468 Reviews liked by Detchibe


If you call this game "EarthBound Beginnings" instead of Mother Im fucking stealing something out your house!!!

I hate that I can't type in Mother for the name here.

Honestly amazing, although incredibly lewd at times. A story about finding romance in the crux of familial decay, a tragically normal tale for trans people. I absolutely love how insecure the naturalism is here. To illustrate, I will quote the best examples:
"Hey", I say as I wave back. I doubt she hears me, since I forgot to raised my voice, even though there's a good distance between us."
"It would have haunted me forever if I hadn't seen her all night."
""Can I sit here? Do people ask if they can sit somewhere? I usually just sit." "
I recently had a girl stay over for only 36 hours at my families house and I was so insecure, when you're around people for the 1st time you feel an urge to put on the best face but it generally falls apart super quickly. It felt mundane but also terrifying, the precarity of it all. Of being seen for the bodysituation you exist in.
Romance is in saying somebodies name back to them simply, I was anti-romance for a long time but I understand now that its as simple as that.
This is a visual novel but also an aesthetic treat for anybody that can deal with an erotic transgirl relationship. We've almost all met online, because there's only roughly 7% of us on earth, and most of us are in hiding. As such, Love meets beyond the flesh.
Love you Heather <3

The story behind the development of this game is rather cute, much of which is outlined in the wonderful design document it comes packaged with. Development started in 1993 for the MSX as a hobbyist undertaking and reached a presentable state around 1997, where it was intended to be shown off at Comiket. Sadly, Ikushi Togo's disk drive crashed, causing a dramatic loss of the machine language source code and other data. After a lull of many years where Tarotica Voo Doo would lay dormant, an old demo rom was eventually showcased at Comiket in 2014 and received such tremendous support and praise, the developer realised he had to see the game through. Rather than taking the comparatively easy route and developing the game with more modern tools, they instead stuck to their guns and rewrote the game completely from scratch, once again for the MSX.
A self-imposed challenge that paid dividends - Tarotica Voo Doo operates under its hardware restrictions with such clear clarity of intent, filled with design quirks rare and unseen in games old and new. Where the visual style is indeed crude; being the product of mouse-drawn pixel art, it complements the uniquely tactile control scheme to the point where it feels like flicking through charming flipbook animations - watching the mansion map fill out in the same vein as a growing doodle on a bored schoolkid’s workbook margin. The developer has expressed that they find games less interesting when actions are automated, and Tarotica Voo Doo’s puzzling and combat incorporates an utterly fascinating control scheme that demands deliberate movement and interaction. It’s no surprise to me that the developer has their eyes on getting a project to the Playmate system.
I wanted to be a little vague, this is a 2-hour game that deserves to be played and appreciated. I swear to god I think this mansion has left an imprint on me.

Having come off the DMC series a few years ago, I played Bayonetta and didn't really click with it. I found it overly hard and felt the katana was the only good weapon (I didn't unlock the others and didn't understand Kulshedra). Deciding to not remain a loser, I replayed it and found myself falling in love with it 💕
Trying to talk about Bayonetta without mentioning Devil May Cry would be a waste. Even if Kamiya's involvement with the latter stopped at the first installment, there's so much you can extrapolate to DMC and its third game. Bayonetta and Dante are both forces of reckoning in their own series, stylishly dispatching foe after foe with ease to veil their inner turmoils: with Bayonetta struggling with uncovering her past and maternity, and Dante being unable to connect with his brother Vergil, as their interactions are only articulated through violence. While Dante's vulnerability is seldom shown (although not less impactful), Bayonetta's moments of weakness are more visible and central to the identity that develops through her journey: motherhood. Whenever an enemy gets the better of Bayonetta or she gets royally pissed off it's because she is protecting Cerecita, and even after discovering her true nature she still treats her like a daughter by singing the lullaby her mother singed to her in the past.
My only gripe with this is that this development isn't part of a more cohesive story, which is a shame because it's definitely cookin' something. Call me a speed reader if you want but even by forcing synapsis I was completely incapable of making sense of what was going on outside broad strokes, leaving me a bit empty handed on how this identity stacks up in the whole scheme of things. It definitely deepens Bayonetta's character but DMC3 managed to integrate this vulnerability to its plot in a way that Bayonetta couldn't (even if DMC3's plot is inexistent outside the parts where Vergil isn't in it), which is a shame because the game does have a fair share of cutscenes for exposition which were all white noise to me, leaving Bayo's characterization to feel underused and a bit inconclusive.
On the gameplay side, I might like this game's combat more than DMC's as a whole. A perfect blend of complexity, arcade-yness, spectacle and skill ceiling that yields results for those willing to learn the ins and outs of its systems. Even if most of my learning was thru sources outside the game itself, managing Wicked Weaves to reset combo points and learning each of the weapons is so satisfying and rewarding. Witch Time is simply the coolest mechanic ever, not only as a reward for properly dodging attacks but also serving as a condition to deal with certain enemies gives it so much value that it's absence will make you beg for it to come back.
The problem with the gameplay is my also my biggest problem with the game and what keeps me from giving it a 5: the distribution of chapters in the last third of the game. It's comprised of 7 chapters of which 4 are boss fights, which are not the game's strong suit since it doesn't let you use your moveset in a fun way unlike normal mobs; and 1 is a gimmick level which is the worst level in the game, unbearably long (and you can't rush through it) and for some unholy reason also has the best boss fight in the game. This leaves you with only 2 normal chapters of which one is very short and the worst proper level IMO (Ch. XII) and the last proper level in the game that's a bit underwhelming for the place it has in the order. This was the only grievance that stuck between my playthroughs and I was very dissapointed to see that it remained unchanged. I blame Kamiya because he put a shoot 'em up segment in the last boss of DMC1 and now I see he's been given the keys to the gimmick castle, making my need to make fun of him for being bald even greater.
With that said, I'm quite happy to be now Bayopilled. I will remain so until Bayo 2 runs at 15 fps on my totally and obviously legal Wii U, and Bayo 3 makes me block Yuri Lowenthal on twitter

Before I can even think about beginning this review, I need to put in a very special shoutout to Rich Whitehouse and Digital Eclipse. You have done an incredible amount in the name of games preservation with the release of your emulator! Seriously, there is so much that needs to be done with western-developed retro consoles that people seem to have zero interest in because there's no Pokemon games to steal on them! Now I can finally play my legally dumped Jaguar games on something worthwhile!
Thanks to this new emulator I no longer need to consult a Russian hitman to whack someone to get me a damn translation for the one decent emulator for this system, and now at long last......I can play the one game that THAT emulator had major issues with! White Men Can't Jump! In Phoenix it ran like asscheeks, but here it runs fantastic. Well, as fantastic as it's supposed to. Jaguar itself kinda ran like booty.
Anywho, game itself looks like shit and an emulator that runs it properly does little to help unfortunately. You can barely see the ball most of the time due to the camera angle, and the mindless spamming of punches to knock people down guarantees constant split-second visual sleuthing to see if you have possession or not. In the meantime the game is constantly bombarding you with messages smack dab in the top-middle of the screen to announce every action that has happened in the game, like thanks! I'm well aware that I got decked by Fence of the Street Sharks. What kind of name is that anyway? You goin' fencin'? How's your pal Grip doin'? I'll give'em something to grip about.
Their team logo reminds me of a car from S.C.A.R.S. There's an obscure PS1 gen racer for ya.
To be fair, I was actually expecting worse from a game that accuses me of being so massive that I'd fail to make any kind of lift off. It's mindless as all hell and looks like shit, but I've played so much garbage that I can go "well at least I ain't lying on the ground for two hours waiting for my character to get back up!" Actually, it turns out I've got egg on my face, since it does happen if your "anger" meter gets filled. If you punch your opponent or commit a foul (goaltending and traveling are the only ones called in my short session) your "anger" goes up. Now, I don't quite understand why someone "angry" would just stay on the ground for a prolonged period of time after getting punched, but clearly the universe of White Men Can't Jump is a puzzling one. It does little to solve the problem of the game basically turning into mashing the A button when you can tell who has the ball as far as I'm aware, so it's just a dumb mechanic to annoy me the player.
I haven't seen the movie obviously, so I have no idea how canon the game is, so I assume it very much is on point with everything. Whenever I get around to not watching it, I'm gonna assume the footage is nothing but people punching each other other with shaky cam, and the same voice sound bytes of "GET OFF ME CHUMP!" and "CHILL OUT" constantly going off every two seconds.
So yeah, finally Jaguar emulation is acceptable. Now where's that CD-i emulator? There's so much hot garbage on there I want to get my hands on, and I refuse to touch goddamn MAME for that. I need to flabbergast my friends and followers with my mastery of Zombie Dinos From Planet Zeltoid and NFL Instant Replay.

first time I played this was on a tiny old wood panel CRT from the 70s, the kind with two dials you turned notch by notch to change the channel. sitting as close as possible in the dark it felt like I could get sucked in through the grain and glass
still one of the only games that can induce physical anxiety symptoms in me. queasy dutch angles and radio static and distant fire alarms prompt a tightness in the chest and a slight panic. walking slowly pipe in hand toward god knows what i feel like a kid again and slink back into myself a little
the town's white noise negative space feels as cloistered as the interiors somehow, the fog so thick you couldn't cut it with anything. wings beating as I'm making my way through the alleys toward the school, then near silence that feels like all negation when I make my way back, briefly alone in purgatorial intermission
yamaoka's bio-industrial compositions haven't lost any impact in the intervening years, even when so much of the game's material has since been pilfered and paced over until the grooves in the floor run straight to hell. ito's creature design faced the same horde of imitators and clones in the interim and fares just as well. I could describe any number of "things" you encounter in the game, but never well enough to pull them from the uncanny fathoms they're submerged in. they approximate immediately understandable nouns and can be referenced in relationship to them, but they appear like the jolt of peripheral shadow; something suggestive but wholly uncertain
now I know some folks have tangible answers and could easily rattle off a long, well researched explanation. but while poring over decades of literature, tweets, wikis, and otherwise provides solutions, they're solutions I don't have any use for. I like the questions, the vacant space between the seen and felt where misunderstandings and horrible flights of imagination thrive; the knife-in-the-shower moments where you do the heavy lifting. truth is, there are a lot of things I don't want to know
when I was younger we never had cable, never watched much tv, so my earliest upbringing had an exceptional naivete to it. I knew of things like candyman through the kind of (very fitting) urban legend propagation that an eight year old sneaking down to watch a minute of it might spark: his arrival upon one repeating his name, a hook emerging from the toilet to sever your penis. like a lot of these things, there's some truth here, and some untruth
misunderstandings of content that was dimly seen and more dimly understood. half watched episodes of America's Most Wanted, books on serial killers thoughtlessly left on nightstands, a nightmare on elm street, news reports on Paul Bernardo, rumours about neighbors who killed cats, the older girl that took me to the graveyard to perform Vampiric Rituals. all things I half understood, if that, that prompted endless dreaming to fill those unknown spaces. horror, to me, is the gauzy unknown, unforeseen, and unasked for
silent hill feels like the best yet exploration of that feeling, with its disarming playfulness and lynchian spin on the banal only further punctuating that adolescent mind wandering. the goofy ass "K(im) Gordon" key, the rubber ball, the doghouse, the stilted, awkward dialogue and character interactions. schools, hospitals, churches, shopping districts. off kilter everyday somethings turned at an odd enough angle to be peculiar in their presentation or usage, unbeholden to self serious stoicism that's a rot on the genre. sure, it's frightening, arresting, and disorienting, but it's veering off script, errant, derelict. occasionally even silly
light perversions of normalcy amidst all the chaos and doomsinging make the space between the tangible and intangible increasingly uncertain. in most horror the dichotomy would be louder, more heightened and linear. here, it feels like the "regular" world is soaking with the runoff of the other, like a leak on the ground floor that floods a basement, but in reverse. when hell is full... the mall's gonna be right fucked. in life there's a tendency to assume the nightmarish "other" is some sort of pocket dimension where all misfortune and cruelty occurs at several arms' length. it happens elsewhere, not here, because of other people, not us. but evil has no common face, it's in your suburbs and schools and Good Neighborhoods and well groomed establishments and shopping districts and hospitals. that what hurts holds little prejudice. why would it?
the feeling of coming back here is to step into the familiar and unfamiliar simultaneously. so much I remember, so much I don't. as much that's carved into my bones as that what's long gone until I careen into it head first again; a fated collision that's bound to repeat in the future, as happens when you can't see three feet in front of you
I know this place as well as any place, but how good is that, and what good is that?

TAPE A
" What's up gamer nation my name is Pogan Laul.
Today marks 3024000 seconds since Australia's prime minister shat himself at a public McDonalds.

Insert long and boring speech here that lasts 5 minutes and say nothing of value.
In other news Canada's anthem sounds like a Deltarune song (Scooby Doo's Rehehehe sfx starts playing)
Goodnight tri state area, do the Harlem Shake. "
END OF TAPE A

Crash Bandicoot 2 was the first game I played for the Playstation, and as a consequence the first game to press upon me the all-consuming need to have one. I'm pretty sure I drove my mom up the damn wall with how much I begged for a Playstation of my own. Every time we went into the Toys R' Us near our house, we would walk by a massive Playsation display near the entrance, and every time I got it in my dumb little head that maybe, just maybe, this would be the day she would relent and buy me one. At the time I couldn't quite conceptualize how poor we really were. It just wasn't going to happen.
I only got a Playstation years later when my friend was throwing out his own, which his dog had knocked over and broke. Jokes on him, the console worked fine! ...If you turned it upsidedown, that is. But man, I played the shit out of that thing until I finally scraped together enough money to get a refurbished PS2.
My friend moved shortly after getting Crash Bandicoot 2, and since most of my other friends had Nintendo 64s, I never got to play more than the first two worlds of this game until much later. I think it's interesting to see where my nostalgia begins and ends with this game as a result. I love Crash 2, but it wears on me by the time I get to the final world. It's one of those games I think starts incredibly strong and just tapers off the deeper in you get. Again, I think that's mostly nostalgia, I'm just very hung up on the first couple hours of the game. And you know what? They hold up. They're every bit as fun as I remember! I also don't want to totally misrepresent the end game, I still have fun with it, it's just, you know... Jet packs.
Even if I think Crash 2 is a game of diminishing returns, it's still a clear step up from the first. There's a lot more story, the voice acting is terrific, there's a ton of new level gimmicks and most (not the jetpack) are actually fun to engage with, and it just feels good to play. I know a lot of people like to hold the original trilogy of Crash games up as being "hard" or whatever, but I think Crash 2 is well balanced and very approachable, 3 even moreso. It's 1 that's straight bullshit.
Sure I could try to look at this one more objectively, but I don't want to. I hear Cortex say "crystaaalssss" and my neurons start activating. One of the best Playstation games I've ever played.