20 reviews liked by GoatedQuest

I'm glad they gave this game away for free. Its the game of all time. It plays it incredibly safe. Usually, souls-like zone in on one specific mechanic they liked, and not on what made the souls games work. Steelrising focuses on the bloodborne quickness and Sekiro posture system. Weapons are samey. Blocking, parrying, and special attacks are restricted to only one of the respective options which makes combat and experimentation have this gross film covering it. I found myself pretty overpowered by the end of the first major boss. There isn't much intrigue in the game. The setting gets antiquated when the enemy variety can be counted with two hands.

For some reason, I can't find anything impactful from Steelrising. Jumping is a nice feature, but verticality isn't respected enough to go further than simple platforming. There aren't tricks in the environment. That kinda sounds weird as I typed this, but the enemies and environment just felt....robotic no pun intended. There wasn't a chest that turned into automates, or a random boulder or stab in the back. You just sorta waltz into each battle without much surprise. Loot density is disgusting, and I started to just beeline it to avoid being pissed fighting a mini-boss just to get a Resistance potion. I don't know...it's just....a game.

There were generally 2 distinct schools of thought in Treasure's oeuvre. Games led by Hideyuki Suganami, or Koichi Kimura. Treasure games didn't really have directors. Off the top of my head, Alien Soldier, SILHOUETTE MIRAGE, and Mischief Makers are the only games with this distinct role credited. That's because they prided themselves on their games being a team effort where everyone could pitch in on equal footing.

But well, they still ended up to an individual's particular tastes. Koichi Kimura's games-- Dynamite Headdy, SILHOUETTE MIRAGE, Bangai-O (co-led with Mitsuru Yaida, team lead of Gunstar Heroes) Stretch Panic, and Wario World-- all had a tinge of hardcore gameplay to them; But were mostly focused on the art side of things. This wasn't to the gameplay's detriment however. These were mostly games that were more about a particular concept than how a player might optimize their play. That's why these games aren't as traditionally difficult as Suganami's work-- Alien Soldier, Mischief Makers, Rakugaki Showtime, and Sin & Punishment. These games are particularly more hardcore than the other side, but you can still see that they're all patently treasure.

There's a really unique design overhead here; Where both sides have games that offer a pretty big conceptual hurdle for the player to jump over. Stretch Panic and Sin & Punishment's introspection on their worth as a 3D title come to mind. In Stretch Panic, you're offered twin stick control over Linda-- but you don't control the scarf depth wise. The right stick only controls it's horizontal and vertical position relative to the camera. You have finer control in the focused 3rd Person view, but depth is handled by throwing the scarf forward with R1. It has a maximum reach, where by holding R1 it's active until it latches onto something, either by you moving Linda into range of something or controlling the scarf itself. This game feels kinda clumsy because it's controls are modular in a way that isn't conventional at all.

It's a similar thing with Sin & Punishment. This game is extremely, extremely dense. A succinct account is that: It's almost a light gun shooter, but imagine if where you stood at the machine mattered due to bullet inclination. The relative position between your character and the gun reticle is what the game is most focused on. It's a very fun concept the game does a lot with as it essentially traps you into positioning either you or your reticle-- or both incorrectly often.

What does all of this have to do with Mischief Makers? A lot! One of the most interesting things about this game is it's S Rank time requirements. Some end up being seconds shy of the world record. No casual has ever gotten an S Rank in this game, but it's not like the game has any particular reward for it aside from giving you that rank. You'd think the game was always this hard fought, but it's not. It's easily one of Treasure's easiest games. A choice no doubt made to be approachable by a general audience; Kind of like with Kimura's games. This game's the perfect intersection of those 2 similar but distinct worlds. The insanely stylish characters and world that feel like they have their own multimedia franchise Kimura's games have-- To the hardcore and thoughtful mechanics design Suganami's games have.

Mischief Makers has a really simple concept: Grabbing objects, shaking them, and throwing them. It's kind of the main thing of the game, but it almost feels entirely secondary to it's movement. This game's movement is easily my favorite way any 2D character has ever controlled. Marina has a huge gradient of jump heights, and she can jump even higher when you hold any up direction. She has a slide that can be jump canceled, and a 4 way dash. Anyone familiar with speedrunning this game knows you can cancel the updash into a whiffed upwards grab-- and chain together upwards boost to basically gain flight. It feels so good to do, and while it does break certain challenges-- With or without it, you're gonna be playing the game at it's fullest. That's kinda what Suganami's games are about.

lil b voice i havent played it yet

they got every sort of ghoul in this one. theres a secret skeleton boss that learned how to fly

It doesn’t really need to be said that Prince was a living legend. The world renowned multi-instrumentalist maintained a career that spanned four decades, cut short only because of his untimely passing in 2016. There were sharp peaks and valleys in his popularity, like all great musicians, but he consistently managed to catapult himself back into the conversation due to his lightning quick adaptability. When The Revolution—the backing band that helped propel him into superstardom with Purple Rain—dissolved, he didn’t waste any time getting back into the studio by himself. He put together one of the best albums of his career, Sign "☮︎" the Times, while his personal and professional relationships were in a highly mercurial state. In fact, this period was so prolific that the label executives at Warner Bros. had to negotiate with Prince to cut down the length of the album; it ended up releasing “only” as a double LP instead of an absurd triple record affair.

Prince’s versatility wasn’t only limited to his musical talent. His headlong embrace of new technology was undoubtedly a major factor in his unprecedented ability to stave off irrelevancy. He was an early adopter of the Fairlight CMI, a synthesizer that few musicians could even afford in the mid 1980s. Prince’s vault where he hoarded his vast reserves of unreleased music had a DOS-based computer cataloging system on its frontend, affectionately called Mr. Vault Guy, that accounted for the contents of every tape, disc, and hard drive. He was also much earlier than most to the idea of internet distribution, stubbornly insisting on selling the Crystal Ball box set through his own website in 1998, to the detriment of sales.

Given his love for the bleeding edge of progress, it only makes sense that Prince would become interested in video games. In 1994, when Prince Interactive was released, it was yet another volatile period for the artist. To set the stage a little bit: his final album with Warner, Come, was set to release in two months. He purposely refused to promote the new project as a means of spiting the label, ending his contractual obligations by giving them as little profit as possible. He changed his name to an unpronounceable symbol the year before, forcing everyone to call him “The Artist Formerly Known As Prince.” The name of the game, technically, isn’t even Prince Interactive, but we have to call it something!

Cyan’s highly influential Myst released a year prior to Interactive, and the similarities are more than superficial. You find yourself in a fictionalized version of Prince’s home and recording studio Paisley Park, solving simple point-and-click puzzles. Broadly, the objective is to search the mansion and assemble the scattered pieces of the nameless musician’s eponymous symbol as if they’re fragments of the Triforce, though in practice this amounts to a flimsy excuse to poke around and uncover various Prince-related easter eggs. There are an abundance of music snippets, photos, and interviews with other musicians—in which they all heap praise on Prince—to be found. The game even kicks off with an exclusive song called “Interactive,” ostensibly a song about being a song in a video game. (He would pull a similar move years later with “Cybersingle,” a song about the fact that you could download it from the Internet.)

What ends up being most interesting about Interactive is not necessarily how it innovates, but how it’s indicative of its time. Functionally, it does little to stand out from contemporary adventure games like Myst, Beneath a Steel Sky, or Day of the Tentacle. (It’s not even unique as a piece of multimedia artist memorabilia; JUMP: The David Bowie Interactive CD-ROM released earlier the same year.) Historically, it acted as an important document for fans and scribes looking to document the inner workings of Prince’s operation; tours of Paisley Park weren’t permitted while he was alive, and despite all the fantastical embellishments of his Minnesota home, this was the only way to get a surprisingly accurate walkthrough of his studio. Thematically, it tells a story of Prince’s legacy as it stood in the mid ‘90s—full of references to his unassailable accomplishments, but also serving to build up hype for the second act of his career.

As much a game about architecture and spaces as the people within them.

this review is pretty stupid in retrospect, ill write something better and more insightful next time

What is the best version of Tetris? Depending on the kind of Tetris you’re used to playing, the answer to that question will vary wildly. If you grew up on the rigid simplicity of NES Tetris, you might prefer to stick with that version. There’s a passionate cult of devotees for each iteration of Tetris the Grand Master, for those that love the intensity of a finely tuned competitive arcade experience. If you’re more into style over gameplay, perhaps you’ll gravitate to the proto-vaporwave aesthetics of Tetris for the Philips CD-i or the sensory overload of Tetsuya Mizuguchi’s Tetris Effect. If for some reason you wanna stack blocks but you also want to get horny, there’s even a pirate game for DOS platforms called Porntris. With all of these different versions of the tetromino stacking game out there, who exactly is Apotris for?

The homebrew title, developed solely by Game Boy Advance enthusiast Apostolos, aims to provide a little something for everyone via a truly staggering amount of customization. Whether you want flashy visuals or the most utilitarian options for clarity, Apotris has settings that are likely to work for you. Ghost blocks and grid views are available to ensure that you know exactly where your tetrominoes will fall, or you can take the training wheels off entirely if you’d prefer more difficulty. You can play a traditional marathon mode, a timed sprint mode in which you clear a predetermined number of lines (by far the best mode for practicing speed and building muscle memory), or puzzle modes for testing your problem solving in unconventional stacking situations. There’s even a classic mode if you’re not particularly a fan of modern Tetris mechanics.

Apotris doesn’t manage to capture all the possibilities of Tetris; that’s impossible. But it comes closer than anything else has managed. It’s most suited to speed demons that are accustomed to modern Tetris mechanics—so unique games like the Grand Masters, Tetris Effect, or Tetris 99 will always have their niche—but Apotris does what it does better than almost any other Tetris game released after 2001, when the standardized guidelines for gameplay were written. I find myself reaching for Apotris whenever I simply want to play Tetris. It’s hard to overstate how impressive it is to establish yourself as the most solid option when you’re competing with hundreds of different games.

there is not one person on this website smart enough to talk about this beautiful, beautiful fucking game. the haters and losers of backloggd can never understand the magesty of what i experienced... maybe the most visceral piece of naomi-core yet created

"Damn I wish they still made rough janky action games that got critically eviscerated like the PS2 days. No no not like that it's too rough and janky, and look at those reviews it's being critically eviscerated"