Most Recent Platinum

[Squarevii87]

    #185

 

Best soundtrack ever

Golden era of Squaresoft

Played it back in 2000 was a masterpiece

Played it now still sublime

Edited May 8, 2022 by Squarevii87

[percy547389126yv]

#1,208 Tsuki no Kanata de Aimashou

[sk_lp_him]

#124 - LEGO The Hobbit

 

 

The Road Goes Ever On
Collect every trophy

[ShinySpidey]

16 hours ago, Brainswashed said:

Call Of Duty Infinite Warfare  %

Difficult : 4/10 with All DLC 7.5/10 
Fun : 9/10

Time : 2 days 18 hr with good teammate

Hats off man! I don't know if I will ever be able to plat this one, zombies it's pretty hard for me and I don't enjoy it that much either. Could you give me some suggestions on how to approach it?

Edited May 8, 2022 by ShinySpidey

[nestamar5]

 

Hyperdimension Neptunia Re;Birth 2: Sisters Generation

 

 

 Gamimdustri's Ultimate Savior

 

Trophy Rarity: 19.99%

 

You played so much, everyone now agrees that Nepgear is a good main character, too!

 

 

                    Hyperdimension Neptunia Re;Birth 2 is a remake of the Playstation 3 video game Hyperdimension Neptunia Mk2. However, this game is much closer to a port than a remake in comparison to Re;Birth 1. The most notable differences between Mk2 and Re;Birth 2 are the more tradition SP system, how Nisa and Gust are written out of the story and replaced with Red and Broccoli, the cutscenes are in a 2D visual novel style instead of 3D, some assets from Victory are used, and the inclusion of Stella's Dungeon. The remake system also makes a return. Otherwise, it's almost the same game. 

 

                    Neptune, Noire, Blanc, Vert, and Nepgear start the game off in an intense battle against CFW Magic, a member of an organization dedicated to reviving Arfoire known as ASIC (Arfoire Syndicate of International Crime). CFW Magic proves herself to be too strong of an opponent despite the fight being 5v1. The CPUs are defeated. Three years later, IF and Compa are sent on a rescue mission to save Nepgear and the other CPUs. However, the mission ends in failure and they're only able to rescue Nepgear. After Nepgear wakes up, she is told she must find the mascot characters and CPU candidates if she wants to save the CPUs.

 

                    The gameplay is exactly the same as Victory and the other Re;Birth games. You move around an open plane, can create basic battle formations, and line multiple enemies up to maximize damage. It's not the best battle system and it's incredibly basic, but I enjoy it nonetheless. This game has a LOT of extra characters. The DLC characters from Victory are back, but they have no impact on the story, so it's just fanservice. The four oracles are unlockable and I love that they're here, but they're late game characters and are unlocked only in the true ending. It would've been nice if they were unlocked much sooner or if new game plus carried over unlocked characters like Re;Birth 1. The total amount of playable characters is twenty two, which is a little too much for my liking in a JRPG.

 

                    As much as I like this game, it has a lot of problems that could easily be improved. The several endings and unlockables are heavily dependent on share percentage, some of them requiring up to 70% in one nation. This means you have to spend a lot of time grinding quests and colosseum fights. Depending on how you distributed your shares, how many quests/colosseum fights you've unlocked, and your level, this could take hours especially if you don't plan your share distribution well. This could be streamlined with triggering certain event flags instead, making repeated playthroughs less of a chore.

 

                    There's also one of, if not the, worst trophies to hunt. Dungeon Master requires you to clear all of Stella's Dungeon levels. It doesn't sound too bad on paper, but it's boring as hell in practice. First you must unlock every dungeon. It still doesn't sound too bad until you realize the extremely long chain of plans you must obtain to unlock them. Unlocking all dungeons alone requires you not only to obtain plans to unlock them, but also the materials, change enemies, plan, and the change items plan, some of which are only available in optional dungeons or true ending dungeons. You must also have the MBs required to make them, which could easily cause another playthrough if you're spending them too carelessly. 

 

                    The second part of Dungeon Master is Stella clearing the dungeon herself. It's COMPLETELY RNG BASED. You send Stella into a dungeon for X amount of time hoping that she either clears it or finds good equipment (usually both) and wait. The problem is that some of these last nearly a whole day. Even with the DLC that halves the time needed for Stella to clear a dungeon, one attempt in True Neptral Tower, the final dungeon, takes over 13 hours. To make things worst, Stella must beat the final boss in 5 turns or she gets insta-killed which makes the first run of the dungeon nearly impossible. You MUST get good drops to stand a chance.

 

                    If it wasn't for the Dungeon Master trophy, this would've been one of the more fun Hyperdimension Neptunia games to trophy hunt for as the others are pretty simple. 

 

[MakotoKaCun]

 

Platinum # 112

Fairy Fencer F: Advent Dark Force

Ultimate Fencer

Finally finish this JRPG. I though it was hard but until i found out you can paralyze almost everyone in the game which make they most of the boss just stand there and let you hit it ever on "Hard". But a high lv is still good as it will hit harder.

Anyway the story wise is not something very unique but I still enjoy this simple JRPG story with 3 ending. I replay the game 5 time just to make it unlock all the CG.
As the game reward you all the CG after 5 playthouugh XD.

The gameplaywise is somewhat similar to the Neptunia or most of their game with some change here & there. But if you play their game alot you will notice the similiar.

So do give this game a try if you like JRPG. I do wish there is a sequel for the game as their is some foresight of it.

[Silocia]

 

 

 

 Never Fade Away

 

 

I know this is a very controversial game and rightly so but to preface what I'm about to say my only experience of this game is from V.1.52. I think if this game was released at this patch the reception of the game would have been completely different, is it still missing some promises, absolutely, but at this stage I believe it could have survived the release.

 

It's such a shame that CD did what they did to this game because honestly I think it would have marked itself similar to games like Skyrim and The Witcher 3. The games good, really good in my opinion. I think the story is fresh and certainly engaging I don't understand why people think the story is weak, the writing as a whole is a definite step up. There is a lot of content in this game and this is where CD dropped the ball with the trophies.

 

They want you to complete all NCPD activities and gigs but they don't want you to complete all the side content which is such a shame. NCPD is the standard open world, go here, kill these people, collect this thing and theres 122 of them, its unnecessary, asking the player to complete all gigs and side biz would have been far better for the players experience and have the NCPD activities there only as a way to make some cash and loot some items. The reason I think the gigs and side biz should have been the focus is because they are genuinely interesting.

 

The gigs are requests from fixes and even though they all share the same 5 objectives, it's the lore and the settings of these gigs that set it apart from being the cookie cutter that the NCPD activities are. If you bother to read the texts you get about the job and look through the computers and files in the areas you get some decent and lore about Night City. You don't have to go in guns blazing, it gave me Hitman vibes, every mission can be approached and tackled different if you just stop to think (I'm not saying its as good as hitman because thats absurd just making the point that the missions are only as linear as you want them to be) 

 

The side biz are the games side quests and this is a promise CD lived up to, they are so varied and unique in their own way. I don't want to go into detail because its well worth going in blind and just seeing what you come across. I played this game for a total of 124 hours and I never once put my headphones in and watched youtube while I was going for the plat which is pretty unheard of from me.

 

It's not all rainbows and kittens though, it's an open world game which means there are going to be issues as there is with all games in this genre. Nothing affected my quests and nothing made the platinum unobtainable its just those small quirks you can sometimes get. However I will say that the biggest flaw in this game is the vehicles and its roads. Firstly I do not like the design choice for the roads, it's utterly terrible, roads are thin and vehicles are thick, this is fine aesthetically but from a gameplay stand point it makes weaving through traffic very difficult and very annoying, the roads are also not well designed, corners are at a weird angle that when vehicles turn it doesn't look natural and its hideous, the end of the first mission where Jackie drops you off at your apartment and then drives off is a very good example of this. Corners in roads are also often not smooth, you can see where the joins are and because of how the cars control (very badly) you're constantly altering the steering wheel making the vehicle look jittery rather than smooth. On and off ramps are the angles of rollercoasters, the ascent and descent are so sharp that the cars often bottom out at the bottom. The vehicles are terrible to control, I know they made some tweaks and they're apparently better now, if they're better now I would not have liked to have driven them before. All cars suffer from either over-steering or under-steering, there isnt a single car that drives nicely and turns nicely, I tried messing around with the settings in game but nothing works, either the car doesnt turn for the horrible corners stated above or they turn too much and you spin out. There is also a serious lack of speed when driving, I played the game entirely first person, including driving and you can be going 200mph but you don't feel like you're going fast at all and you're just barely overtaking cars on the highways, something just isn't right.

 

So, I've written a lot more than I wanted to, I just wanted to encourage people to play and give the game a chance, I feel its in a much better place and maybe it can start to win some other people over.

 

 

 

Edited May 8, 2022 by Silocia

[percy547389126yv]

#1,209 PS4 version of The Slovak Run

[DrBloodmoney]

  507

 646

 

Weird West

 

When, in 2017, Raphael Colantonio - 18 year president of Arkane Studios - departed the company he founded, citing creative anxiety and burnout due to the pressures of delivering in the "Triple A" space, I took keen notice. Arkane, (as any science chum probably knows by now,) is one of my most admired studios - one of the last still proudly carrying the torch for the Immersive Sim genre (arguably the most risky, most complex genre of game design out there.) Colantonio had shepherded four of my favourite games of the past decade to fruition - the Dishonoured trilogy and Prey - and the direction the studio would take, post-Colantonio was unclear.

As it turned out, studio direction was not the issue I had to fear, (Arkane's Immersive Sim / time-loop hybrid Deathloop released last year, to my considerable enjoyment,) however, what was to be feared was Microsoft's gargantuan wallet. Their purchase of Bethesda - including all subsidiary studios, of which Arkane is one - meant that Deathloop is likely the last Arkane game to be seen on a Sony console.
The interesting silver lining to that particular cloud though, is the newfound independence of Colantonio, in the form of his new studio, founded alongside Arkane veteran producer Julien Roby and a small cadre of ex-Arcane designers: Wolfeye Studios. 

Their first game: Weird West.

 

As it turns out, it's quite aptly named.
Weird West is... well... weird. 
Not just in terms of narrative, but in virtually all gameplay design elements.

It plays as a curious hybrid of Isometric Dungeon Crawler, Twin-Stick Shooter, CRPG and Oregon Trail-style resource management sim. 

The player takes the roles of five different characters, one after another, across 5 separate vignette-style short stories of around 4-6 hours in length. Each playable character comes with their own distinct skill tree, working in tandem with an over-arching "common" skill tree, and so each plays a little differently. Narratively, each is also of progressively more occult, secretive origins, in this pulpy, strange take on the old west. 

This is a version of alternate history where occult elements are simply known parts of the world - witches exist, common folks carry poultices and talismans to ward off evil, people get turned into Pig-Men, there are cults such as the Werewolves and the "Onerists" around (magic users that are known and feared,) and where the citizenry seem fully aware that at any moment, zombies or ghosts might burst forth from the graveyard on the edge of town, and they will have to fight or flee.
It makes for distinct and original tales, of the 50's "adventure comic" variety, and ones which are executed very well. The player will change from playing as one 'side' of warring factions to the other - at the start, you play as Jane Bell, a human woman, who's knowledge of the occult elements is not much more than the general townsfolk of the various steadings. However, each new character is more and more involved with the more occult elements, culminating with actually playing as a member of the most secretive of the cults. 
This gives an overall narrative a feeling of journeying into the unknown, but with a more curious slant to it that the traditional "normal protagonist delves ever deeper into the bizarre" style more often employed in games.

 

Mechanically, the multiple character, short story style it employs is a neat trick, almost evoking a rogue-like feeling, where the player is required to see five interconnected and interweaving narratives to their conclusion, one after the other, with each outcome affecting the next, and being affected by the previous ones.

The story also ties the five distinct stories together well - more and more as the narratives play out, interactions or scenarios that felt curious or out-of-place or just downright odd in early narratives are expanded upon or tied up in later ones, and the way the narratives criss-cross, (for example, allowing previous playable characters to be recruited as NPC helpers by subsequent characters, and having cross-narrative through-threads, such as the tale of Essex Mast, (a human obsessed with studying immortality, who is mysteriously and intrinsically bound to all five playable characters,) or The Children - (two ethereal little girls who allude to being immortal themselves, and seem to know more of the player than they do of the characters they are controlling,) is really cool - and works in a way that really could have been a mess in lesser hands.
(I won't give spoilers, but in the end, the over-arching narrative reminded me very much of 1998's wildly underrated sci-fi noire film Dark City... in a good way!)

 

Gameplay-wise, when playing Weird West, it becomes pretty clear which elements of Arkane's signature style was most driven by the stewardship of Colantonio himself. Weird West is not really similar to any of the Immersive Sims Arkane released during his time there - Arkane output was exclusively first person, high-polish stealth / action powers-shooters in the mould of Bioshock or Deus Ex - however, the major crossover element between Arkane and Wolfeye is clear - the variety of execution of in-game tasks, and the focus on malleable narrative to fit that.

There is a huge amount of interaction with the world that is possible, and multiple ways to achieve almost everything in the game. Like the Dishonoured games, Weird Westgives the player multiple explicit options for the completion of missions, but more than that, like Prey (Arkane's most "immersive sim-y" of their immersive sims,) it also has a narrative that is crafted in such a way as to take a pounding from the player, and still keep up.

In one playthrough, a character's final boss might be killed. In the next character's playthrough, that location that was his hideout might be abandoned. If however, the first character's playthrough is completed without killing that boss, then he still exists in the world, and continues to have an effect. He might appear as a bounty to be hunted in a subsequent playthrough, or simply be able to be encountered, if that players goes to the same location.

If, during a bounty or mission, a gang leader is killed, but one of his men flees, a vendetta may be started, where that person will return to hunt you, with a newly recruited posse of mercenaries. 

This even extends to interesting relationships with the narrator of the game - in one playthrough, I tried killing both characters in what is ostensibly set up as a "choose one path or the other" moment. 
Rather than simply failing a quest, or refusing to let me do this, both died, and the narrator simply said "Well, both dead by your hands... you got a different plan, Hoss?"... 
...and sure enough, I was able to pick up a new path through the narrative, with the story beats moulding accordingly to fit my actions.

 

Oddly though, all these elements - narrative malleability, signature style, variability, emergent storytelling - these are all the areas most unusual, and most difficult to nail in games, and they are the areas Weird West does best. The parts that are more common to games in general, (and arguably the "easier" parts to get right,) are where Weird Westfalls down a bit.

 

Combat can be finicky and difficult to control. Gunplay works like a twin stick shooter, however, unlike most twin stick shooters, the world of Weird West has multiple elevations, and so a shooting scheme that would work in simple "flat-plan" tends to get confused. Essentially, the player aims like a twin stick shooter, but has to keep an eye on a reticle, which will show on the enemy being targeted. In the fray of battle, this can be tricky to do and to see - and in a game where NPC helpers act on their own in battle (and friendly fire is deadly,) it can be all too easy to shoot the wrong person, or whiff entirely. 
The combat powers, also, are awkward to use, with the actual executions being tied to multiple button presses while aiming, and so the fast-pace of combat tends to work against the variability of powers-based combat. Truth be told, I found the game more enjoyable when simply ignoring powers in combat, and concentrating on upgrading weaponry to the point I no longer needed to rely on powers. (It's worth noting - Weird West feels very much a game designed for PC primarily. I suspect all these issues would melt away when using a mouse to am, and keyboard hotkeys for powers - but in the console controller, it is a real issue.)

Stealth works relatively well, however, the same issues occur in terms of visual cues and gauging of distance / elevation / sight-lines. Stealth tends to work as good way to get an advantage before a fire-fight, but actually full-stealthing a long section or dungeon is made very difficult by these issues, and necessitates numerous quick-save / quick-loads. (The game seems to understand this, as there is a dedicated quick-save save-slot, and using it is made very quick and easy.)

 

These issues might all feel separate, however, I think they are symptoms of the same fundamental design flaw in Weird West - it is a game that utilises a top-down isometric viewpoint... a perspective wholly unsuited to virtually all aspects of the game it is utilised for. Because the camera is pulled quite far back, the player does not have the "character's perspective" when playing.

Immersive Sims have certain staples - interactivity, huge amounts of loot, secret and alternate paths etc, and these require the player to scour the environment for clues, and to inspect every detail. That cannot be done from the isometric point of view very easily. Missing important loot is a constant issue, as the item required may be tiny on the screen, and mixed in with lots of other tiny, unimportant items. 
Powers-Shooters require a confidence of position and sight-line that this perspective does not provide, and so it's often very difficult to gauge whether a power is appropriate to use or not, given the player's position relative to the enemy.  

 

It's a shame, as the Isometric perspective does have some good aspects - the game actually looks very nice - a stylised sketch-book style, with simple character designs in engine, backed up with portrait sketches during conversations that retain the Arkane flair for cool, signature UI design, however, it just doesn't work terribly well for the gameplay as designed. 

 

The game sounds cool - in-world character dialogue is purely written, with the characters speaking in a simlish - though this is not like any simlish I've ever heard! It's odd and grotesque and creepy - a sort of old-world growling mixed with screechy, tinny drawls that wouldn't sound out of place in a horror film, or in the background of a Nick Cave song. 
The only voice heard is the Narrator, who has the perfect Sam Elliot-style old-west drawl and laid-back musicality to his vocals - the game feels like your playing, with later-years Johnny Cash sitting by your side.

Music is generally good across the game - a stylish mix of southern gothic and grimy electric synth, with occasional trips into greatness - particularly in the later, more occult storylines, or during climax sections of each story, where original songs, (often with  appropriate lyrics,) are employed.

 

I will take a brief moment to mention the trophies in this one. They are fun, and like Arkane games, serve a duel purpose, of both encouraging variety, and actually teaching the player some of the mechanics that are available to them. That said, I do think it's worth noting that the trophy-hunter-mentality, (which we all have, to some degree,) where we naturally try to unlock as many trophies as possible in a single playthrough, actively works against the enjoyment of Weird West.

Because the truly impressive element of the game is in how reactive and variable its narrative is, and the fun is often in seeing how that narrative changes based on previous decisions / execution, the player loses a lot of the best fun the game has to offer by simply milking as many trophies as possible in one go.
I did 90% of the trophies in one long playthrough of around 30-40 hours... but it was only in running through the second time for clean-up that the breadth of variation to the narrative made itself known to me.

I realised, (too late,) that I would have had a much better time doing 4 or 5 short, (6-8 hour,) playthroughs, and doing a few trophies each time, than one long one, as that would have shown me far more in the way of interesting twists and changes in requirements etc. I would advise anyone going into the platinum now, to do just that. The actual total time with the game is unlikely to be much longer, however, the best elements of the game will be displayed, and they would likely have a much better time.

Overall, Weird West is game that works sometimes - and when it works, it really, really works, and really impresses - but continually trips over itself. It's an odd one, because the parts that it gets right are the really tough things to nail - the parts most games don't even attempt. The parts where it falls short are ten-a-penny in other games, and so presumably easier to implement.  It's a strange case of the more common elements tending to step on the feet of the more original ones.

The game ends up sliding into that odd category of games that are cool, fun, stylish and original... and broadly recommended... but the strongest elements are those that are around the edges. The core mechanics and moment-to-moment gameplay just don't live up to the game in which they are housed.

 

(For original review and Scientific  Ranking see HERE)

Edited May 9, 2022 by DrBloodmoney

[DrBloodmoney]

  508

 647

 

The Longest Road on Earth

 

A genuine curiosity from Spanish developer Brainwash Gang, The Longest Road on Earth couples a series of shot vignettes of the daily lives of various lonely characters rendered in simplistic greyscale pixel-art, with a stultifyingly good alt/indie original soundtrack, to result in a game experience quite unlike virtually any I have previously come across.

 

The Longest Road on Earth is a short game, focussed on music primarily, but that's not to say there isn't emotional beats that get hit. Far from it in fact. While actual physical input to the game is shockingly minimal - pretty much exclusively walking from one thing to another or clicking to look at things - the player who engages with the game is likely to feel drained by the end. The tole taken here is not physical, but emotional, and I think it does a really great job exercising the player's heartstrings, even as their thumbs are taking it easy.
The characters in the game are anthropomorphised animals, but their emotions, lives and wistful loneliness are all too human. Loneliness is not a subject tackled too often in games, and so when it is tackled here - and so well - it cuts quite deeply.

 

The basic bones of the narrative are 4 short pastiches of life at different stages and the various ways loneliness can be experienced. These are loosely strung together via a wraparound container narrative of an old man (well, an old crocodile actually,) seemingly working in some kind of second hand store, who sparks the catalyst for each story by touching different items in the store.

Each vignette touches on loneliness in its own way. Whether it's the small country mouse, who's life is idyllic, yet she has no one to share her quiet moments with, the city rat who loves the piano, but is all but invisible in his day job, the bear who works and office job for a shipping company, and the pigeon who works the freighters, living parallel lives of quiet loneliness toiling for the same company, or the young moose, being cared for by his protective, but emotionally inattentive parents... each looks at how life can seemingly churn all around some people, yet never quite touch upon them in a meaningful way.

 

These vignettes are rendered in fairly simplistic pixel-art style, in shades of grey, though it's surprising how much of the tone of the game is worked through this simple art-style. The game is not going to win any graphical competition, but the sweet-yet-wistful tone actually benefits a fair bit from the lack of realistic graphics - plenty of detail is able to be discerned, and the developer does a lot with a limited tool set. That the game is in greyscale really helps the tone too - it's rare that I would argue for a greyscale colour palette being more effective, but here, I think the game would lose some of its impact in colour.

 

The music is really centre stage in The Longest Road on Earth. So much so, in fact, that I genuinely think the game is not getting enough credit for what it represents. Generally, the game seems to have a favourable critical response as an art-house-indie narrative game, but actually, I think what it does is more fundamental. 
Essentially, The Longest Road on Earth has created a new genre within gaming. 

 

We've had "Games as Games" obviously, and on the more emotive side of gaming, the past two decades have seen "Games as novels", (visual novels,) "Games as Choose-Your-Own-Adventure", (Telltale etc.,) "Games as Experiences" (Gone Home, Dear Esther etc,) and we've even had "Games as Meditation", (Everything, Proteus etc.) 
I don't think we've ever had "Game as Music Video," though... until now.
That is the feeling evoked here. 

 

Because the narrative is told in un-dialogued, text-free vignettes, and because all emotional context is implied, and shown via more rudimentary pixel-art on the anthropomorphic characters, the visuals tend to work as tone pieces more than anything. They convey little direct narrative, but evoke emotion very strongly - much like a music video will. 
The result flips the usual videogame dichotomy between audio and visual on its head - rather than the visual and interactive elements being the driving force, and the audio supporting them, here Beícoli's music is very much in the driver's seat, and the visual and minimal interactive elements work in service to that.

 

That is something quite unique in The Longest Road on Earth, and it works very well - simply because the music is so good. Make no mistake, more than virtually any other game, this one would fall apart if that were not true. 

That music - all by Beícoli, is beautiful, varied, emotive and incredibly powerful at times. 
Beícoli appears to identify exclusively as a videogame music creator - a part of Brainwash Gang, rather than an independent musical artist in her own right - which is somewhat baffling to me, considering the quality of the soundtrack can easily sit alongside the albums of Cat Power, Ex:Re, Lovers, Lanterns on the Lake etc. 
I personally paused The Longest Road on Earth after only a few songs to add the album to my Spotify rotation, and with each track that played after that, it only cemented my decision to to so!
I'm actually in something of a quandary in terms of recommendations actually - part of me wants to encourage readers to check out the album on Spotify, as I'm confident anyone who does so will want to play the game... 
...but I also think that experiencing the album as it appears in game, with the visuals associated is likely to be most impactful if the music is brand new to the player. 

 

Overall, The Longest Road on Earth is a peculiar experience, virtually unique in the gaming landscape. It's a game about a subject rarely broached, yet universally felt, and its medium is used in a very unusual way.

The game is short, and lacking any real replay value beyond re-experiencing the emotional journey and the excellent music, but as a singular experience, (and one best consumed in a single session,) it achieves its goals and then some.

Of course, with such a high reliance on its musical score, a lot of the game's impact will be contingent on musical taste, however, as someone who very much likes that strain of thoughtful, deep-dark, female-led alt/indie music, I can attest that Beícoli's soundtrack works brilliantly - both in and out of the game, and will be a staple of my Spotify rotation from here on out.

 

 

(For original review and Scientific  Ranking see HERE)

[Hanzoadam]

 #775 Borderlands 3 (PS5)

Ultimate Vault Hunter
Unlock all Borderlands® 3 Trophies.

Been playing on and off for a while but hammered it the last few weeks, started from scratch instead of carry ps4, actually really enjoyed it.
Did it all solo as FLAK which was a bit easier as one of pet's can pick you up. (But only had it help a few times is just a nice safety net I think ?)
Did 3/4 of the dlc's (1st season pass) will go back and do the 4th soon.
I was really worried about the 'Good Against Remotes Is One Thing' trophy which is a shooting gallery, alot of people do it in groups,
but my psplus is up atm and refuse to renew right now ? luckily with gun I screen spotted above only took me 3 attempts real relief.
Nothing was too hard and it didn't feel too grindy.
Now to the wonderlands!!!!

 

 #774 Queeny Army (PS5)

Street Girl
Unlock all other trophies.

 

Im kinda embarrassed to say but I kinda struggled with this one some of the platforming was BS

 

 #773 Waifu Impact (PS4)

Waifu Collector
Unlock all other trophies

 

¬_¬ Bit of grind at the end, and music was horrible, thank you spotify for the help

 

 #772 Squad Killer

Level Master
Unlock all other trophies

 

 #771 Retrace Memories of Death

Retrace
Obtain all other trophies

[James Tiger]

#86 Gravity Rush Remastered 

 

 

#87 Gravity Rush 2

 

 

Really like a comment I saw from Youtube:

This (two) game is the representation of underrated.

 

Like the "Flying" system in Gravity Rush, 

"Flying" is more like falling into the sky since Kat can shift her gravity in different directions to make her fly around,

so no need to worry you will fall to death in Gravity Rush.

 

Combat system was kind of boring in first game: Gravity Kick go brrrrrrrr.

Second one was improved with the introduce of Lunar and Jupiter style, but the improvement was minimal in my opinion. 

 

Story, music, graphic, gameplay are great. 

But the story still left a lot of unexplain plots. (Seriously, A Lot)

Hopefully one day we might get a new Gravity Rush game.

Edited May 9, 2022 by James Tiger

[percy547389126yv]

#1,210 PS5 version of The Slovak Run

[KennethMcCormick]

 

Plague Inc: Evolved

 

My 174th platinum, but most importantly my 10000th trophy: thought it would be fun to have "Fully Evolved” for this milestone. 

 

[FFATMA]

#79 - My Time at Portia

 

 

They didn't use too much imagination for the platinum trophy image!

 

This game was pretty fun throughout, only took me a year in-game while using the duplication method.  I can see how the plat time could be double or more if you didn't use it!  I did have to go back and do a new game because I messed up on two missable trophies, but was able to get both done within the first month in-game.  I'd say I spent about 60 hours overall.  Messing up the 2 trophies probably cost me about 5 or 6 hours of that.

 

[ShinigamiSensei-]

#205: SHENMUE 3

 

Shenmue Hero
Acquired all trophies

 

15.09%

RARE

 

This might be one of the most tedious platinums i have due to it's terrible trophy list filled with collectibles and boring minigames.

The repetitiveness, the rng and all the needless side activities forced upon you by the trophy list will test your patience and commitment. In fact, i'm surprised that this platinum is not even rarer.

Platinum aside, this whole game is...pretty bad, sadly ?

[TenebraZero]

 #101

 

 

 

God among insects
Unlock all trophies

 

 

Enjoyment : 7/10

Difficulty : 3/10

Time to plat : 13 hours

Edited May 9, 2022 by TenebraZero

[Omelette Paradise]

 #555 - Far Cry: New Dawn

 

 

This felt like a DLC expansion like Far Cry Primal did for Far Cry 4 but as someone who loved Far Cry 5 I had a lot of fun with this. Without getting into spoilers, the game picks up 17 years after the events of that game.

 

I wasn't a fan of the intrusive microtransactions when upgrading Prosperity or using weapon workbenches but thankfully none are essential to enjoying or getting the most out of this game.

 

It's standard Far Cry fare other than that but with a twist with the aforementioned base building, upgradeable weapons and the increasing difficulty of enemies. Mickey and Lou were fun villains too. Not quite on par with Vaas, Pagan or Joseph but entertaining in their own right.

 

Enjoyment: 8/10

Difficulty: 3/10

 

And with that, I've decided that this will be my final platinum trophy on this account. I've been thinking about starting a new account for a while and now that I have a PS5, it feels like the perfect time to do it. My first reason for doing so is the new(ish) trophy system which has played a big part in breaking the experience for me as my ranking no longer feels earnt. Jumping from Level 66 under the old system to Level 678 or whatever it was (I can't even remember) around the time when PS5 launched was extremely jarring.

 

The second and final reason for doing so is that I'm no longer proud of every platinum I've earnt. I've gotten too used to playing certain games (and even stacking them) just to chase trophy numbers. This has also removed a lot of the enjoyment from trophy hunting for me over the last year or so, possibly even two years.

 

My new account is @Rhysydwi and I'll only be playing games I'm actually interested in on there with no region/console stacks, autopops or throwaway sub 10 minute plats. Only one trophy list per title. I'll be re earning a few of the platinums that I've really enjoyed like The Last of Us and Part II along with the Uncharted series and a few other games.

 

I'll be back to posting in this thread again on that account when I've earned my first platinum there 

[JadedDragos]

#131

Strider

[bbaauuiiss97]

#1233

Outriders (PS5)

 

 

 

Really fun game, gotta be my favorite looter shooter so far besides Borderlands ^^

[Brainswashed]

On 2022-05-08 at 6:53 PM, ShinySpidey said:

Hats off man! I don't know if I will ever be able to plat this one, zombies it's pretty hard for me and I don't enjoy it that much either. Could you give me some suggestions on how to approach it?

if you keep say i will ever you will ever get plat lol , i am joking solo it’s very hard basically if you learn everything by your own , when i playing the game before solo it takes a months to complete it unfortunately i delete the game after 100% but i will give you id 2 player help me to complete the game fast and they are very good player and helpful, hjklfsl & DutchJordi 

[percy547389126yv]

#1,211 PS4 version of Rage Among The Stars

[Karnacharya]

 # 212: Legendary Chef (Overcooked! All You Can Eat)

 

 

This Platinum is special, as it's the first one I earned alongside my wife, who wasn't much of a gamer at the start of the pandemic. Even if she ultimately puts down video games as other responsibilities come up in the future, the memories of earning this Platinum trophy with her will always be special. 

Edited May 10, 2022 by Karnacharya

[Bahraini_carguy]

Platinum #42: Crash Team Racing Nitro Fueled (PS4)

 

 

One of the hardest plats i've ever gotten and one that I'm quite proud of.

 

CTR:NF is a 2019 remake of Crash Bandicoot's kart racer from the PS1 era. The game features all of the characters, vehicles and tracks from  the original CTR as well as some additional content from CNK and CTTR. All sorts of new content were added throughout the following 9 months after the game's release. 

 

Trophy thoughts:

Spoiler

 

Trophy wise, it was pretty challenging actually. Most of the trophies are quite easy but one such trophy that caused me all sorts of trouble was "Gasmoxian Slug". You essentially have to beat both N.tropy's and Oxide's times on all CTR and CNK's tracks. Tropy wasn't that hard but Oxide was a nightmare to deal with. I had to call it a quit back then and only came back recently to finally finish what i've started.

 

It seems that things got slightly easier for me since then. For starters, they introduced a new drift class which has a slightly lower top speed than the speed class but far better cornering. This proved to made my life ever so slightly easier as i struggled turning using the speed class. Furthermore, various shortcuts and strats have been found since then. I had to learn the game's mechanics once again, this time with the help of YouTube videos which were really helpful.

 

I wouldn't even consider myself to be good at this racing game but i somehow finally managed to do it.

 

 

[Conor]

 #119- FULL THROTTLE REMASTERED [PS4]

 Full Throttle  

Unlock all trophies

 

Enjoyment: 7/10

Difficulty: 2/10

Time: 2 Hours, 8 Minutes and 40 Seconds

Rarity: 29.9% Rare (PSN) / 70.06% Common (PSNProfiles)

Challenge: N/A

 

Full Throttle was never the strongest nor my favourite title from Tim Schafer. It's definitely one of the easier ones even without a guide and also on the shorter side, but it also doesn't have the most interesting story. What it does have is great voice acting from Roy Conrad (RIP), Mark Hamill and Kath Soucie who bring the characters to life in their own inimitable ways. The updated graphics are great though you can switch to the old style at any time (not recommended) but the puzzles are fairly easy to figure out. Not a whole lot to say on this one, definitely worth it for some giggles as well as a quick and easy platinum. Otherwise there are far better games from this era of LucasArts and from Schafer himself.