In absolute awe of the nearly raw, undercooked nature of this game. It's weird, it's ambitious, it fails on multiple fronts. It's an RPG Maker game before RPG Maker existed, a borderline avant-garde experiment from a time when you had to call a factory and physically manufacture cartridges to get a game on the shelf.

More than anything: the combat. It's different, that's for sure. It's easy to see what they were going for, the positioning, unit facing, action delays. And… most of it doesn't matter? Combat is trivial until the final chapter, moderately challenging at best from then on. Status effects are plentiful but largely irrelevant, action timing is so very odd. Sometimes opening a menu allows another character to go, sometimes a unit will take 7 active turns to unleash an underwhelming move. Opponents need to spend time to reorient, but you do not, despite the numerous enemy moves that change your facing. You have a plethora of abilities on each character, most of them meaningless. The non-linear nature means everything before the finale is the exact same difficulty. Everything is just… there. A pile of ideas.

So it's a good thing the rest works. Yasunori Mitsuda's boss theme rips right out of the speakers, gets you hyped every time even though you know you're in virtually no danger. Every character has their own musical identity, each era is sonically unique. The themes slowly reveal themselves, the plot hook setting in as the chapters move on. The different genres have different mechanics, the dialogue has different fonts. Different artists for every scenario, different takes on the same message, an ending that pulls it all together. You see the credits no less than nine separate times, and they never let you skip them, treating each as a proper endroll.

It's uneven, a mess, and a reminder that Squaresoft's RPGs were almost always full of the same odd choices and missteps. More so here, but it's easy to point out in almost every title of theirs from the era. They took risks and then polished the results, the flaws harder to see in the resultant sheen.

The first time I ever beat this game was back in 2022. After playing Forgotten Land when it launched, and really enjoying that, I was still in a Kirby mood and decided to beat one of the few mainline games I haven't already. While not bad overall, I found this notably weaker than Dreamland 1 for several reasons. I was a bit generous back then tho and gave it a 6 like I did Dreamland 1. Well coming back to it again, yeah It's still weaker than Dreamland 1 and I'm dropping it to a 5 now.

That's not to say there aren't some things this game improved on compared to 1. Overall, Kirby feels better to control in this one which is nice. While I'm nostalgic for the first game's ost, this game might have it beat overall. Sure it reuses a lot of tracks from Dreamland 1 and Adventure, however it's original tracks are actually really damn good. Coo's Theme is the real standout here, goddamn is that some good shit. Visually it also looks nicer than Dreamland 1 I'd say, though still doesn't look that great overall since it's still a Gameboy game.

The main thing this game added though were the animal friends. The aforementioned Koo the owl, Kine the fish and Rick the hamster are the three buddies in this game. They're a fun addition and change the gameplay up. Since copy abilities are back, each animal friend actually has their own version of each one. They greatly vary in usage though. Koo with parasol is amazing while Rick with needle is most of the time awful. It's a cool idea, that gets expanded on way more in Dreamland 3, however the execution here is very hit and miss.

Something you can use these animal friends abilities on are copy ability specific blocks. These usually block the main collectable in this game, the rainbow drops. To get 100% in this game, and fight the true final boss, you must get them all. Let me tell you, some of them are a huge pain to get. Not only are the later ones cryptic, the one where you have to use Kine + electric is just straight BS sometimes because of what you have to do to get it. If you know you know, but either way you most likely won't be getting these without a guide.

Other than that, the game just goes on for way too long I feel. To beat Dreamland 1, it takes around and hour or less (most likely a half hour) which is perfect for the type of game this is. Dreamland 2 might improve on 1's controls a bit, but it's still a Gameboy game and it's around 4 hours long to full complete everything. That's way longer and as such it just drags on near the end. That, plus the level design can be very hit or miss. Most of the levels are passable I'd say, however the game really loves its auto scrolling levels and these can be a bitch sometimes with it being a Gameboy game. And of course there's the infamous auto-scroller with the instakill dead ends that is pure trial and error and yeah that one is pure dogshit.

Along with the rainbow drops, to get 100% you have to also do these star collecting minigames and also find the female Gooey once. Gooey is this blobby guy that replaces an animal buddy if it gives you the one you already have. He just gives you some health back if you collect him. However there's a 1/8 chance it'll be a female Gooey instead and finding her actually contributes to 100% which is weird but easy to do in a certain level luckily. The star minigames you can do after going into the boss door again after you've beaten them. You have to collect every star and get a perfect in every world because this contributes to 100%. The minigames themselves are fine enough, however if you get hit or miss a star, you can't play it again until you go and beat a stage. I get why they do this as it's easy to grind lives if this wasn't in place, however the fact you have to do this for 100% just means it wastes time if you lose which isn't fun.

This is the first in the Dark Matter trilogy and so after we defeat Dedede at the end, we get to fight Dark Matter for the first time. Get used to doing that as he's a regular throughout the trilogy ofc. I remember the fight being more frustrating back in 2022, but here it wasn't too bad. Decent introduction to them as a main antagonist of the trilogy.

While I quite like Dreamland 1 and 3, I don't have much of a connection to 2 at all and I personally think it's a lot more flawed compared to those two games. It improves on some things from 1 but is also way longer and drags on because of that. Not to mention it's annoying to 100%. It's not a terrible sequel but I personally think it's a downgrade compared to 1 even if the animal friends and copy abilities being here are nice. I'll take 1 any day of the week over this.

As I stated in my Kazooie review, I replayed the game two times back in September of 2023. With Kazooie, that doesn't seem too crazy because it's about half the length of Tooie. However, I also replayed this game twice as well. And with it being twice as long, or maybe even longer for some people, as Kazooie? Seems a bit nuts right? Well, I really went Banjo crazy that month because after beating both games once, I couldn't stop thinking about them which led to me replaying them again right away. The thing is, that whole time I couldn't stop thinking about playing them again...I was thinking about Tooie pretty much. I don't know what happened to me because I went from thinking this game was just decent and definitely worse than Kazooie, to thinking it was amazing and super addicting and better than Kazooie overall. After replaying both games yet again, do I still think this? Probably, tho it's a bit complicated.

If you played Kazooie prior, the first thing you'll notice with Tooie is just how much Banjo and Kazooie's moveset has improved. The roll attack lasts longer, is more mobile and has a nice visual of Kazooie shielding Banjo. The normal attack you perform by standing still, which before was a simple claw move by Banjo, is now replaced by a more effective stationary rat-a-tat rap. The swimming is now WAY better naturally and doesn't require you to hold the R button for it to be good. In fact I don't think the R button does anything when swimming lol. You can now flip-flap directly out of a talon trot. When you do a beak buster, you can now move forward while you're doing rather than staying in place. This change can actually lead to some exploits you can perform too which is rad. These along with some non move-set changes like how whenever you speed up the text it makes the characters talk faster and doesn't pitch up their voices (which was an issue I had forgot to mention in Kazooie), the camera is slower but smoother to use and is overall an improvement, Banjo's backpack animates now when he walks and something about it is incredibly satisfying to me idk why, and the biggest thing is now notes don't get reset when you die (for a reason I'll get into later). All of these improvements drastically enhance the basic gameplay and I honestly miss a ton of these whenever I go back to Kazooie.

That's all fine and dandy, but how about new moves? Well, Tooie's got you covered because it's got like double the amount of moves in Kazooie. The biggest addition is the split-up mechanic. Now you can play as Banjo and Kazooie separately which makes for some clever puzzles. Each singular character gets their own specific moves and while Kazooie's are generally really fun, Banjo's are mostly situational. Kazooie's consist of moves that aren't as context-specific like the ability to glide on her own, her own backflip that's better than the normal one, and the ability to hatch eggs which gets used quite a bit. Banjo's however, besides the first one that lets him pick up and move objects which can lead to some fun puzzles, aren't used that much. He has an ability that let's him recover HP which is nice but only gets used a couple times overall and isn't as helpful as you think because lives aren't an issue anymore. I actually forgot to say they don't exist anymore and it's actually better to die sometimes because it respawns you at the last split-ip bad/beginning of the world which can work in your favor. But anyways, his other two abilities which let him go in dangerous liquids and the other let's him go in his backpack like a burlap sack to cross dangerous obstacles, just aren't used much and are incredibly situational. They all feel pretty samey too unlike Kazooie's, so overall I'd say Kazooie had the better new moves overall. This isn't even getting into all the new moves they both got together. There's 4 new egg types: Fire, Grenade, Ice and Clockwork. All have various uses and are fun additions. There are two new shoes, the claw clamber boots and the springy step shoes. The springy step shoes feel a little derivative because of the jump pads but they're still cool. The claw clamber boots however let you walk on designated parts of walls and it's awesome. There's the bill drill which is also kind of situational but is super satisfying to use. You can now fire eggs in first-person, which can be a little tricky at first with the N64 joystick but is also fun. Because of this, the game also added egg shooting in the air and water when going in first-person mode. The first-person shooting also leads into this FPS mode where you use Kazooie as a gun, certainly riding on the success of Goldeneye, and they can be super fun as well. All of these additions, plus the split-up stuff just really add to their whole move set and makes traversing through worlds a ton of fun.

Speaking of the worlds in this game, they're overall a lot bigger than Kazooie's. The first couple are kinda comparable in size to the first game's but by the time you get to Terrydactyland, they become just massive in size. You'd think this would be super annoying compared to Kazooie, but the game added warp pads that can warp you all over the level. These are the reason I never found the game tedious, if the game didn't have them or if they were awful like DK 64's warps, then the game would be way worse than it is. Anyways, the world's are much bigger in size and there's a lot more things you can do in each world. Though, overall there are less collectables because notes are now in bundles of 5 and 20. So overall the game has less of a focus on tons of collectables like the notes and more of a focus on the jiggys themselves. Jiggy's require way more steps than they did in Kazooie and this turns a lot of people off of the game. A bit understandable but the game is clearly trying to be more of a slower paced adventure platformer rather than Kazooie's brisk pace. I like both approaches but when it comes to Tooie's unique world themes like a run-down amusement park, a dinosaur world and a combined fire and ice world, I definitely prefer just how creative Tooie gets.

I mentioned how Jiggy's take longer to get because more steps are involved, and that's partly because of Mumbo Jumbo and Humba Wumba. In this game, Humba is the one that transforms you and Mumbo is actually a playable character. It greatly depends on the world but overall, I think this is a fun change. Mumbo has a very basic moveset compared to BK but his whole deal is using his magic on specific Mumbo pads. This is incredibly situational ofc and depending on the world it can be a bit tedious, but it can also lead to some interesting puzzles where you have to switch back and forth between BK and Mumbo. Same thing with Humba, sometimes you actually have to switch between Mumbo and then the Humba transformation. Mostly in the later levels do they make these portions kinda puzzling. In terms of everything new they added, this is probably the weakest addition just because it can lead to some tedium, I'll admit that, however I personally never had much of an issue with it tho I also have the whole game memorized at this point so take that as you will.

Besides all that, one of my absolute favorite additions was the fact a lot of the world's are interconnected. Early on, you'll help this mayan cat character out in recovering this idol. Well, you obtain it from this caveman in a weird looking cave and bring it back to him. That's strange though, you're in a world called Mayahem Temple and you just saw a caveman. What gives? Well it turns out, you just entered Terrydactyland when you did that, the aformentioned dinosaur world. This happens a lot in this game where you'll briefly cross over from one world into another or even unlock paths to directly travel between each one. The most memorable one is where you have to feed a different tribe of (good) cavemen this time, and to do so, you unlock a shortcut between Terrydactyland and WitchyWorld. You pick up some burgers from this one character, use the claw clamber boots you get from Grunty Industries and walk along the wall to feed them. All these working parts and interconnectivity just make the world feel alive and I love it.

I mentioned how you had to get the claw clamber boots from Grunty Industries, which is world 6, and use them for a jiggy in Terrydactyland which is world 5. Banjo Kazooie did this exact same thing only once, where you had to backtrack with an ability from another world. Tooie does this way more often and because of that and the interconnectivity of the world, it kind of feels like a 3D metroidvania at points which is awesome. Anyways, people seem to have an issue with backtracking in this game and I don't get it. The more complex jiggy's I understand, but the backtracking is not required as there's enough jiggy's in the game for you to beat the final boss. And even then, there really aren't that many backtracking jiggy's in general. Maybe like 12 or 13 of the 90 jiggy's require backtracking I think? Either way I think that complaint is majorly overblown and is not an issue at all to me, again the Mumbo and Humba stuff I can understand but backtracking to old levels with future abilities? Never even crossed my mind as an issue.

Something else this game added was a boss for every world and they're all really fun. Some are better than others, Lord Woo Fak Fak for example is probably the worst, but I really like how almost every single one of them are large in scope. They really feel menacing even if some of them are pathetically easy.

The game is also way funnier and a lot more cynical in general which I dig. Kazooie was both of these things as well but Tooie cranks it up to the max. The game literally starts off with Bottles dying and Kazooie going "well, he wasnt the most popular character anyways". The game is just full of this tongue-in cheese cynicism. The cast of side characters is not only WAY larger, they're more distinct and memorable just because the dialogue is so much better. There's literally an immigration joke when BK have to help some actual aliens, it's amazing. I think this, plus the interconnected worlds and more unique world themes, are THE main things I like over Kazooie. That plus the improved move set ofc.
The OST is again wondeful just like the first game, but instead of being upbeat, catchy tunes..Grant went for a more atmospheric darker ost this time around. Because worlds are much larger and take more time to beat, I think this change is for the better since the music track won't get old at all. Some of my favorite songs were Grunty Industries, Weldar's Theme and Mr Patch's Theme.

Yes I know two of those are from Grunty Industries. I honestly don't get the hate at all for that world. Something like Terrydactyland I can get, even if I still like it, because it's a massive world with empty space in a lot of it. However, Grunty Industries is a complex, zelda dungeon-like world and it's amazingly designed. I guess if you went into Tooie expecting it to just be like Kazooie, you'd hate it however it's very fun to explore and again super well-designed. It's not even that easy to get lost imo, it's a multi-layered world with distinct set-pieces rather than a super large open world. Sorry for the rant, I just don't get Grunty Industries hate lol. Something I did end up feeling a tiny bit sour on this time around was Hailfire Peaks. I still really like that world, and think the theming is awesome. However the fire side is a little too big for its bridges I will admit and the lag gets really bad sometimes there. The game can get laggy throughout portions of the game, which is only a thing on the N64 version, but there especially it's pretty bad.

One more thing before I mention the endgame and close out the review, is Canary Mary. Canary Mary has methods that make her very doable but she's still easily the worst part of the game and the only part I straight up dislike and dread doing. Her first button mashing races in Glittergulch Mine are perfectly fine. Her races in Cloud CuckooLand tho are insane. If you aren't doing the pause trick, idk how it's humenaly possible to win without using a turbo controller or something. The 2nd race isn't as bad because you can stay near her until the very end and then button mash to hell to pass her right before she can catch up. These races are easily doable with the right methods but the fact you have to do them this way, it just stinks man. But luckily this is only for 100% and only a tiny portion of the actual game so it's not the worst thing in the world.

I talked about a lot of improvements this game has over Kazooie. If there's one thing Kazooie destroys Tooie on however, it's the quiz section and final boss. Gone is the charming board game aesthetic of Kazooie, now you have a typical game show-esque quiz game where you have to answer enough questions to beat Grunty's sisters. It's not bad but it pales in comparison to Kazooie's version as it's less charming and even has less question types. Yeah, I won't miss the Gruntilda specific questions but no sound/music quizzes? That's kinda lame. Again, it's not bad and is only disappointing when compared to Kazooie. The final boss is also not nearly as good as Kazooie's. Is the Hag 1 harder? Most definitely but it's not as memorable as the Gruntilda fight from Kazooie and isn't as fun. It's a solid fight overall but compared to Kazooie's, just a bit lackluster.

So do I like Tooie more than Kazooie? In many ways, hell yes. It improves on many things like the duo's moveset, the writing is way funnier and the interconnectivity between worlds felt like a logical step to take after Kazooie. It may have the weaker end boss and quiz show, it's definitely and easier game to replay/100% and the Canary Mary rematch race is the worst thing between both games, however I'm still feeling like I may like this just slightly more than Kazooie just because of how ambitious and fun it is. It's kinda like Mario Galaxy 1 and 2 where each game has is own strengths over the other and it's just hard to choose what's better. Either way, it's still a 10/10 like the first game and one of my favorite games ever now. Easily in my top 3 N64 games, alongside the first game and Majora's Mask of course. Either way, if you see people saying you shouldn't play this game after you've beaten Kazooie. Don't listen to them, give this a try and you might fall become infatuated with it like I have.

This Banjo double feature was fun but I reckon it's time to play some Kirby again. Stay tuned for a Dreamland 2 review coming soon!

Back in September of 2023, I decided to replay both Banjo games to see how much I still liked them. It had been around 10 years since I had played Kazooie since then, and 4 years since I'd last played Tooie, so I was excited to dive into both games. Well, as it turns out, I loved replaying both so much I decided to replay them directly after. I very rarely do that, so I just knew I had to bump both games to a 10. Well, after my whole review purge, I decided to replay these once again and rereview them all over again. Only 7 months later after playing them both twice before, I'm a madman I know (haha you won't get this reference because those reviews are now deleted). Anyways, just like before...I had a blast replaying Kazooie and consider it one of the best N64 games ever.

The first thing I'll get into are the controls and Banjo-Kazooie's moveset in general. I honestly think this game controls masterfully, Banjo and Kazooie have such a varied move set that flows well with each of the levels. The talon trot is a must in every level as it let's you go through each area that much faster. With the c buttons, it's also really easy to remember how to perform it too. In fact, I haven't played the game on anything but the N64 itself, but idk how I'd feel about playing it on another controller just cuz I find the N64 controller fits it perfectly lol. Besides the talon trot, you also have a roll attack, rat-a-tat rap which is an aerial move, golden feathers which you can use to turn invincible as long as you have them, red feathers which you can use to fly (and the flight in this game is more satisfying than Mario 64), the beak bomb which is an attack you can use while flying and more. All of this you unlock gradually while playing and is all used plenty through-out the game. You also have two power-ups that let you either traverse unsafe ground (wading boots) and the speedy shoes which, as the name implies, let's you go fast. Even the swimming in this game is pretty nice once you know how to use it. I've seen some people say it's awful because it's so clunky. Which, if you're not holding the R button then yeah totally, but if you are it's very nice and smooth as you have a breast-stroke and a paddle you can perform depending on what you need.

The game itself is incredibly charming, both aesthetically and comically. The world's all look lovely and is just full of that N64 Rare ware charm. When playing through a world, you would be hard pressed to not see a pair of googily eyes on an enemy or even the items (when the item explanation first pops up) and for how lighthearted this game is, it very much fits. That's not to say the dialogue is all light-hearted. It's not as dark as Tooie obviously but they still put in a couple of dirty jokes hear and there. The dialogue itself, while not nearly as funny as Tooie imo, its witty enough especially Gruntilda's dialogue.

Going into Gruntilda and her lair in general, both are fantastic. The lair is a tightly designed hub world that is super memorable, not just because of it being compact in size and easy to traverse, but because the whole way through Grunty insults you and eggs you on. Kazooie has way less dialogue than Tooie, and Grunty herself I find more menacing in that game, but when it comes to her insulting rhymes...they're easily the most memorable pieces of dialogue in the game. Even on this most recent playthrough, I was still hearing rhymes I've never heard before. Really makes me wonder just how many there are in total lol.

When it comes to the worlds themselves, they are excellent tightly designed levels just like Grunty's lair was. Mumbo's Mountain is the worst one imo, and that's just because of how small it is...which makes a ton of sense because it's the first world. All the rest are very enjoyable, with some of my favorites being Freezezey Peak, Clanker's Cavern and Click Clock Wood. Now you might be saying to yourselves, Clankers Cavern? Yeah, idk why but it might've been my favorite world this time around. I honestly don't have an issue with the swimming portions, I love the track that plays in it and the dank grimey atmosphere I find wonderful (which makes sense because I love Tooie and it has a lot of that). It feels like one of the more unique world settings next to Rusty Bucket Bay. Speaking of Rusty Bucket Bay, it has the infamous engine room area and yeah that's still my least favorite part pf the game. It's not TOO bad if you do that part right away, but I still died like 5 times this playthrough. I also died to Click Clock Wood very stupidly, those two levels even now can still get me as they're easily the two hardest in the game. Going back to the engine room tho, the reason it's so hated is because it's the only world with an instant death pit. In the N64 version, instant death means you lose all your notes as the game tracks a total note score in this version rather than keeping your notes when you die like in the Xbox version. This is also a small gripe I have, but only in these last two levels because I pretty much never die in any of the earlier ones.

The music in this game was done by Grant Kirkhope and he's absolutely legendary. He has a very distinct bouncy style to his music and it absolutely fits here with how goofy this game is. My favorite tracks in the game would have to be Rusty Bucket Bay, Spiral Mountain, Clanker's Cavern, and The Final Battle. The entire soundtrack is wonderfully though, and I especially love Grant's use of dynamic music. His work on Banjo Kazooie and Tooie, and DK64 show he's a big fan of it and it's perfect in these types of games.

Once you beat every single world, and have obtained enough notes and jiggies to progress, you enter Grunty's Furnace Fun. This is basically a giant quiz show that puts your knowledge to the test. It's very goofy and fitting for the type of game Banjo Kazooie is. The questions consist of listening to the voice of a character or song of a level and guessing who/what it is, random trivia, playing a mini-game from the main levels or a Grunty question. The grunty questions consist of trivia about Grunty herself that you must know to answer. To find these out in-game, you must hunt down her sister Brentilda, who is hidden in specific areas of the lair. You might think, meh I'll just look the answers to these online. But they're randomized per playthrough so you simply cannot do that. Luckily, with the joker card which let's you skip 2 spaces on the board, you can bypass these if you weren't able to find Brentilda. Same with the instant death skull spaces which are usually just a basic trivia question, but still are very nerve-wracking. After you get to the end of the board, you get a hilarious joke where Grunty makes her escape by forcing credits on you. After that though, it's actually time to fight her.

Before you fight Grunty, depending on how many collectables you have gotten, you can unlock consumable refills and even double health. Once you've gotten what you need, it's time fight Gruntilda herself. The final battle may honestly be in my top 20 fights ever, it's super good. It tests you on many of your moves you've learned through out the game and it has a killer boss theme to boot (as you know with my favorite songs portion). The end of it is super satisfying too, with the Jinjonator being summoned to defeat her. If there's any one thing I love more than Tooie, it's this final boss and cutscene. The Hag-1 is a fine enough final boss for that game, but it pales in comparison to Kazooie's final fight.

All in all, I'm glad I replayed this once again as it's still amazing and still one of my favorite games ever. Back in September, I stated I might love Tooie even more for the things it improved on and its expanded worlds, and yeah I probably do in the end. However, Kazooie has its own strengths , some even over Tooie's and it's still a must play as an N64 fan. Next up though is Tooie, and I simply cannot wait to replay it so look forward to that review coming soon!!

Awesome idea. Cool environments. I really felt at times I was playing a SpongeBob Souls game. Kril is a good character. His enthusiasm for paying taxes makes him a bitch but I root for him anyway.

I got softlocked on the scenery, twice. And the music I find to be lacking for the good visual vibe going on here.

It's at the right price point for what you get.

I just finished Another Crab's Treasure with all achievements with about 21 hours of playtime. One of things I really love about this game is that is comes off as a vibrant, silly, innocent kids game but in reality it's just like every other souls games, it's difficult, it has a dark story, hard bosses, swamps, and... vibrators? but I love every bit of it. There was a few moments in this game where I was soft locked or a bug occurred which was kind of annoying, luckily nothing really ruined my run and the devs are patching the bugs super fast. Other than that, this game is an amazing souls experience and I highly recommend it if you love the soulslike genre.

Definitely interesting in not only being a 2D fighter on the N64 but also being a really damn decent 2D fighter on the N64. Artstyle is super unique and while the game itself aint gonna be going into EVO anytime soon, the game still has its charm with its unique roster and interesting playstyles. I would say the game is a little slower paced than what I'm used to, but i was also playing mamezo for most of my time, which is a character that has zero comboes, so that might have been the reason why the game felt so slow. I'd rec if you enjoy 2D fighters and want something different.

Most of the time when I bring up Rakugaki Showtime to people, they think it's this game, or that RS is an N64 game. Both games are very obscure, extremely stylish doodle games that came out around the same time and use like every old cartoon sound effect. This is RakugaKids though!

This game is very interesting. Of course there's the fact that it even exists at all. It's a very bizarre concept-- A 2D cartoon fighting game for the N64, a platform that didn't really do many fighting games outside of a few. It's also a game they ran out of time on. There's 2 characters they didn't get to finish, and some ideas were ostensibly left a bit half-baked. The final game did come out great though.

It's not a very hardcore game, but it does feel like an Actual Fighting Game in every measure. Characters tend to have a chain system like in the Marvel vs Capcom games, but where characters are able to end their chains vary just as much. Cat Kit can chain together basically whatever he wants, and can link a heavy into a light. Marsa can only chain 2 normals max, and just light into light or light into medium. RakugaKids has 3 punch buttons, and 3 kick buttons. You can do some really difficult links, most links from a heavy tend to be 1 framers. And there's some really funny, classic old game stuff. Like Mamezo's bowling infinite or Darkness' unblockables. There's actually quite a bit to unpack here mechanics wise. But it's also a very approachable, modest game.

It doesn't have superjumps like Marvel does. The main combo structure is a ground chain into launcher, then followed with a jump-- into one air normal, double jump canceled into a air throw. Combos aren't very long aside from the infinites. But characters deal a considerable amount of damage on hits. The hitbox design in this game is also very classical. A lot of normals are meant mainly to be thrown out in neutral rather than combo fodder like MVC.

Of course the main thing to talk about here is how this game looks. This game's visuals are beautiful and impressive. All projectiles in this game cause heavy slowdown and it's kind of obvious why extra elements would do that when looking at how characters animate. Every character has a million things going on in their secondary action. From Astronots floating just off the ground cuz he's a zero gravity Spaceman, bumping up and down- to Mamezo's dastardly finger wiggling. There's also a line boil here. With everything together, characters look like they're animated at 60FPS. It's a game I'd never grow tired of looking at. The voices are very funny too, and have amazing one liners.

So, I mentioned that bit about Rakugaki Showtime because I made that mistake a very long time ago too. Except, in reverse. I knew about RS before this game, but this game was on certain ROM sites a lot earlier than RS was. So this is the game I played first heh. It ended up being just as cool!

So you're telling me this version...
- has better graphics
- has less annoying text speed
- has aiming that isn't garbage
- has a hint system for all those cryptic moments
- has a much less tedious to navigate Water Temple
- and has the Master Quest, an entire hard mode with not only harder enemies but also harder dungeons, included
...and yet some people say the N64 version is better?

If I were to take FEZ at face value, then my thoughts would be pretty brief: it’s a damn good puzzle-platformer game with a hella strong core, taking a 2D interconnected world and twisting it and turning it to achieve greater heights. It’s never particularly difficult or challenging, but it’s fun; reaching new areas is intriguing, and getting the cubes is ultra satisfying, and in a way, I’m kinda glad it never tries to have really hard sections or some sort of final challenge, because even tho I’m sure that’d be cool, and I would really love to see this dimension-shifting mechanic taken up a notch, I also think the way that it is makes the world feel much more organic than it otherwise would, and sells the idea that this is an experience more about the act of exploring than traversing perilous sections.

However, taking FEZ at face value is impossible, or at least it is for me. FEZ is the jumps and beautiful sounds and sights of its adorable ruined worlds as much as it is the secrets that lie within.

I have talked about my fascination with the ancient world and the mysticism and desire to learn that comes with simply witnessing it, whether it is the remnants of a bygone civilization or the remains of an animal that walked the earth hundreds of millions of nights ago. FEZ has a ton of the former and not much of the latter, but what it shares with both of those is that feeling.

The feeling of stumbling upon something you shouldn’t even be able to understand, of seeing the carvings in the wall and the very code that holds reality together and finding answers behind it—it’s satisfying to beat a platforming challenge and get to a chest with a key in it, but it’s equally, if not even more fulfilling, to fit pieces of the puzzle hidden yet in plain sight.

Spirals of purple marble endlessly repeating, secrets to be revealed by feathered friends or written outside of the game itself, tongues that can be completely translated, and moments like what happened to me where I solved a puzzle by complete chance by just fucking around moving some blocks; connecting the deepest secrets of the world through the addition of the Anti-Cubes alone was an amazing decision. Even after pulling apart layers on top of layers to get some of them, I still feel I’ve barely scratched the surface of what’s in here, what can be found, like an excavation that just has begun.

Every step is a new discovery, and making it to each of the main hub worlds opens a new horizon, from the oldest depths to the stormiest peaks, and it’s all so… tranquil. The wonderful, beautiful pixel art mixed with the outstanding OST, it compels you to keep going, to see juuuuuuuuuuuuuuuust a lil’ more, to keep going a bit further, only to be met with a teleporter, going back to the hub, and repeating that process over and over again. It says a lot when, in the year 2024, a game that uses QR codes or 4th wall breaks to solve puzzles doesn’t make me groan; on the contrary, in fact, it manages to fit into that secret uncovering process tremendously well.

There are pieces that don’t quite fit: the fact that quite a few of those more hidden puzzles end up being a combination of LT and LR inputs is a bit disappointing and misses the mark on what other Anit-Cube quests accomplish so well, and there’s some even weirder stuff like annoying void squares that appear randomly and aren’t anything more than a dumb annoyance or how entering doors may just crash to desktop randomly, which isn’t part of the experience, mind you, and it takes you completely out of it sometimes. It only happened once to me, but this being a problem present years later is a bit disappointing, to be honest.

It's a cube quest that a few times can be a little disappointing or frustrating, but that’s something I can easily look past when the rest of it is so stellar that the act of opening doors is the most exciting fucking thing ever. It invites to wonder and imagine, and there’s so much to be solved and found that, after hitting credits, I feel like the exploration can go even further…  Oh, and also, Gomez’s design and name is the best fucking thing ever and there’s no contest, the most basic-ass lil white dude and I love it, look at his smile!

Adventure is out there, and it carries mysteries with it, it’s about time someone solves them.

Shout out to small rural towns overtaken by an evil or dark presence that corrupts them or brings hellish creatures. Gotta be one of my favorite genders.




Deemon, the incompetent reviewer, started off his write-off with one of his usual jokes, so unfunny that one might wonder if he was doing it on purpose or if he really has such poor comedy taste. He was trying to hide the fact that he really didn’t know where to start; the path to take might seem clear, but like the streets and forest of Bright Falls, it’s more deceiving than it may look at first, like a maze that’s also a downward spiral.

Deemon pondered, searching for a way to salvage the review, desperately trying to find out which step he should take, what words he should use. He sighed. He decided to let the words write themselves, to let out all the thoughts that had formed while the darkness and light of the town surrounded Alan Wake. He surrendered himself to the unknown, one that might be already written after all… Though he knows he had to talk about the music for sure, that selection of bangers had to be celebrated somehow.




Ambition almost killed Alan Wake, in more ways than one. I mean, I may not know much about Remedy Studios, in fact, it is the very first game of theirs I have ever played and beaten, but I do know the story of Bright Falls and how it was initially going to be something else, an open world of sorts, something that didn’t quite work, as it seems. Translating an already crafted open world into a linear style of game is such a monumental task that if I were in that predicament, I’d have considered outright scrapping everything and starting from zero, but that probably wasn’t even a realistic option for the team to begin with.

But that’s not even what I’m specifically referring to. Alan Wake, the game, the package, the copy made out of code and specific sections, is riddled with hiccups and bumps; it’s filled with padding, sections of trees and mist than don’t offer much aside from one or two manuscripts pages and combat sections that can feel overbearing at times, the remnants of its troubled production remain in aspects such as the barren areas and driving sections that don’t have much of a place and are so frustrating to playthrough even if you ignore any cars I just wish they were taken out —tho it’s kind of cute how it also uses the same light mechanic as the rest of the game—,  the encounters with the Taken or the groups of mad crows often lack imagination and enemy variety or don’t jam very well with how the camera works in the case of the camera, and at one point I just kept thinking how much the experience would have benefited if some sections were repurposed in different ways or outright removed.

The imperfections of Alan Wake mostly come from this, factors outside of the game itself, of its story, but they still impact it negatively; I can’t scratch off the feeling of something being lost a bit when all of the boss enemies behave the exact same, the only thing that changes being the creepy lines they spat out and the character model. If the game wasn’t anything more than a series of levels where you shoot at things, then these issues would have rotted its pages…

…luckily, it has a dragon.

Wouldn’t it be funny if I started to praise the actual combat itself after spending two paragraphs criticizing some gameplay sections? Yeah, it would be hilarious! ... ANYWAYyeah I fucking adore the way Al controls. It occupies that same space as Simon from Castlevania, where how slow and imprecise it feels actually benefits the gameplay. You truly get the feeling Alan has never picked a gun in his life in any major capacity; he’s slow, clunky, imprecise, and I wouldn’t want it any other way. The tense dance of using light to weaken the Taken and gen emptying the chambers of them, or hell, simply using a flare and trying to activate the closest generator, it’s a super straight-forward system, and I love it. It’s incredibly satisfying to come out of encounters on top, because even if there isn’t much scarcity in resources (even if you start off each chapter with nothing each time), they are still somewhat limited, especially the most powerful weapons, and little things like mashing X to reload faster or the camera panning out to warn you of nearby enemies are things I didn’t know I needed until now.

It would be a far cry to call it a survival horror, but it’s tense; it’s tense to try to manage the purge while a bulldozer is charging full speed at you; it’s tense to try to outspeed a force you cannot do nothing against; and Alan gets progressively more and more tired. I can make the argument that there should be less of it or at least more variety in what it offers enemy-wise, but nothing will take away from the fact that the core itself is some fantastic shit.

Like… there’s something about fighting against waves of enemies on stage while the sickest rock tune ever plays in the background and the lights and flames fill your eyes that I can only call ‘’fucking awesome’’.




Deemon knew that wasn’t just it. He could talk about flaws and shooting Taken all he wanted, but something else lied within the light. He ran into it.

‘’But there’s something else’’, he said




But there’s something else.

A story already written, touched by the darkness. Written already as a part of it before birth, its muse trying to corrupt it. An ending yet to be typed out.

I have never seen a videogame story that trusts so much that the player will be intrigued enough by it to stick with it and engage with it all the way through. The tale Alan Wake, Alice, Barry, Sarah, and the whole town get tangled into is not intriguing; it is fascinating. I have never felt such closure from getting answers to questions I never realized where there in the first place. From being pretty disappointed about how Nightingale and Mott had such a poor presence as antagonists to being in awe of how their actions fell into place after the truth of this unfortunate series of events was revealed. Alan Wake offers a hell of a mystery. Alan Wake solves it.

The pages of the manuscript are as essential as the cinematics and interactions, so many pieces of the puzzle fit, it’s almost like getting spoiled before something happens, which in a way is exactly what’s happening. At first, I felt pretty disappointed that this would be a jarring light vs darkness story mixed with a thriller. Then it ended up being a meta-narrative within its own meta-narrative. The fact they did that without it feeling overcomplicated or screwing it up is ovation worthy.

But I also feel a huge sense of admiration for the micro-stories at play; hearing and talking to the inhabitants of Bright Falls, listening to Maine’s night radio, the echoes of the Taken and stellar ambience sounds ringing through my ears, the fucking incredible Night Springs shorts that had me HOOKED... It was the little things scattered in the trees and buildings and the small talk that gave this spiraling world even more meaning.

It ends with the darkness hungry for more, just like me. I’ve seen people call Alan Wake ‘’the most 6/7 out of ten game I’ve ever played’’, and even though I do not sympathize with that statement at all because it feels reductive in any context, I kind of get what people mean by it. Alan Wake is profoundly flawed, but most of them do not come from the game itself, but rather from the complicated production it had to go through.  In the face of such adversity, I’ve never seen such confidence, such talent, or such a desire to tell a tale like this. Alan Wake isn’t just *a* story, there’s more to be written and read, but at the end of the day, it’s also its own story. And what a story it is.

Maybe this isn’t what the champion of light could have been if the circumstances were different, but the hardships cannot be avoided, and even after going through them, they really sold me on this novel.

-''I'm a bit nervous''

-''Me too!''

They say as their killer smiles aren't even fazed. That's the kind of attitude I aspire to have when setting off dangerous explosives.

Frog Detective 1 is the perfect example of that breed of videogames I like to refer as ''candy games''; shorter and more laid-back experiences more focused on the adventure of meeting people, doing silly stuff and the interactions that come from it. Or in other, simpler words, lil' goofy treats.

This right here is that entire base idea made into a game. It’s basically just a stroll across this not-so-spooky islands and the interacting with the scientists to solve the most daunting case to ever be, and it’s cute! There are some pretty charming interactions here and there, some funnier than others for sure — Larry and Martin had the best moments by far—, tho overall they felt a bit repetitive at times and at worst some bits felt a bit awkward in a non-intentional way. The style of comedy it goes for isn’t anything new but at its best it really knows how to pull some novel or really funny bits, I just wish some others landed better.

And that’s about it, honestly!!! Aside from dialogue, the other thing you can do is to explore the island and use your magnifying glass for the fun of it, and as much as I love using a fish-eye lens in some of these Muppet looking motherfuckers, it also gets old fast. It’s an idea for more possible visual gags that aren’t explored further, which is how I feel about many other moments in this short mystery. The mouse doesn’t even get to break-dance at the end! What a ripoff!

It's hard for me to get even a bit grumpy about it, and if I started saying that I wished it was more ‘in-depth’ would be straight up silly. It’s a tale about a frog detective, plain and simple, and the enjoyment you’ll get out of it will entirely depend on how much you get charmed by it.

It doesn’t last long, it isn’t much, but it is sweet… just like a piece of candy!

The cutscene that plays when using the dynamite on a battle is the single best thing ever implemented in any videogame in all of human history and I’m only mildly exaggerating.

A macabre festival where the dance never ends, a fever dream made out of bones and clay; Hylics manages to perfectly capture the feeling of a nightmare that seems to be completely absurd, yet it manages to craft meaning within the spiral of chaos. Places with random names located in islands that make no sense; mazes and entire worlds inside machines down ladders that somehow connect, and half of the odd weirdos you come across seem to speak in riddles and the other half take the insanity of this realm as another Tuesday, but all share the incredibly exaggerated animations, that range from the smoothest hand and clay movement you could think of in battles to just three frames for each walk cycle, and I wouldn’t have it any other way.

If Hylics delivers something in spades, it’s definitively a sense of style, of harsh clay figurines and contrasting colors, of poems and jokes, with mountaintops populated by cone-shaped cultists and an afterlife full of fishes and a couch. I could list every single area and enemy in this game and say, ‘’WoAH! That was pretty weird and cool!’’, but I think the fact the game is just that, an avalanche of nonsense and weird shapes—and somehow finds a way to make an actually pretty simple tale and a world that has some sort of meaning and makes sense—is far more impressive than the weird moments themselves.

The harsh and quiet melodies, the special moves you get by watching the TVs, the pals you meet along the way; it’s really hard to talk about individual aspects of Hylics because everything seems intrinsically connected with each other and totally unique at the same time, which ironically makes it so some of the moments that stand out like a sore thumb are those in which it feels like the game doesn’t go nuts enough with its ideas.

The combat system, as crazy as some of the attacks get, is still pretty light; there are some cool things about it, like how it connects to the afterlife, some item interactions, and how the game’s own openness makes meeting allies and gaining abilities completely up to you. But I think that’s where the interest peaks, in how the combat is pretty determined by what you do outside of it, and when it comes to battles themselves, while there are some interesting bosses, it soon became pretty clear others are just damage sponges and that you can become pretty powerful very easily, and that plus how the areas are designed often makes combat seem more like a chore you sometimes do to get past a certain point or gain meat and money, and that otherwise evading conflict is often the faster, less annoying option.

And again, it’s in these battles where some of the more abstract and impressive animations can be found, and if anything, the final area and boss fight will ask of you to have gotten many special secret moves and quite the amount of bucks, so it isn’t completely valueless to engage in combat, but in a game with such a crazy atmosphere and universe, I was hoping for something far more engaging.

I was hoping to see more of the party members, who seem to lose their mouths the moment they join you. I was hoping for some of the puzzles to be more out there. I was hoping for more of its insane style to slip into other areas, like the menus or the secrets… Hylics presents an impossibly creative world, and even if it doesn’t last longer than it needs to and it's full of amazing stuff, it feels as if its full potential has yet to be achieved.

But what was accomplished is unforgettable; despite wishing I got to see more of their personalities, the yellow devil and his three friends singing and playing in a bar in the middle of nowhere and plowing through the forces of the moon before facing the final fiend are some amazing moments that made me laugh despite no words being said. Wade is a menace, but not one that has to be locked up; in fact, it should be let out even more wild. Godspeed, you crazy bastard…

Also, big fan of Somsnosa, it’s always nice to see another hat with horns appreciator…

I didn’t even know it was even possible to get combo-ed in Russian Roulette, but the Dragon Ball FighterZ shit the Dealer pulled on me proved VERY wrong. Seeing him with his crooked grin using the magnifying glass into cutting the shotgun’s barrel for the first time felt like being shot in real life.

Buckshot Roulette’s main story is pretty simple; on the first round you learn the most basic rules, and it’ll be the part where luck will have the easiest time to fuck you up, on the second you are given the items and the lenience and strategize with what they provide , and the third one is the final dance, in all the ways. Claim victory, and the bounty is yours, you’ll be done and free… But why not stay for another round?

The introduction of this nasty-ass setting is priceless, I for one love the rusty warehouse this is probably taking place in and bathrooms with the same amount of hygiene that those of my university, all while hearing the music of an unseen party at the very bottom, so far away yet so easy for its sounds to reach your ears. Then you immediately decide to point the gun to yourself, immediately get fucked, and from that moment onwards you know which type of game you are dealing with.

You don’t have much time on your hands, Buckshot Roulette knows very well that this particular little game of theirs can’t really go on for more than its worth, and so it makes the most out of its time. It takes a lil’ bit to take off, as I said the first round consists mostly on you, your ability to count a bit, the Dealer and the gun, so even tho our friend sitting by the table hasn’t entered insane mode yet, luck can really mess with you for a while and not letting you get into the real ‘’good stuff’’.

Die & Learning can only get you so far on here, with the introduction of items, it may not hit as much at the start how useful they just really are. Apart from the phone, which I found to be too unreliable and more of a waste of item slot than anything, every single drug or tool you can get your hands on works fine on their own, but together the options are insane. I only realized this after the Dealer made me wish I had smoked that cigarette, and from there on out is a tense, cathartic mind game, your opponent is not holding back anymore, and neither should you.

Perhaps I’m putting my heart through too much stress, but it’s worth for the rush that you feel in the final round, where it’s all or nothing, either after pulling off some insane-ass trick that works or when backed against the wall and without tricks, going for the gamble of the fucking century and it actually working, those moments are both hysterical and fulfilling as hell… tho… don-don’t go testing your luck unless you need it, i-it can go REAL wrong.

Winning that final bet on the first time and coming out alive on the double or nothing mode (and promptly getting the fuck out), that’s what’s fun, that’s what makes it worth, that’s what will make you keep coming back… true fun for all ages!

The core in here is excellent, it can really grab you beyond the normal mode and I’m really glad ‘’Double or Nothing’’ exists, but it still isn’t more than it is, a rush of adrenaline that lasts as long as it needs you, and welcomes you with open arms if you do decide to come back or stay for a little longer, and some of the achievements are a riot, so it also has that going for it!

When multiplayer gets released it’s gonna the funniest thing ever oh my god, if I already lost my shit wheezing against an AI opponent, with friends this is just gonna be straight up fucked up…

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