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There were generally 2 distinct schools of thought in Treasure's oeuvre. Games led by Hideyuki Suganami, or Koichi Kimura. Treasure games didn't really have directors. Off the top of my head, Alien Soldier, SILHOUETTE MIRAGE, and Mischief Makers are the only games with this distinct role credited. That's because they prided themselves on their games being a team effort where everyone could pitch in on equal footing.

But well, they still ended up to an individual's particular tastes. Koichi Kimura's games-- Dynamite Headdy, SILHOUETTE MIRAGE, Bangai-O (co-led with Mitsuru Yaida, team lead of Gunstar Heroes) Stretch Panic, and Wario World-- all had a tinge of hardcore gameplay to them; But were mostly focused on the art side of things. This wasn't to the gameplay's detriment however. These were mostly games that were more about a particular concept than how a player might optimize their play. That's why these games aren't as traditionally difficult as Suganami's work-- Alien Soldier, Mischief Makers, Rakugaki Showtime, and Sin & Punishment. These games are particularly more hardcore than the other side, but you can still see that they're all patently treasure.

There's a really unique design overhead here; Where both sides have games that offer a pretty big conceptual hurdle for the player to jump over. Stretch Panic and Sin & Punishment's introspection on their worth as a 3D title come to mind. In Stretch Panic, you're offered twin stick control over Linda-- but you don't control the scarf depth wise. The right stick only controls it's horizontal and vertical position relative to the camera. You have finer control in the focused 3rd Person view, but depth is handled by throwing the scarf forward with R1. It has a maximum reach, where by holding R1 it's active until it latches onto something, either by you moving Linda into range of something or controlling the scarf itself. This game feels kinda clumsy because it's controls are modular in a way that isn't conventional at all.

It's a similar thing with Sin & Punishment. This game is extremely, extremely dense. A succinct account is that: It's almost a light gun shooter, but imagine if where you stood at the machine mattered due to bullet inclination. The relative position between your character and the gun reticle is what the game is most focused on. It's a very fun concept the game does a lot with as it essentially traps you into positioning either you or your reticle-- or both incorrectly often.

What does all of this have to do with Mischief Makers? A lot! One of the most interesting things about this game is it's S Rank time requirements. Some end up being seconds shy of the world record. No casual has ever gotten an S Rank in this game, but it's not like the game has any particular reward for it aside from giving you that rank. You'd think the game was always this hard fought, but it's not. It's easily one of Treasure's easiest games. A choice no doubt made to be approachable by a general audience; Kind of like with Kimura's games. This game's the perfect intersection of those 2 similar but distinct worlds. The insanely stylish characters and world that feel like they have their own multimedia franchise Kimura's games have-- To the hardcore and thoughtful mechanics design Suganami's games have.

Mischief Makers has a really simple concept: Grabbing objects, shaking them, and throwing them. It's kind of the main thing of the game, but it almost feels entirely secondary to it's movement. This game's movement is easily my favorite way any 2D character has ever controlled. Marina has a huge gradient of jump heights, and she can jump even higher when you hold any up direction. She has a slide that can be jump canceled, and a 4 way dash. Anyone familiar with speedrunning this game knows you can cancel the updash into a whiffed upwards grab-- and chain together upwards boost to basically gain flight. It feels so good to do, and while it does break certain challenges-- With or without it, you're gonna be playing the game at it's fullest. That's kinda what Suganami's games are about.

ande pra frente, aperte A, repita infinitamente. a história não faz nada muito interessante mas até que os gráficos e visuais do jogo são bonitos

I had to sell my car when I moved to NYC 9 years ago and this game reminds me of what I lost. The feeling of sitting out a storm, watching the rain streak on the windshield while music bleeds from the radio. Or of perilously watching the hydroplane warning light flicker at 3 am while sandwiched between two eighteen wheelers on I-95. It can be meditative in one moment, harrowing the next.

Meu real problema com esse jogo é o fato do default da posição da arma ser na horizontal, e isso atrapalha muito. Principalmente quando vem uma horda de inimigos de diferentes direções. Mas de resto, acho só um pouco abaixo do primeiro.