Blogging the experience of gameplayhttps://www.gamelog.cl/gamers/GamerPage.php?idgamer=1269https://www.gamelog.cl/logs/LogPage.php?Log_Id=7832Another excellent short point-and-click game. Rumu is a cute little robot vacuum cleaner who wakes up in a big house to the voice of an AI named Sabrina. Sabrina explains that the house's human inhabitants, scientists named David and Cecily, are gone mountain biking, to the grocery store, or otherwise out of the house. Rumu is programmed to clean and to feel one emotion: love. Sabrina teaches Rumu how to clean messes and safely guides Rumu around the house, but warns not to explore. Well, Rumu eventually gets curious and explores, and finds some things Sabrina didn't want Rumu to find. You think it's going to be a game about sinister AI, but it's not. It does say some things about our relationship with technology, about technology and ethics, and is actually really sweet and sad. To say anything else about the story will spoil things. Gameplay-wise, you just trundle around the house in a rather linear fashion learning more about Sabrina, David, Cecily, and a couple other characters, occasionally cleaning messes, and saying silly dialogue, usually about things you do or do not love, until you learn the truth of what's really going on. I saw this game on some list of "best games you've never heard of" or something, it sounded intriguing, and it's totally worth checking out. Also, it ends with a "Baba Is You" style sentence, so I guess I'm finally going to start Baba Is You. A sign from the universe if there ever was one. Tue, 19 Nov 2024 19:06:57 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7832&iddiary=13337https://www.gamelog.cl/logs/LogPage.php?Log_Id=7830Artsy point-and-click about love and the end of the universe. The visuals are mesmerizing, lots of black and white (film noir style) with yellows for accent, flashing lights, changing perspectives, just wildly creative. The sound design is great too, lots of jazz music that often coincides with visuals bouncing around. The story isn't easy to follow. It's a metaphor about the main character's relationship with a jazz singer told as the creation, evolution, and destruction of the universe. I didn't care much about what was going on, but was just basking in the audiovisual treat. Gameplay is simple. Like I said, it's a point-and-click adventure at its core, but hyper stylized. So you aren't just walking around pointing and clicking. It feels like a series of scenes with toyboxes because it's not always obvious what you need to interact with or how to do it. It was reminding me of GNOG, where you just play with a level, click around and see what things do. I read that a lot of people found the gameplay frustrating, but I never did. Again, for me, this boiled down to "oooh aaah." I couldn't have cared less about how easy the puzzles were or how obtuse some of the interactions were or how deep the metaphor was going. It's a beautiful game and not one I'm likely to forget any time soon! I saw that there is another one coming out (sequel?). If it's the same kind of thing, I will definitely buy.Mon, 18 Nov 2024 16:22:28 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7830&iddiary=13336https://www.gamelog.cl/logs/LogPage.php?Log_Id=7829Cool concept, stays pretty engaging throughout. The first-person perspective might suggest more action than there is. It's totally a narrative game. Not a "walking simulator" per se, although it's true that you cannot run. Most of the game is actually you standing in place. You play as a radio host in the late 1980s who gets a job in some small town. On this fateful night, there is a serial killer afoot, with the story rooted in the town's history. After an incident with the police, 911 calls are routed to the radio station. You and your producer take calls and, from behind the DJ booth, hopefully save some lives. Callers will ring up saying they're being stalked by the serial killer and you have to walk them through staying alive. One guy is being hunted in a corn maze; another in an office building; another needs to leave her house and go down the street; and so on. You often need to explore the radio station to find things to help you handle the calls, like a map of the corn maze to help that caller get to the exit. Your producer doles out keys to locked doors as you explore more of the station. Other callers will ring to talk or play pranks or whatever. The writing is strong and there are some really funny parts, like any interaction with the pizza owner. It's got a great 1980s slasher film campy vibe to it. It's less scary than I thought it would be, though there are some tense moments. Eventually, though, you'll realize that it doesn't matter if callers die. The story keeps going, and I'm not sure if there are multiple endings. It seems like there's just one. And since it is campy, sometimes it is kind of funny if someone dies. This game may not be the best at promoting ethical reflection, though there was one poignant caller who talked about beating addiction and gaining a new outlook on life, which was very touching. Eventually, you will get into the basement of the radio station, which was a little creepy. It felt like it went on a little long because you're not really doing a whole lot. The radio station is really small, you'll collect the few extra records and tapes scattered about, you'll play the same records 3 times each, you'll toss dozens of paper balls into a wastebasket basketball goal while you're listening to people talk. If the writing and voice acting wasn't on point, this would have been a swing and a miss, but luckily it was a fun several hours! Fri, 15 Nov 2024 19:16:32 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7829&iddiary=13334https://www.gamelog.cl/logs/LogPage.php?Log_Id=7811Cannot believe I beat this. What a fun twin-stick bullet hell game. I set out initially just to beat Adventure mode. At some point, I dabbled in the other modes, one of which added more enemy types and game types and the other of which stripped the game to its core--no special weapons. It was so fun, and there were so many variations on the core gameplay, that I ended up beating every single level in the game. But I tell you what, although there were definitely some challenging levels, the last boss fight--Topaz--was a massive difficulty spike. Topaz is the last boss in both Adventure mode and Hardcore mode, and both of those levels have been all I had remaining for weeks. I played some other games in the meantime, and periodically tried to beat Topaz, but never could. Tonight, sitting up in my friend's spare bedroom, I got frustrated and looked online to see if other people were having just as much trouble as I was. I was not alone! Dozens and dozens of forums complaining about this boss. And lots of encouraging posts. I decided I'd give it one more shot. And I beat it. That was probably 30 or 40 tries in total. Then I thought, "What the hell, let's give Hardcore Topaz another go." And I beat that too on the first try tonight. So, after 30 or 40 losses, I beat both Topazes back to back. The Steam achievement for Topaz on Adventure mode is 6.2%, so I'm feeling pretty smug at the moment. Topaz has six or seven phases, and they're all pretty easy once you memorize the patterns, except the last one or two. So, I was getting right near the end of the fight like every single time. At the end, he starts spinning around and moving toward you. The level is bordered by red walls (you touch, you die), and Topaz itself has red walls circling it. Enemies spawn along the wall, usually blue diamonds (which move toward you at a moderate speed) and a couple colors of purple (which slowly move or stay pretty still). At one point, these yellow balls start spawning randomly on one side of the level, then another side, then another side, and they fly quickly across the level. It's super annoying because they can spawn right on top of you if you're near an edge and will kill you before you have a chance to move. So, don't be near the edge in that part, avoid the yellow balls, and move the boss quickly into the next phase. At the end, the boss gets larger and its red walls take up like 1/4 of the screen, plus enemies are spawning along the edges of the screen, so you really don't have many places to move. I regularly died here if the yellow balls didn't get me because I'd get trapped. I think the trick is to stay calm (obviously) and focus more on staying alive than attacking the boss. You'll have plenty of time to attack Topaz in between waves of enemies. But if you're dead, you can't attack, so stay alive! I used the "fire" weapon, which amplifies your frontal attack, and the turret special, but I actually didn't set off the turret or my bombs, beating the Adventure Topaz with no special weapons (which deserves another, even rarer, achievement, right?!). Now that I think about that, I'm definitely feeling smug. (This entry has been edited1 time. It was last edited on Tue, 12 Nov 2024 21:49:03.)Tue, 12 Nov 2024 21:38:31 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7811&iddiary=13333https://www.gamelog.cl/logs/LogPage.php?Log_Id=7828This gives me vibes of Pentiment in style. The art is beautiful, very painterly, and if you watch the backgrounds, they kind of move or “dance” with shimmering particles, especially indoors. It’s set in 18th century France and you find yourself caught up in national political intrigue. The story is intriguing, the writing is sharp and witty, the concept is creative. Card Shark is a game about cheating at cards. You play as a mute man, and you are taken under the wing of an infamous ex-noble/socialite turned conman. He teaches you card tricks as you travel around the country swindling rich people out of their money. Your targets are often chosen not just for their wealth, but because they have information, and your handler (and, it turns out, his handlers) is trying to unravel a mystery that will have huge implications for the country’s political class. The card tricks start off easy. For example, you pour wine for an opponent, steal a glance at his cards, and signal with your hand which suit he has the most of. Or, you shuffle the cards, but palm an ace to deal to your handler. There are 28 tricks, or combinations of tricks, and the complexity escalates like crazy by the end. Here is the "tutorial" text when you are taught the next-to-final trick for the final card game. You'll do this long part after you interpret a code to give two specific types of cards to your ally. You’ll palm one card to deal to your ally and then sweep cards in a specific order according to the code to get the second card. Then, you get the following tutorial explanation, with visuals: “First off, I need you to shuffle once whilst injogging the top card at the same time. Subtlety is key here so make sure you do this in one fluid motion. Nice job. We’ve already set aside two cards for me, your target, so now it’s time to sort out the other players. Go ahead and drop two cards per additional player. Now each player has two cards prepared for them. To secure the selection, outjog the next card. Outjogging is just like injogging, but the card pokes out away from you instead of in and towards you. Here, see, the outjogged card and injogged card are on either side of your stack. Your thumb can easily create a gap beneath the injogged card when you’re squaring the deck. And you’ll naturally grab everything up to the outjogged card, too. This creates a break below it. You can use these gaps to restore the stack on the next pass through the deck. Good. You know how this part goes. Shuffle down and injog in one motion. Now drop a pair of cards for each player besides myself. Now for that outjog we talked about to sandwich the stack. Good. The prepared cards will be easy to find thanks to those markers on either side. Go ahead and shuffle down the rest of the deck like the honest man you are. Then square as I showed you. With the deck squared, you need to drop all the cards up to the first gap. That way you can get back to dealing with the stack you’re preparing. Now my two cards are at the bottom of the stack. But they need to be distributed amongst the opponents’ cards. To distribute the planned cards in the stack, you’ll need to drop one individual card for everyone other than your target. The next card should be for me…But the ones you prepared are on either side of the next break. Drop everything up to the break. That should be my card with a card for each opponent above it. Great. Now there are two cards prepared for each of my opponents. But there’s only one for me, currently. Drop that next card to make sure both cards I requested end up in the same hand. Now you just need to offset the stack so that the requested cards are dealt to me. Simply drop as many cards as there are opponents seated before me in the deal. Look at that! Both cards are on track to end up in my hand. But in your celebrations don’t forget to secure your stack by injogging the next card. With the stack secured, all that’s left is to drop the rest of the pack and cut the deck at the marker. Let’s see what happens when you deal out the cards. Good job. The two low red cards are dealt to me. You’ll finish by reversing the opponents’ cut." You will have to do this by yourself under the pressure of increasingly suspicious opponents, with money (and your life) on the line. Each instruction and term in the description above is a specific motion. The small parts form the whole trick. Also, in real time, players are not necessarily sitting in the order that they are in the tutorial, or there may be a different number of players, and the cards you need to hold may be high or low cards, which changes the number and order of the drops and all that. AND, in the very last card game, you not only have to give two cards to one player, but you also have to give two different cards to TWO different players, and you have to figure that part out on your own. It’s so complicated! So complicated, in fact, that I threw my hands up at the end and watched a YouTube video of the last card game. No shame! A read part of an AMA with the devs, and apparently this game turned a lot of people on to magic tricks. Tracks. Totally unique game, worth checking out.Tue, 12 Nov 2024 18:18:10 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7828&iddiary=13332https://www.gamelog.cl/logs/LogPage.php?Log_Id=7821This is a narrative 2d sidescrolling game, pretty close to a point-and-click, but with a little more action. It's set in rural Indonesia in the 1990s, which was one of my favorite things about it, just the different setting and different perspective to offer. Some women have hijabs on, which is something you don't see in games. Characters dress is reflective of the culture, with the sandals, the uniforms of various people, and so on. It's got a neat story, often touching and sweet, but also serious and sad. It's about a couple high school kids and the end of the world, tackles death, grief, guilt, suicide, hope, community, and more. The pixel art has a great style. Gameplay-wise, things are really simple, and I think this contributed to my overall gripe about it, that it is overly long and padded. You walk around the town where the game takes place talking to people. You'll get objectives and solve really easy point-and-click style puzzles, finding objects to use here and there to progress. Often, you'll get the object you need, whereupon you will then have to go find three more things. Collect those, and then you will need to go get three more things. It's rarely exciting, but they did try to add some action into the game in the form of "combat," which involves a button timing minigame to attack and block opponents. A central mechanic is "spacediving," which is when the main character goes into the minds of other characters to solve their problems (by doing some easy puzzles). This was interesting at first, then it became tedious (how many people do I have to spacedive?!), and then at the end it added some complexity to it with the ability to spacedive and go back in time, which led to these inception moments, where you go inside someone's head, then go back in time, then go back some more, then go back some more, and you have like four timelines inside this person's head. As you make changes in one, things change in the others, and you need to figure out how to tweak various things to fix the person. Those last couple spacedives were the most interesting. I wish the game had more complex puzzle solving throughout! So, things are definitely slow moving; the game goes at a deliberate pace. The fact that the gameplay is easy, repetitive, and fairly dull doesn't help when the story is also being slowly doled out, or, especially toward the end, when it repeats over and over what is happening to one of the characters and drags the finale. But it's a good story; otherwise, I would have put the game down. Still, it shouldn't have been as long as it was. Recommend? Eh, probably only if you really like these kinds of games. Tue, 12 Nov 2024 03:47:08 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7821&iddiary=13331https://www.gamelog.cl/logs/LogPage.php?Log_Id=7826These Resident Evil games have top notch production values. I played the RE2 remake over the summer and freaking loved it. Resident Evil Village (8) isn't as good, nor is it as good as Biohazard (7) before it, but it was still a good time. I liked: - The main antagonists, who were very creative in their design and powers. I had seen the 8-foot tall woman with Freddy Krueger claws in trailers. Most of the others are cool too. - The merchant, who was morbidly obese and mysterious. I can't stop hearing him say in my head, "To hunger is to be human" and then making like a sloppy chewing sound. - The methodical way you are encouraged to explore the map. Rooms that still have items in them are red on the map, while those completed are green (or blue). You know what you've completed, and you know where you can still look for stuff. The map was excellent all around. - The little side areas and extra puzzles. I found special artifacts, weapon modifications, mini bosses, and more by exploring side paths. These paths were always interesting. - At the end, you get to go on a one-man rampage (with two different men). I always love it when games do this at the end. It's like a reward for making it that far. "Here's a ton of ammo and a new super weapon. Go crazy!" I didn't like: - The bosses were easy. You could cheese nearly all of them, mostly by walking backwards in a circle around a pillar or some other object in the center of the room, or doing some version of square strafing, and shooting at them as they followed you. Even bosses that were otherwise cool ("propeller head") or should have been difficult were easily dispatched like this. - Mini bosses glitched like three times. One, the first time you fight one of the big werewolf enemies, it was on the other side of a wall. I don't think it was supposed to come up the stairs to that spot because its head was sticking through the wall, allowing me to casually shoot it while it growled at me. Then it moved to the doorway but couldn't fit through it, so I shot it some more there until it died. Another time, there is a side boss called "the cannibal." You fight him in a room that looks something like a meat-packing warehouse. If you go out the door, he "resets" usually by "jumping" up to a platform. If you open the door, you can fire some rounds at him up there before he jumps down. Then you can go back out the door, he jumps back up, then you open the door fire at him, he jumps down, etc. Actually this was a common way to cheese enemies, when they would stop following you if you turned around and went back the way you came. They "reset" but their health doesn't. So you can just attack them, walk away, come back and attack them more, walk away, and so on. It made lots of fights really easy. - The whole game felt a little on rails. Puzzles were not difficult, and it always felt like I was being kindly led to the next place. This made it so that it never felt like I was really exploring or that I was really in danger. - The main character was so one-note. Half his dialogue was "Mia!" or "Rose!" or "You bitch!" or something like that, always yelling at the bad guys about his wife and daughter. Pros and cons. It felt almost overly polished. Like, a RE game should feel more gritty? But overall, I did enjoy it, even though it wasn't very scary compared to the last two RE games I played. Thu, 07 Nov 2024 17:14:19 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7826&iddiary=13329https://www.gamelog.cl/logs/LogPage.php?Log_Id=7784I've been playing this with Patrick all semester and we've finally beaten it. It's a strange one, like this slice of life narrative game about some housemates in England. The house burns down and everyone dies. Your job is to go to the house after the tragedy and watch fragments of past interactions, some of which you can affect by having characters make different choices, and prevent the housemates from dying in the fire. To do this, you engage in incredibly mundane gameplay, watching incredibly mundane scenes of the housemates. One woman is pregnant, and another character figures it out, and she can hide the pregnancy or not. Another guy is being blackmailed, he grows pot in his basement for his ill mother, and has a psycho ex-girlfriend who he may or may not sleep with. He also has a secret door in the basement (ooh, aah!). Another woman is a photographer and artist who owns a creepy doll. Another guy has anger issues, takes another guy's bike out for a spin, and gets beat up and the bike is stolen. He also likes to play video games. One guy's sister moves in because she separated from her husband and sleeps with one of the other housemates. Another guy is a doctor and is considering taking a job far away, but doesn't want to tell his girlfriend (who is secretly pregnant). All these things cause minor drama. All of the characters are some degree of annoying. The voice acting is mediocre. After every event, your character types some "clever" name for the event on his timeline-travelling handheld device, and you have to wait for him to type out all the letters. Despite all this, it's oddly compelling. You select events to watch on a timeline spanning about a week before the fire until the fire itself. Select the event, walk to the event location in the house, watch characters' interactions in the event. Select another event, walk to the event location in the house, watch characters' interactions in the event. Literally this for the entire duration. We decided to start from the beginning and watch all the scenes, assuming that we'd uncover information that would allow us to make dialogue choices (available in some events) that would save characters from dying. I will save you a lot of trouble: there is no way to know which combination of dialogue choices will save characters and there is no way to prevent the fire. Even when you learn what caused it, there is nothing you can do about it. The easiest solution would seem to be to have a character make a decision to do something that would prevent the fire. But no. You go by trial and error. It follows zero logic. I do not know why they designed it this way. Toward the end, you'll sort of realize that you need to make decisions for each character that will result in them being out of the house, or like at least away from their place of death in the fire. One woman, you need to get her out of her bed; another two characters, you can get them out of the house together; another guy, you need to prevent from falling down the stairs and knocking himself out; etc. And there are long chains of events throughout the timeline that apparently lead to, for example, the woman getting out of her bed. So, we played through every event and saved two of the six housemates. We clicked around on different decisions that seemed important, changing them, trying to reason our way to saving other housemates. Eventually, we found a walkthrough with instructions, which was wrong. I later found another walkthrough, which was right, and saved everyone. What an odd game! Tue, 29 Oct 2024 19:38:58 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7784&iddiary=13327https://www.gamelog.cl/logs/LogPage.php?Log_Id=7812Another quick retirement. Webbed was an exercise in frustration with the controls. So, in this game, you play as a spider, and you can spin webs. You aim to a surface you want to attach to, left-click, and release to shoot a web to swing. Or you can aim to a surface, right-click, aim to another surface, release, and you'll spin a web connecting the two surfaces that you can walk on. My favorite part of the game was the movement, which took some getting used to. I first tried to play with a controller, but the aiming was finnicky. It seemed like it'd be better with a mouse for precise aiming to shoot webs. It was better, and I got past the very beginning, but I quickly realized that this was a sort of physics puzzler. It's less about the movement itself and more about manipulating the environment and objects to move yourself and to move things where you want them. You constantly have to attach things to webs to move them around, spin webs connecting surfaces, but spinning other webs to connect the first web for support (if you've ever played World of Goo, it reminded me of that). I found it so frustrating trying to manipulate objects with webs. An early task required me to bring a cog to an ant. I accidentally dropped the cog into a pool of water that killed me if I touched it. So, I kept trying to shoot a web at the cog to pull it out, but I kept getting pulled into the water when I did that. Or, I'd attach to the cog, try to pull it out, and it would get stuck below a tree branch. I spent about 10 minutes trying to figure this out, and finally got lucky when I realized that I needed to spin a web higher to stand on to pull the cog out. Half the time, I would still fall off the web into the water anyway. In another spot, I had to pull an ant out of a pit, and that freaking ant would not come over a ledge onto solid ground. It's hard to pull stuff around where you want it, it's hard to precisely shoot a web where you want it, and objects stick to one another. For example, another time, I was trying to move a cog to some gears, but an ant that was there kept getting stuck on the cog. I kept having to try to get the ant off the cog before I could try to move the gear, but they kept inevitably getting stuck on each other. It was driving me nuts! The game is cute, and I think the webby physics puzzling is neat, but I didn't like doing it. I noticed that 97.5% of players have the first achievement, which comes a few minutes into the game. The rate for getting the second achievement (which I didn't make it to after an hour) drops to 57.4%. 40% of players bail within an hour. I wonder how many quit because they got frustrated!Tue, 29 Oct 2024 19:08:31 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7812&iddiary=13326https://www.gamelog.cl/logs/LogPage.php?Log_Id=7816I don't remember where I got this. Amazon? It's in my Steam account. Humble Bundle? Somewhere for free or in a bundle...Anyway, it wasn't on my radar, but it sounded interesting and it was so good! The Pale Beyond is a narrative, point-and-click(ish), survival, resource management game. You are recruited for an expedition to the South Pole to find a missing ship that was searching for [mystery]. Once you arrive, things go south (ba-dum!). Your ship gets trapped in the ice, the captain abandons ship with several other crew members, and you are thrust into the leadership role. After the caption & co. left, I had 25 people to manage. Those people have different roles. There are "key" story people like a photographer, the head engineer, the doctor, and the benefactor's contact, who is clearly withholding information. They can't die except through narrative choices. Then there are the regular sailors, some more engineers, scouts, and a medical team. They can die. Every day, you talk to the crew members. They will petition you for things, argue with you, your relationship (and their relationships with one another to some extent) will increase or decrease. This is the "loyalty" meter. You want them loyal to you so they don't mutiny, and for some other reasons later on. I actually had a really rare ending that netted me the rarest achievement I currently have on Steam (0.8% of players!) because of how my relationships played out. It's pretty easy to figure out which dialogue options increase loyalty (hint: be kind and understanding for the most part). You also have to manage food and heat resources. To get food, you'll need to use scouts to explore the ice around you and send crew to hunt game. To get heat, you have to constantly fuel the boiler with whatever you can find, from animals you hunt to resources you scavenge from the ship. There is also a morale to manage. If you don't provide enough rations or fuel for heat, morale goes down. Sailors will get malnourished, which, if left untreated with food, turns into scurvy. If that's untreated, the character dies. Sailors will get "freezing," which, if left untreated with heat, turns into frostbite. If that's untreated, the character dies. They can also become demoralized, which decreases the whole expedition's morale unless that's treated. You can send crew to the doctor for scurvy and frostbite, and they'll recover. The game progresses from summer to winter, so it gets colder and colder, which means that crew freeze more and more often. And as game becomes scarce, if you haven't managed food resources well, hunger becomes more common too. So, you're constantly managing your human resources too because you need people to hunt and perform a variety of other tasks. If people are out sick, you can't use them. And if they die, well, you've got less mouths to feed, but also that's fewer resources you can get. I think I had one sailor die fairly early on, then I had a bad week about halfway through the game and lost another three. I ended the game with 21 crew out of a potential 25. Not too bad! I really liked the story. Each of the main story characters plays a big role in the expedition, and they all have backstories and whatnot that influence their behaviors and relationships as the expedition progresses. Even the minor characters (the regular crew) have histories and relationships with one another. What the game does so well is create a horrific survival setting, and you feel it as you play. Like, it's life and death out there. The game plays out in several "chapters" where story events happen and then the setting and conditions for resource management change a bit. It kept me on my toes the entire time, and I never got bored. I often felt in a precarious position, like one mistake, one poor week of resource (mis)management could have a domino effect and ruin the expedition. I only died one time, and that was because of an inevitable story event that I didn't anticipate would happen (at least, not as soon as it did). The ending is different than what you would expect and, although it changed the game up, I thought it was neat. If you want a harrowing polar adventure with some challenging resource management and decisions (that isn't overwhelming with the amount and complexity of mechanics!) and a well written story, then this is a good bet. Tue, 29 Oct 2024 06:31:19 CSThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=7816&iddiary=13325