space fan, I was hoping for more creative vision when it came to the expierence as a player, fortunately though, I saw a really solid story play out. At 4.5 hours doing the main quests and watching the pre-rendered videos, it's worth playing if you can forgive the gameplay and appreciate the artistry in the story.

Not the most gorgeous looking game but still wonderfully fun.

Similar quirky gameplay like Katamari Damacy but on a smaller scope. Mechnically, if you can look past the rigid controls and collision issues, it's a great budget title for passing the time.

Breathtaking visuals, scenery changes, and music come together in a game brimming with inspiration and interesting ways to think about words and letters. Levels serve as a visual homage to diffrent eras in the history of typography with puzzles that are cleverly themed after letters, setpieces, and equipment used in each era.

The history passages could have been incorporated better into the actual gameplay; they feel so detached and break the pacing of the astounding game design. You'll be so captiated by what's going on around you that eventually you'll not want to stop and read through lengthy history lessons. They're great but would have been better if presented in a fluid fashion such as background art or voiceovers that frame each era.

The last level, "Pixels", has a massive difficulty spike in what had otherwise been a relaxing and no-penalities game. Despite the physics and controls begging for more polish, it's easy to let it go until you get to the last level where precise movements are required.

The bonus level also puts a spotlight on the unrefined physics in the game. It'll quickly frustrate and change your opinion about the game for the worse -- just don't play it unless you have spare keyboards.