Existe uma estranha sensação de conforto nesse jogo.
Apesar de seu mundo ser um caos apocalíptico repleto de morte, melancolia e desespero, esse jogo cria uma camada de conforto pela sua estética em game design, escrita e arte que é formidável.

Afinal, um combate e progressão competente, com um level design bem amarradinho são suficientes por si só para te fazer jogar de forma confortável, ter uma variação boa e divertidas de armas e uma jogabilidade meio beat'em up isométrico deixa o loop principal bem temperado. Mas o que me fisgou mesmo foi tudo que adorna esse design.

Esse jogo parece uma fantasia açucarada, cheira e tem sabor de um doce de coco, mas é recheado de um chocolate muito amargo. Superficialmente o sabor te tranquiliza, te traz frescor e calmaria, mas dentro vem um punch. Acontece que quando se chega ao núcleo, o jogo te obriga a tomar uma decisão: aceitar ou refazer.

Só que o jogo nos deixa preparados para tomar essa decisão.
Afinal, aos poucos o sabor se torna morno. Não necessariamente a melhor experiência que já vivemos, mas significativa o suficiente para não esquecermos e, portanto, para não apagarmos.

Encontrar o conforto no desespero é o que Bastion nos faz conquistar sem percebermos, e na tomada de decisão, ter herdado sua coragem de permanecer no caos foi o que me fez não esquecer desse jogo.

As I mentioned in my review for the first Dragon Quest, I bought the mobile versions of the original Dragon Quest trilogy on a whim years ago. Last year I decided to finally finish the first game, and now I've chosen to finish its sequel this year. Dragon Quest II is a sequel that is surprisingly a vast improvement to its predecessor.

In terms of gameplay, its exactly the same as the first game, but considering that Dragon Quest is a series known for following tradition that is no surprise. This time however, you're not alone. You get two party members to assist you on your journey, the Prince of Cannock and the Princess of Moonbrooke. Having these party members is pretty much a necessity as the character you play as doesn't have magic this time and the latter parts of the game, especially the final boss would be much harder without them. The other noteble addition is the ability to sail across the land on your ship which has been included in every other game in the series onward. These additions come a long way in making the game feel fresh and interesting in comparison to the first game.

Dragon Quest II is a massive step forward, but there were some things I didn't like about it. My first issue is something that bothered me with the original as well, and that issue would be the random encounter rate. While I can understand why they were a thing in the RPGs of old, it gets really annoying getting spammed with encounters every two steps I make, especially when I'm lost or trying to traverse a new area. My other issue is that the game can be pretty cryptic at times when it comes to finding all the things you need to progress. I looked up guides significantly more this time than I did for DQ1 mostly just to find out where to go or where to find a certain item.

As for grinding in this game? Surprisingly, it wasn't too bad. Enemies drop reasonable amount of exp to where if you do need to grind, you won't need to for long. It's probably just an improvement they added in later versions they made, but considering that grinding seems to be a gripe that most people seem to have, I expected worse.

Dragon Quest II is in my opinion an underappreciated game that laid a lot of the groundwork for the rest of the series. It felt much more like an adventure in comparison to its predecessor. Considering how the original trilogy is on basically everything these days, I'd suggest either emulating or dropping a couple bucks on either the Switch or mobile versions. It may not be as good as the entries afterwards, but with the amount of improvements it makes its definitely worth a playthrough.

Another quality installment in Digital Eclipse's series and a neat historical look at the UK computer scene of the 80's through Jeff Minter's experiences, especially for me as an American who had little knowledge of it; but man just like with Karateka I just don't like the vast majority of Jeff Minter's games in this collection. A good chunk of them are obnoxious sensory overload that go way too fast and/or are overly complex to a trollish degree. Also didn't change my opinion that Commodore games just sucked. Tempest 2000 is cool though and I definitely can see why it was the only reason to get a Jaguar. Funny thing is I felt Jeff's visualizer programs were more of an interesting topic when it came to his games because even if I wasn't totally into them Jeff had a clear passion for them as well as an ambition that was ahead of his time with them. Just as with Karateka, Llamasoft is a great historical piece but I just wish they could cover games that are mostly fun to play. Regardless I'm completely locked into with this series and definitely will be Day 1 once again for the next installment.

Eu sinto pena de Control ser um jogo e não poder ser chamado de surrealista.

Antes que esse comentário soe como pedante ou diminutivo para jogos como arte ou Control como um jogo, preciso deixar claro o que senti enquanto jogava Control.

Eu já havia deixado de jogar Control antes, mas por estar testando e não ter ido muito a fundo no que se tratava. Depois de ter jogado Alan Wake, jogar Control era o próximo passo lógico e estava emocionalmente preparado para o que quer que fosse esse jogo.

Control é bem estranho, de fato.

Visualmente, é um espetáculo, o surrealismo aqui se mistura ao brutalismo e nos deixa insignificantes e ao mesmo tempo, inconsequentes. Isso, apoiado em uma narrativa bem única, promove um jogo AAA pelo menos “estranho” e nisso Control me fisgou em vários momentos. É uma pena, porém, esse jogo encontrar amarras justamente no que o torna um jogo.

Inicialmente, as mecânicas de Control são: jogo de ação com poderes. Os poderes não são nada de mais e a maior conexão que consigo tirar é que, de fato, estamos TOMANDO CONTROLE.
Os poderes nos fazem tomar controle de objetos, pessoas e até de nós mesmos ao levitarmos e manipularmos nosso corpo. Porém, essa conexão é uma linha fina e sensível que acaba se estourando ao ser estressada pelo loop encharcado de combate. Eventualmente, o ato de controlar, que inicialmente parece tão significativo quanto a lanterna do Alan Wake, se torna apenas mais uma mecânica de combate junto às diversas armas, upgrades e mods que você encontra pelo jogo.
O momento em que Control foi mais livre é o labirinto vivo do TAKE CONTROL. Ali o jogo consegue ser livre em estética e arte, mas também em mecânica, ainda mais se, assim como eu, você balanceou o jogo para ter energia quase infinita e poder flutuar e usar poderes à vontade. Se eu não tivesse feito isso, talvez não teria terminado esse jogo, mas, graças a uma feature modular de dificuldade, consegui ter uma experiência boa, mas que beirou o cansaço e exaustão de combate, ainda mais quando se trata da FUNDAÇÃO, a DLC que é, basicamente, combate e puzzles.
Puzzles aqui que não usam 100% do que poderíamos fazer com a simples mecânica de telecinese. Em Alan Wake, por exemplo, a Remedy extrapola mais o significado de luz e temos equipamentos e puzzles que utilizam a luz, alguns até de forma inteligente. Aqui, os puzzles são simples e parece que a mecânica de telecinese se resume a encaixar objeto A no ponto B, coisa que poderíamos fazer com as mãos.

Porém, se formos olhar em uma perspectiva de design, Control é amarradinho no que se espera de um jogo, e é nesse ponto que eu não gosto da conceitualização de Control como “video games”. Do mesmo jeito que criticamos a implementação de mundos abertos sem um porquê, sidequests, níveis e loot sem um porquê em jogos AAA do mercado, me pergunto o mesmo para Control que, surpreendentemente, inclui cada um desses aspectos citados. Agora, por que? Não consegui encontrar essa resposta no jogo, mas em mim, isso apenas me desconectou da experiência como faria em qualquer jogo da Ubisoft.

Na verdade, essa falta de conexão na minha experiência ficou também na narrativa. Apesar de adorar sua direção, os temas são, basicamente, Worldbuilding. A trama pessoal da Jesse aqui não importou muito para mim já que o jogo parecia se importar mais em explicar e estender as regras daquele universo.
Existe uma questão sobre explicar universos fictícios que me intriga em alguns jogos, o apego pelas regras. As regras do mundo são cruciais para a elaboração de um worldbuilding, é isso que aprendemos em cursos de narrative design, mas quando vejo um jogo que se preocupa tanto com regras e “porquês” eu sinto um realismo que não me agrada muito em jogos que querem ser tão livres quanto Control. Ao meu ver, esses jogos brilham quando justamente o Porquê não está em um item de lore, um codex ou uma teoria do personagem, mas sim em nossa interpretação.

Por que a Jesse é a Diretora? Porque o jogo é sobre controle, e para mim, isso é suficiente.

Mas, novamente, isso é esperado de grandes jogos. Mesmo sabendo que jogos são tão jogos com ou sem combate, upgrades, mundo aberto e um worldbuilding coeso, Control parece se render, o que é uma pena. Afinal, não diria que Control é surreal, já que absolutamente tudo naquele jogo está imerso e ancorado na sua própria realidade e, sendo as suas regras claras, as consequências são previsíveis e pouco subjetivas, mas pelo menos divertidas.

A word for Guillaume Ferran's musical delicacy: This world is full of visual wind. Pastel minerals and all that jazz. Sound quarrels with space. The stone is teeming with human voices, humane thoughts. But he brings a throughline. A clarity of purpose to the evocative building blocks of culture put in place here. Nature is not a phantasm - it is a constant object of animated dialogue. Breath after breath. All we need do is listen.

Jusant does not care for the pain of the ascension. All it sees is a dark passage - the colours held within. Good. Dwell too long and you lose sight of what truly matters: Our toil, imagined or otherwise, will always bring us closer to shape. Memory is nothing but fickle, watery matter. We bend and love leaks. The dead and the unborn watch us. Time ebbs and flows in my body - this house of all houses.

Storm gathers. This other place. This unmoored Babel. It's not coming back. Our efforts were in vain and only we remain. Waiting for rain to hit the shore - soaked by association. That kind of primeval sensation software could only recreate in the aggregate. But that's the beauty of memory. There isn't a single drop of rain in Jusant. Yet here I am.

Souvenirs d'une éclaboussure.

La exaltación de un recuerdo de niñez reavivado en la forma más pura de aventura.

Ante la aparente limitación y la imposibilidad, se elevan la inteligencia (aquello que permite diseñar y unir las piezas que conforman la totalidad de una obra) y la sensibilidad (la capacidad de dotar al conjunto de un impacto y significado mayor) para dar paso a la posibilidad y la maravilla.

Esa unión es la clave para concebir un mundo tan rico como Hyrule: inhóspito, desafiante, pero también intrigante, poético y evocador. En cada una de sus pantallas aguarda una posible historia, un secreto por descubrir, una bifurcación de caminos donde coexiste el desafío de la navegación junto a la tensión del combate para dar como resultado la lucha por la supervivencia, una lucha donde cada acción y decisión importan frente a estas tierras totalmente indiferentes a nosotros.

Es esa indiferencia la que enfatiza el desafío de esta aventura y su naturaleza indómita por medio de la escasez de recursos, de parajes laberínticos, de supervivientes reticentes, de enemigos impredecibles y de misterios que se ocultan a simple vista. Hyrule se resiste a nosotros y, en consecuencia, buscamos prevalecer pese a la adversidad. Todo ello a través de los ojos de un niño como lo es nuestro protagonista, quien, guiado por su sentido de la justicia y armado con su pericia y valor, afronta los peligros de este reino en ruinas doblegado por la barbarie.

Un niño frente al mundo. Parece un esfuerzo fútil, ridículo, casi imposible, pero con cada derrota, con cada descubrimiento y con cada victoria superamos los límites conocidos. Crecemos. Una vez superada la percepción de esos límites, la figura de ese niño se engrandece. El valor ilumina nuestra senda, revela el mundo y da paso a la posibilidad.
Solo entonces ocurre la maravilla.
Solo así nace la leyenda.

A very fine example of turning shit into gold. Where The Darkness comic mostly sucks ass, the game simplifies the concept to such a perfect balance, and provides a very endearing story with charming characters.

This feels like one of the last non-complacent FPS games out there during this period of video games, where it did not really understand what would be considered the most optimal design document at this point, something being wholly sharpened by the big shooter franchises during this time.

Yeah, it's clunky and slow, yeah the scenes are awkward with stilted acting, yeah the hubworld is kind of just a weird time sink, and ya know what? I fucking love it. I love the action, the darkness powers, the characters, and especially the music. It's all so fucking good, and didn't care how rickety it felt. And long-haired caveman Jackie spoke to me as an edgy teenager.

Ah. That’s more like it.

As the one person I know who likes Donkey Kong Country, Drill Dozer, and that one burrowing escape sequence from Ori and the Will of the Wisps, I knew Pepper Grinder was going to be right up my alley. What impressed me though, was just how precisely the game melded its influences into something that felt simultaneously fresh yet familiar. The level design is classic obstacle escalation (introduce a concept, scale it up, throw in a twist, and then run the player through a final exam into their victory lap) with DKC inspired secrets with skull coin collectibles for unlocking secret levels. Many of the usual formula beats are present as well to force execution tests, from the usual moving parts in the forms of cannons, rope swings, and grappling points, to constantly present sources of danger like the freezing ocean or the temporary dirt patches created from cooling lava. What sets Pepper Grinder apart however, is that the terrain itself is the main obstacle. It feels like such a natural pairing to seamlessly mesh environmental navigation with the course’s very foundation, and the best moments of the game lean into funneling the player through various layers of shifting and isolated terrain while tearing through all that may stand in their way.

That said, I think to really understand the nuances of Pepper Grinder, one has to readily commit to its time attack mode. I could have been sold on the game-feel alone as an amalgam of Donkey Kong Country’s momentum physics and Drill Dozer’s force feedback, but playing under circumstances that force you to squeeze every possible second out of the timer gives the player a better appreciation of its movement mechanics. Pepper is not very fast on foot, nor can she naturally jump very far. Therefore, you’d think that most speed comes from tunneling through terrain, but it’s not quite that either. Rather, the player has to maintain momentum through the interplay of drilling and jumping by exiting terrain via the drill run (boosting right as you’re about to leave a patch of dirt), which commits the player to the projected arc leaving the terrain but with the reward of significantly more speed. The result is some of the weightiest and most satisfying movement I have ever experienced in any platformer. I was constantly figuring out new ways to save seconds by timing by boosts both within terrain and right before exiting terrain (since you can’t just spam boost and using it too early can lock you out from getting the necessary boost jump out of terrain), skipping certain obstacles entirely with well-placed drill runs, and figuring out how to manage my health to bypass unfavorable cycles and damage boost past mines and thorns. Some of those gold time attack medals were tight ordeals, but I absolutely savored every moment of the grind.

Bosses as a whole are a significant improvement from the usual quality of those in Donkey Kong Country. You’re not safe just waiting above ground, and burrowing to dodge attacks forces you to at least dash-dance underground since drilling means you can’t stay in one place. As a result, the player is constantly on the move, and you’re incentivized to do so anyways given that most of the bosses require multiple hits to defeat and aren’t the usual “invincible until they’re done attacking” crop from DKC. The biggest complaint I can levy here is that boss hit/hurtboxes can feel imprecise; I’ve heard that many players have had difficulty figuring out how to correctly drill into the beetle boss’s underbelly, and while I had no issues there, I did die a few times from the skeleton king’s heel hitbox where there was no visible attack in its vicinity. Still, I much prefer these boss fights over many of its peers, and figuring out when and how to best aim drill runs from the ground to speedrun bosses was just as much of a pleasure as speedrunning the courses themselves.

There are a few questionable design choices that could be touched upon here. Firstly, there’s a shop system present where you can purchase optional stickers from a gacha machine as well as temporary health boosts. The former is mostly forgivable given that they don’t impact the gameplay otherwise and can be cleared in about three minutes of purchasing and opening capsules. That said, I feel as if the latter could be removed entirely given that I never felt pressured to purchase insurance for courses and bosses, especially because I was often taking hits anyways to skip past obstacles and because you’re not going to regain the extra health capacity in-level once it’s gone. Secondly, bosses in time-attack mode force you to watch their opening unskippable cutscenes before getting to the action, and this gets extremely irritating when you’re constantly restarting fights to get better times. Finally, Pepper Grinder has a few gimmick areas in the forms of a couple of robot platforming segments, two snowmobile sections where you just hold forward on the control stick, and a couple of run-and-gun levels with little drilling involved. I can look past most of these given that they don’t take up much time and that I enjoyed all the minecart levels from DKC as is, though I do wish that they spaced the gimmicks apart a bit more given that levels 4-3 and 4-4 both have significant run and gun segments sending each course off.

If I did have any lasting complaints, it would be that I just want more of this game. Most players will finish adventure mode in under four hours. That said, even despite a lack of polish here and there, I absolutely adore Pepper Grinder. At this time of writing, I’ve 100%ed the game and even gone back to a few time trials after snagging all the gold medals just to further polish my records. It’s often difficult for me to pin down what makes a game feel good to play, but in this case, I just know. Pepper Grinder feels like an adrenaline rush made just for me, and though its execution barriers and short length will likely make this a tough sell for many, it is undoubtably some of the most fun I have had with a game this year. If you’re curious or enjoy anything that I’ve discussed in this write-up, please give the demo a shot. They don’t make 2D platformers like this anymore, and Pepper Grinder’s existence leaves me wondering why when they absolutely killed it on their first try.

On the surface, Pokemon Mystery Dungeon: Rescue Team DX appears to be a pretty faithful remake of the original Blue and Red Rescue Team. It’s the same turn-based dungeon-crawler roguelike Pokemon battling translation that I had grew up with almost two decades ago, coupled with the same storyline and a rearranged orchestral version of the original’s DS soundtrack. Minus the lack of walkable Friend Areas, DX’s atmosphere and core gameplay mechanics seemed accurate to my previous experience of the original games at first, and thus it seemed like a forgone conclusion that I’d naturally enjoy the remake. However, the more I played through the game, the more things felt off.

Further investigation into DX’s inner workings revealed that while DX preserves the core formula of Blue Rescue Team’s structure and basic combat mechanics, much of the surrounding survival mechanics have actually been pulled from the latest iteration of PMD via Pokemon Super Mystery Dungeon on the 3DS to “modernize” the mechanics as opposed to adapting mechanics from the original games in Red/Blue Rescue Team or the DS successors in Explorers of Time/Darkness/Sky. I started noticing that in DX, the hunger mechanic felt much more prevalent; my Pokemon’s belly appeared to empty much more quickly than in the originals, and I found myself consuming an Apple every few minutes or so. There’s a variety of changes that contribute to this: the belly decreases by 1/7 of a point every action (instead of 1/10 for Blue and EoS), Max Ethers/Elixirs no longer restore BP, consuming berries & seeds only restore 2 BP as opposed to 5 in the originals, and so on. Similarly, Power Point (PP) management regarding move usage limits became far more grating in DX as opposed to the original. The obvious culprit is removing the standard attack that could be used at any time for a weaker strike that preserved PP (meaning players now have to utilize moves far more often), but to compensate for this, Spike Chunsoft had to supply the player with far more PP restoration items. However, instead of supplying them with Max Elixirs that fully restore PP for all moves used, the most common PP restoration item is now the Max Ether, which only restores PP for a single move. The optimal strategy then, is to spam the same move over and over again so you get the most bang for your buck out of using Max Ethers. Finally, weather feels much more intrusive in the remake as opposed to the originals, because DX removes the ability to naturally heal HP over time during sandstorms/hail if you’re not of a resistant type, meaning that you have to either pack a lot more Oran Berries or waste more time outside of damaging weather to heal up.

None of these changes would feel too problematic in isolation, but together, this results in DX overemphasizing its resource management in comparison to Blue Rescue Team or Explorers of Sky, meaning that overloading your toolbox with the necessary buffers or grinding in easier dungeons to stock up on said buffers is pretty much a given to succeed (especially when Apple/Sticky Traps in dungeons can further spoil your resources). I unfortunately find this shift in focus somewhat ill-fitting to a remake of Blue Rescue Team; while the structure and core gameplay remained the same, the circumstances dictating how the player had to interact with the structure changed, and thus it feels to me like the remake struggled to serve its intended purpose. Needless to say, I’m far more interested in the turn-based combat than the resource management of PMD, and DX felt far more imbalanced to where I felt like I was spending most of my time watching my health/PP/belly and menuing rather than focusing on the play-by-play.

In a broader sense, I’ve said before that Pokemon’s greatest weakness is the presence of excessive RNG and grinding. That’s not to say that these weaknesses were absent from PMD, but rather, PMD often prevailed in the face of bullshit RNG and grinding because of how the game’s structure and gameplay mechanics leaned into them. Once again though, for a remake that seemed faithful on the outside, DX regrettably makes changes that worsen the RNG and grinding to extents that were not necessarily present in the originals.

I’ll come right out and say that I’m not a fan of DX’s changes regarding team size and recruitment. Blue Rescue Team and EoS kept the max party size to four Pokemon at a time (with Blue only letting you bring in three Pokemon at a time while EoS let you bring four; if you wanted a fourth in Blue, it had to be recruited in the dungeon), but DX has a max party size of up to eight Pokemon despite only letting you bring in three recruited members. The short and thick of it is that these recruits are a necessary liability for successful runs. They’re a liability because you have to bring them back through the end of the dungeon run to permanently recruit them on your team (unlike the originals, which let you send them back immediately to base), but keeping them alive will naturally eat into your resources, and letting them faint once they’ve been temporarily recruited as a guest will cause enemy Pokemon to become “awakened” and pose an immediate threat via significant stat increases. It’s also extremely unwieldy to try and micromanage five guests at the same time, especially when you can’t give guest Pokemon exact move commands or control their tactics, and you’ll often find them getting attacked at the end of a single-file line in corridors, unable to lend a helping hand to fend off enemy ambushes. At the same time, these guests can be absolute godsends to runs: they often come with Rare Qualities that affect the entire team, such as Small Stomach (which lets you consume any seed/berry/apple and immediately fills the belly to max capacity) or Strike Back (which lowers the Attack and Special Attack stats of an enemy Pokemon, including bosses, that deals damage to your team). You can’t see what rare qualities an enemy Pokemon may have while fighting them, so it’s in your best interest to recruit as many guests as possible in hopes of getting more Rare Qualities to bolster your team. Essentially, this is yet another resource grind that’s present only in the remake. At best, getting the Rare Quality recruits you need is extremely time-consuming and luck-based, but at least lets you steamroll boss fights. At worst, not getting the Rare Quality recruits you need feels like an active detriment when you’re running low on supplies and the dungeon isn’t giving you the item drops you need to survive.

Perhaps this resource grind would be more forgivable if the level scaling were up to par, but as it stands, I find enemy XP drops during the main game to be rather lacking. You’ll have to stick around and roam entire floors to sufficiently scale up with the enemy Pokemon level increases as the story progresses, and that’s often not the best idea when you’ve only got limited resources in your toolbox to manage HP/PP/BP and you’ll likely end up spotting the stairs before mapping out the entire floor. The best way then, is to train in Makuhita Dojo. This too, has been drastically altered from the original. Instead of challenge-room type and boss mazes, the dojo has been repurposed into a straight XP grindfest. You now have to spend limited tickets to defeat as many enemy Pokemon as you can in a real-time limit (i.e. a Bronze Dojo Ticket gives you 50 seconds of real time), and because experience is significantly multiplied both by the ticket itself (3x for Bronze, 5x for Silver, 7x for Gold) and by using super effective attacks, it’s simply too good to pass up considering the meager XP earnings from story dungeons. Unfortunately, this is also extremely tedious due to the time limits, as excess animations from randomly doubling attacks or outright missing attacks/failing to OHKO from random enemy buffs feels particularly punishing when Dojo tickets are a limited commodity that have to be scored as job rewards or randomly from dungeon treasure chests/mail. It also doesn’t help that the ticket allocation itself is not scaled: you’ll still be receiving Bronze tickets far into the post-game when you’ll likely need to use up 3 or more tickets to level-up, and you can only use one ticket at a time instead of stacking time limits. The result then, is that Makuhita’s dojo outright breaks the difficulty curve of the game: I found myself significantly overleveled during the main story using it, but after the significant difficulty spike during the post-game, it failed to provide much benefit for my main team since I was inundated with Bronze/Silver tickets and thus led to even more time spent grinding both in and outside of dungeons.

Gummis have also been reworked in DX, and are a slight improvement over the original, yet aren't completely rectified. Gummi grinding was likely the weakest aspect of the original games: you needed them to level up the IQ of each individual Pokemon for basic skills such as not stepping on visible traps and not using status moves on Pokemon that have already been statused. Fortunately, these IQ skills have been entirely removed and as a result the AI has been improved significantly: you no longer have to micromanage every single member of your team to avoid making silly mistakes, and in fact teammates can aid you subtly like positioning themselves to target ranged enemies or deviating slightly from the path to pick up floor objects so the leader doesn’t have to pick up every object themselves. That said, gummies still serve a purpose, because they provide random permanent stat boosts (invaluable when level-ups are often just a simple +1 to all stats) and they’re the only way to add/change Rare Qualities attached to your team members. Obtaining gummis is actually more obnoxious than even the original games, because just like Dojo Tickets, they can only be obtained via job rewards or found randomly in treasure chests, and you’ll often need to run through a few just to get the right Rare Quality for a specific team member (or a Rare Quality at all, because Rainbow Gummis are not guaranteed to give a Rare Quality). At least in the original games, you could obtain Gummis as random item drops on dungeon floors.

The above three changes basically represent a trend of changing aspects from the original in a way that left something to be desired, and lead me to believe that the remake is somewhat misguided. It’s quite confusing: sometimes there are obvious improvements, like expanding the toolbox capacity from 20 to 48 (carrying this from Explorers of Time/Darkness forward) and adding in all evolution lines for Pokemon from Generations 1-3 + bringing in new moves that have been added since Gen 8, but then sometimes the game feels far more punishing than difficult in a way that the original never did, like how fainting in dungeons now makes you lose all of your money and items (whereas you’d only lose half of your items in the DS originals and at least in EoS, only lose half of your money), so you really better hope you’ve got the resources to rescue yourself with a second team or someone online spots your request promptly.

What is more damning though, is that for as many things as they did change, there’s a lot of not great things about the original that I’d argue they should have changed/improved upon but didn’t (or at the very least, didn't improve upon enough), such as the aforementioned issue of gummi grinding Ironically, the qualities left in from the original are what led me to realize that Blue/Red Rescue Team are more flawed than I had originally remembered. For example, the original wasn’t great at pacing either (I found myself equally bored in the main-game at times, forced to grind during one particular story-heavy section where I was limited to my protagonist + partner), but I think it was more forgivable at the time given that it was the debut of the series and was greatly improved upon in Explorers of Time/Darkness/Sky. DX feels far more egregious in context now that I have several points of comparison, for not fixing a lot of the grinding/RNG issues of the original (and in fact exacerbating a few of them) and transitioning the at-least involved main-story into an underwhelming post-game narrative, of which 80% can be summed up as “fight this powerful Pokemon because you can.” Take this with a grain of salt since my point of view is colored from extensively playing the original (albeit, almost a decade and a half ago), but I unfortunately found my time spent during the main story to be quite forgettable (as I breezed through the dungeons with little difficulty) and a good chunk of the post-game to be aggravatingly tedious while I scaled up my team to better deal with the far more competent foes and spongier bosses.

I suppose I did eventually come around on the post-game nevertheless, considering that at the time of writing I’ve now logged just over sixty hours on my save file. It’s a pity that it took hours of forgettable missions and grinding (instead of the game adequately scaling my gains throughout the story’s runtime) to get to that point and that my satisfaction was in spite of rather than as a result of the altered resource management (since these elements become minimal once you have the right Rare Qualities and a stockpile of Perfect Apples/Max Elixirs to throw at the problem), but a few of the game’s climatic dungeons really do bring out the best qualities of PMD’s gameplay. One dungeon that stands out is Meteor Cave: in it, you are constantly assaulted by infinite waves of different Deoxys forms that force you to consider the totality of your actions, considering each form has significantly stratified stats/moves that must be dealt with promptly before you run out of resources due to Pressure doubling your PP usage. In just twenty floors, this dungeon where you cannot be rescued challenged me in ways that Silver Trench couldn’t do in ninety-nine. This isn’t even my favorite dungeon in the game though: surprisingly, that title goes to Purity Forest. Considered by many to be the toughest dungeon in the game, Purity Forest drops you in with no items, no Poke, and only one team member, resetting your level to five and forcing you to fight and earn your way out to even hope to survive against fully evolved Pokemon by the end of your run. The caveat to my final hours savored in the game was that I had to slog through multiple other ninety-nine floor dungeons around the same time as tackling Purity Forest (and it doesn’t help that two of them, Wish Cave and Joyous Tower, are basically Purity Forest Jr since the only differences are that Wish Cave lets you bring items + teammates and Joyous Tower only lets you bring teammates), but ultimately, I can at least say I finished my run on a high note, even if I felt like my run was diluted somewhat by the lackluster pacing and never quite hit the perfect difficulty until the very end.

So the big question remains: do I recommend Rescue Team DX? While I ultimately got some enjoyment out of the game, I'm conflicted regarding its overall quality and lean towards no. All things considered, I don’t really know what audience this game appeals to or if it even excels in any particular category. Newbies will likely find this game too hard and too grindy during the main story, while veterans will likely find this game initially too easy and too grindy during the post-game. DX introduces enough quality-of-life changes, but it also doesn’t change certain exasperating elements from the original (or in some cases, outright fumbles the bag) and makes me question if the remake was necessary in the first place. The climactic gameplay, once the player gets past any resource and leveling barriers, is fantastic, but as I’ve mentioned earlier, is dragged down by a layer of RNG and grinding that often feels more tedious than challenging. Finally, I'd say that the story’s adequate given its time, but it can’t hold a candle to the emotional peaks reached by Explorers of Sky (due in part to Sky’s side stories).

If anything, my time with DX has confirmed that I see modern Pokemon games far differently than I once did as a kid. Obvious statements aside, I find that I tend to view the newer Pokemon games (of the ones I’ve played anyways, as I only have a few hours in Sword/Shield and haven’t touched Scarlet/Violet) more as sandboxes than well-rounded experiences. Granted, it might be a little unfair to assign this to a remake of a 2005 DS/GBA game, and it doesn’t even sound like a significant issue at first given that I’m usually able to dig deep and find the player motivation to thoroughly approach games on their own terms. That said, I would also say that there was once a time where Pokemon games excelled in both world-building/atmosphere and gameplay (Explorers of Sky being the obvious candidate), and as such it’s hard to see DX as anything but a personal disappointment at best. Even so, it might not be my ideal experience, but I’m still glad that others were able to fully savor what DX brings to the table even if I’m stuck in the past reminiscing about the glory days of PMD, and that’s okay too.