Only a small fraction of games released every day are truly quality and interesting.

Only a small fraction of the games released every day are truly quality and interesting. The list of niche and transient indie acts is sometimes half of the total. There hasn’t been a year in our memory where everything in the industry has gone perfect. This is clearly seen in our monthly “What’s Playing?” feature.

The industry is more likely to have middlemen and frankly weak releases – there’s nothing unusual about that. But there is nothing worse than a potentially exciting project that turns out to be a real disappointment. That is what we will be discussing in this article. Let’s get this show on the road!

This year we’ve been much more responsible and selective in our purchases. The reason is the restrictions and the digital services that are not working. It was very difficult to find games that disappointed me because there were almost none. Some were more popular, some less, but there were still projects and events that left a bad legacy.

Sifu was one of the best games of the year. By the time the game came out, it had worked out perfectly. There were questions about the last boss, but overall, it was a well-rounded product that offered a great hardcore experience. I never thought that the biggest disappointment of theyear for me might not be a game, but just a global update.

That’s how May 3rd was the balance…
With the update, it was crushed with a light regime. Each one had a different experience, two extremes: too simple, too tooth-grinding. The goal was very specific: to give experienced players more reasons to return to the game, and to make it easier for newcomers to familiarize themselves with the combat system. I was insanely disappointed by the dramatic drop in trophy complexity. It became clear that no one would ever try to beat the game again. Everyone will fly through the simplified version and calmly take the prize, which a couple of months ago seemed like a worthy prize for skilled players …

The main feature of the Activision Blizzard sequel was a story campaign with a hundred missions and individual branches of the hero pump. Problems with logging in and queuing, phone number tying, shopping bugs and queued for progress. The trophies literally jumped. All the why’s. Because in fact, we’re looking at exactly the same project, but with the number 2 in the name. Why is that? Because the second part is easier to attract attention than the version 2.0.

Something doesn’t add up.
Activision Blizzard has repeatedly criticized the reputation of the project. Almost every time, something related to money was at the center of the scandal. The game’s gameplay is not bad, but the publisher has criticized the project’s reputation. The publisher has also criticized the pay-to-win model in the game. The Diablo mobile was released a month later. As cool as it was, it was constantly being haunted by failures due to management actions, and it acquired a repulsive reputation. But the icing on the cake was not that, but the indirect mockery of the Chinese leader from Diablo Immortal‘s Weibo account.

Not being a big fan of Ghostbusters, I decided to take a look at Ghostbusters: Spirits Unleashed. A project from the people who made the hollow Arcadegeddon, Friday the 13th: The Game and Predator: Hunting Grounds. I was probably very lucky that I didn’t play Gotham Knight and the Saints Row reboot. They have other releases that should have made me wary, but I reasoned that if “Predator” had a bit of a comeback from the horror of kids’ camp, “Hunters” might be even better…

After a couple of hours it could no longer offer anything new except character upgrades. The gameplay was fundamentally unchanged from these improvements. I found a lot of holes in my logic. If people made a series of asynchronous multiplayer games, it doesn’t mean they learned how to do really high-quality things. The cartoon style was appropriate and pleasing, but it did not support the atmosphere of the film. The only thing that was worth it was the Predator’s stroll through the jungle. It was a piece of soul, and it felt like the developers were loving the source. And Ghostbusters: Spirits Unleashed has become an unloved child.

This isn’t the first time a Lovecraft game has been my biggest disappointment of the year. The same fate befell The Sinking City earlier. Source of Madness was marketed as a unique item: a horn, in which enemies are created by a neural network. In fact, the horn is the only item in the game. It feels like she was designing the locations, too. The result is creepy creatures woven into a boring gameplay. And he’s so specific that even the sense of the frightening and the unknown that permeates the work of the gentleman from Providence is not able to save him from the abyss of oblivion…

With the best games of the year coming out, it’s time to figure out which of these projects have disappointed us for one reason or another. It might seem like it’s easier to put together a list of bad games, but it’s not really that simple, because potentially problematic projects are the ones that players try to avoid. But even in a good game, you can get frustrated for some subjective reason.

“I thought I was going to be a step-by-step tactic in a fantasy world with a light-hearted and partly ridiculous genre clichés, but the reality turned out to be somewhat different,” says the game’s creator. “When you start playing, you realize that what you’ve shown is just a beautiful wrapper” The core gameplay of the project seems to be well thought out, but it all falls apart like a house of cards due to the disgusting controls and constant artificial constraints. The plot was completely out of the question, the most ordinary fantasy generic of which there are hundreds, the highlight here did not even smell. The gamepad was a little bit better, but there was still a bit of a nasty viscosity in the controls. The long animations of heroes and villains only exacerbate this problem. After the first few hours of play, I had a feeling that this was just a bad port of the mobile project. Some boss fights can go on for a couple of real hours. I’m pretty comfortable with the need for farms in games, but that’s where this aspect really froze me out. Yes, they’re smooth and well-made, but they’re too long, and there’s no adjustment to speed up the process. After almost every story mission, you have to go on a couple of additional ones. Add to that the long-running battles over slow animation, and you end up with an annoying cocktail. Localization is the final cherry on this dubious cake. It’s frankly bad, and it doesn’t even work as a translation. He’s just so casually absent at times. In the story clips, the subtitles are not played at all for some strange reason. Maybe some things have been corrected by the developers by this time, but the game has already left its indelible impression on my memory.

The sequel was able to work on the mistakes of its predecessor and become better. The project was waiting and with pleasure acquired his special edition in the collection, but then somehow did not settle. Another game that suddenly disappointed me was Horizon: Forbidden West. Objectively, I can see that it’s a good game and it’s definitely better than the first part. “It’s a good game, it’s got a good plot, but every time I sit down to play it, I’m just gonna sit there for a couple of nights, and then it’s put away in a drawer” “I can partly attribute this to the fact that I’m tired of playing big open world games, but playing small games, often AA or B-grade, is a lot more fun” This year, the new Horizon upset me by not being able to keep it in its world. It’s always hard to come back from a break, to have to wait for the adjustment again. I don’t think I’m alone in the sense that a good game, for some strange reason, doesn’t hold us as players.

XEL is an isometric action game with maze levels, a variety of puzzles, and a meager combat system. The project has its roots in Link projects from all over, but wrapped up in a sci-fi setting. XEL takes a lot of different influences from both old and new Zelda games. The developers seem to have understood what they were trying to achieve, and the game has potential. But, technically, poor game design with a monstrous amount of backtracking is ruining all the good that is and could be here.

It’s no secret that the gaming industry produces a lot of select trash every year. Sometimes it’s obvious from the videos and screenshots that there’s nothing to catch. But then again, the publisher is going to be showing us these beautiful trailers on a regular basis, and the developers are going to tell us how their game will blow everyone’s brains out. But when it’s released, it’s all back to normal, and there’s no end to the frustration. And that’s the kind of project I want to talk about in this piece.

The game looked like a bright and beautifully staged adventure. Each subsequent video not only sowed seeds of doubt but planted whole nurseries. Some of the animation is cheap and simple, the city is a little bit unrecognizable and unrealistic. The Owl is gone, and I’ve been positioning them as the main villains. “It just wasn’t fun to play. An empty city that’s as far from Gotham as you can get, with the same kind of crime and horrible motorcycle rides” “The technical part was also affected by the poor optimization, 30 frames per second and overall image quality. We didn’t get it the first time. He’s dead, killed, destroyed, that’s what he is” In any full-length cartoon from Warner Bros. Animation is a richer and more interesting story. Apart from the main characters, one hand’s fingers are enough to list the famous characters. I was hoping that after the release, developers would continue to flood the virtual Gotham with content, but the miracle didn’t happen.

The art style, the choreography, the setting… all of it is marred by a bizarre implementation of the gameplay. Slow is the very stumbling block that Spiders Studio stumbled upon and ruined a great game. It’s amazing how little effort it takes to cross off all the developers’ efforts. In Steelrising, the slow heroine fights slow enemies and bosses with slow weapons. Too bad the creators only looked at Dark Souls. The Devil May Cry Turbo Mode option would have been great. You just get bored playing the game and you start looking at the environment. When you pick a new weapon, you pray it’s not even slower than the last one. It’s a shame that only one factor could have spoiled a good game.

I really love all the remakes and remasters, even if they don’t change anything. It’s very simple: I want to play on the current platform and not keep a whole bunch of equipment. The Devil May Cry trilogy is available on both PS3 and PS4. Tomb Raider, God of War III, the Uncharted Collection, the endless re-releases of Resident Evil – all of that is for me. I just love that you can play everything with one gamepad in your hand. And perhaps the most important thing is that these are old games with old mechanics and I treat them accordingly. The Last of Us Remastered can be played on the actual platform. You can see that the models, effects and textures have been redrawn. I’m not going to lie, the price is obviously too high, and it’s not a remake either. But Capcom has spoiled us and taught us to do bigger things. You expect a PS5 game to have not only great graphics (and it’s really great here), but also other new-generation features. They even left the download screens!

There’s a downside to every medal, and in contrast to the brightest and most significant releases, there are those that fall short of our expectations every year. I enjoyed playing the games mentioned below, but they all lacked something, and that’s why today we’re talking about them the top disappointments of the year, big and small.

Metal Max Xeno: Reborn is a strange remake-reboot of a not old game at all. The developers became so preoccupied with censorship issues and cutting out all controversial content that the game lost much of its charm. The game is available in North America, Europe, Australia and New Zealand. For some reason, not only did the more flashy design, the spicy dialogue, and the slightly graphic CG art go under the knife, but even the cutscenes at the beginning and the end. The game ended up feeling like a stripped-down version of GEG+, Harry on Vacation. There’s no more “club” here, there’s only “naked” gameplay and the same feeling of emptiness. Why this is all so unclear.

“I’m a huge fan of The Dark Pictures and I look forward to the next chapter in the horror anthology” “I think of each new release as another episode of my favorite TV show, which has both jaw-dropping episodes and open fillers” “The Devil in Me looks like that filler, not a strong conclusion to the first season” There was probably too much running and free movement in this part, stretching the passage but only damaging the cinematic experience. And the interesting setting of the serial killer Henry Holmes-style trap house suffered from the lack of these very traps – again, because of the unreasonably large locations. What we have left is dry. If you’re a fan of the series, The Devil in Me is a must-see, but there’s no shortage of excitement and twists and turns, and it’s probably a little higher in quality than The Dark Pictures Anthology: Man of Medan, but it’s a little behind Little Hope and far ahead of House of Ashes.

The game turned out to be an overly refined AAA project, of which there are now too many. Dying Light 2: Stay Human from Techland Studios was also 100% completed in its time. The game was released in North America and Europe on September 28. It was released worldwide on September 29. The first Dying Light, while somewhat clumsy and experimental, had a much more holistic feel. It was a game where midnight raids were a real threat, and the Night Vollatai hunters biting our heels was a real nightmare. And these games often lose their individuality to suit the exacting standards and requirements of the modern world.

The choice and faction system in Dying Light 2: Stay Human is much more successful at making it seem like you’re affecting something than it actually is. We’re used to this in the modern industry, of course, but the developers spent so much time injecting little phrases and minor characters into the game that they suddenly reminded us of the player’s previous decisions. It’s all there, it seems, and there are even some endings and lists of conditions for getting them, but somehow, globally, very little changes. Not to mention the key storyline of rescuing her sister and fighting the main villain the result is disappointing and unimpressive.

Dying Light 2: Stay Human is incredibly fast and spectacular city races. Seeking out secrets and trying to reach the most inaccessible places is a thrill. Some story missions or side missions are still exciting and eye-catching. Now I wonder what Dambuster Studios will do with Dead Island 2.

“I’ve played overwatch for thousands of hours. What’s been happening there for the last couple of years has made it clear that the company simply doesn’t have the expertise to solve the game’s problems” “It was played by the most committed fans, and there was no influx of players, no significant changes, no balance corrections, no interesting events” Overwatch 2 is the same game, only with a combat pass and certain changes in the distribution of heroes’ powers.

The servers have been down for days. You couldn’t get in the game, you were regularly thrown out of the matches. There are many reasons, and we’ll cover most of them in this article. But feel free to add to or perhaps challenge this view in your comments. The fastest time was for PC players (about 3 days). Then, PlayStation users were able to touch the sequel of Overwatch (somewhere in 4-5 days). And finally, just a week later, the Xbox let the audience in. All of this has cut the interest in the project at launch several times.

The audience of both the streamers and the viewers of Overwatch 2 lost 90% of its mass. The indifferent and paid comrades broadcast the game for some time. But then, like a whistle, the banquet ended. Another Blizzard failure to hold an audience from the word at all. It’s all about project launch and management failure. What about the game itself? What I’ve been saying for the last few years is that balance, an ostrich’s beak in the eye, is not in this game. The mechanics of the heroes create too much of a gap between the classes and some of the characters in particular.

The game has been reduced to five people per team. This is another indication that the developers didn’t know how to balance it. So I see two ways to solve this problem: either change the mechanics, which is something that developers have been unsuccessful in doing for the last few years, or change the rules of the game. So they reduced the size of the groups to make it easier for them. In fairness, I think they did a pretty good job. Because tanks have become more mobile and more viable as a separate unit, and other heroes have become more aware of their individual contribution.

The new characters fit well with the current rules. They also changed it well, for example, the same Oris. But a whole bunch of heroes are left behind. First they sawed out Bastien and Torbjørn because they couldn’t find a use for them. Even though the characters have been reinstated, the balance of the game is still lopsided. Overwatch 2 is playable. I see the interest in the game from new players, drawn to it by the free distribution model. However, the monetization in the game, where you can’t really buy skins, spoils the experience.

The combat pass here is poorly executed, it doesn’t compare to any Fortnite counterpart. The purpose of the second part was just to make money for Blizzard. They’ve been wanting to nail them for a long time, like their competitors do. And what we end up with is a situation where a game that was actually pretty good was almost buried by a bad reboot. But the quality or the freshness of the ideas these guys have to offer is not there at the moment. In fact, they are reaping the consequences of their actions.

Diablo Immortal is an evil donut dump for iOS and Android devices that at first tries to look like a nice clone of Diablo III. I consider it my duty to put on the board “Shame and shame”. It’s a little out of the format of our site, but it’s an invasion of the rights, freedoms, and wallets of decent gamblers. Remember how it was announced. At BlizzCon 2018, when fans were eagerly waiting for the continuation of their beloved series, Diablo mobile was presented.

NetEase, the company responsible for the development, announced that the game was ready. Then one of the fans, obviously with a strong balls, took the liberty of asking, “Is this an April Fools’ joke?”. The manager who was asked the question then went on stage, made a joke of it, and the scandal was quickly swept under the carpet. So why wasn’t it released? Blizzard wanted to make money off the main market they were going to go to – China.

Diablo Immortal release date wire and multiple efforts to bring this cash-strapping device to the Chinese market have been unsuccessful. First, the underworld has become actively involved in fighting these kinds of games. I think if Bobby Pussycat was just trying to sell his “unloved wife” as a single item, then without Call of Duty, not even the all-consuming Microsoft would have tried to sell it. And second, one careless tweet from a Blizzard employee has thrown the company off the food chain at the speed of a bullet.

The first 30 levels, you fight like hell. You’re looking at a tightly-knit diabloid with assignments, dialogue, a screwdriver and bosses, but then you’re blocked by a grindstone at every turn. The diversity of in-game currencies and resources, classically like marketing, is designed to confuse the player. All to make the confused person spit and start drooling.

Diablo II requires a legendary gemstone, which is problematic to get. Real money can help, but it’s not enough to get this gem, you have to pump it with other gemstones. Remember that important Diablo II setting, Magic Find, that Immortal has, but without the doughnut, your search rate would be zero. Also, before the paramedics or the collectors come to you, check the monthly pass. In Diablo Immortal, you can get a regular portion of the resources to pump for as little as $30 to $40 a month. I think we’re past the point of further tasting.

Diablo Immortal was nominated for the Game Awards. The game is making millions of dollars. If Diablo Immortal really took off, Blizzard would try to incorporate its rear-wheel drive monetization mechanics into future projects. The response from fans, Metacritic users, respected Diablo bloggers, and the hardcore gaming audience was unambiguous: to the garbage!

Gungrave G.O.R.E. has been forgotten by many, even though it was released a month ago. These are the people who played the original on the PS2 or watched the good anime Gungrave in the middle of the nineties. We all got let down. It’s still as oak and primitive, if not worse. The locations are corridor-like and narrow, with little interaction with the environment. A lot of people burned on it. However, when we streamed the game on our Twitch channel, we and our users banned the “animal”. If there was an award for the most racy, reckless and untalented level, it would be the train ride from Gungrave G.O.R.E.

Brandon was a stylish and conceptually fan-favorite fighter. He carried a coffin on his back, which was transformed into a machine gun, bazooka and other weapons. Just get the controls up to date, get the schedule in order, and the unassuming fans of this exotic popcorn will be happy. But no, the developers couldn’t even do that.

With a bad mission setup, nothing will help. From time missions to a crooked-controlled helicopter boss. And then you have to grind the currency to pump it in to move it forward. It’s a bit awkward to control, but if you, as they say, hold your nose and cover one eye, you can have fun playing this game. At some point, the character’s health and strength are lacking. The game requires you to go through already cleared locations.

Art from the 2003 anime Gungrave. It was made by Madhouse.
Gungrave G.O.R.E. has also disappointed anime fans. If the animation had a trite but atmospheric revenge story, this one has a lot of plot. The highlight of Grave’s story was the colorful villains. They were such charismatic personalities, as if plucked from the Japanese adaptation of “The Godfather”. There’s hardly any trace of them in the game. Only one of Grave’s former friends is in the building, Banji. The original character designs for the first story are good, but you can’t ride it alone. So I’m sending Gungrave G.O.R.E. to disappointment of the year, but, to be honest, not without regret.

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