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John Milton ın başyapıtı Yitirilen Cennet okurla buluşuyor
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Cars You Didn t Know Were in Mafia - The News Wheel
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“It’s really not
that bad,” I began 2020 by telling myself, “I mean sure, it gets a bit tedious in parts; but in the other parts, it’s a lot more-… err.” That’s right,
Death Stranding happened. It truly did.
Released on 8 November last year, I was among those who had pre-ordered, preloaded and taken a day off from work to play Hideo Kojima’s latest genre-bender. Within a couple of months, all the novelty of carrying a few hundred bazillion steel boxes up and down snowy hills and mountains and then falling over and losing the whole lot had worn exceedingly thin. Even the story wasn’t sparking in me the sort of joy Marie Kondo seeks in stuff she won’t throw out.
Cyberpunk 2077 Reminds Us How Ugly Reality Can Be
Cyberpunk 2077’s techno-future. It’s at once thrilling and cloistering, singularly impressive and utterly claustrophobic.
As I walk these streets, I feel like I’m drowning.
At first, I struggled to understand why. Never has any other game given me such a feeling, not the various incarnations of Liberty City and San Andreas, not Skyrim or Lemoyne or San Francisco or Lost Heaven or any of the dozens of other places I’ve visited in my digital tourism. Even dressed up in a veneer of realism or totalitarianism, those places feel like playgrounds. There’s an airiness to them, a freedom, a sense that these environments are designed for you aided by how your character can move within them.