LISA: The Painful

WOWEE I love this game so much. Genuinely the best ludo-narrative in any game I think I've ever played. The choices are actually meaningful story-wise and gameplay-wise in a way that very few games seem to ever accomplish. Like being a good person in this game is actually so genuinely hard and morally. It actually means something when you try to be a good person. And to extent, that's even kinda impossible. Also nothing to do with the review really but it's so insane that this was made in RPG maker. I have no idea how Dingaling did it. Lowk probably would have even been easier without it.

Puta obra de arte, es la segunda venida de cristo, si le podrian poner verga a los juegos pa mamarsela a este

The road to hell really is paved with good intentions (+ a touch of joy)

llore

YAOIGEM

非常操蛋的游戏，对我这种想要走每一条路到处探索的玩家来说，这一路上恶意满满，沟槽的被迫养成时刻存档的习惯。犹记得第一次猜拳就衰到全队死光光，以及各种跳崖，长途往返，反复存/读档，真真是唱着三百六十五里路在玩。 说实话很难在玩的时候就懂剧情在讲什么（作者搞抽象的），而且一旦退出再打开是要做点心理准备的，很可能不会再想打开它。 我不会想向任何非受虐癖者推荐这款游戏。 不过目前我也给不出差评。可能的确是我犯贱了要玩这游戏。不好解释，不过这游戏还是有点意思的。选择游戏时第一眼喜不喜欢真的太关键了。

Lisa comforts the disturbed and disturbs the comfortable. The deranged tone and traumatic topics covered in this game are enough to filter most players. Meanwhile, on the mechanical side of things, it commits THEE cardinal sin of RPGs: ransacking player resources. This aspect of the game almost filtered me as well. However, if you're able to endure, it quickly becomes apparent that being subjected to that aforementioned sin is the only meaningful way to immerse yourself in any post-apocalyptic wasteland. Therefore, I embraced it and for me it became Lisa: The Logistical. Everything was an asset to acquire and spend to achieve Brad's ultimate goal— items, the stats attached to his well-being, other people... That is when the genius of Lisa hit me. This game has BRIDGED narrative and combat. A condensed review truly cannot articulate how astonishing this is. Though narrative and combat are universal to the genre, they are typically fenced off from one another rather than FUSED. The majority of RPGs do not attempt such a feat, and the ones that do dare not commit to it down to the root but rather keep it superficial. Traditional examples would be: perhaps something or someone of value is lost, but it is either something (logistically) minor in value and was lost due to plot, or the loss is towards the end of the game and therefore you are exempt from the (logistical) burden of having to operate despite said consequences. Essentially, theses "losses" are entirely for narrative impact/emotional damage. In Lisa loss haunts your every dropkick or backbite and it expects you to playthrough these raw scenarios as they unfold. And yet, despite all my applause, the most painful thing about this key feature of the game is that it is just short of being perfect. This is because most of the choices thrust upon you are ultimatums. Do [THIS] or [THAT] happens. If choices had more variety of when and how to confront them this game would be flawless. Crack Ripper and his Road Scholars gang are an ideal example of what I mean. If you've played the game already, you understand. If you haven't then you should play and find out.