The term demake gets thrown around kind of a lot nowadays to just mean "remake I don't like" but I always thought of it to mean remaking a game on weaker hardware. In this case, we have Ristar for the Sega Game Gear, which is far weaker than the Sega Genesis.

TBH? It's by far the most impressive deconversion of a game ever made, to the point I much prefer it to the Genesis version. All the levels I disliked such as the water levels are replaced with new more straightforward levels like a cool rainbow level (be sure to play the Japanese version of GG Ristar!) or bomb disposal level. I just enjoy not having to play with the swimming physics again.

The music and graphics are a bit of a downgrade of course, but GG Ristar punches far harder than its weight class would suggest. I could listen to its version of the OST for ages https://www.youtube.com/watch?v=iZIuBpTd9P8

Also, even the English version retains the story from the Japanese original which was changed in the English Genesis release. Very neat! But I think the coolest technical achievement is how they managed to replicate the ending effects on Game Gear! https://youtu.be/SxdHf1xz0w4?t=2254

It's the same Ristar you know and love, only with all the filler bits removed and replaced with mostly more interesting things imo. The new collectibles are really fun to casually walk through and I appreciate how many extra things there are to grab such as enemy shields and spears. Easy rec for fans of the original.

Average reading time: 10 minutes

A challenging platformer wrapped in a very pretty package.

This isn't my first foray with Croc. I distinctly remember attempting to play through this game a number of years ago and then quitting in world 3 due to a crazy difficulty spike. Now, a few years later, my brain spiders command me to once again control the lovable green reptilian and try to beat this game for good. Of course, I knew what I was getting into, and decided to make one small, yet absurdly essential change to make this game more fun.

Now, anyone who's read my Billy Hatcher review knows my opinions about lives systems in games, and that opinion of mine isn't going away. Because of this, I implemented an unlimited lives cheat for this run. As I go further into detail about my time with Croc, it will become clearer as to why I did this, but I did want to state this early on, just for the sake of clarity regarding my experience this time around.

Now, Croc has a simple story. You witness Croc floating in a basket towards a group of Gobbos, who then adopt and raise him. Soon, Baron Dante makes his presence known, sending his troops to kidnap the Gobbos. The Gobbo King bangs a gong to have Croc sent away from the chaos, allowing Croc the chance to fight back and save his friends!

A simple plot for a simple game. However, the instruction manual gives way more detail about the Gobbo world. Reading it will teach you more about the Gobbos as a species, the Gobbo King, referred to as "King Rufus the Intolerant", Croc's experiences growing up with the Gobbos, and even information about Baron Dante's evil group, referred to as "The Dantinis". It's also a bizarrely funny read, with a lot of jokes that stick the landing very well. If you want to read something that will make you constantly double take, read the Croc instruction manual!

Once you take control of Croc, you'll immediately notice a point of contention regarding this game: it's a 3D platformer with tank controls. Needless to say, not the most comfortable platforming experience. Even using an analog controller does not fix this issue, sadly. You'll often find yourself stopping to turn yourself to line up a jump, and jumping feels very stiff. Whatever direction you plan on moving in the air is the only direction you're moving, with little room for adjustment. Over time, of course, you'll get used to the platforming mechanics, but you'll never find yourself saying "this feels great to play!"

Aside from running and jumping, Croc has a few extra moves at his disposal. One of the most vital moves he possesses is his ability to turn around! Using a dedicated button, Croc can do a 180 degree turn whenever he wants, which is a godsend for re-orienting yourself to line up another jump. If you do it while he's on the move, he'll do a really cool flip that made me react like this when I first saw it.

As for Croc's combat ability, he has two moves to use. First, he has a tail swipe move that's great for deleting enemies from existence. His other move is a ground pound, performed by hitting the jump button twice. Aside from dispatching enemies, this move will allow Croc to bust open crates and objects blocking tunnel passageways. Gonna be honest here, I don't like that you have to hit jump twice for this. I wish it was mapped to a different button, because I would often have scenarios where I was doing a precision platforming section that required me to jump as soon as I landed on a platform, and if my timing was off slightly it would result in Croc stopping in midair, asserting the ground-pound position, and plummeting to his death. Not fun.

It's also worth noting that when Croc performs his attacking moves, he has a number of onomatopoeia's he can blurt out, such as "yazoo!" or "kersplat!" You would think this would get annoying after a while, but honestly it never bothered me. I think it adds to Croc's character, being a young croco on a big adventure to save a tribe of people who have a tradition of shoving kitchen utensils down their pants (PLEASE READ THE INSTRUCTION MANUAL I PROMISE I DIDN'T MAKE THAT UP)

Speaking of Croc as a character, oh man, would you take a look at these little guys! This game is filled to the brim with scrimblo-type characters, little dudes that you're gonna want plushies of as soon as you see them. They're EVERYWHERE! If you love little weirdos and want to catalogue them all, this is the perfect game for you. Absolutely loved seeing each new creature emerge on my screen as I played.

Okay, so we have cute characters in a fuzzy 32-bit world clearly made for kids. The controls take some getting used to but surely the main game doesn't get too taxing, right? Oh, how I wish I could say yes. For the first two worlds, it's honestly a pretty comfortable romp. Level design is highly forgiving, featuring non-intimidating level design unless you're going after collectibles. Once you hit world 3, though, you'll start seeing much more difficult stage layouts requiring you to perform more precise movements to get by. For me, this is where Croc begins to fall in terms of quality.

So, Croc behaves like Sonic the Hedgehog when it comes to taking damage, in that he'll drop this game's ring equivalent (gems) when getting hit. Get hit without them and you'll lose a life. It's around world 3 where you'll begin facing much more challenging platforming over damaging floors and bottomless pits. Because of this, it is incredibly easy to lose lives. Thankfully, you're given a checkpoint at every door/tunnel you exit, which means a death won't set you too far back. Getting a game over, however, sends you back to whichever stage you last saved at, which means starting a level over again from the beginning.

Now, on paper this doesn't seem like too bad of a punishment, but after getting game over's over and over again due to how easy it is for Croc to die I began to find it intolerable, hence why I opted for the unlimited lives cheat. I can accept dying and having to re-do a small section but having to re-do a stage over and over due to game overs, especially when you get close to the end of a stage, just feels intolerable in the modern era. If you want to tackle this game without such assists, then all the power to you. Just be prepared for a lot of level attempts in the back half of the game and lots of visits to specific stages to grind extra lives hidden away in secret spots.

When it comes to collectables in stages, you really only have two to worry about: Gobbos and colored gems. There are six Gobbos hidden in each stage, and collecting all of the Gobbos in the game allow you to access some secret levels that unlock even more secret stuff. Throughout the stage, you'll find five of these Gobbos hidden in boxes, cages, and on hard-to-reach platforms. "Wait hold on five? I thought you said there were six Gobbos in a stage!" So remember when I mentioned colored gems? You can find five of these in each stage either disguised as regular gems or hidden in boxes. Collecting all of these unlocks a door near the end of each stage, where you will either complete a platforming challenge or a minigame to rescue the last Gobbo.

The platforming challenges are straightforward enough. However, it's the minigames where I take issue with this system. While most minigames are perfectly fine, there's one that I dislike immensely. Basically, you have a cauldron that you control by jumping on two arrow buttons. Your goal is to catch the gems descending from the sky. Catch them all and you're awarded a Gobbo. The problems here are that this minigame goes on way too long, and if you miss even one, the mini game ends. You may think "Oh, if I die I can reset the mini game and try again." A smart idea, but sadly not the case. Losing any minigame without securing a Gobbo will require you to beat the entire stage again to retry it. This means re-collecting every Gobbo and colored gem along the way, which is a frustrating process if it happened in a more difficult level, even if you know what you're getting into.

With how difficult the stages can get, you would think the boss fights would also prove to be challenging. Surprisingly, the bosses in this game are absurdly easy. It's your typical "wait for them to attack and hit them when they're vulnerable" type of fights throughout the game, and dodging attacks is as simple as running in a circle around the boss while they do their thing. Also, almost every boss does this thing where they just stop animating and freeze after you deal the final blow, which is always funny to witness.

The more thing I want to touch on is the music. The soundtrack is pretty good! There's some leitmotif sprinkled throughout the stages, with overworld and underground areas sharing some melodies. The title screen is also pretty catchy and may or may not have had a chunk of its melody lifted from it to be a part of a main theme for a Nintendo game.

Speaking of Nintendo, it's worth noting that this game began life as a pitch for a 3D Yoshi game. After the pitch was turned down, it became Croc, and you can kinda see some of that Yoshi blood in here a little bit. You have a green reptile protagonist who can ground pound (a move Yoshi had in Yoshi's Island) as well as a bad guy who uses magic to make smaller creatures into tough boss enemies. Swap the characters for Yoshi's Island ones and add a tongue move and flutter jump to Croc's arsenal and you basically have a Yoshi game, which is fun to think about as you experience this game.

Overall, I didn't hate Croc. I love his design, and the Gobbo Archipelago is fun to explore. The enemies you encounter are all cute and charming, and hearing Croc exclaim things like "Wazoo" never gets old. However, the stage design, especially in the back half of this game, combined with the awkward controls make this a difficult game to clear. I recommend giving this game a shot, despite the difficulty.

The aesthetics of this game invoke an aura of childhood innocence and succeeds at taking you back to a time where things felt simpler, even if the game isn't the easiest around. For that reason alone, I feel that Croc is worth visiting today. Even with the rise of low-poly indie 3D platformers, there's none that I am aware of that really capture the welcoming aesthetics of Croc.

Hearing that new video game system you’re about to buy comes with a free title designed to show off its special capabilities likely calls to mind some paltry minigame compilation à la Welcome Park on PS Vita. Sony has actually preloaded their latest home console with a full-fledged 3D collect-a-thon platformer of remarkable quality though! It may not end up being as iconic as Wii Sports, but is a very welcome member of the PS5’s library nonetheless.

It feels like a gleeful celebration of the company’s long history. Not in a supercilious, self-aggrandizing way, but in a manner more akin to sitting down with an old friend and reminiscing fond memories. Everywhere you look there’s an Easter egg or deep cut reference that’s been lovingly placed there to bring a smile to the face of any abiding PlayStation devotee while reminding them of the types of experiences they can’t get anywhere else.

As delightful as all of that is though, it’s the gameplay that matters most and if that didn’t hold up then this package would carry no value. Astro’s Playroom manages to succeed due to spacing out the stages meant to make use of the controller’s unique functions with excellent traditional ones that you can explore and grab things in at your leisure. The levels that see you tilting the DualSense and playing around with its touchpad and adaptive triggers admittedly are a tad gimmicky (especially those dang frog suit sections), but remain fun in spite of that by never outstaying their welcome.

Another aspect that really impressed me was the sheer amount of interactivity. In the starting hub area alone, you can smack all of the little Bots to have them tag along behind you and amass a huge horde of followers. What purpose does this serve? None as far as I can tell! It's just a single example of the many neat little features the devs have included that allow you to find extra amusement in engaging with your surroundings. It's something I wish more games would do.

This might also be the perfect length, striking that nice balance between charming demo you spend a little time with before moving on to the games you actually bought the console for and a more fulfilling offering that can keep you coming back for a few additional hours via the healthy amount of collectibles to hunt down. AP won't be on any top ten of the PS5's lifespan lists when all is said and done, yet is a fantastic freebie regardless that there's absolutely no reason for you to not check out if you own the hardware.

9/10

One of my favorite games that I never want to play again. When I originally played Breath of the Wild, it was a truly special experience. The sense of exploration and discovery was unlike any game I had played prior. That first blind playthrough was something special, which is a double-edged sword. I usually don't replay games so that isn't something that would really affect me but this game sticks in my mind. Breath of the Wild does not hold up on subsequent playthroughs because you can only play a game for the first time once. However, I believe there is more to how I feel beyond that.

I jumped into each DLC as they came out but never finished them. With each DLC that came out, I was having an increasingly less enjoyable time. Maybe if I played them from the beginning of a fresh save file, things may have been different. But then that leads to the first problem of not being able to play the game blind again. The DLC doesn't feel like it should be played from an existing file, but to enhance a new playthrough. But enough about the DLC itself, whenever I jumped back in, the experience felt hollow and the things to do were tedious. These were feelings that I never felt in my initial 100+ hour playthrough of the base game.

These were all feelings that I felt in Tears of the Kingdom and made me look back on how I actually feel about Breath of the Wild. I have around 50 hours in Tears of the Kingdom and this feeling of hollowness crept in far sooner than its prequel. After the honeymoon phase wore off, I just felt bored with it; copy-pasted activities, Ubisoft towers, and resource gathering. All of these things that I criticize in other games, but I didn't criticize in Breath of the Wild. It made me reflect on Breath of the Wild and wonder how would I feel if I played it for the first time now.

Would I have gushed about it as much as I did when it was new, I don't know. Maybe the hype of getting a new console, that at the time was being scalped to high hell, carried my enjoyment, again I don't know. Another thing that is worth noting, is that this is the first Zelda game I finished. I played many prior but this was the first one to get me to finish, why? Again, I don't know, my feelings are so cloudy on this title. All I know is that Breath of the Wild is one of my favorite games that I never want to play again.

P.S. Weapon durability is fine, you're just too attached to some generic weapon that you'll replace in the next ten seconds.

So above and beyond what a tactical police shooter would reasonably need to have in so many different areas that you wonder how it even came to be. SWAT 4 may sit at the top of the very narrow category of most anxiety-inducing simultaneous first and second person shooters with needlessly detailed environmental storytelling, but it’s led me to a much broader, more general thought – for how saturated and longstanding a genre it is, how much has what you can do with a shooter really been explored?

A few things about it bring this question to mind, but the main one for me’s its morale system. Each enemy and civilian has a different level of morale which affects how likely they are to surrender, pretend to surrender before pulling some kind of stunt or be nakedly noncompliant whenever you and your squad shout at them. By themselves, these kinds of reactions go a long way toward making it so that the player can never guess what’ll happen when they open any given door, but what takes this system to the next level is the sheer amount of factors which can affect it; whether they’re a group of trained gunman or a single inexperienced gangbanger, whether they’ve been stunned with some form of nonlethal attack, whether there are any hostages for them to take advantage of or hostiles to point you in the direction of, how many of you there are versus how many of them, how much damage they’ve sustained to each of their limbs and, my favourite, surprising them with warning shots. I’d never realised until playing this that hitting or missing a target in a shooter doesn’t necessarily have to be a dichotomy between success or failure – here, the latter can also be a tool for intimidation when Officer Backloggd User’s vocal chords aren’t cutting it alone. Firing a shotgun near someone’s feet to twist what’d normally be a failure state into something potentially advantageous extends past the fantasy of feeling like a Michael Mann character and gets the mind wondering about the uncapitalised potential of not just this genre, but others too. Why, for instance, do RPGs still often limit us to dialogue boxes labelled (Intimidate) or whatever when a far more organic implementation of that sort of interaction’s right here?

This sort of unpredictability which causes each attempt at the same level to play out differently every time’s a specialty of SWAT 4. Choosing different entry points coupled with NPCs’ semi-randomised spawns contribute a fair amount to this too, especially when specific characters are part of the mission’s objectives in some way, though the fact that the aforementioned limb-based damage system also applies to you and your squad plays a large role as well. While the extent to which this game wants you to take it slow’s immediately felt in the pairing of its relatively low movement speed and how harshly guns’ crosshairs widen, it becomes even more apparent when you’ve got an injured leg, head or arm. Suddenly, you find yourself even more hesitant to attempt to follow a fleeing suspect through a series of doors they’re shutting behind them, and whatever strategies you had in mind when selecting your long-range equipment have been scuppered by your diminished accuracy. If it sounds restrictive, don’t worry, because it can open up about as many avenues of play as it can close; one example I particularly enjoyed involved clearing a mission which heavily encourages you to use nonlethal weaponry by instead aiming for unarmoured limbs with 9mm FMJ rounds, since it’s easier to skirt around score penalties by incapacitating hostiles rather than killing them.

Although there’s an easy comparison to be made in terms of the replayability of individual encounters with its contemporary F.E.A.R., down to how heavily this stems from the AI’s dynamic behaviours, there’s another, less expected parallel in how thickly it lays on all things atmospheric. Breaching a two-storey room filled with explosive canisters and over half a dozen heavily armed death cultists is nerve-wracking enough, then it decides to hit you with a scene like this just moments after. It’d be easy to think of moments like this or a much earlier, loose equivalent of VTMB’s Ocean House Hotel as borderline genre pivots, but they’re more tonally synergistic than they seem at first. This is a game in which you die in two clean hits regardless of difficulty, so much as taking your eye off a bodycam for a second can prove to be fatal and, as noted above, you can never fully anticipate what’s going to greet you on the other side of a door, so it makes sense to ensure that the player can never anticipate what’s up next on a conceptual level in addition to a mechanical one, as well as to occasionally dial up the horror and exacerbate the uneasiness that average Joes with Uzis are already so good at instilling.

Irrational’s prior experience with horror isn’t the only instance of their ancestry rearing its head in the least likely of places, either. If you weren’t aware that they originated by splintering off from Looking Glass, having played one of the first two Thief games prior to this will probably clue you in, because SWAT 4’s incomplete, often hand-drawn, hastily annotated maps are straight out of those. You can only ever make a rough mental approximation of the layout of wherever you’re about to raid because of it, and chances are it’ll have geographical changes, potential hazards or other objectives they can’t possibly account for. It’s a small but brilliant touch which makes every eruption of overlapping GET DOWNs and WHERE’S MY GODDAMN LAWYERs mixed with gunfire all the more hectic as you’re inevitably forced to piece together your own whereabouts in the thick of it, usually while juggling your own perspective with that of a squadmate’s bodycam or a sniper feed to boot.

Despite how spur-of-the-moment all of this makes it sound and how many different ingredients are packed into it, up to and including some of Eric Brosius’ funkiest work, SWAT 4’s really a game of exceptionally singular focus; as the objective menu puts it, restoring order to chaos. It’s felt even in the size of its levels, which are just right for how many moving parts they each have and the number of ways in which those parts can be manipulated – you can charge me on account of lying if I told you that it’s always fun hunting down the last remaining suspect regardless, but it is always intense, and in general the most minor of blemishes on what’s otherwise one of many attestations to the fact that we’d probably be grand if games had just stopped progressing past what they could do in 2005.

Keep your cool, fiddle with your squadmates’ equipment and make regular use of the command menu to breach whatever obstacles are between you and giving this game a try, boss.

"Character action" has never done it for me. I feel the floaty combos and distant cameras really dampen the impact of combat. I'm so glad that we live in the timeline where instead of representing the future of the Resident Evil series, Devil May Cry became its own franchise. Resident Evil 4 was a game that Capcom attempted to make several times, before begging Mikami to come back to the director's seat, and even he scrapped a couple of false starts before he settled on the game he ought to be making. The change in camera was the big thing that players talked about, but it was the shift in focus and tone that really made Resi 4 so beloved by its biggest fans. Mikami had gained skill, establishing multiple complementary mechanics and tying that to a campaign, but he was also more confident in his own sense of humour and whimsy. Resi 4 was a game with a real sense of personality, but it was compromised by the pressures of the surrounding franchise, the publisher and the fanbase. For his next game, he'd disregard all these aspects and make it entirely for himself.

When I first played God Hand, it took about five seconds before I knew I loved it. It's very much built on the back of Resi 4, but makes no apologies for its eccentricities. It takes the weight and impact of Resident Evil 4's shotgun and puts that behind each punch. Resi 4 utilised the sensibilities of modern games just enough to adopt a mostly useless camera manipulation system to the right analogue stick, but God Hand foregoes those conventions entirely, tethering it to your critical dodge system. God Hand doesn't care about any other game. It's fully confident in what it's doing.

God Hand's vibe is a very divisive thing, and not something you can choose to opt out of, but a truly cultured mind will undoubtedly side with it. Its sense of humour comes from a very specific place. It's a deep affection for Fist of the North Star and low-budget 70s kung fu films, but there's so much fondness for late-80s and early-90s action games, too. It loves the ridiculous, digitised voice clips from Altered Beast and Final Fight. The greatest joy is when you encounter an absurd, one-off, late-game disco miniboss, and he hits you with the same audio clips as the standard grunts from Level 1. This is a game full of explosive barrels and giant fruit. Shinji Mikami started production on Resident Evil 4 trying to fulfil the obligation to make his scariest game ever, and by the end, he got so bored with that direction that he created a giant stone robot Salazar that chased you through brick walls. God Hand was the logical next step for him.

There's a focus to God Hand's ambitions that implies Clover really knew what they had with it. A few ridiculous bosses and minigames notwithstanding, the levels are typically fairly boxy and nondescript. All the attention is on the distribution of enemies and items. It's spectacularly un-fancy. Flat ground and big brick walls that disappear when the camera gets too close to them. It doesn't care. The fighting feels great, and we're having a great time with all these stupid baddies. Fuck everything else.

Your moveset is fully customisable. Between levels, you're given the opportunity to buy new moves, and apply them to your controls, either as specials tethered to a specific button combination, or even as part of the standard combo you get while mashing the square button. It offers players real versatility as they figure out their preferred playstyles, and what works for them, while trying something less intuitive can open you up to new approaches. There are quick kicks and punches that overwhelm opponents, heavy-damage moves that take longer to pull off, guard breaks, and long-range attacks that can help with crowd control. There are certain moves and dodges that are highly exploitable, and risk breaking the game's balance. Clover are aware of this though, and whenever they found a strategy that made the game boring, they made sure to penalise you for using it by boosting the difficulty massively whenever you try it.

That's the big feature. The difficulty. God Hand starts out really hard, and when the game registers that you've dodged too many attacks or landed too many successive hits, it gets harder. This was a secret system in Resi 4, but in God Hand, it's part of your on-screen HUD, always letting you know when you've raised or lowered a difficulty level. Enemies hit harder, health pick-ups drop less frequently, and attacks become harder to land. The game's constantly drawing you to the edge of your abilities, and if you die, you have to try the entire section again from the start. It never feels too dispiriting, though. You retain all cash you've picked up after you died, and you feel encouraged by a drop in difficulty. If you do well enough on your next attempt, it won't take long before the difficulty gets back to where it was. There's also some fun surprises for those who get good enough to maintain a Level 3 or Level Die streak for long enough, with some special enemy spawns and stuff. You feel rewarded for getting good, but never patronised or pandered to. Your reward is a game that felt as thrilling as it did when you first tried it.

It's the little eccentricities in God Hand's design that I really admire. Pick up a barrel and Gene will instantly shift his direction to the nearest enemy, eliminating any extraneous aiming bullshit, and pushing your attention towards the opportunity for some cheap long-distance damage. If an item spawns, it remains there until you pick it up, giving you the opportunity to save it for when you really need it, even if the backtracking route becomes a little ridiculous. Since the camera is so stubbornly committed to viewing Gene's back, they've implemented a radar system to keep track of surrounding enemies, and it makes little sense in the context of the scenario, but the game doesn't care about that stuff. It's another thing that makes the fights against gorillas and rock stars more fun, so run with it. Between each section of the game, you're given the opportunity to save, or warp to a kind of mid-game hub world, with a shop, training area and casino, which you can use to unlock better moves and upgrades when you need them most. You can gain money by taking the honest route and chipping away at its toughest challenges, or take the less honourable route with slot machines and gambling on poison chihuahua races. It's blunt, utilitarian, and it's entirely complementary to the way God Hand feels to play.

It's the consistency in tone and intention that completes the package. God Hand knows what it is, and how it feels, and it never betrays that. It doesn't obsess over lore or characters, but it really has fun in introducing new baddies and scenarios to put you in. And I really like its taste. I like that all the big bosses meet up at a secret hell table to exchange barbs between levels. I like the fight on an enormous Venetian gondola. I like the dumb, weird, repetitive soundtrack. The developers are world-class talents, and they just wanted to make a dumb, stupid, fun game.

I probably ought to give the soundtrack a little more credit. This is from Masafumi Takada, out on loan from Grasshopper Manufacture before he became a real gun for hire, working on Vanquish, Kid Icarus: Uprising, Danganronpa and Smash Bros Ultimate. He's great at elaborate, high-energy compositions, but his work on God Hand is some of his dumbest stuff. It's great. The constant Miami 5-0 surf rock, the warbling Elvis boss fight music, and the Flight of the Bumblebee guitar for the fight against a giant fly. He's having the time of his life on this one, fully liberated from the pressures to convey a consistent tone or atmosphere. It's stunning work, and he makes the correct call every time he has to write a new piece of BGM for God Hand.

Shinij Mikami is a bit of an enigma, and his work on Resident Evil has unfortunately typecast him as a horror director, but he's never expressed a real affinity for the genre. He was put into that position under an obligation to Ghouls 'n Ghosts' Tokuro Fujiwara, and the game he ended up making was full of corny heroes and giant snakes. The subject matter was a shock to audiences in the mid-nineties, but in reality, it wasn't that far removed from his work on SNES Aladdin. By my estimation, God Hand's the closest we've come to seeing the real Mikami through his work. He's made Resident Evil 4, and he wants to leave that behind him, but EA and ZeniMax kept dragging him back to his biggest hit.

God Hand feels like the only point in history God Hand could have happened, and it's pretty wild that it did in the first place. I mean, it makes sense that once you hand Capcom the Resi 4 Gold Master disc, they'll let you do whatever you want, but they were so rattled by the result that they fired all of their key talent and started making calls to Canada to produce Dead Rising 2. Confidence in Japanese development was at an all-time low after 2006, and the PS3 and Xbox 360 resulted in some of the most embarrassing entries in many legacy franchises. The PlayStation was born out of a SNES project, and that ethos was what drove the first decade of Sony Computer Entertainment. Afterwards, a new game proposal would not be greenlit without referencing the design of the latest Grand Theft Auto. The Konami, Namco, Square and Capcom that we have today don't reflect who they were in the nineties and early 2000s. To me, God Hand feels like the final page of that chapter. But, man, what a fucking statement to close out on.

After the release of Castlevania Rondo of Blood it would be logical to think that Symphony of the Night came next, however, two other games with the classic formula were made before, being these Castlevania Bloodlines for the Sega Genesis/Mega Drive and Dracula X for SNES, being the first of these 2 the one I will talk about in this occasion.

This game is a bit strange compared to the past 10 titles, as both the visual aspect and the setting are quite different. This time the story is set in the 20th century, a more contemporary era. We take the role of Jhon Morris and Eric Lecarde, two vampire hunters who, in the absence of the Belmont family, have the role of stopping Dracula and his servants. Dracula as such has not yet been resurrected, however his niece, Elizabeth Bartley, plans to bring him back to plunge the world into darkness.

So yes, this game gives us the possibility to play it with two different characters. John Morris has the Vampire Killer whip, so his gameplay is based on the classic gameplay of all the previous Castlevanias, albeit with some nice additions like being able to swing with the whip by hanging from any surface. Another day we'll talk about what happens when someone other than Belmont uses the whip. And we also have Eric Lecarde, someone who fights using a spear made by Alucard, who can attack in several directions similar to Simon Belmont in Castlevania IV, but with a more limited speed and range, and we can also do a super jump if we crouch for a moment and then jump (reference to SMB2?).

This game was clearly developed by a different team than previous Castlevania games (the Contra team, I suspect) and may have been devised for Western audiences primarily. The game has virtually no religious references, for example, the crosses were changed to a common boomerang. The hearts were replaced by symbols with the letter “C” and blue orbs. The whip upgrades are now represented with an eagle (like the weapon upgrades in the Contra games) and the enemy design is a bit strange. It looks as if the monster designs are straight out of an 80s western cartoon... and it certainly doesn't look very “Castlevania”, it clashes quite a bit with the designs seen in both past and future installments of the series. However, where this game totally hits the nail on the head is in the environments, as they totally capture that gothic and grim setting of the series, but what makes it more impressive to me is that many of the locations in this game are based on real life locations, which also makes the set of levels feel more varied from the typical Castlevania game. Although truth be told, the game graphically doesn't look as good as the previous 3 installments either, it still remains one of the best looking games of the 16-bit era, even displaying a lot of graphical effects that I never imagined the Sega Genesis/Mega Drive would be capable of. There is also a continues system, so if you lose all of them you will have to start from the beginning of the game... well, this is actually a lie, as the continues become totally trivial if we take into account that this game also features a password system, so you will actually only have to start the level from the beginning and not the whole game as such.

Moving on to talk about the gameplay, Bloodlines decides to take an even more classic scheme that Rondo of Blood had already taken, and to be honest, I'm a bit disappointed, because it doesn't feel nearly as polished or satisfying to play. Controlling John feels very clunky due to how limited his mobility is and also how weird his jumping and walking animations are, you can only attack forwards, downwards and diagonally upwards (which I imagine was only implemented because of the swinging mechanics), and in this game you can't instantly jump down stairs either, I dare say it feels like a complete downgrade from Super Castlevania IV and Rondo of Blood, I'd go as far as to say that Simon in the remake for Sharp X68000 computers feels even better to control. It's not too bad, as it plays similar to the NES Castlevania and those still have fun gameplay, but it does feel like a step backwards coming from games that had presented more fun propositions.

Even so, it's not all bad, because this Castlevania does have some good new mechanics that are pretty cool. For starters, the swinging mechanic that I mentioned before is really fun to use, because while swinging you inflict damage to the enemies you touch and you are invincible, plus swinging can also reach more places. Another addition that I also like is the new maximum level of the whip, which is like a super powerful blue whip of energy that destroys all enemies very easily, the disadvantage, you can lose this upgrade just by receiving a hit, so it is something that ironically will only be useful when you have enough experience in the game, as a way to reward the player's skill. And finally, we can power up all the sub-weapons using ↑+C, which is pretty cool.

Ironically, one aspect where this game does feel very Castlevania is in its music. This was the first Castlevania game to feature the compositions of Michiru Yamane (the composer of Symphony of the Night and subsequent games), and for her first soundtrack in the franchise it was a very good one indeed. Her style completely nails the Castlevania setting; they have that touch of classical style music combined with that moving and catchy touch.

Conclusion
Although in some ways it feels like a step backwards for the franchise, making it the weakest of the good Castlevania games for me, it's still a very solid game, and still an interesting take on the classic Castlevania formula.

Eu sou completamente apaixonado por Tekken desde a infância, sempre foi uma das minhas franquias favoritas e a recepção que Tekken 8 vem recebendo é possivelmente a maior que a franquia já teve e eu não poderia estar mais feliz. Não tem um jogo da franquia do qual eu não tenha gostado ou não tenha gastado milhares de horas (tem o Tekken Advance mas...) e até hoje tenho um carinho tremendo. Eu simplesmente amo lore, e mesmo em jogos de luta sempre gostei de descobrir mais sobre os personagens. Eu literalmente passei a minha vida toda até esse ponto lendo sobre a lore de Tekken, aprendendo sobre os personagens e acontecimentos, vendo e revendo os endings um milhão de vezes e sinto que conheço todos os personagens como um livro aberto. O modo história de Tekken 8 é um presente pra um fã apaixonado, e um testamento ao legado dessa franquia.

Tekken 8 deu uma goleada no MK 1, e isso fora o baile. Apesar de pioneiro, uma coisa que sempre me incomodou nos Story Modes de MK é o fato de como o roteiro é limitado e prejudicado pelo fato de cada capítulo ser atribuído a um personagem e a um número X de lutas. Isso prejudica muita coisa e limita muito em como as resoluções são concebidas, e graças a isso já rolou muita porcaria. Tekken 7 fez um bom Story Mode cinematográfico sem essas amarras, mas Tekken 8 elevou isso a estratosfera, as lutas que rolam são de acordo com o que o roteiro exige pra seguir adiante com a história e ainda vai além, o storytelling também é presente nas lutas, seja pela gimmick, trilha sonora ou diálogos, a história também está sendo contada no gameplay e Tekken 8 faz isso de forma exemplar e empolgante, tendo custcenes de tirar o fôlego junto das transições incríveis de CGI pra gameplay.

Ryu, Sol Badguy, Kyo Kusanagi são alguns dos protagonistas de fighting games que tiveram seus arcos devidamente fechados, e o Jin era um dos que faltavam, sempre de escanteio e tomando overshadow do Kazuya, Heihachi, e em certo momento até do Lars. Com o palco sendo preparado há mais de 20 anos, o homem teve seu momento, com um crescimento e amadurecimento emocionantes que eu realmente não esperava ver. Cada callback e referência a coisas do passado são de tirar sorrisos do rosto, e seu último capítulo me tirou gritos de empolgação como se eu fosse uma criança jogando Tekken de novo, me fazendo lembrar de toda a trajetória que tive com essa franquia desde que era pirralho, seja de quando joguei Tekken 3 pela primeira vez e ficando encantado com tudo que o jogo oferecia, ou quando vi Tekken 5 aos meus 12 anos tendo aquelas CGs de outro mundo pra época, Tekken 8 me fez sentir algo com essa franquia de novo, nessa caso uma celebração de ver depois de tanto tempo esse arco encerrando, e de celebrar essa franquia que faz parte da minha vida desde sempre... cara como eu amo Tekken.

O gameplay é simplesmente perfeito. Tekken na minha opinião sempre foi inigualável como jogo de luta 3D. A adição da barra de heat caiu como uma luva, trazendo um novo dinamismo a um jogo que já era cadenciado, sendo bem equilibrado e sempre convidativo a novos jogadores. Os cenários são belíssimos e os sound effects são deliciosos de ouvir, cara, não tem o que dizer, é peak.

Hora de treinar muito e jogar ranked, já que Tekken voltou com tudo. Tekken 8 tem bastante conteúdo single-player, embora eu não seja fã do esquema "live service" pra um jogo de luta, e ainda menos do fato do jogo ter algumas skins clássicas pagas na loja in-game, mas hoje em dia as coisas são assim e não acaba manchando um jogo de primeira grandeza desses. Tekken 8 me fez sentir como um moleque que ama jogar videogames de novo, deixando a empolgação e emoção rolarem soltas, e esse é um lado meu que eu jamais quero perder.

I really do hate feeling that I’m undervaluing effort. If anything, I should probably have just played a fantranslation of the original Live A Live, so that I could feel a little more as though this game’s web of genre anthologism was particularly formally impressive or functionally experimental. It’s a little personally embarrassing how much slack I’m willing to give older gens for breaking their spines over ambitious systems I take for granted nowadays, and narratives I’d find quaint in anything released now. I want to lay blame on Octopath’o’vision more than anything.
Live A Live’s cool, I won’t deny - the individual cinematic reverence to which each of these chapters are framed, the unique ways their characters express themselves thru bespoke mechanics like Pogo’s rudimentary crafting & hunting, Shifu’s already capped level & disciple training, Akira’s overworld psi abilities… I just don’t think there’s enough meat on any of this game’s bones for me to feel strongly either way about any of the stories, let alone for the final act to even feel self-justified that its cast have the capability to act as convincing anti-hate thesis statements - and not simply an extension of what Live A Live always does; falling back to the motions of genre.
Playing through Square’s library has made me feel incredibly assured in their ambitions and creativity, kindling much of what I find so mysterious and evocative about the JRPG genre. Games that spin themselves wildly into their own neuroses and bloom into an orchard of mechanics and character dynamics we’re today still only barely reaching similar heights of. To me. Live A Live feels like a demo disk or something of that mission statement, glimpses into their process but, too brief for hooks to really set in.

One of the main points of contention Xenogears' critics will bring up is the game being released in a state of not being entirely finished. Disc 2 being made up of mostly narration and Evangelion eps 25-26-esqe dreamlike cutscenes is a common point of contention when addressing this game's strengths and shortcomings. Just as every artistic medium is defined by its limitations, video games are no different. Even still, Xenogears is a special case. One of the main questions the game poses is what it means to be complete. Although this is mainly to be applied the main character Fei and his arc of finding his purpose by forming meaningful human connections, given the game's own status as a not fully realized vision makes the message all the more profound.

If there's one question that Xenogears has made me ask more than anything else, it's about the point when a piece of art becomes complete. How complete do you need to be to feel like a "whole"? A defining aspect of Gears is its stance on this topic: we aren't defined by our own journeys so much as how we affect the lives of each other.

Many may see disc 2 as unsatisfying, but the way I see it it's the brightest shining aspect of what makes Xenogears as good as it is. This game tells a front to back story, and I haven't even addressed the fact that I think this might be the best individual story I've ever experienced in a single video game! Not to mention the amazing character arcs of Fei and Elly. People throw around the term "this speaks to me on multiple levels" a lot but this is especially true to me with Xenogears.

As the game says, it's okay to not feel whole. Eventually as time marches on, we affect the lives of others and find meaning in the various human connections we form in our lives. And that gives us meaning just as much as any aspect of ourselves. Just as people are defined by the bonds we make, the people we meet, and the love we share, I think Xenogears has a somewhat similar journey.

A big reason I was interested in this game as I've been is because of how much I've heard it inspired modern JRPGs. With them being my favorite genre of game, combined with my fascination with works of fiction that inspired other pieces I so dearly enjoy made Xenogears a must play for me eventually. I'm so happy I did. Seeing this game's legacy retroactively makes me think this is the "complete" form of Xenogears: leaving such a legacy on the entire genre in the 24 years since its release.

Video games are a unique artform. The relationship between creator and consumer is an especially gray line here with many of the highest names in the industry describing themselves gamers just as much as game creators. Games, being as big of an art form as they are, cannot be created by one person (maybe in some instances but definitely not something like Xenogears for the purposes of this thought). Creators constantly build off one another, using aspects of someone else's creation for their own works, thus creating a living legacy for the original piece. Given how much inspiration others have found in the storytelling, character writing, and worldbuilding of Gears, I think it's safe to say it has about as impactful of a living, active legacy as just about any game in the genre.

Xenogears defines what it means to be a video game. Despite the fact that it's not a fully realized vision, you cannot argue the impact its had on everyone who's come into contact with it. Knowing this, is there really anything that truly needs to be changed about it? Although it's admittedly imperfect, flawed, whatever you want to call it, the lasting impressions it leaves on everyone give the game as much of a purpose as if it was truly finished.

So is Xenogears "whole"? I think so at least.

fun little time waster, but not that deep of a game even for atari standards. It's basically a physics simulator where you have to calculate the right speed and angle to set your cannon so mr cannonball can land in his safety bucket instead of splattering against the floor. There's a mode where the speed is randomly set and you have to set the angle to compensate, a mode that's the same thing except the cannon is farther away, a mode where you can set the speed AND angle but the position of the cannon is randomized (yet you can move the safety bucket for some reason so it's really more like catch), and a mode where the speed and angle are randomly set but you can move the position of the cannon (and again the bucket). There's also variations of each of those four gamemodes to include a giant forcefield with a rotating gap around the bucket so you have to time your shot properly as well as aiming it, but I felt that it really didn't add much besides making the game more burdensome since this is way more of a thinking mans game than anything so proper timing feels unnecessary. Regardless, in any gamemode you have 13 shots and if you get seven buckets you win whereas seven cannonball corpses is a loss. Nothing really more to it. I can imagine this game was probably a fun programming experiment and there's gotta at least be ONE math nerd out there that really got into doing cracked human cannonball trickshots in order to impress the ladies, but for me this game is just okay.

I feel so sorry for all non-Spanish speakers who will never understand just how funny the name ‘’Señor Chirridos’’ is; like… is not a bad translation of Mr. Scratch by any means, but it’s so fucking funny and it surprises me even more they just didn’t keep the original name… but I’m so glad they didn’t.

If Alan Wake is the main TV series, then American Nightmare feels like a Halloween special, which seems to be exactly what they were going for. Despite the original game having such an open finale and this going directly after it, it doesn’t really build upon the pre-established narrative beyond Alan’s character and his conflict with his doppelgänger, and that’s fine! I’m totally up for a shorter, more fast-paced story in this world, and American Nightmare does have a super interesting premise.

I actually liked how the combat worked in the first game, so expanding on that with more weapons and enemies while using the backdrop of a Night Springs episode and introducing a time-loop is the kind of craziness I can get behind, and AM does succeed at creating more interesting combat encounters than the original game ever did… but doesn’t try to go for more than that despite its many opportunities.

It does show a promising start; the three main areas of Arizona are interesting and fun to go through and a perfect excuse to battle the Taken, getting more manuscript pages, see more of Mr. Scratch and the little interactions with each of the characters, while not as natural as any of the conversations with the fellas of Bright Falls, are pretty neat. With the addition of a couple of weapons and enemies, this feels like the kind of combat sections they wanted to make the first time around; they even took out the driving section! We are freed from this accursed blight!

And we even get to hear how Barry and the Old Gods of Asgard are doing, glad to know they are still putting out pure fire!

It’s a pretty good time, a simple one, but it has some cool moments, I really liked the battles, and overall is just an entertaining time!... and then the second loop begins.

I absolutely love the idea of time-loops as a gameplay system, getting to learn more of the world and levels and using that knowledge to do tasks way faster and m is the best, however, poorly implemented time-loops can turn into doing the exact same thing x amount of times only with a different objective or two and with some new enemies… guess what American Nightmare decides to do. Each time loop is shorter than the last one, but not because you actively take decisions that make things speed up, but because either what were multiple objectives is only one now or because a NPC did the thing way before you. It doesn’t help that the major set-pieces don’t change at all; watching the petrol extractor is a cool sequence, but not one I would have liked to go through three times, and no, putting rock songs, as good as hey sound, doesn’t make it different or better.

Going through the motions the first time was fine, but having to walk through the same rope two other times is a chore, even if gets shorter every time. Worst part is that they really could have given you more openness if they really wanted; the NPCs you encounter also remember the time loops and no matter what, you can only truly win at the end of the last one, so diving you more lenience on how you deal with things wouldn’t have really affected thing at all, and we have here is just an excuse to turn 3 levels into 9.

As the loops go on, more enemies get introduced, and… listen, I really do like the combat way more on here, and some of the new enemies are pretty interesting; the Taken that throws projectiles and explosives and the one that divides each time you shine light on him are super cool ideas from a gameplay-wise and as ideas on their own but the rest of them… in many ways they feel like a waste. The enemies that replace the birds from the original game are faster to deal with but just as annoying, the giants are bullet sponges with no interest move-sets on their own, and the spiders are cool story wise, since they apparently are not part of the Taken perse and instead are part of the Dark Place fauna, but they being just big spiders feels like a wasted opportunity to create something way more cool and alien, and alsoWHY THE FUCK DID THEY HAVE TO BE SPIDERS OH MY GOD-

American Nightmare doesn’t create challenges by throwing enemies with interesting sets of moves, it just throws at you guys that really know how to take damage or a ton of them at the same time, best exemplified on the Arcade mode. I do know and understand that this is a more gameplay-focused entry, but when in the main story you go through the same beats over and over with some minor alterations, and the arcade mode —which by the way, has some unique level themes that I would have preferred to see much more in the main story instead of going through the Observatory three times — is just Wake against waves of enemies and see what score you can get… at a certain point the game loses me, and it doesn’t pull from the creativeness that I know it has and can have to keep me glued to it.

The Taken stay completely silent, and the creepy charm that was found on hearing their grunts and lines amongst the trees is completely gone; the manuscript pages are way less interesting this time around, and the opportunity of this being based around and taking place in a Night Springs episode Alan wrote isn’t taken advantage of at any point, making for a way less interesting story, and use of the reality- bending pages.

In the end, the thing that really kept me more intrigued and wanting to see the game to the finale was, who else, Mr. Scratch himself. I enjoyed most of the villains in the original Alan Wake, but NONE feel like Mr. Scratch; the sound distorting every time Wake says his name, the way he taunts Alan and how he ENJOYS being the worst of him, a true monster all the way through, it’s a disturbing delight every time he’s on screen (literally) and the uneasiness he carries is one I didn’t expected to be done so well. I wished he and Alan had more opportunities to bounce each other, ‘cause every time they did it was a delight, and luckily it seems that American Nightmare isn’t that important to the overall Alan Wake narrative, so hopefully he didn’t kick the bucket, I’d love to see more of him…

There’s still that Alan Wake attention to detail and story in here, but it didn’t go as deep as it could have, and we have is a story that, while fun at times and with some cool extras and secrets, it still is what is: a Halloween special that doesn’t want to be a real successor or groundbreaking, but it also doesn’t take advantage of the potential it itself sets, and it can drag on at times… Still fun and funny at times, tho!

We’ll meet again, Champion of Light

I’ll see you soon, Herald of Darkness

He might just be the greatest Dave to ever do it. Dave the Diver is a game that succeeds in blending a very fun sea diving adventure with a cool restaurant simulator that, for better or worse, is constantly trying to expand on itself.

The gameplay mainly revolves around diving into the vast sea and gathering materials and ingredients during the day, and then using what you acquired to create dishes for your sushi bar which you operate during the night. This day/night loop hooked me from the very beginning and it stayed that way for a good chunk of my playtime. Exploring the ocean and discovering/catching all the aquatic life was very fun and you're given a lot of tools and upgrades to work with. The restaurant management section of the game starts out very slow but quickly picks up once you start building up your rating and more things are opened up to you. I honestly ended up enjoying it more than the diving section by the time I was done with the main story.

Speaking of the story, I ended up really liking that as well. It's silly, endearing, and pretty well-paced for the most part. I think what really makes it shine though are the characters. The main cast is really cool and each of them have their own little quirks that make them stand out. The way they interact with Dave, whether helping him out in some way or just simple banter, is really nice. I ended up liking a lot of these characters more than I originally assumed I would. Trust me when I tell you Bancho is the coolest character in the game.

The game is also really good-looking. The 2D-pixel art is really appealing to look at and the cutscenes are really over the top in the best way possible, they fit each character perfectly, and I rarely ever skipped them.

Remember when I said this game constantly tries to expand on itself for better or worse? Yeah, that's my main issue with it. This game constantly introduces new mechanics, features, minigames, etc.(especially in the 2nd half) in what I assume is to try to keep the gameplay loop fresh. While some of the things they introduced are nice, how they went about it and the sheer amount of stuff brought in is almost overwhelming. By the end of the game, a lot of it just felt like I was just doing busy work. Getting overloaded with a constant flow of new information...now I know how Jogo felt.

Despite the issues, I really enjoyed my time with Dave the Diver and I do recommend it. Not sure if I would call it a "cozy" game like a lot of other people do tho.

The team to see it through to the end, but really, I think I need to give credit to everybody in this run.

I was not aware of just how much this game was going to kick my ass and after 20 attempts to nuzlocke, I decided to give it up and play through the game semi-normally, opting to continue limiting myself to one encounter per route, but I still got to choose which one it would be.
A super fun challenge to enhance the original Black & White which I already loved to death, even if the incessant rotation and triple battles got a bit irritating to try and plan for.

I got to beat the final boss with my favorite Pokemon and I don't think I can name a more euphoric feeling.

It's been a journey of give and take: whenever I was really in the flow, it always managed to find a way to snap me out; and whenever I was losing my grip, it always found a way to yank me back in. Every great aspect of the game had its evil antagonistic clone that wasn't *equally* bad, but powerful enough to hurt the game's stronger points. Each great and charming character obscured by a slurry of aggravating witnesses, with humour that at a moment's notice can swing between genuinely funny and aggravating to even mash through. The great drama, spectable and flow of the trials broken by how abruptly they can grind to a halt when they demand the use of details from earlier conversations that have absolutely no record in the moment. And the compelling stories, themes and character arcs numbed by all my problems dragging me out of the experience as they grew harder to ignore.

I'm happy to concede that some of this stems from my own personal problems. I'm not incredibly attentive and my memory isn't very good, so a lot of the details I forgot might have been easier to keep track of for others. For similar reasons I felt like I had to push through most of the cases in one day, which naturally led to a lot of fatigue especially in the longer cases. Problems that started out feeling small but only got larger and more gnashing as I pushed through, to the point where even as I was watching the (probably really good) climax to the trilogy, I couldn't shake my resulting lack of investment and the feeling that I only finished it up out of obligation more than anything else. All that said, I did have more fun with the games than I'm probably letting on - I think the fact that I cleared three of them despite my brain's impressive resistance to everything these games expect from you speaks for itself.

I was a bit hesistant to post this considering most of it is dedicated to me talking about how challenging I found the silly lawyer games on a highly personal level but I don't think it holds any less 'merit' just because of that. We can try to ignore and talk around it but ultimately our own personalities and preferences are going to affect how we view and engage with anything, and that goes as much for my highly-personal musings as much as somebody else's ostensibly 'objective' review. Besides, I think stupid people deserve a voice as well <3

With the recent change to the game regarding forced creation of a PlayStation account to enjoy the game, I have to say, sorry. Sorry to all the countries unfortunately cursed to being forevermore incapable of playing the game. Sorry to the gamers of those countries, additionally, having to pay nearly the same price as American USD despite the regional pricing lacking. THEN being kicked down, furthermore unable to enjoy the game they unfairly spent their hard-earned money for. Stripping players of the right to play a game they bought, while simultaneously not disabling the game for purchase in those same countries. Many of these countries aren't as economically blessed, removing a form of escapism that many spent quite frankly too much of their dollar to experience to then strip the buyers of that has to be one of the biggest insults in modern day gaming. 3 months. You gave all of these countries 3 months to have fun with the game.

Another comment posted the list of countries that will no longer be able to play the game, doing the same for posterity: Afghanistan, Albania, Algeria, Andorra, Angola, Antigua Barbuda, Armenia, Azerbaijan, Bahamas, Bangladesh, Barbados, Belarus, Belize, Benin, Bhutan, Bosnia-Herzegovina, Botswana, Brunei, Burkina Faso, Burundi, Cambodia, Cameroon, Cape Verde, Central African Republic, Chad, Comoros, Democratic Republic of the Congo (Congo-Kinshasa), Republic of the Congo (Congo-Brazzaville), Djibouti Dominica, Dominican Republic, East Timor (Timor-Leste), Egypt, Equatorial Guinea, Eritrea, Estonia, Eswatini (Swaziland), Ethiopia, Fiji, Gabon, Gambia, Georgia, Ghana, Grenada, Guinea, Guinea-Bissau, Guyana, Haiti, Jamaica, Jordan, Kazakhstan, Kenya, Kiribati, Kyrgyzstan, Laos, Latvia, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Madagascar, Malawi, Maldives, Mali, Marshall Islands, Mauritania, Mauritius, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Morocco, Mozambique, Myanmar (Burma), Namibia, Nauru, Nepal, Niger, Nigeria, North Macedonia (formerly Macedonia), Palau, Papua New Guinea, Rwanda, Saint Kitts, Nevis Saint Lucia, Saint Vincent, Grenadines Samoa, San Marino, Sao, Tome, Principe Senegal, Seychelles, Sierra Leone, Solomon Islands, Somalia, South Sudan, Sri Lanka, Sudan, and Suriname.

Fuck you Sony for forcing account creation on a platform known for being absolutely horrendous when it comes to user data security. Thank you for making the world aware of your greed once more.

Meu Deus, que jogo maravilhoso! Comecei a franquia pelo ''Resident Evil 4 Remake'' e de cara amei o jogo, desde então fui atrás de jogar os outros jogos dessa franquiam maravilhosa. Amei ''RE2 Remake'', e agora fui de cabeça no ''RE3 Remake''. Não sabia nada da história, mas sabia que muitos não gostaram do jogo, pois é muito curto e modificaram muito do original. Apesar de tudo isso, amei minha experiencia, me diverti muito do inicio ao fim. Amo o estilo dessa franquia, um ''Survival Horror'', cheio de ação, tensão, terror, zumbis, puzzles, tudo feito com maestria. Os gráficos desse jogo são maravilhosos! a gameplay, os personagens, os inimigos e principalmente a história, que é perfeita! Ainda não cheguei a jogar o RE3 antigo, porém adorei jogar esse remake. Realmente o jogo é muito curto, esperava aproveitar um pouco mais, porém acabei sendo pego de surpresa pelo final inesperado. Tirando isso, o jogo para mim é perfeito. Super recomendo jogarem essa maravilha!

One of the most odd, yet strangely charming games to come from Nintendo back in the days of the NES era has to be the original StarTropics, which I thought was pretty good back when I played it. Despite how linear the game was for an entry in the adventure genre, how frustrating the control/game could get, and how there was one part of the game that made it literally impossible to get through without a guide, it was able to win me over anyway with its fun gameplay, strange dash of charm, and great visuals for the time, making for somewhat of a hidden gem from the system back in the day. Then again though, most fans of the NES probably know of the game’s existence, so I guess it isn’t TOO much of a hidden gem… but, what most people probably know is that that game actually ended up getting a sequel. I didn’t know either for the longest time until like a couple years ago, but now that I did know about it, and since it has been a while since I reviewed the original game, I figured it was about time I returned back to the Cola Universe and take down Zoda’s Revenge: StarTropics II.

As I had mentioned previously in the last StarTropics review, this sequel was a game that Nintendo pretty much sent out to die back when it came out. It came out exclusively for the NES, in America, in 1994, when the SNES and Genesis were the hottest things on the market, and nobody wanted to play OLD, DUMB, and SMELLY NES games anymore. So, naturally, not many people have played it, and thus, it has become yet another forgotten Nintendo title amongst a plethora of them that they just have stored away in a vault somewhere, never to be re-released again. But hey, even with all of that aside, it’s gotta at least be good, right? I mean, the original game was pretty good, so surely Nintendo could take everything that worked in that game, tweak around the bad parts of the original, and make a much superior title, right? Well, that is exactly what they did!......... somewhat. If I were to rank this alongside the sequel, as it just BARELY comes out as the superior title, as it is still a very fun and charming game to play, having plenty of what made the original game so appealing and enjoyable, while also fixing several of the issues that game initially had… while also ignoring others.

The story is very similar, yet somewhat different from the previous game, where Mike Jones, after enjoying time off from what he had to go through in the previous game, gets contacted by the princess of the Argonians known as Mica, who helps him and Dr. Jones solve a cipher that they found recently, which ends up sending Mike back in time all the way to the stone age. Sometime after this while traveling to other points in time, he discovers that Zoda, the villain from the last game, is back once again, wrecking havoc all across time and space in order to wipe out the Argonians, so it is up to Mike once again to stop him and his evil plans before it is too late. It is a lazy set-up, one that took a dart and threw it at a board full of overused cliches to see what gimmick it can use, but it still manages to be stupid and charming enough to where you buy everything that is going on regardless of how weird it is.

The graphics are… practically unchanged from the original, using the exact same look, sprites, and animations from the previous game, but it is still very pleasant to look at, and the brand new environments and characters that we do see throughout the game are pleasing to the eyes, the music is good, having plenty of simple, yet enjoyable tracks to jam out to, as well as some returning themes from the original game, which is always nice to hear, the control is INFINITELY better this time around, with controlling on the main adventure segments feeling about the same, but the control in the dungeon is a massive improvement, giving you full movement in eight directions, making navigating through caves and fighting monsters much more manageable as a result, and the gameplay remains practically identical to the original game, feeling more like a standalone expansion to the first game more than anything else, but hey, that isn’t usually a bad thing, and it isn’t a bad thing in this case.

The game is yet another 8-bit adventure game, where you once again take control of the generic loser known as Mike Jones, go through many different locations across time full of many different colorful characters to meet, take out many different foul fiends who will do their best at impeding your progress at every turn, gather plenty of different health items, tools, additional weapons, upgrades to your arsenal, and Tetris pieces (no, seriously) that will help you out throughout your journey, and take on plenty of bosses that you will face throughout the game, which are half and half, where some of them are fine, and can be fun to fight at times, and as for the other half…. sigh, we’ll get to them later. If you have played the original StarTropics, then congratulations! You have played Zoda’s Revenge: StarTropics II as well without even realizing it, as the two games are practically identical in the way that they look, sound, and work, but this one manages to stand above the previous by keeping the same fun gameplay intact, improving on several elements that I have mentioned, and also keeping that same level of charm that made the original game so enjoyable.

One of the biggest aspects about this game is that, rather than traveling to many different islands throughout your journey, you are, again, traveling to many different points in time, going to many different locations that do make the game feel more fresh and exciting compared to the first. Yeah, all of these locations are very typical for what you would find in a time travel story, such as the stone age, medieval times, the wild west and so on, but I still found myself having fun traveling through them and seeing what they had to offer regardless. This also applies to the many characters that you interact with throughout your journey, with a handful of them being well-known individuals from media and history, such as Sherlock Holmes, Cleopatra, Leonardo Da Vinci, and several others, which can lead to some conversations with them that are, admittedly, really stupid, but I dunno, I can’t help but smile at a lot of it just for how odd it is for a Nintendo title to do.

Aside from that though, everything else is the same as before: you have the overworlds where you walk around, talk to people, solve a puzzle here and there, and get access to caves and dungeons, where you take on monsters, jump on switches, gather plenty of different treasures, and cry whenever you eventually lose. For those that have played through the original game, they will feel right back at home with this game, as not only does the gameplay remain mostly unchanged, but the way the game looks makes it so that you can easily get adapted to the situation, and start blazing through it like your life depends on it. Thankfully, all of this still managed to be a lot of fun to do, as I loved going through these many different periods of time, talking to these NPCs to see the weird-ass things they say, fighting these monsters, and finding these Tetris pieces, especially with the previously mentioned improved control for the dungeon sections helping out immensely.

I can’t say that everything about this game was improved over the second one, because in some instances, I think it could actually be seen as a downgrade compared to the original. For starters, this game is somehow EVEN MORE LINEAR than the original, with what to do and where to go being spelled out to you in almost every part of the game, with there being only one or two instances where I would go off the beaten path to get an extra life heart or something. This isn’t exactly bad for those who are a fan of more straightforward games like this, but given the fact that the game is in the adventure genre, I wish it felt more like… you know, an adventure, rather then just simply being a museum tour that leads you down a destined path, only to dump you off at the gift shop once it is all done with you.

Trust me though, that doesn’t even matter to me compared to my main problem with this game, and that would be with the bosses. The difficulty from the previous game is still intact here, and while I didn’t feel it too much when it came to the main dungeon parts of the game, I certainly did feel it with some of these bosses, because good god, these ones that I am talking about are TERRIBLE. I think the worst boss in the entire game has to go to the Zoda clone that you fight around the half-way point, where you have to fight him while constantly being moved around on these arrow platforms, which can make even trying to ready yourself to attack the guy a huge pain in the ass. Not to mention, he is also constantly teleporting and sending his own attacks out at you, so not only do you have to worry about him killing you, but you also have to worry about dodging his attacks, positioning yourself correctly, and firing plenty of shots at him, WHILE constantly being moved by these goddamn arrow platforms! There are several other bosses that are pretty bad too, but not to this extent, and when you reach the end of the game, where there is a boss rush waiting for you before you fight the big bad himself, you get to re-experience all of these god-awful fights back-to-back with little changed from the last encounters…………… OH, WHAT… FUN.

Overall, despite the game’s increased linearity and some truly abysmal boss fights, this game manages to be a decent enough successor to the original StarTropics in every other way, and is a really good game as a whole, having plenty of goofy and weird things to see and do, plenty of dungeons for you to take on, and enough of that dumb dated 90s charm that you can’t help but love whenever you experience it. I would recommend it for those who were big fans of the original StarTropics, as well as those who wanted to see what else the system had up its sleeve near the end of its life cycle, because despite being pretty much fully ignored back when it first came out, it does manage to be fun enough if you were to go back and see what everyone was missing out on back then. Unfortunately though, this would be the last that we would ever see from the StarTropics franchise, as there would never be any new game in the series, remakes, spin-offs, or what have you from this point onwards… which is kinda sad, to be honest, but eh, it isn’t exactly a terrible loss. Plus, I don’t want them to try to bring this series back from the dead, considering that Nintendo are usually very split down the middle when it comes to these revivals. On one hand, you could end up with another Kid Icarus: Uprising, and on the other, you could get another Metroid Prime: Federation Force, and I am not willing to take that risk!

Game #576

This isnt no Dream Land 2. This punk ass pink punk got himself a highschool clique. This time, I wasn't deadset on abusing the same ability throughout, although like an addict relapsing it happened again in 64. If you were wondering why small gatherings of minors were forbidden at certain malls, well this is because Kirby has been there! This is certainly logical. We have watched his career with great interest and he's still finding more and more people to help him suck. One of his friends is a bit more independant than the others, his name is Gooey and he keeps me from sucking! That is why I avoided using him because I'm not about that life, but it was easy to press the wrong input and summon the fool. Go to bed already!

Eating crayons is good but how about using them for a good artstyle? Now thats making a killing! I'm kidding this absolutely FLOPPED every american was playing Ocarina of Time by then. But still, there are particles, visual feedback, the...flying Touhou witches, moving backgrounds. I'd drink to that, but I must stay sharp, for the fog is still coming. Once again you have to grind out if you wanna book a meeting with the eldritch abomination of a final boss during lunch hours. I suggest looking up some of the ways you can finish levels properly if you do not want to experience the walk of shame upon your way back to the world map. As there aren't many worlds, the darker side of this truth is that levels can take quite some time to finish, but it's reasonably okay. So I guess you can shamewalk a bit.

This guy Dedede is not doing no Ramadan, even his belly is in on the feast. I know he didn't brush his teeth down there. This and the spiders with them freakishly long legs make this the scariest entry in the mascot horror genre. I love spiders too, but maybe not legs. Everybody gangsta when Whispy Woods got a pair of his own and starts chasing you! top cinco rumpscaré yup and then there was a tanuki wow and the world watches in horror as I put him 6 feet under.

I know Kirby was starting to get stale for some people and they wanted another Super Star, but to me that is a better game. I am fine with this. This is definitely one of the games I like. If it wasn't absurd with the invulnerability frames I wouldn't be passed around like a blunt but I guess it'd be less funny. What was Meta Knight doing during all this though like naaaah fuck that harbinger of evil shit I'm hitting my Zzzs.

Im not a big fan of Telltale or this style of game, and Borderlands only barely works in this format - but Tales From The Borderlands is captivating for one real reason: it is meta-commentary. I have no clue if its on purpose but Rhys running around haunted by the literal ghost of Handsome Jack seems to curiously mirror how the series struggled to get out from under the shadow of Jack itself. Its a very poetic observation.

Its even more poetic considering that it doesnt seem like its worked out for Borderlands as a franchise quite as well as it did for Rhys. I also personally mourn the loss of mystique for Hyperion, made all too mortal and comprehensible by the events of Tales (made partially as a companion to the events of Pre-Sequel). Something of a bittersweet feeling emerges here: yes, Tales From The Borderlands is entertaining but its also…. not really Borderlands.

Incredibly bizarre survival horror game sporting some uneven gameplay and a narrative that's generally just campy shlock (in a fun way) but will occasionally veer into being grotesque and shocking (that acid bath murder sequence is genuinely unsettling). I was surprised to learn that this was directed by Kinji Fukasaku (film director of Battle Royale and the Battles Without Honor and Humanity series) but in hindsight Survival Horror is just naturally cinematic, especially when fixed camera angles are involved, so it's honestly a pretty nice fit even if some of those motion capture scenes have aged horrendously.

I think this might be one of those games that falls into the 'so bad it's good' category for me and it's absolutely the type of game that couldn't get made today (outside of a misguided crowdfunded revival project perhaps) but honestly it was consistently entertaining and really managed to invoke the feeling of watching a B-Horror movie (though I'm mostly certain that wasn't their intention), which is a pastime I quite enjoy.