I think the main thing keeping me from picking this up is the PlayStation 5.
I might have missed this in the news cycle. Cyberpunk has said they will have a free upgrade, has Naughty Dog announced anything similar?
Didn't Sony say any PS4 game from July 2020 on had to run on the ps5? So Ghost of Tsushina Definitely Yes - I think TloU2 is merely a very safe bet.
The gist I got from the Cerny GDC talk was that all PS4 games are theoretically compatible with PS5, but they have a list of games that they've prioritized to make sure they're 100% compatible and have extra features that take advantage of the new gen system. Yeah, I imagine TLOU2 is probably very high on that list.
Edit: Although I wouldn't put past Sony to release some "PS5 Enhanced Edition". The game is already skirting on the edge of what's possible on current gen.
Big spoilers for the second one, do not open unless you have seen the first major event in the game. With the club
Seeing Joel die and Ellie's reaction was rough. But damn walking around his house and seeing her react to stuff got me. Made me pretty teary eyed. Maybe thinking about how much it would hurt my son to lose me, although he is much younger then Ellie. Was really really hoping to get to see Abby die right there. Despite what he did to Firefly, Joel was still the man, so it hurt to see him die.
I uh, teared up pretty hard at Ellie hugging Joel’s jacket, if you check out his closet. It was by far the most powerfully resonant part of that whole scene for me.
There's a similar scene in the movie "American Beauty". And as someone who has experienced profound loss, this was so very real for me, and I had to put down my controller for a bit.
I saw this game's ending.
Lol, nope.
First game is still real good though, even if the story sucks this time.
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Zavianuniversal peace sounds better than forever warRegistered Userregular
edited June 2020
I don’t know why anyone would just watch the ending of a 25 hour game and come to an absolute conclusion on the entire game itself. I’m about six hours in and even if the ending sucks, I feel I’ve already gotten my money’s worth
I enjoyed all of Mass Effect 3 right up until the ending and that ruined the game for me. If it didn't have baller multiplayer that I played for a few hundred hours I would have been irate.
I don’t know why anyone would just watch the ending of a 25 hour game and come to an absolute conclusion on the entire game itself. I’m about six hours in and even if the ending sucks, I feel I’ve already gotten my money’s worth
Totally. I've been saying for a while now to friends that I don't trust Druckmann alone to do a story for Ellie properly, and so far while some stuff has been super-effective, other stuff feels really un-earned, convenient and a bit exploitive. I feel like Ellie is doomed, and I'm not happy about it. But also that - while TloU1's story was literally the best the medium had ever seen - what was most-valuable about TloU1, for me, was this incredible hybrid combat/stealth gameplay with its insane production values, and man oh man it's good, here.
I go to open a door but oh fuck a guy busts through and he's like 7 feet tall and he's got this huge like awl thing - a sledgehammer on one side of the business end, and a pick on the other - with two goons behind him. I bull rushed into the room, whipping a glass bottle at the first dude, grabbing him up and emptying a few rounds into his friend before putting a third into my hostage. The boss comes in and I book it out, out of the store we're in, across the overgrown street and through the window of a - I dunno, donut shop? Doesn't matter. I lost my melee weapon in a previous battle, but there's a pipe, here. and an exasperated roar tells me I should dodge riight about... now.
I dodge, dodge again and slam the pipe into the dude's head. He comes back with another huge swing of that ten-pound spike and I dodge, dodge again and beat him to his knees. He drops the awl-hammer, and I pick it up, and he says something like "please...", and Ellie takes a deep breath before she swings.
This game is fucking awesome. I'm already sorry for what Ellie's become and what Druckmann's gonna' do to her, even as some of his narrative beats hit really well.
Has anyone gotten to the culmination of that gameplay we saw pre-release, where she goes "yeah, you remember me"? The bit after that,
when she goes back to the theater, takes off her shirt and Dina begins tending her wounds.
TloU2 in a lotta ways seems to be an example of a Standard Dude's Story, just told with a woman in the hero role. It specifically brings to mind the original Alien and Salt. I loved both of those, but the hero-strips-down, beautiful-woman-tends-to-their-wounds scene struck me here as an example of Ellie going through a kind of trope-y story.
What salvaged it, for me, is how Ellie communicates to Dina that all her talk about "five minutes with a knife" was bluster, and she has devastated herself with what she's done.
That felt really earned and powerful.
'Chance, you are the best kind of whore.' -Henroid
Druckmann said the other writer they brought in was among other things to help them with the Ellie and Dina scenes because he couldn’t have done them without her.
Which is fine, gameplay is probably great. But I have plenty of games to play and I support games that I don't feel are wasting my time with their writing.
Which is fine, gameplay is probably great. But I have plenty of games to play and I support games that I don't feel are wasting my time with their writing.
Oh no I’m totally with you there. The game has some excellent independent character moments but the story has some serious problems that just don’t need to be there and could have easily been fixed without losing the central theme they are trying to go for.
Which is fine, gameplay is probably great. But I have plenty of games to play and I support games that I don't feel are wasting my time with their writing.
i don't understand this perspective
at the very least you could do essays on how tlou2 is an evolution for thematic development in games. i could already do that and i'm probably not even halfway yet
if you reckon the game is wasting your time with its writing you're not looking hard enough. i also have suspension-of-disbelief concerns with the plot, but plot ain't everything in storytelling. don't throw the baby out with the bath water
p.s. you're a coward if
you heard the hotline miami song and didn't immediately equip your shotgun
Either I'm reading too much into this collectible or someone definitely threw some shade at Druckman for the crunch.
Dr. Uckman card, "Once a well respected researcher, Doctor Uckman's questionable experiments in the realm of pushing human limits saw him ostracized from the scientific community."
It goes on a little past that, but that seems very pointed.
Either I'm reading too much into this collectible or someone definitely threw some shade at Druckman for the crunch.
Dr. Uckman card, "Once a well respected researcher, Doctor Uckman's questionable experiments in the realm of pushing human limits saw him ostracized from the scientific community."
It goes on a little past that, but that seems very pointed.
It’s definitely about ND crunching. Druckmann is using the image from the card as his new twitter icon
Casually HardcoreOnce an Asshole. Trying to be better.Registered Userregular
Abby prologue scene in mansion spoilers
See, Joel is a monster of a human being. In the first game, during the intro, he abandons people. Later on he's a smuggler, he admitted to being a 'hunter', was quick to dump Ellie on Tommy. Tommy admitted that surviving wasn't worth what he and Joel did. He went to the fireflies only to kill both soldiers and civilians. Basically Joel spent 21 years murder hoboing, and only spent the last 4 being a decent person.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
See, Joel is a monster of a human being. In the first game, during the intro, he abandons people. Later on he's a smuggler, he admitted to being a 'hunter', was quick to dump Ellie on Tommy. Tommy admitted that surviving wasn't worth what he and Joel did. He went to the fireflies only to kill both soldiers and civilians. Basically Joel spent 21 years murder hoboing, and only spent the last 4 being a decent person.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
So Joel got what he deserved. Period.
Eeeehhhhhh
I’m fine with Abby killing him but I dunno if he deserved that.
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Dark Raven XLaugh hard, run fast,be kindRegistered Userregular
Prologue spoils
I haven't learned why Abby did that yet, but there's a long list of shit that Joel did on screen in the first game that would justify it, and a whole long list of implied off screen stuff too.
IIRC he was a Hunter for a long while, to keep Tommy alive. The only difference between him and those Pittsburgh fuckos is that Joel got to survive long enough to find himself in a nice cushy position where he gets to put his monstrous persona into the closet and play nice again.
I was sad on Ellie's behalf, and I get her need for revenge, but I feel, pretty objectively speaking, Joel had that coming.
I'm ten hours in on Survival and haven't even finished Day 1. I definitely have gotten my moneys worth. The exploration in the beginning that funnels into the Murder Game proper has been a wild (and rage filled) ride.
. . .and then there's hell. . .I mean GROUNDED. . .to look forward to.
Also (spoiler if you haven't been passed The Event):
See, Joel is a monster of a human being. In the first game, during the intro, he abandons people. Later on he's a smuggler, he admitted to being a 'hunter', was quick to dump Ellie on Tommy. Tommy admitted that surviving wasn't worth what he and Joel did. He went to the fireflies only to kill both soldiers and civilians. Basically Joel spent 21 years murder hoboing, and only spent the last 4 being a decent person.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
So Joel got what he deserved. Period.
While you might technically be right on paper (like, in a pure math sense), that doesn't make the way it was handled in any way thematically or narratively satisfying. It feels cheap, done for shock value, and disingenuous to push a rote narrative that doesn't jive with the previous game.
[SIGPIC][/SIGPIC]
"For a few seconds Oskar saw through Eli's eyes. And what he saw was...himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
--John Ajvide Lindqvist, Let the Right One In (Page 446).
See, Joel is a monster of a human being. In the first game, during the intro, he abandons people. Later on he's a smuggler, he admitted to being a 'hunter', was quick to dump Ellie on Tommy. Tommy admitted that surviving wasn't worth what he and Joel did. He went to the fireflies only to kill both soldiers and civilians. Basically Joel spent 21 years murder hoboing, and only spent the last 4 being a decent person.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
So Joel got what he deserved. Period.
While you might technically be right on paper (like, in a pure math sense), that doesn't make the way it was handled in any way thematically or narratively satisfying. It feels cheap, done for shock value, and disingenuous to push a rote narrative that doesn't jive with the previous game.
Having played a lot more of the game that is 100% not correct. It might feel like it now - but keep playing.
See, Joel is a monster of a human being. In the first game, during the intro, he abandons people. Later on he's a smuggler, he admitted to being a 'hunter', was quick to dump Ellie on Tommy. Tommy admitted that surviving wasn't worth what he and Joel did. He went to the fireflies only to kill both soldiers and civilians. Basically Joel spent 21 years murder hoboing, and only spent the last 4 being a decent person.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
So Joel got what he deserved. Period.
While you might technically be right on paper (like, in a pure math sense), that doesn't make the way it was handled in any way thematically or narratively satisfying. It feels cheap, done for shock value, and disingenuous to push a rote narrative that doesn't jive with the previous game.
Having played a lot more of the game that is 100% not correct. It might feel like it now - but keep playing.
I'd say it doesn't jive with the previous game, but it 100% jives with this game.
'Chance, you are the best kind of whore.' -Henroid
For people who have beaten the game: The Bow and Arrow (location question)
Is it NOT near the room with the Archery trophy at the start of Day 2. Feels like that is where they meant for it to be especially with a worktable there.
See, Joel is a monster of a human being. In the first game, during the intro, he abandons people. Later on he's a smuggler, he admitted to being a 'hunter', was quick to dump Ellie on Tommy. Tommy admitted that surviving wasn't worth what he and Joel did. He went to the fireflies only to kill both soldiers and civilians. Basically Joel spent 21 years murder hoboing, and only spent the last 4 being a decent person.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
So Joel got what he deserved. Period.
While you might technically be right on paper (like, in a pure math sense), that doesn't make the way it was handled in any way thematically or narratively satisfying. It feels cheap, done for shock value, and disingenuous to push a rote narrative that doesn't jive with the previous game.
Having played a lot more of the game that is 100% not correct. It might feel like it now - but keep playing.
Don't have to, already beat it. The first game is one of the best I've ever played, and I'm still trying to wrap my head around how disappointed I am with this one.
Boy, did they do Ellie dirty. Like, we're talking licking the seat of a toilet in the bathroom of a public park kind of dirty.
[SIGPIC][/SIGPIC]
"For a few seconds Oskar saw through Eli's eyes. And what he saw was...himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
--John Ajvide Lindqvist, Let the Right One In (Page 446).
tbh the closer discussions of this game get to "the ludonarrative dissonance ruins the plot!" the more i tune out. yeah it's a problem. it's a problem naughty dog have acknowledged since uncharted 2, and have never successfully resolved. if you want to buy in you just need to get past it. take the gamey violence as metaphor for the more isolated, impactful moments of cinematic violence, that's what i do.
i'm not saying there isn't room to critique this game's premise and execution. just be wary of treading down a well-trod path that leads to nowhere
I do like how the made a little nod to the crazy violence in the recap. Like I thought they might just be like "Yeah had to kill a couple of guys or two. . ." Nope. The "final level" is a god damn bloodbath.
"Get the hell out of me" - [ex]girlfriend
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AegeriTiny wee bacteriumsPlateau of LengRegistered Userregular
The game seems to be a direct response to their games being criticised for violence. They way they try to humanise enemies - as opposed to the waves of faceless idiots you gun down in Uncharted is an interesting response.
I don’t feel it works at all that well, considering half of Seattle is named Josh, Cathy or Derek apparently.
I don't understand how, but I'm starting to feel that no one at Naughty Dog has ever been on a date that didn't involve a visit to an ancient commercial attraction with breathtaking vistas, and probably an animal encounter.
I'm counting 3 so far, between the first game's DLC and this game.
'Chance, you are the best kind of whore.' -Henroid
I haven't heard a name repeated in the game honestly. I will agree that the most exotic one was Skyler. And I am glad they made the human enemies actually have more than one sex represented.
. . .the human models on the other hand. Lotta copy-pasting going on there. I haven't read any reviews but I can't imagine that went unmissed.
"Get the hell out of me" - [ex]girlfriend
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AegeriTiny wee bacteriumsPlateau of LengRegistered Userregular
I’m some 18 hours in to the game. I heard that the game was all gloom, extreme violence and bad writing.
Granted in this survival adventure it’s dark and violent but there is some really heartfelt touching moments in it that hit the mark.
The gameplay has made for some truly reactive gameplay shenanigans on the fly that all comes together and normally with a bloody result.
I’ve still got more game to get through but I am enjoying the highs and lows of the story so far.
I think the gamergate boys got a hold of the review narrative thanks to the leak and youtuber personalities took it for a ride because controversy is good for them.
Lilnoobs on
+3
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Casually HardcoreOnce an Asshole. Trying to be better.Registered Userregular
I’m some 18 hours in to the game. I heard that the game was all gloom, extreme violence and bad writing.
Granted in this survival adventure it’s dark and violent but there is some really heartfelt touching moments in it that hit the mark.
The gameplay has made for some truly reactive gameplay shenanigans on the fly that all comes together and normally with a bloody result.
I’ve still got more game to get through but I am enjoying the highs and lows of the story so far.
I think the gamergate boys got a hold of the review narrative thanks to the leak and youtuber personalities took it for a ride because controversy is good for them.
The biggest complaint I keep hearing is 'Abby is too musclar'.
Call me a dinosaur, but I came from an age where games released as complete experiences, no DLC necessary. I've hated the trend of having to pay for additional tacked-on content ever since its inception. To this day, I'm a tremendous fan of studios who will release a game and not make any DLC for it that isn't cosmetic or trivial.
However...
...this game makes the single greatest argument for the existence of DLC I've ever seen. Every single moment you play as Abby felt like (and should've been) a supplementary DLC campaign added three months from now. Not only does it feel tonally (and at some points visually) disconnected from the rest of the game, but having some separation from Ellie's P.O.V. I think would've greatly benefited it. Definitely would not have fixed the biggest problems this game has, but it would've gone a long way towards helping.
Zephonate on
[SIGPIC][/SIGPIC]
"For a few seconds Oskar saw through Eli's eyes. And what he saw was...himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
--John Ajvide Lindqvist, Let the Right One In (Page 446).
I’m some 18 hours in to the game. I heard that the game was all gloom, extreme violence and bad writing.
Granted in this survival adventure it’s dark and violent but there is some really heartfelt touching moments in it that hit the mark.
The gameplay has made for some truly reactive gameplay shenanigans on the fly that all comes together and normally with a bloody result.
I’ve still got more game to get through but I am enjoying the highs and lows of the story so far.
I think the gamergate boys got a hold of the review narrative thanks to the leak and youtuber personalities took it for a ride because controversy is good for them.
The biggest complaint I keep hearing is 'Abby is too musclar'.
She's awesome.
Chance on
'Chance, you are the best kind of whore.' -Henroid
Posts
The gist I got from the Cerny GDC talk was that all PS4 games are theoretically compatible with PS5, but they have a list of games that they've prioritized to make sure they're 100% compatible and have extra features that take advantage of the new gen system. Yeah, I imagine TLOU2 is probably very high on that list.
Edit: Although I wouldn't put past Sony to release some "PS5 Enhanced Edition". The game is already skirting on the edge of what's possible on current gen.
That detail really gets me.
Lol, nope.
First game is still real good though, even if the story sucks this time.
I enjoyed all of Mass Effect 3 right up until the ending and that ruined the game for me. If it didn't have baller multiplayer that I played for a few hundred hours I would have been irate.
Then there's also Game of Thrones Season 8 ...
Totally. I've been saying for a while now to friends that I don't trust Druckmann alone to do a story for Ellie properly, and so far while some stuff has been super-effective, other stuff feels really un-earned, convenient and a bit exploitive. I feel like Ellie is doomed, and I'm not happy about it. But also that - while TloU1's story was literally the best the medium had ever seen - what was most-valuable about TloU1, for me, was this incredible hybrid combat/stealth gameplay with its insane production values, and man oh man it's good, here.
I go to open a door but oh fuck a guy busts through and he's like 7 feet tall and he's got this huge like awl thing - a sledgehammer on one side of the business end, and a pick on the other - with two goons behind him. I bull rushed into the room, whipping a glass bottle at the first dude, grabbing him up and emptying a few rounds into his friend before putting a third into my hostage. The boss comes in and I book it out, out of the store we're in, across the overgrown street and through the window of a - I dunno, donut shop? Doesn't matter. I lost my melee weapon in a previous battle, but there's a pipe, here. and an exasperated roar tells me I should dodge riight about... now.
I dodge, dodge again and slam the pipe into the dude's head. He comes back with another huge swing of that ten-pound spike and I dodge, dodge again and beat him to his knees. He drops the awl-hammer, and I pick it up, and he says something like "please...", and Ellie takes a deep breath before she swings.
This game is fucking awesome. I'm already sorry for what Ellie's become and what Druckmann's gonna' do to her, even as some of his narrative beats hit really well.
Has anyone gotten to the culmination of that gameplay we saw pre-release, where she goes "yeah, you remember me"? The bit after that,
TloU2 in a lotta ways seems to be an example of a Standard Dude's Story, just told with a woman in the hero role. It specifically brings to mind the original Alien and Salt. I loved both of those, but the hero-strips-down, beautiful-woman-tends-to-their-wounds scene struck me here as an example of Ellie going through a kind of trope-y story.
What salvaged it, for me, is how Ellie communicates to Dina that all her talk about "five minutes with a knife" was bluster, and she has devastated herself with what she's done.
That felt really earned and powerful.
And I believe him.
Oh no I’m totally with you there. The game has some excellent independent character moments but the story has some serious problems that just don’t need to be there and could have easily been fixed without losing the central theme they are trying to go for.
i don't understand this perspective
at the very least you could do essays on how tlou2 is an evolution for thematic development in games. i could already do that and i'm probably not even halfway yet
if you reckon the game is wasting your time with its writing you're not looking hard enough. i also have suspension-of-disbelief concerns with the plot, but plot ain't everything in storytelling. don't throw the baby out with the bath water
p.s. you're a coward if
It goes on a little past that, but that seems very pointed.
Joel is a monster.
And it makes me wonder how different the world of TLOU would be if people spent more time talking, instead of shooting everyone in sight. If people cooperated to develop food sources and the infected people aren't really a threat considering society is pulling itself back together, and frankly, the infected can be easily corralled and disposed of.
Instead we're presented a world where Joel is free to murder whomever and whatever because everyone else is that much worse, as if the game have to make excuses for Joel existence. Because, if you think about it, Joel is no better then all the hundreds of NPC you, the player, murdered.
So Joel got what he deserved. Period.
That's my dad you're talkin' about.
Just started the second half, I think. Eeee!
Eeeehhhhhh
IIRC he was a Hunter for a long while, to keep Tommy alive. The only difference between him and those Pittsburgh fuckos is that Joel got to survive long enough to find himself in a nice cushy position where he gets to put his monstrous persona into the closet and play nice again.
I was sad on Ellie's behalf, and I get her need for revenge, but I feel, pretty objectively speaking, Joel had that coming.
. . .and then there's hell. . .I mean GROUNDED. . .to look forward to.
Also (spoiler if you haven't been passed The Event):
And boy oh boy do I need to learn about this countries history: "Dude don't you know what happens to Tom Hanks character!"
While you might technically be right on paper (like, in a pure math sense), that doesn't make the way it was handled in any way thematically or narratively satisfying. It feels cheap, done for shock value, and disingenuous to push a rote narrative that doesn't jive with the previous game.
"For a few seconds Oskar saw through Eli's eyes. And what he saw was...himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
--John Ajvide Lindqvist, Let the Right One In (Page 446).
"And?"
"And yes, her arms are 'cut as fuck'."
(Laura Bailey downs the rest of the whiskey she'd been nursing. A glass shatters against a wall.)
"Then tell 'em I'll do it."
Having played a lot more of the game that is 100% not correct. It might feel like it now - but keep playing.
I'd say it doesn't jive with the previous game, but it 100% jives with this game.
Don't have to, already beat it. The first game is one of the best I've ever played, and I'm still trying to wrap my head around how disappointed I am with this one.
"For a few seconds Oskar saw through Eli's eyes. And what he saw was...himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
--John Ajvide Lindqvist, Let the Right One In (Page 446).
Granted in this survival adventure it’s dark and violent but there is some really heartfelt touching moments in it that hit the mark.
The gameplay has made for some truly reactive gameplay shenanigans on the fly that all comes together and normally with a bloody result.
I’ve still got more game to get through but I am enjoying the highs and lows of the story so far.
i'm not saying there isn't room to critique this game's premise and execution. just be wary of treading down a well-trod path that leads to nowhere
I don’t feel it works at all that well, considering half of Seattle is named Josh, Cathy or Derek apparently.
I'm counting 3 so far, between the first game's DLC and this game.
. . .the human models on the other hand. Lotta copy-pasting going on there. I haven't read any reviews but I can't imagine that went unmissed.
Poor bastard.
Edit: I also blew him up once.
I think the gamergate boys got a hold of the review narrative thanks to the leak and youtuber personalities took it for a ride because controversy is good for them.
The biggest complaint I keep hearing is 'Abby is too musclar'.
Impossible, goddammit.
However...
"For a few seconds Oskar saw through Eli's eyes. And what he saw was...himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love."
--John Ajvide Lindqvist, Let the Right One In (Page 446).
I'm past the shocking midpoint thingie, but haven't beat it yet.
Abby is awesome. I will not be taking further questions.
She's awesome.