Recent reviews by Miroku

Short Ver:
Try it if you’re curious. Skip it if you’re not.
It’s one of those things that sits in the middle: interesting enough to give it a shot, not essential enough to lose sleep over.
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Long Ver:
SCUM is basically what happens when someone looks at survival games and says, “What if we added more systems?” and then refuses to stop talking for the next 47 hours.

On the surface, it looks like a survival game. But underneath that innocent disguise is a full-blown life simulator disguised as punishment. You don’t just survive. You manage metabolism, vitamins, digestion, stamina, body mass, and probably your character’s childhood trauma if the devs get enough time.

Graphically, it’s actually pretty solid. The world has that “post-apocalyptic Eastern Europe but also slightly cleaner than reality” vibe, which is oddly convincing. Trees exist. Buildings exist. Sometimes even performance exists, which feels like a limited-time event.

The depth of systems is impressive in the same way a tax form is impressive. You admire it, you respect it, and then you quietly wonder if anyone actually enjoys filling it out on purpose. Everything affects everything else. Eat wrong? Congratulations, you are now experiencing consequences in 12 different physiological categories.

And yet, somehow, it works. Not gracefully, not elegantly, but it does work. There is a strange satisfaction in slowly turning your prisoner into a hyper-optimized survival machine, assuming you survive the learning curve, the UI, and your own confusion.

Combat feels weighty in a “please don’t let this be desync” kind of way, and PvP can swing between tense tactical encounters and sudden philosophical discussions about why you trusted a guy named “xX_BoneCollector_Xx.”

The real charm of SCUM is that it never pretends to be simple. It actively rejects simplicity like it owes it money. And honestly, that commitment is kind of impressive. Exhausting, yes. Unnecessary in places, absolutely. But consistent.

In short, SCUM is not a game you casually play. It’s a lifestyle decision. One you question regularly. And then, for some reason, you queue up again anyway.

Short Ver:
V Rising is a strong survival-crafting experience with a unique theme, solid mechanics, and a distinctive visual identity.
Trie and Buy
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Long Ver:
V Rising delivers a solid and visually appealing survival experience set in a dark vampire fantasy world, and it immediately stands out thanks to its presentation and perspective.

Graphically, the game is impressive. The environments are detailed, atmospheric, and consistent with its gothic theme. Lighting plays a major role in setting the mood, especially when moving through forests, castles, and ruined settlements. The overall visual design helps the world feel alive and dangerous without relying on excessive realism.

One of the strongest aspects is the core gameplay loop. The progression system feels rewarding, as players gradually grow stronger, unlock new abilities, and expand their vampire castle. There is a satisfying sense of achievement when upgrading gear, defeating stronger enemies, and unlocking new areas. The “grind” is present, but it is structured in a way that usually feels purposeful rather than empty.

The idea of a 3D isometric (top-down) vampire survival game is executed very well. The perspective allows for clear combat readability while still maintaining immersion in the world. It also works well for base building and exploration, giving the player both strategic overview and atmospheric depth at the same time.

Combat is generally responsive and skill-based, with abilities that encourage timing and positioning. Boss fights, in particular, provide some of the most engaging moments in the game, often requiring preparation and attention rather than simple button pressing.

However, the game is not without its weaker points. Some progression elements can feel repetitive over time, especially when resource farming becomes the main barrier between upgrades. While the gameplay loop is satisfying, it can occasionally lean into repetition, particularly during longer play sessions.

Overall, V Rising is a strong survival-crafting experience with a unique theme, solid mechanics, and a distinctive visual identity. It may not reinvent the genre completely, but it executes its core ideas with enough quality to remain engaging and memorable.

Short Ver:
I have Fun, and a good Time; trie it.
Buy +
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Long Ver:
Voidtrain tries very hard to feel like a dream you’d have after too much caffeine and not enough sleep, and honestly, it mostly succeeds.

Visually, the game is surprisingly strong. The art style has a clean, almost surreal charm that makes the floating stations, weird environments, and endless void feel intentional rather than unfinished. It’s not trying to be hyper-realistic, and that works in its favor. The graphics support the atmosphere instead of fighting it, which is already more than some survival-crafting games manage.

The idea itself is the real hook. A train drifting through an empty void, connecting bizarre stations like some kind of interdimensional railway worker simulator. It’s creative, it’s weird, and it stands out in a genre that usually recycles “you are stranded, now punch trees until society reappears.” The station-to-station structure gives the game a sense of direction that many survival games completely forget exists.

The humor also deserves credit. It doesn’t constantly scream “I AM FUNNY” like a bad sitcom written by committee. Instead, it’s subtle, slightly absurd, and fits the overall tone of a broken reality stitched together with duct tape and optimism.

That said, once the novelty wears off, some cracks show. Progression can feel repetitive, and the gameplay loop doesn’t always evolve fast enough to keep up with its own ideas. Resource gathering and upgrades are solid in concept, but occasionally drift into the familiar survival grind that feels more like obligation than adventure. The world is interesting, but interaction with it can sometimes feel limited, like you’re watching a great idea rather than fully living it.

So the reality is simple: Voidtrain is stylish, creative, and occasionally brilliant, but not always consistently engaging. It’s the kind of game you admire more than you obsess over, at least in its current state.

Still, the core idea is strong enough that you keep thinking about it afterward. And in this genre, that already puts it ahead of a lot of its competition.

Short Ver:
Buy it. Step through the gates. The best years I ever wasted. I love the CD ver on XP Pantium4 GT210
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Long Ver:
The Elder Scrolls IV: Oblivion is a game that wears its age openly — and somehow turns that into part of its charm. It’s not just about exploring a fantasy world, it’s about stepping into something that feels strangely alive, awkward, and unforgettable at the same time.

At the center of it all are the Oblivion Gates. Those towering, flaming portals scattered across the landscape aren’t just set pieces — they define the experience. The moment one opens nearby, the calm of the world breaks, replaced by this looming sense that something has gone very, very wrong.

Stepping through a gate feels like crossing into a different reality. The sky burns, the air feels hostile, and everything is designed to make you slightly uncomfortable. And yet, you keep going. Not because it’s always fun, but because it’s compelling. Each gate becomes a small challenge of endurance, curiosity, and just enough stubbornness to see it through.

What makes it work is how these moments interrupt your journey. You can be wandering peacefully, doing absolutely nothing important, and suddenly you’re dealing with literal hell leaking into the world. It’s chaotic, sometimes repetitive, occasionally frustrating — but it gives the game a unique identity that sticks with you.

And then there’s Todd Howard. The man who looked at the concept of “random portals to hell popping up everywhere” and thought, yes, let’s make that a core feature. You almost have to admire the confidence. Whether it was genius or just controlled chaos is still up for debate, but it undeniably left a mark.

In the end, Oblivion isn’t remembered for perfection. It’s remembered for moments — especially those where you stood in front of a burning gate, sighed, and walked in anyway.

Or put simply: you didn’t just play Oblivion — you survived its portals, one questionable decision at a time.

Short Ver:
Buy it Buy it The best years I ever wasted.
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Long Ver:
The Elder Scrolls V: Skyrim is more than just a game — it’s a living, ever-evolving world that refuses to fade, no matter how many years pass. And while its vast landscapes, iconic music, and endless sense of freedom laid the foundation, it’s the modding community that truly turned it into something legendary.

What began as an already ambitious open-world RPG has been reshaped, expanded, and in some cases completely reinvented by thousands of passionate creators. From subtle quality-of-life improvements to massive overhauls that rival full expansions, the dedication behind these mods is nothing short of extraordinary. Entire questlines, new lands, reworked combat systems, visual upgrades that push the engine far beyond its original limits — the community didn’t just polish Skyrim, they rebuilt it piece by piece.

It’s honestly impressive how a game can stay relevant for over a decade, not because it was perfect at launch, but because people refused to let it be anything less than amazing. The modding scene gave players the power to tailor the experience exactly to their liking, turning Skyrim into a personal adventure rather than a fixed product.

And then there’s Todd Howard — a man who, depending on your perspective, either created a timeless masterpiece or simply provided a very sturdy framework for thousands of others to perfect. At this point, it almost feels like he “borrowed” the base concept from the future, knowing full well that the real magic would come later from the community. Convenient, really.

In the end, Skyrim stands as a rare collaboration between developers and players. A game that started as a vision, but became something far greater because people cared enough to keep building on it.

Or put simply: Skyrim wasn’t just made — it was finished by everyone else.

short Ver:
Not a good Buy, It could turn out decent,
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Long ver:
Road to Vostok presents itself as a hardcore survival experience, but in its current state, it struggles to deliver on that ambition.

The gunplay feels average at best. Weapons lack distinct feedback and weight, making combat encounters less engaging than expected for a game that heavily relies on realism. Shooting mechanics work, but they rarely feel satisfying or memorable.

The environments are another weak point. While they aim for a bleak, atmospheric setting, most areas come across as repetitive and uninspired. The map design often relies on simple, boxy layouts with predictable “four-corner” structures, which reduces exploration to a routine rather than an engaging experience.

Visually, the game is underwhelming. The graphics do not meet modern expectations and fail to compensate with strong artistic direction. As a result, the world feels flat and lacks identity.

Content is also noticeably limited. There isn’t enough variety in gameplay systems or activities to maintain long-term interest. This is further reflected in the weapon selection, which feels bland and lacks uniqueness, offering little incentive to experiment or adapt playstyles.

Overall, Road to Vostok shows potential, but at this stage, it feels more like a technical prototype than a beta realized game it ́s just a alpha game. It may appeal to players interested in its concept, but most will likely find the experience lacking in depth and variety.

Short Ver:
Perfect buy it
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Long Ver:
Soulcalibur VI is a classic fighting game that knows exactly what it wants to be — which is already more self-awareness than most people manage.

The gameplay is clearly one of its biggest strengths. Combat is built around a relatively simple system of horizontal and vertical attacks combined with kicks. It’s easy to pick up, but over time reveals a surprising amount of depth. This makes the game work well for both newcomers and players willing to really invest time into mastering it.

One of the standout aspects is how fluid and “readable” the fights feel. You rarely get the sense that you lost unfairly. Most of the time, you know exactly what went wrong — and yeah, that stings, but in a good way. The 3D movement and spatial positioning add a tactical layer that many other fighting games don’t execute nearly as cleanly.

The newer mechanics, like the Reversal Edge system, add extra tension. At first glance it feels like rock-paper-scissors with explosions — and to be fair, it kind of is — but it creates those cinematic moments where fights suddenly become intense.

On top of that, the Soul Charge system gives you a temporary power boost, but it comes with risks. In other words: mashing buttons and hoping for the best can work… but only up to a point.

When it comes to the fighters themselves, the game does a lot right. Each character feels genuinely distinct, largely thanks to their unique weapons. Whether you prefer fast and precise playstyles or swinging around a massive sword, there are hardly any two characters that feel the same. It keeps things fresh and encourages experimentation instead of just spamming the same move like a bored NPC.

Of course, it’s not perfect. The variety of modes is solid, but not outstanding, and some classic content is missing. But honestly, if you’re playing a fighting game primarily for the story, you’ve probably made some questionable life choices anyway.

Conclusion:
Soulcalibur VI delivers exactly what it promises: a technically strong, accessible yet deep combat system with varied fighters and plenty of room for player skill. It’s not a revolutionary reinvention of the genre, but it’s a damn solid comeback.

Or put differently: if you can lose without immediately insulting your hardware, you’re going to have a very good time here.

Short Ver:
I have a good time in it, Buy it
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Long Ver:
Sometimes you come across a game where you can tell the developers genuinely wanted to create something unique. Generation Zero is exactly that kind of game.

The gameplay feels pleasantly tactical without constantly holding your hand like an overenthusiastic tutorial uncle. You explore the open world at your own pace, plan your attacks, set traps, and decide for yourself when to engage or when it’s smarter to retreat. That sense of freedom, combined with a constant tension, makes even the quieter moments feel engaging rather than boring.

The enemies are a particular highlight. The machines don’t feel like mindless targets, but like real threats. Every encounter challenges you differently: sometimes you have to sneak, sometimes improvise, and sometimes just hope your plan doesn’t completely fall apart. Their varied attack patterns and weak points keep combat from ever becoming repetitive.

On top of that, there’s this underlying atmosphere of unease. You’re rarely truly safe, and that’s exactly what makes it compelling. Watching a group of machines and figuring out the best way to approach them almost feels like a small strategy game within the game.

All in all, Generation Zero delivers an intense and well-thought-out experience where gameplay and enemy design work hand in hand. It rewards careful planning, punishes recklessness, and constantly pulls you back into its world.

Short Ver:
Don´t like it, i was hyped, don't buy it.
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Long Ver:
Duel Corp clearly tries to position itself somewhere between tactics, action, and style — but ultimately ends up stuck in a no man’s land of mediocre ideas. The combat system seems interesting at first, but quickly reveals itself to be repetitive and underdeveloped. Instead of real depth, you’re given a handful of mechanics that feel more frustrating than engaging.

Technically, the game is… let’s call it “ambitious.” Stutters, inconsistent hitboxes, and controls that sometimes feel like they’re actively working against you make the experience unnecessarily exhausting. You don’t lose because you played badly, but because the game decided today just isn’t your day.

Visually, Duel Corp does have its own style, but even that can’t hide the fact that much of it feels unfinished. Animations are stiff, and the world feels empty, as if development just stopped halfway through adding detail.

In the end, it’s a game that had potential but lost its way somewhere along the journey. Instead of delivering a compelling dueling experience, it leaves you with a mix of frustration and indifference.

Short Ver:
I love the Style, Buy it
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Long Ver:
Nightingale offers a surprisingly engaging gameplay experience despite a rather uneven storyline. Especially with the newly added features, the game gains noticeable depth and variety. The expanded crafting mechanics, improved realm cards, and refined exploration systems make the overall gameplay feel fresher and more dynamic than at launch.

The developers have clearly put effort into improving the overall experience. Even though the narrative is still not the strongest element, it is now better integrated and more meaningfully supported by the new content. The main focus remains firmly on gameplay, and this is where Nightingale truly shines.

The detailed world continues to invite exploration, but now feels more alive thanks to the updates and offers even more challenges and opportunities for experimentation. In particular, the adjustments to the progression system and the increased variety of realms contribute to stronger long-term motivation.

All in all, Nightingale is not a storytelling masterpiece, but a game with its own identity that has significantly improved through ongoing development. Anyone looking for a distinctive survival experience with creative mechanics will now find far more content and depth than at release.