Metroid Prime Remastered continues to prove that no matter the era, Metroid reigns supreme. More than 20 years after its original release, Prime stands the test of time and reaffirms itself as one of the best in the series.

Unfortunately, this remaster does little to correct the few faults of Talon IV. Although the world is beautifully designed, with intricate, unique areas with dozens of hidden items, by the end of the game it can be down-right agitating having to backtrack through the same hallways over and over. Yes, the maps do connect more and more as the game goes on, however, even then, it can kill the flow of an otherwise perfectly paced game. Fortunately, this issue does not become prevalent till near the end of the game. And I must stress, other than this, Talon IV is a blast to explore, and one of the best-designed metroidvania maps I have ever had the pleasure of exploring.

Visually, this remaster has exceeded all expectations. Exploring the environments of Talon IV with beautiful, crisp textures in 1080p is truly wonderful, and gives the planet a new breath of fresh air. Years down the road, I am almost certain people will remember this game as one of the best-looking on the switch. Although it leaves the base game itself absolutely untouched, it remains a minute issue as there is very little to improve on already.

It was wonderful going through the world of Metroid Prime once again, and I am almost certain that this release will lead me to a new playthrough each year. Although it has some flaws caused by outdated design, Prime remains one of the staples of this genre and continues to define games coming out today.

See you next mission!

I played the Super Famicom version of Live A Live during a difficult time in my life, and it remains my preferred version of the game due to my greater personal attachment to it. "During a difficult time in my life" is something I can say for most of my favourite games, honestly, but that's besides the point. It's a game I've held near and dear since, and there're so many things I want to say about it, but unfortunately don't have the strength to do so, because I'm kinda lazy and it's harder to write about games that I last finished quite a while ago. What I can say, however, is that I've tried to carry its messages with me ever since.

"I'm starting to see why [they] hated people so much.
But you know, you have nothing to gain by hating humans.
As long as someone still believes in you...
What [he] and I gave our lives protecting, you must continue to protect..."
"You must not lose hope!"

A set of lines that were unfortunately heavily altered in the remake. The remake as a whole has a lot of much needed QOL features and improvements, a very nice fresh coat of paint, and a wonderful, fully remade soundtrack that pays respect to the orignal score. Yoko Shimomura's greatest work, honestly. But as cool as the whole medieval chapter's localization was, written entirely in iambic pentameter and Shakespeareian prose, much like the latter namesake's plays, it makes the message it's trying to send a fair bit harder to pick up on. Regardless, Live A Live remains a game about unconditionally helping the weak, fighting for your friends, family and loved ones, opposing evil when the opportunity arises, and not giving in to hating the common man, as difficult as that may sometimes be, no matter the time, place, or circumstance.

Live A Live told me to keep going, and so I am, all these years later. It's really that simple.

It might be kind of easy and some chapters have their share of repetitive battles, but there is a ton here to appreciate purely as a work of art. From the deceptively simple yet satisfying combat, to the presentation, to the narrative structure, to the music, there's something here for any JRPG veteran to enjoy while still being accessible enough for new and young players alike. I think Kingdom Hearts fans in particular kind of owe it to themselves to play it, as Yoko Shimomura's first major soundtrack with Square(soft) may very well be her best. I never played the original SNES fan translation so I have little to compare it to, but this remake blew me away on several occasions. Each chapter contains a nice little bite-sized adventure and they never overstay their welcome. Despite any small gripes I have, it's an experience like no other.

But for the love of God, if you make it to the endgame use a guide and save yourself the frustration.

This is less a game and more of an OOPArt.

Everything it does feels so fresh and modern that, when combined with the updated HD-2D graphics, soundtrack, and stellar voice acting by the Japanese cast, it's genuinely mind boggling to think that this is the remake of an almost 30-year-old game and not a modern effort riding the contemporary wave of subversive RPGs.

I've got my nitpicks and my nags, and I'd really rather Gori just not exist at all, but this truly is a masterpiece that is immensely worthy of anyone's time, even, if not especially, those who don't normally go in for RPGs.

Less than two years after Nintendo's masterpiece "The Legend of Zelda: Ocarina of Time" was released for the Nintendo 64, a direct sequel was released to the same console. Originally planned as a remix to Ocarina of Time that would ramp up the difficulty and modify the dungeons, that game would go on to become The Legend of Zelda: Majora's Mask. In a game series that was (and still is) notorious for its long development cycles, it's surprising that a proper sequel was created in about a year's time. And yet, it's considerably more surprising that it became one of the most strange, unique, and beloved games in the series' history. Since most of the core mechanics, visual and auditory assets, and base gameplay would be rolled over from Ocarina of Time, it was important that Majora's Mask was given its own tools to distinguish itself from its predecessor. So while the character models, combat, and some of the soundtrack remained the same, the story and overall gameplay mechanic were vastly different. In fact, the limitations in production time gave way to what is undoubtedly the most distinguishable and iconic mechanic of Majora's Mask; the three day cycle.

Since development was rushed, the three day cycle was Nintendo's way of making sure they got the most they could out of the gameplay without it feeling too short or unfulfilling, and it's pulled off masterfully. As soon as you play the Song of Time for the first time, get sent back into the past, and officially start your adventure, you understand that this will be an experience unlike any you've had before. The anxiety of the 3 day mechanic is real, and it serves the game's murky atmosphere perfectly. The moon is the perfect representation of creeping dread. It starts off as a strange looking face in the distance, but as time ticks on it only grows bigger in size, until the third day, when its size eclipses the sky and most of your screen. As Link, the message is clear; time is against you, you can't afford to waste it, and it makes you rethink every action you'll take as you attempt to save the land of Termina from certain doom.

While the three day cycle is the game's most iconic element, it wouldn't be as impactful if it wasn't for the wealth of characters and interactions that exist within this game. When you start playing Majora's Mask for the first time, it's probably because you heard it was a great follow up to Ocarina of Time and you wanted more of that. But defeating Majora is not why you finish Majora's Mask, not really. You finish because you've grown attached to the characters, you're fully engrossed in their worlds, their lives, their jobs, their romances. You want the best for them. Somewhere through the game, you realize that this isn't about defeating Majora anymore; it's about saving the people of Termina.

One of the most immersive aspects of Majora's Mask is the side quests and the character storylines that exist as a parallel to the main story. In a way, it's the aspect that most differentiates the game from its predecessor. In Ocarina of Time, there are side quests, and they mostly exist as a mechanic to distract from the main quest. They are often fun, and slightly add to the worldbuilding aspect of the game, but the game doesn't feel much different whether you do them or not. In Majora's Mask, these side quests are brought to the center stage, and that's what gives you the drive to continue on and defeat Majora. Because in the face of impending doom, it's the kindnesses shown by Link to the characters of Termina that give them comfort in their final moments. You aren't the fabled "Hero of Time" on a quest to save the world and vanquish evil; you're just one person, doing what they can to help those in need. And so the game's message about the importance of kindness and consideration in spite of despair and darkness hits that much closer to home, and ensures that its core philosophy will always be relevant and impactful.

Majora's Mask improves on some key gameplay aspects from Ocarina of Time as well. Although there are only four main dungeons, each one is meticulously and expertly designed, and are more intuitive and less cryptic than their OoT counterparts. However, OoT also boasts a much stronger sense of scale and wonder, and the soundtrack of MM tends to lack its own real identity.

There are drawbacks, however minor, in both the original and remake versions of the game. In the N64 version, aiming and traversing is more challenging and saving is much less forgiving. In the 3DS version, the Zora swimming is more frustrating, the atmosphere is less murky and lacks some personality, and the game is slightly easier. Both versions have rather slow opening sequences, which can make the first three days seem rather uninteresting or tedious. However, no matter which version you choose, if you play long enough to get yourself suitably immersed, you'll experience one of the most unique and creatively rich Zelda games ever made.