Even though the game mechanics may appear overwhelming at first, the player will quickly adjust to the dynamic gameplay over time and learn to shoot from the hip (both idiomatically and literally) when the stealthy approach goes awry and robbers find themselves in the midst of chaos and an endless horde of cops rushing to ruin their payday. There are multiple heists to opt from all the array of robberies the player may commit in Payday 2, and these can be accomplished to the player's liking. To top it off, there might be different situations that may alter the scenarios of the missions, meaning that they're unpredictable and some of them may force heisters to adapt to the abrupt circumstances, which makes the gameplay feel like a taking a Lambo for a joyride to an accompaniment of lively electro/house soundtrack.

It is hard to believe that this game sparked so much controversy back in 2015 that even Valve decided to remove it from Steam for a short period of time. Unlike other first-person shooters, Hatred's protagonist is a mass murderer who goes on rampage killing to alleviate his frustration and to slake his homicidal cravings. This fact was one of the many reasons why game reviewers and TV reporters fulminated against it due to the supposed glorification of violence. Mind you, some American TV News stations did report on the game. The truth is, it is merely another fish in the sea; there had been many games allowing players to kill unsuspecting NPCs prior to Hatred’s release, and certainly, there will always be more similar games in the pipeline as long as there's a demand for digital destruction and excessive violence.

Hatred is exactly this kind of game that satisfies this demand. Destructive Creations jumped at the chance to stir up aggravation by being provocative and uncompromising; yet even the developers don't take this game too seriously. Critics have pointed out that the main character is rendered pathetic, and instead of intimidation, he elicits laughableness and ludicrousness due to his "corny" one-liners, such as the one about "the crying guardian angel," and a stereotypical depiction of a heavy metal connoisseur. However, I think that it is a quite enjoyable form of transgression that merely caters to the primitive lust for flashy bloodshed, which, in the case of Hatred, entertains the player with a destructible environment and satisfactory difficulty level.

Kiosk is an underwhelming horror game with little to no suspense and low shock value despite its quite interesting plot concept that otherwise could've been more appealing if Vivi, the developer of this game, had created a more interactive environment for the player that, depending on their decisions, could lead to different outcomes.

Although Kiosk fails to be a worthwhile horror and is instead a simple cooking game, it certainly rewards the player with coziness and relaxing gameplay, which is interrupted by a scant amount of thrill elicited by a few jumpscares preceded by occasional short circuits. Personally, I'm not satisfied with this work, and I think it could've been more engaging, but I need to acknowledge the price, which is proportionate to Kiosk's content and easy-to-obtain achievements.

Completely unengaging and repetitive. Relaxing tone of gameplay and simplicity don't compensate for boredom and unchallenging levels.

I was positively surprised when I first played this game. Personally, this is the first game set in a post-apocalyptic setting I have played in my life and I was truly astonished by the concept of the Russian underground society living in the metro tunnels due to the radiation proliferating above the surface as a result of nuclear fallout. I want to make it clear that I do realise the game is based on the novel of the same name by a Russian writer Dmitry Glukhovsky, which I have not read, but I was truly thrilled by the overall layout of murky and dilapidated tunnels and the perpetuation of the world reduced to ruins and smithereens. Frankly speaking, I do not remember the last time I felt so excited and held my guard the whole time while exploring a world presented in a video game as in Metro 2033. The plot and overall gameplay mechanics I found less enticing, but enjoyable nonetheless, since the topos of a hero setting on a journey to fulfil a mission to save people in jeopardy while overcoming obstacles is a rather standard theme in video games.

While the gameplay generally revolves around solving puzzles with occasional fights against opponents, Hellblade: Senua's Sacrifice makes up for simple combat mechanics and a linear story with a complex narrative about guilt and inherent psychosis tormenting Senua, the protagonist, as she delves into the dark interpretation of Norse mythology as an attempt to find her deceased lover.

The developers clearly put an emphasis on delivering Senua's story, and they did it in such a way that the player may feel uncomfortable while being subjected to audio-visual effects that reflect the character's mental state and her self-defeating pursuit of catharsis. As the player launches the story mode, they're exposed to these effects right away, and these manifest themselves in the form of voices inside the character's mind which are annoying and helpful depending on the circumstances. Perhaps this is one of the reasons that many players quit playing it after reaching the first gate to the next location.

The other reason would be the puzzles appearing in the form of a runic alphabet (also known as futhark) and illusions distorting paths to different locations. The runes may appear in different forms, both tangible and intangible, and the player may need to wander around the map for quite a long time to figure out how to solve them. This is the most common requirement to pass the levels in the game, which may irritate the player due to its time-consuming nature.

The combat system, on the other hand, is neither inventive nor challenging in any way as it's based on the familiar mechanics that involve parrying, dodging, and attacking opponents. On top of that, the fights are all the more unexciting because the array of opponents is limited; there are merely a few kinds of enemies that have the same look, with the exception of bosses.

However, it is the storyline that makes this game stand out from the infinite ocean of action games. Ninja Theory, the studio responsible for this work, made a great effort to create something that is brought up in video games, which is the human psyche. Acting is what solidifies the sophistication of the narrative. Voice actors, as well as those actors who portrayed characters appearing in Senua's flashbacks and visions where she has an inner monologue with herself.

To sum it up, Hellblade: Senua's Sacrifice is a mature and captivating story in which the narration is the prime asset of the game, not the gameplay itself. Although the player may not find the fights that compelling given their predictable nature, they are intrigued by Senua's adventure. Despite the ordeal of repetitive fights and puzzles, they remain engaged until the very end of the game. Hellblade dares to ask questions about mental disorders and psychosis - topics that hardly ever appear in the video gaming industry. Distorting the world seen through the eyes of the heroine, thus rendering it not certain, which makes this game a solid choice for people looking for different sensations.

The game has retained its playability despite all the years since its release. Gunplay and the sort of arcade PvP are still enjoyable, and some of the present developers may take notes from Battlefield 3 on how to design graphics, which, in the case of the game, I think looks way better than some of the present "state-of-the-art" first-person shooters.

Overall, the game is still enjoyable and it goes for both the single-player campaign and the multiplayer mode, but the only issue I've had with BF 3 was the fact that I had to install the EA launcher, and on top of that, I had to launch Battlelog to join a server. It doesn't affect the gameplay, but it is inconvenient for the player who has to spend additional minutes to boot up the game.

Personally, I'll never mentally recover from my first encounter with Eddie Gluskin.

Despite its age, Outlast doesn't fail to deliver the engaging thrill of exploring the mysterious asylum where your only weapons are your camera and escape. Even though a person like me who has watched many horror movies or played video games of this kind may be desensitised to jump scares and themes typical for this genre, I was still captivated by how Outlast balances exploration and pursuit sequences. The eerie setting in which you have to deal with deranged adversaries, the map design, and the overall menacing vibe emanating throughout the gameplay, accompanied by the story behind it, still manage to keep the player in suspense as they uncover the illegal activities of a shady company responsible for this gruesome place. For this reason, Outlast remains one of the horror essentials that every connoisseur of this genre should play.

I've been using this software for over 2 years and I'm satisfied with the user-friendly quality that allowed me to create short animations and thumbnails for my projects. In Source Filmmaker you can use assets from video games made by Valve to create animated videos or simply pictures featuring the characters. Even if you're in need of more models from different games, you can use the Steam workshop section to use more renders for your project. Mastering of SF is itself a matter of time and practice and there's practically nothing that would cause any major problems with trying to learn even the most basic properties, so even a person with no experience with any other editing software will find this program accessible.