The Boxboy trilogy on the 3DS was a big surprise. I remember playing the original a long time ago and being shocked at how good it was. The graphics were simple but effective (and very cute), and the puzzles you did were on the easy side but still required some thought to complete. BoxBoxBoy was a fabulous follow-up, adding some more costumes and different playable characters that spiced it up a bit. Bye-Bye Boxboy, the final game in the trilogy, is easily the best in the series, which is a very nice surprise. Too often, these types of games go on for too long or end on a sour note, and I am glad that the geniuses at HAL avoided that pitfall.

On the surface, the game looks remarkably similar to the other two entries. The gameplay hasn't changed much; you are still forming boxes and using them to get to the end of levels. Boxboy is still his blocky self, and even the music is similar. However, there are subtle differences that someone who has played the other games will really appreciate. For instance, there is a lot more colour in the game, with splashes of blues, reds, purples, and yellows dotted around. The game retains the iconic monochrome style overall, but the colour is there and used effectively. There are new environments that impact how boxes, and BoxBoy, behave. As well as new types of boxes that completely flip how you complete a puzzle on its head, which is easily the coolest part of the game. I won't spoil what they are, but I was genuinely surprised when they appeared. There is even a story of sorts as you go from planet to planet, clearing what seems to be pollution with the help of Qbbys. There is a melancholic atmosphere to the game, which may seem like an odd thing to say, but once you finish Bye-Bye Boxboy, you will understand where I am coming from.

Overall, this game is another superb entry in the trilogy. One that really expands upon the premise and mechanics of the previous entries in fun ways, leading to a deeper and more enjoyable experience. Yes, the puzzles aren't particularly difficult, but honestly, hard puzzles just wouldn't fit the cosy, low-key vibe of the Boxboy franchise. 

I came to Shin Megami Tensei IV: Apocalypse with some trepidation. I really loved the previous game, Shin Megami Tensei IV, and was concerned about how returning to that world one more time would turn out. Well, I needn't have worried, as Apocalypse's reinterpretation of the original game is superb and has a lot of improvements that make it a superior experience in some ways. 

The standout feature of this game is the superb combat system. Making turn-based combat thrilling is a difficult thing, but Apocalypse, even above the previous game, has maybe the best combat of any turn-based RPG I have played. Each member of your team does something, and then it is the enemy's turn, but if you do a critical strike or hit a weakness, you can attack again and have the possibility to smirk, which temporarily increases your stats and do extra damage. It is a dynamic and masterfully designed system that really makes you consider each moment. When you first meet a demon, you know nothing about their resistances or weaknesses, so it is up to you to either work it out during the combat or find enough of them to uncover the stats. It can lead to some harsh moments where you attack a demon only to find out it blocks, reflects, or nullifies it. If this happens, you forfeit the rest of your turns, and it is your enemy's turn. If that happens, there is a high likelihood that they'll be smirking and will unleash some serious damage. It is this risk-reward design that makes every encounter a mini-puzzle, even if you already know the demon's weaknesses. It feels fantastic whenever you make a critical strike or go into a smirking state, but equally, you are hit with a tsunami of dread whenever an enemy does the same. Apocalypse is an exceedingly difficult game. You can mitigate that with buffs and some particularly strong spells, but with one bad spell from you, a seemingly innocuous fight can quickly fall apart as the enemy smirks and then does a very powerful critical hit. The bosses present a unique challenge, with many requiring multiple attempts to defeat them. While moments of frustration may arise from the occasional stroke of misfortune, such instances are rare. The superbly crafted combat system ensures that the difficulty remains ‘tough but fair,’ striking a balance that keeps the experience engaging.

The RPG elements in Apocalypse retain that SMT IV style. You still collect demons by trying to convince them to join your team; you still combine them to create new demons and even evolve them at times. Something I love about these two games is the focus on sacrifice. You’re constantly faced with challenging decisions regarding the abilities you and your demons acquire, a mechanic that adds significant depth to each level. To share a personal experience, I had an accident fusing demons early on, resulting in a formidable ally that evolved and accompanied me throughout the game. It was awesome. There is a lot of flavour to the RPG mechanics. Each ability is an 'app'; the demons have a dash of personality, the place you visit to combine demons is called the Cathedral of Shadows and is hosted by some pixelated entity called Mido and all the menus are in your smartphone. It really adds to the overall atmosphere of the game and makes up for some lacklustre graphics.

While it may seem unjust to critique the graphics of an older title on a dated handheld console, certain design aspects appear to be lacking. The exploration of the world and dungeons, set against the backdrop of a modern Tokyo, often feels uninspired. The couple of exceptions are the later game dungeons, which can get very psychedelic. The overworld map suffers from the same issue. The NPC designs, excluding the main cast, are unfortunately lacklustre and overly repetitive. However, the game truly excels in the design of the demons and the main characters. I love the former a great deal; there are so many iconic designs here that I think are better than SMT 4. Mara is a particular highlight, being a massive penis monster attached to a chariot, as is Frosty Jack (and the variations within that archetype). The main cast is fine; I especially like Hallejuah and Dagda, but the real achievement is the boss design. Each boss is meticulously detailed, conveying a divine presence befitting their status. The character design carries the visual experience, showcasing Atlus’ strategy paid off.

Describing the plot of Apocalypse conjures images of both awe and madness. You are slain and subsequently resurrected by the deity Dagda, who charges you with the daunting task of vanquishing other gods. The ultimate goal? To amalgamate all human souls into a singular energy sphere, liberating them from the shackles of mortality. The antagonists, renowned deities with designs to dominate humanity, present formidable challenges. Your journey is a tapestry of mythic encounters: wielding Excalibur against a colossal dragon, shattering a soul-draining egg that preys upon Tokyo’s inhabitants, battling celestial beings in the heavens, and even confronting Krishna. All that sounds exceedingly cool, and it is, but the stuff between isn't that engaging. There is only so much love triangle drama one can handle and the resolution to the Dagda plot was rather flaccid. It’s here that Apocalypse falls short of its predecessor, SMT IV, which weaved a narrative rich in coherence and detail, punctuated by moments of grandeur.

So yeah, Shin Megami Tensei IV: Apocalypse is a superb game. There were multiple times, mainly after defeating a particularly difficult boss, where I was literally celebrating like I had scored a goal. It surpasses its predecessor, Shin Megami Tensei IV, in nearly every aspect, narrative aside. However, that’s hardly a drawback, as the game presents a coherent story that skilfully sets the stage for remarkable encounters. Looking ahead, I’m keen to delve into more Shin Megami Tensei games to discover the diverse interpretations of the franchise’s signature style.

To preface this review, I first played SWAT 4 about 5 years ago. I consider it one of the best games ever made, full-stop. So I came to the Stetchkov Syndicate knowing that, at the very least, I'd enjoy the experience. And, to be honest, it met my expectations but didn't exceed them.
It begins where SWAT 4 ended. It is just another week for the SWAT boys, with more terrorists to take out and hostages to save. But this time you are on the trail of the Stetchkov Syndicate, a group of Eastern European collectors whose criminal activities have upped the firepower the local gangs have access to. It begins with a normal mission in an arcade, filled with sly references to Irrational Games' games, where two gangs have opened fire, then escalates to a bomb defusal, a shootout in a train station, and finally an assault on a warehouse. Each level brings its own challenges and is a real escalation from the base game.
The expansion pack’s most notable addition is the ability to punch, which not only adds a new dynamic to gameplay but also conserves ammunition. Additionally, the introduction of Night Vision goggles enhances the game’s oppressive atmosphere by making it difficult to distinguish between criminals and bystanders, while also limiting your vision.Admittedly, I only used them for one mission, but that mission was a real highlight. An improved taser and several lethal guns have been added to the expansion pack. To be honest, aside from the punch and the taser, I mostly relied on the familiar weapons from the base game. Nonetheless, the new additions are appreciated.
Late-game SWAT 4 was exceedingly difficult, and the expansion pack continues that trend by upping the ante. The criminals, thanks to the Stetchkov Syndicate, are better equipped than the mid-game rabble in the base game. Facing assault rifles and body armour was a real pain, as I try to be as non-lethal as possible when playing. While the terrorists run more and open fire at the drop of a hat. I may be misremembering, but I don't remember already subdued suspects standing back up, grabbing a weapon, and opening fire if you are slow to confiscate their guns or handcuff them. Although initially leading to some mission failures, this behaviour swiftly taught me to be quick and decisive with my handcuffing. Additionally, the later levels are wide open and filled with areas for terrorists to hide in, which makes clearing each room even more stressful than it already is. Sometimes the A.I. would declare a room to be clear, only for some terrorist to be hiding behind a corner in that exact room, waiting to unload a clip into my head. It didn't become too frustrating, but there were some rough moments. 
My biggest problem with late-game SWAT 4 is that it dissuades you from going non-lethal. Body armour neutralises particular grenades, while gas masks stop CS gas from being effective, so you have to resort to killing people in order to make it through a mission. As previously mentioned, the punching helps in that regard, but I was still capping terrorists at the slightest hint of a bullet coming my way. Depressingly, from what I have learned about the American police force, what I was doing was pretty accurate. However, unlike the final level of SWAT 4, the expansion pack makes you face off against well-armed but not necessarily well-armoured terrorists on their home turf. So all your gear is effective, which was a nice surprise.
Overall, The Stetchkov Syndicate is a bit of a small expansion pack if you discount the online component. While it may only include seven missions, each is crafted to the highest standard and SWAT 4's fantastic intense tactical gameplay meant that it was a great experience.  

I'll just preface this review by saying I'm not a fighting game expert. The last one I fully committed to was Mortal Kombat 9 all those years ago, although I have dabbled in Street Fighter and Guilty Gear over the years. I enjoy them, but I don't have friends who play fighting games, nor do I come to them early, so there is usually no one online. So if my review is lacking in certain mechanical aspects, that is the reason.

I've heard that this game is a bit of a red-headed stepchild of the reboot series (at least, pre-Motal Kombat 1), and I can absolutely see why. There are several aspects that I think are a bit flaccid compared to MK 9, even if the core fighting is fantastic. 

For one, the story isn't as good as what I remember from the previous release, but that did have the benefit of using the OG games as a source. This was the first to have a wholly unique story. The basic premise is as follows: Shinnock, an evil Elder God, had his lifeforce sucked into an amulet. Twenty-five years later, this amulet was stolen by Kano and given to Milenna for an attempted coup d’état against Kotal Khan in the Outworld. The story spirals out from there, with the ramifications of these events, along with the aftermath of MK9, deeply influencing the plot. To fully grasp everyone’s motivations, familiarity with the previous game’s context is essential. There are a couple of structural things that left me a bit cold. There are a lot of flashbacks that muddy the narrative; some parts seem rushed, and the ending is flaccid. I had fun, don't get me wrong, but it was rather underwhelming.

I have that feeling about a few other parts of the game, to be honest. The graphics, for instance, show their age a lot more than you'd think for a game that is only nine years old. Mortal Kombat X exhibits a common visual trend known as ‘Unreal Engine Syndrome,’ characterised by a muted, brown-dominated colour palette. It makes the game not really 'pop.' The facial animations of the human characters in the cutscenes are firmly in the uncanny valley, which stems from the more'realistic' (as a game involving ninjas, gods, and an insect lady can be) style it has. Additionally, the transitions from cutscene to gameplay are rather jarring these days, as the quality of the CGI doesn't match the resolution of the graphics. The concept retained from MK9 is commendable, and I’m pleased it was preserved. However, by today’s standards, it no longer stands out as particularly remarkable. It is rather unfair of me to criticise the graphics of such an old game, but it just solidifies my opinion that stylized graphics age a lot better than any attempts at realism.

I don't want to keep criticising the game because there is a lot to like. I love the characters, for one. Almost all of them are instantly iconic and have never looked better. A personal favourite is Jax; his arms look so sick, and his character matures a lot (I guess having your arms ripped off and then being killed does that to you). A lot of the new characters are really good, with Kotal Kharn and D'vora being real highlights; they're unique even when compared to the zany roster. I do think the more human characters, the Kombat Kids and Johnny Cage, are a bit more subdued and generic in comparison to the very best. The unlockable skins do help in that regard. The backgrounds are equally as good, although the Unreal Engine issue does dull them somewhat. The visceral impact of executing a fatality in Mortal Kombat X is so profound that it often leaves me in awe. This franchise has always pushed the boundaries of intensity, and this installment significantly raises the stakes. In terms of style, MKX is a monumental advancement over its predecessor; it portrays female characters with more realism and less objectification, a change that deserves recognition.

The gameplay is incredible, to put it mildly. It builds upon MK9 in all the right ways by increasing the speed and adding some bits and pieces to give each match some more tactical depth. For instance, you can cancel out of a throw and instead push the person away, which gives a great opportunity to unleash some hell. The tutorial excels at providing a comprehensive introduction to various moves, ranging from juggles to combos. However, it does omit minitue, which I presume is best mastered through extensive gameplay. The story mode really helps teach you bits and pieces about several characters, giving you four fights with each character, but it leaves a go-half or more completely untouched. Sure, I saw Reptile being played by the computer against me, but I never touched him until I decided to use him in an exhibition match. I feel like the previous game was a bit better in that regard, which is unfortunate. I am dreadful at the game, resorting to button-mashing a lot rather than stringing combos, but I still had a lot of fun.

I wish I had played this game when it came out. There is a lot of stuff in MKX, but it relies on friends and a vibrant online community to really make the most of the game. Yes, the towers, basically in arcade mode, are there, but they don't replace the real thing, and I didn't want to grind out points and coins by repeatedly playing them. So there is a lot of stuff I haven't unlocked in Krypt, but there is only so much music and concept art one can stomach. Despite these misgivings, playing MKX is gallons of fun; it is just missing that je ne sais quoi that stops it from being a really great game. 

There were two moments, in relatively quick succession, that showed me just what I was in for with Sly Cooper. The first was when I attempted to pick up a coin and had to be directly on top of it, and the second was dying in one hit from an enemy. Once I experienced those two disquieting things, I readjusted my expectations for just what kind of game Sly Cooper was. For some reason, I had it in my head that the game would be a fun, light-hearted stealth game, not a platformer that is closer to classic Crash Bandicoot in design. I still had fun, but there were some glaring issues that can only come from its genre and age.

So, positives first. For one, I thought the platforming, for the most part, was really good. I felt like I could slink around the maps with ease, and the stealth sections added a nice twist to the gameplay. Sly Cooper is hardly Hitman, but the stealth was suitably challenging for a game about a Master Thief Racoon. Just pressing circle to swing from hooks, climb up pipes, slide along walls, and run along walls created a nice flow. I found the design of the world and its inhabitants quite appealing. The use of cell-shaded graphics, which tend to remain visually impressive over time, added to its charm. Despite not being as intricate as Wind Waker, the game’s visuals have aged gracefully, making it remarkable for a title that’s 22 years old. I must commend the game’s overall style. Its structure is reminiscent of an after-school cartoon from Cartoon Network, capturing that essence flawlessly. From the episode titles, the quirky side characters, the main villains being broad caricatures of certain parts of the world, and the confident, smooth-talking nature of Sly himself. 12-year-old me would've loved it.

There are some festering, rotten issues with Sly Cooper that really make it a struggle to play at times. Every minigame is awful, with the racing one being an abomination. From what I recall, it was common practice for platformers to throw in an abundance of abomnibal minigames in an attempt to add 'variety' to their game. Whether this was from boredom or a lack of confidence, who knows, but they were almost universally terrible, and Sly Cooper is no different. To make matters worse, they are mandatory. Discovering this, I nearly quit there and then. They all control like shit, and cost you a life when you lose, which is absolutely wild. These minigames also infected a few of the bosses and made the experience of beating them miserable (hello, the sudden rhythm game section). I really hope subsequent games either design better minigames or have less of them. 

Additionally, I found that tying Sly's upgrades to collecting items to be a double-edged sword. On the one hand, some of them are really good, like the dive or briefly going slow-mo; on the other, so many were utterly useless that I felt kind of ripped off (why would I ever roll when it was slower than moving?). I couldn't believe you had to unlock the ability to hoover up coins at a reasonable distance—something that should've been in the game to begin with. Admittedly, I didn't see all the upgrades, as I missed a few collectables and had no desire to go back and find them. But I saw enough to know that the effort wasn't always justifed.

There were also a few weird technical issues that I assume came from the PS3 HD remasters, although it could equally just be age. The characters voices were very low-bitrate and sounded rough. I also thought the mixing was out of wack. The atmosphere was super loud in spots; sound effects were missing entirely, and when you start the game, the music is obnoxious. Minor things but over 8 hours, they became grating.

Sly Cooper and the Thievius Raccoonus was a game I ended up enjoying on an academic level rather than a qualitative one. It is nice to go back in time and see what the gaming landscape was like 20+ years ago as well as where a beloved series began, warts and all. Believe me, the game is warty as hell, but it still has its charms. I look forward to seeing how it develops from here.

Thousands have already said what I could say about this game. One look at the universal acclaim from both critics and the general public will tell you all that you need to know about The Witcher 3. It is an incredible, almost transcendental experience, and a game well worth all the plaudits it has received since its release eight years ago.

For my part, I have to agree with it all. I've played a lot of games in my 25ish years of gaming, and there aren't many that made me feel like The Witcher 3 did. I would put it up there along with Half Life 2, Planescape Torment, Braid, Fez, Batman Arkham Asylum, DOTA 2, and a few others—games that deeply affected me in some way and will stick with me for years to come. 

For a game made in 2016, the graphics still wowed me. Yes, I used a few mods to spruce things up a bit, and yes, if you stopped and really inspected things, you'd see the game's age, but in broad strokes, Witcher 3 looks incredible. The weather is superb; the world looks truly miserable when it rains and beautiful in the sun. The character and monster designs are truly iconic, especially the werewolves and Crones, the latter of which are so damn creepy. I thought the towns and villages were detailed and believable, and they still wowed me despite being an 8-year-old game. A special shout-out to Novigrad, the crown jewel of the game and one of the best cities in RPG history, perhaps second only to Baldur’s Gate. I was in awe as I played through The Witcher 3; it truly impressed me on multiple occasions. I even thought it ran very well, barely dipping below 60 fps, even in busy cities. 

There is too much writing in Witcher 3 to truly comment on in any great depth—it would be thousands of words—but I'll summarise. The overarching story is solid—traditional, world-ending fare that’s common in much of the media I’ve seen over the years. In fact, I'd say the main narrative of Heart of Stone—fulfilling three wishes—and the murder mystery writ large in Blood and Wine are far more interesting. The OG game isn't bad by any means, and the way the world will end is certainly pretty unique, but it just wasn't something that thrust me through the game. Where Witcher 3's narrative shines the most is in the moment-to-moment stories and interactions. Finding out what happened to The Bloody Baron's family, helping Triss get magic users out of Novigrad, hanging out with Dandelion, trading barbs with Dijkstra, capturing a Djinn with Yennefer, and getting pissed with other witchers—all examples of some of my favourite moments in the main game. It is the journey, not the destination.

The secondary quests also stood out; the world was richly filled with many poignant and beautifully crafted moments. Just about every secondary quest I did was satisfying, fun, and had a moment of emotional impact or a difficult choice to make. Some events have global repercussions—such as the potential assassination of an emperor—while others affect individual lives, like ensuring a child’s safety at a steep price. Yet, each is considered equally significant from Geralt’s and the narrative’s viewpoints. There are countless excerpts from books, notes, and diaries that give some context to the world and even some useful gameplay-relevant information. It is all of the highest quality you could ask for in a video game.

The real highlight of the game, however, and the thing that makes this game one that I will think about for years to come, is the cast. Geralt is a fantastic protagonist. A semi-blank slate for the player to change, yet still brimming with personality. He is frequently hilarious with his dry sense of humour and has massive dad vibes, especially when you interact with Ciri. I played him much like I played him in Witcher 1 and 2, as a Witcher who is sympathetic to the monsters he is tasked to slay, frequently at the cost of both reward money and annoyed villagers. There isn't a 'Good/Evil' bar that fills up when you make choices; only your conscious or how you feel your version of Geralt would react to a situation. I also adored Ciri, Triss, Yennefer, Dijkstra, Dandelion, and countless other supporting cast members. Each one felt fully realised and multifaceted. 

There is also a maturity in The Witcher 3 that I really appreciated, especially when compared to the other Witcher games. The female relationships you can have in the game felt realistic, for one. Reigniting your romance with Triss or working with Yennefer to discover if your love is true never felt like mere fan service in the game. You could sense the years behind both women's relationships with Geralt. Shani, from Heart of Stone—less so, but that was a great callback to the first Witcher game. The sex scenes were tastefully executed, a far cry from the days of collecting cards for intimate encounters. The scene with Syanna in Blood & Wine stands out as particularly memorable. Also, and I've made mention of this a few times, the choices you have to make are always difficult, and the consequences of your choices feel natural. Overall, as you can no doubt sum up, the writing in The Witcher 3 is almost beyond reproach.

There are a couple of issues I have with the game—nothing major, but they were things I definitely picked up. For one, the PC version is still pretty buggy. For a game in its fourth version, I expect better. The game experienced consistent crashes, including one upon exiting the first area, which were resolved only by reverting to the DX11 version. A solution that I think is just not on, especially not nearly a decade into the game's release. Also, the glacial pass levelling up happens in the game, and the way you unlock perks was too slow and kind of boring. Maybe I levelled up the wrong things, but when everything is just levelling things up to have higher percentages rather than visible buffs, it is kind of boring. Finally, I will say that the combat was servicable but never the highlight. 

What else is there to say? So much. Gwent was fun. The DLC is some of the best stuff in the game. And each ending I experienced in the main game and both DLCs was very satisfying and emotional. After completing the Blood & Wine DLC, the final section of the game, I lingered in the game world for a few more minutes, feeling a tinge of sadness despite the 135 or so hours spent playing. Could I have hung out some more to uncover more Witcher armour or treasures? Sure. But I was fully satisfied with my time with the game and was happy to see it end there. I wanted my Geralt to finally relax after the journey he and Yennefer went through.

Puzzle games and I have a tumultuous relationship. I enjoy them a great deal, especially in the beginning, but the harder the puzzles get, the worse my patience becomes. This is most likely due to my lack of intelligence or my belief that I am stupider than I am, and I quit. I've heard a lot about Professor Layton games over the years and was trepidatious in pulling the trigger on the series as I didn't want another The Witness.

I needn’t have worried, as the game developers expertly balanced the puzzles in Curious Village. Early on, I thought I was a genius, getting almost every puzzle right the first time, and then I thought I was the stupidest man on the planet multiple times in the mid-to-late game. But thanks to the hint system, I only had to look up the answer a few times. It wasn't only the difficulty that I appreciated; I have to say that fun puzzles dramatically outnumber the rough ones. Which is a great ratio considering there are 120 of them and it could've easily lost steam and turned into a right grind. It was only the math-based ones and any sliding block puzzles that made me grimace. I've never been good at the former, and I'm still sick of the latter after all these years of playing games. I would almost go so far as to say that for a game made in 2007, Curious Village has some of the best puzzles around.

I adored the art style of this game. The mildly European steampunk aesthetic still felt fresh all these years later. The village itself wasn't exactly brimming with colour, but it felt Germanic and austere. I also loved the design of the characters. Layton and Luke were instantly iconic and basically perfect in every way, and the other villagers were also memorably designed. That gross guy who is constantly eating, or the snooty baroness, comes to mind. I will say that the flatness of the colours and the overall low resolution of the whole game do dampen my enthusiasm, but I'm sure that is fixed if you play the remastered release on Mobile.

The overall mystery and story of The Curious Village were a real slow burn. Yes, you're there for the puzzles first and the narrative second, but boy does it meander a bit in the middle. I lost the thread a couple of times, but thankfully the game has a great notebook (in the form of Layton's suitcase) that automatically fills in the story and any updates on the mystery. I did enjoy peeling back the mysteries and uncovering just why this otherworldly village is so puzzle-obsessed. I was even able to predict a couple of things, which I think is a sign of a great mystery. 

I will say that the final couple of chapters go absolutely bananas with the reveals and twists, in a good way, in my opinion. I won't say much, but the way Layton calmly explains what is going on made me appreciate him as a detective way more than I already did. Dude makes Sherlock Holmes look like a chump. Honestly, I was floored once the full scope was revealed. I can understand if some people scoff at the end, but I love ridiculous twists.

That's all I have to say, really. Great game. Lots of fun puzzles that don't get too fiendish, excellent characters, intriguing story, and just well designed all around. I can see why the series became such a juggernaut, and I look forward to playing more of them in the (lost) future.

P.S. I somehow did all 120 puzzles, which was a surprise.

Another banger instalment in the Frog Detective trilogy. The first game was an excellent proof of concept and Frog Detective 2 builds on that in exactly the ways I wanted.

This time Frog Detective, still the second best detective in the agency, is tasked to find out how and why a parade in the village Warlock Wood has been ruined. Oh and that one of the denizens of the village is an Invisible Wizard.

The humour in this game is even better than the last, with the subtle dry sarcastic wit brought even further to the foreground. Although that is still a small part of the light and breezy tone the entire game has. There is even a character that is outright rude to Frog Detective and other denizens of Warlock Wood, which is as outrageous as it sounds. And what characters. The entire cast of Frog Detective 2 is more varied and vibrant compared to the first game, with a couple of them making me laugh a lot. I continue to adore this series' whole vibe.

The gameplay has been expanded upon. You actually have a notebook to keep track of who you have spoken to and what task needs to be done for each character, which was nice. Plus, it is an extra joke delivery mechanism. Additionally, there is actually some light detective work to be done by exploring the environment looking for items. You can accus people of being suspicious although this doesn't do anything, it does look cool. And to top it all off, multiple endings depending on a choice you make.

The graphics have that same simple charm to them and the jazzy score is as great as always. Frog Detective 2 is a worthy follow-up to Frog Detective 1 and it makes me wonder what the third instalment has for me. Frog Detective is going to the Wild West it seems so who knows what might happen there.

We all get a little extorted now and then.

I bought the Frog Detective trilogy on a whim because It was cheap and the games looked fun. Well I can certainly say that the first in the series certainly lived up to that idea.

You play as Frog Detective, the second best detective on the force, who is tasked to uncover what is scaring the local inhabitant of an island (after the failure of Ghost Scientists). So you set out to talk to a silly cast of characters and do some very silly things to find the truth.

The Haunting Island is short, I finished it in about 45 mins, but a fulfilling experience. For one, it is absolutely hilarious. Humour is always difficult to do, even more so in video games, but this game made me laugh a lot. The style is difficult to describe. The writing is so positive and cheerful but there is an undercurrent of sarcastic wit beneath it all that really makes the humour so successful. The Haunting Island doesn't try too hard to be funny and is all the better for it.

Not much more to say than that really. The gameplay is, when you get down to it, a very light puzzle solver from the first person. This perspective allows you to really appreciate the art and I loved the design of the characters, especially Frog Detective himself. Finally there is a nice and chill jazzy score than carries on throughout the entire game which adds a lot of atmosphere.

I enjoyed my time with Frog Detective 1 and I look forward to seeing what the rest of the trilogy has in store for me.

Remember! do not split up wen searching for ghosts like scoby doo.

Rez Infinite is a profoundly beautiful game with some weird issues that took away from the overall experience. I love looking and hearing it. The weird turn of the millennium minimalist art style is arresting and instantly iconic. I especially enjoyed Act 1, 3 and 5. The initial level was great because it was the first time that I ever saw Rez, the third because it was the like moving through the inside of The Matrix and the final level because it was a real departure from the other acts with how bleak and strange it all was. There is also a huge scope to Rez that was really appreciated. The levels seem to stretch out infinitely from every direction and a lot of the enemies are huge. But the real showstoppers - as they should be - are the bosses. You shoot at gargantuan techno monstrosities that can take up the entire screen. It was very impressive and actually unexpected.
I also love the music. Now I have played a lot of Tetris Effect so I kind of know what style Mizuguchi goes for but Rez has a harder, more IDM edge to it that I really appreciated. And the way it combines with the graphics to create this wild pulsating synesthesia-esque experience.

Area X is everything I just described and then some. Sure it is one level so it makes sense that the developers would pore everything into it but boy, playing that was something else. The visuals take a real bump up in fidelity and particle effects to the point where it can be a bit difficult to discern what the hell is going on, but it wasn't a problem. The music as well is fantastic, with the final moments feeling almost transcendental. An excellent and worthwhile addition to an already very cool and stylish game.

I've spent all this time on the style and graphics because, quite frankly, the gameplay isn't a highlight. If you have played Panzar Dragoon then it is like that albeit easier. You move your cursor over enemies and shoot them before they shoot you, or shoot their bullets. If you chain your shots well enough, I think, you get upgrades that allow you to take more hits and/or wipe the screen of enemies. It is serviceable and using a mouse makes it a breeze.

My one issue with the game is that there are some weirdly quiet moments that made me think there was an issue with it. Every time you finish a level, it goes dead silent as your score pops up and it showcases what you've unlocked. For a game filled with amazing music, it is super jarring. But other than that, I can't really fault the game. Sure it is short but much longer and it would get boring.

I hope they get a chance to make Rez 2.

Undertale is a masterclass in minimalist game design. The seemingly simple nature of each part of the game, graphics, music, narrative, gameplay, doesn't especially impress. However, the more you play and further you explore The Underground it is revealed to you just how deep and detailed everything is and that the first ninety minutes or so was just a smoke screen to obfuscate the the true nature of Undertale.

Put simply, Undertale is brilliant. The graphics, although simple, have a lot of character in them and some of the areas are truly beautiful. The music is fantastic and superbly conveys so much atmosphere to each place you explore and personality to the monsters you face in 'combat'. The story goes places that no game has probably gone before or since, at least not with the perfect mixture of irreverent wit, charm, social commentary and melancholy. I won't spoil anything too specific but the first play through had some truly wild moments whilst the second play through made me appreciate the world and characters a lot more. And although I never truly loved the combat, bullet hell games don't necessarily appeal to me, the twists that are added to it at various points certainly kept things interesting. Undertale was a profound, moving and hilarious experience that really showcases just how interesting videogame storytelling can be.

Needless to say, I'll be paying close attention to Deltarune and anything else Toby Fox touches.

I have played Yakuzas 1 through 5 and this is perhaps my favourite. It had the perfect blend of Yakuza brand of silliness and emotional melodrama. The main narrative is probably the best in the series so far, a high watermark as I really enjoy the stories in these games. The way Majima and Kiryu's stories dovetail into one another was masterful but they were so good by themselves it didn't even feel that necessary. RGG are operating on a whole-nother plane when it comes to narrative, in my opinion.

I love how detailed this game. Kamarocho and Sotenbori have never looked better, I felt fully immersed in late 80s Japan. The costuming was incredible. The level of drip the main cast have is next level. Exploring the world and interacting with the characters was a rich, rewarding experience.

Finally, I think this is the best playing Yakuza game. Both from a combat and minigame stand-point. Kiryu and Majima have so many different options when it comes to combat and each one felt great to utilise. Plus it felt necessary to change combat styles depending on who/where I was fighting and not just default to one and mash my way through. The game was not on a level of say Devil May Cry or Bayonetta but it was still fun to punch thugs. I usually skip a lot of the minigames in Yakuza games because I just find them a bit still and dry but that wasn't the case with 0. Hell, even did the racing minigame and that was just watching a miniature race car go around a track. Each one was so well designed and presented that I just found myself completing them without any stress beyond when they got traditionally difficult.

Overall, Yakuza 0 is a superb entry in the series and an excellent game that I can recommend wholeheartedly to people who have burned out of the series or want a place to start. One of my favourite games of recent years.

P.S. I finished with roughly 73% completion