Josh_The_Fourth
2006
very conspicuously rushed; steals a lot of beats from the first game’s narrative in what locales we entangle ourselves into. kamurocho is largely the same, but variety shows itself in the new kansai, featuring more crisp camera angles to gaze upon. especially love walking along the boardwalk behind the buildings on the river - framed skyscrapers emerge from the background as the damp and clouded sky tries to push its way through.
i can forgive the ‘rushed-ness’ though, partly because it wasn’t exactly the dev’s fault and the game’s ambitions do end up paying off in a positive way. retreading upon previous areas does feel fresh with how different they are now, highlighting the changes over a year’s time that catch kiryu off guard.
there’s a thicker high stakes (yet semi-chaotic) narrative compared to the first’s, and i prefer it despite how messy it can seem. a long thread frequently paced with knots of “what the fuck just happened”s that eventually tie up at a later point. imagining the writers at their desks cursorily adding in whatever details and events that initially strike them with “wouldnt that be crazy?!” where i would normally criticize the story for this, i can’t bring myself to it - the scattered mysteries had me genuinely intrigued. everything is so interconnected with inceptively flabbergasting cliches and coincidences that eventually seem to impress in the end. the character writing in general is also a major step up and actively connects with its audience’s emotions. sayama is a great contrast to kiryu in how she’s basically the opposite of him in her work ethic. in the first game, the police were presented as this outside force who couldn’t do much in yakuza affairs aside from date’s involvement. here we see more active pursuit from them with sayama keeping kiryu’s reality in check, always making sure to let him know he’s not above the law. kawara, bessho, and date act as key players as well into revealing the police’s flaws in its ever-mingling fate alongside the inflammatory yakuza world.
and that’s an interesting subject, ‘fate.’ it’s mentioned only a few times throughout the game, sometimes offhandedly at that, but i’m willing to stretch at it and say its handling here makes sense and proves to be an underlying theme as a makeshift excuse for all the bullshit that happens along the plot’s rocky path. it’s tackled with acceptance rather than the common display of it being something to triumph over and take control of. in the criminal underworld, shit happens. what’s done is done and all people can do is adapt and move forward. kiryu willingly accepts his place as a soldier of fate, destined to be the one cleaning up the relentless warmongering that never ceases its chase on kamurocho.
anyway, i’ll try not to divert from the gameplay for much longer. i put a focus on the story because i think that’s what the game very clearly did too lol. cinematically, a ton of care and consideration was put into the construction of every scene too. the smug camera work that romanticizes the cityscapes transitions over into the cutscenes with dynamic framing and tracking, feeling like a japanese film of its time. the accompanying score follows suit and indulges into uniquely moody territory. different sounds and beats coalesce to enhance the spirit of every moment, even some that last just for a brief time.
now jumping into the game side of things, the combat system finally has spacial awareness! our fists recognize the enemies around us and always try their best to connect. stringing together attacks between multiple enemies is now fluid, feeling less robotic than before and more naturally interwoven. you have a whole arsenal of moves at your disposal as well, slowly evolving battles into the archaic brawls the series is now known for. some suspenseful QTEs also shove their way in, having some really hype clashes but ultimately faltering in how strict the timing for button presses can be. the soundtrack yet again acts as motivation to push forward. noticeably more aggressive and wild in many aspects, utilizing some heavy hitting guitar riffs that can sting just as much as your aggressors.
wanted to write something a bit longer than usual because i think yakuza 2 deserves it. desperately and honestly tries to be everything the original game was and more. yet it sadly remains largely unrecognized by the community it seems. cool ass game and is deemed worthy of its yakuza lineage. at any rate, to all the men reading this, you oughta be a little stupid.
i can forgive the ‘rushed-ness’ though, partly because it wasn’t exactly the dev’s fault and the game’s ambitions do end up paying off in a positive way. retreading upon previous areas does feel fresh with how different they are now, highlighting the changes over a year’s time that catch kiryu off guard.
there’s a thicker high stakes (yet semi-chaotic) narrative compared to the first’s, and i prefer it despite how messy it can seem. a long thread frequently paced with knots of “what the fuck just happened”s that eventually tie up at a later point. imagining the writers at their desks cursorily adding in whatever details and events that initially strike them with “wouldnt that be crazy?!” where i would normally criticize the story for this, i can’t bring myself to it - the scattered mysteries had me genuinely intrigued. everything is so interconnected with inceptively flabbergasting cliches and coincidences that eventually seem to impress in the end. the character writing in general is also a major step up and actively connects with its audience’s emotions. sayama is a great contrast to kiryu in how she’s basically the opposite of him in her work ethic. in the first game, the police were presented as this outside force who couldn’t do much in yakuza affairs aside from date’s involvement. here we see more active pursuit from them with sayama keeping kiryu’s reality in check, always making sure to let him know he’s not above the law. kawara, bessho, and date act as key players as well into revealing the police’s flaws in its ever-mingling fate alongside the inflammatory yakuza world.
and that’s an interesting subject, ‘fate.’ it’s mentioned only a few times throughout the game, sometimes offhandedly at that, but i’m willing to stretch at it and say its handling here makes sense and proves to be an underlying theme as a makeshift excuse for all the bullshit that happens along the plot’s rocky path. it’s tackled with acceptance rather than the common display of it being something to triumph over and take control of. in the criminal underworld, shit happens. what’s done is done and all people can do is adapt and move forward. kiryu willingly accepts his place as a soldier of fate, destined to be the one cleaning up the relentless warmongering that never ceases its chase on kamurocho.
anyway, i’ll try not to divert from the gameplay for much longer. i put a focus on the story because i think that’s what the game very clearly did too lol. cinematically, a ton of care and consideration was put into the construction of every scene too. the smug camera work that romanticizes the cityscapes transitions over into the cutscenes with dynamic framing and tracking, feeling like a japanese film of its time. the accompanying score follows suit and indulges into uniquely moody territory. different sounds and beats coalesce to enhance the spirit of every moment, even some that last just for a brief time.
now jumping into the game side of things, the combat system finally has spacial awareness! our fists recognize the enemies around us and always try their best to connect. stringing together attacks between multiple enemies is now fluid, feeling less robotic than before and more naturally interwoven. you have a whole arsenal of moves at your disposal as well, slowly evolving battles into the archaic brawls the series is now known for. some suspenseful QTEs also shove their way in, having some really hype clashes but ultimately faltering in how strict the timing for button presses can be. the soundtrack yet again acts as motivation to push forward. noticeably more aggressive and wild in many aspects, utilizing some heavy hitting guitar riffs that can sting just as much as your aggressors.
wanted to write something a bit longer than usual because i think yakuza 2 deserves it. desperately and honestly tries to be everything the original game was and more. yet it sadly remains largely unrecognized by the community it seems. cool ass game and is deemed worthy of its yakuza lineage. at any rate, to all the men reading this, you oughta be a little stupid.
so glad something like this can exist today. crisis core is probably one of the most expressively “edgy” mid to late 2000s games i’ve ever played - edgy in the sense that it’s filled with stylized teenage blood pumping action and nomura character designs fit for its audience - it’s so gratifying that this era of games can still remain relevant. in 2022 i’m watching a pre rendered fmv of smug long-sworded swordsman do battle on the edge of a nuclear cannon while the hardest drum n bass heavy guitar infused battle music beckons alongside. crisis core’s essence has remained untouched.
while the story is very clearly flawed in a handful of areas (specifically genesis’ handling), zack is still just such a joy to watch, despite the unfortunate decline in voice quality compared to the original. i can look past a lot of flaws because of how heartwarming the story and surprisingly great the gameplay are. every grievance i had with the original’s combat has been completely fixed to my shock. still has the bones of its psp blueprint but its a lot more fluid now and isn’t as easy to bore.
this is for sure the definitive version of crisis core to play with the visual and mechanical upgrades alongside some new bonus content and remixed music. but… i still do think the original is worth playing, being a bit of a time capsule for that era of the ff7 compilation and height of the psp; pushing the hardware to the limits alongside attempting the ambitious endeavor of further contextualizing one of the most beloved titles in the medium. nowadays there’s a lot less risk for square to do something like this, what with basically anything ff7 selling like hotcakes today lol. anyway i had a ton of sentimental fun reminiscing the compilation days while playing this, great remaster!
while the story is very clearly flawed in a handful of areas (specifically genesis’ handling), zack is still just such a joy to watch, despite the unfortunate decline in voice quality compared to the original. i can look past a lot of flaws because of how heartwarming the story and surprisingly great the gameplay are. every grievance i had with the original’s combat has been completely fixed to my shock. still has the bones of its psp blueprint but its a lot more fluid now and isn’t as easy to bore.
this is for sure the definitive version of crisis core to play with the visual and mechanical upgrades alongside some new bonus content and remixed music. but… i still do think the original is worth playing, being a bit of a time capsule for that era of the ff7 compilation and height of the psp; pushing the hardware to the limits alongside attempting the ambitious endeavor of further contextualizing one of the most beloved titles in the medium. nowadays there’s a lot less risk for square to do something like this, what with basically anything ff7 selling like hotcakes today lol. anyway i had a ton of sentimental fun reminiscing the compilation days while playing this, great remaster!
2009
call that shit lunchables
2004
some of the best sound design in the medium. nothing makes me smile more than hearing the cacophony of tormented cries from people and animals as i cut their lives short while massacring and demolishing their cities. genocide with a vibrant coat of paint and cheerfully procured musical score. tickles the senses in all the right ways with its artsy polygonal art direction and dynamic usage of perspective. awakens the yearning child inside us all. tragically beautiful in every sense.
2002
in now-sterilized, man-made familiar locales, we find our hero stripped of her defining characteristics and sense of self.
opposes super metroid’s encouraging game feel with something almost akin to a horror game. you don’t want to continue searching this facility. you want out. to go back to your super days and forget this fusion. danger is always lurking right around the corner. its linearity does away with the extrinsic exploration of yesteryear and forces the player to frantically discover unorthodox pathways and tunnels as samus’ last resort to escape the stale and artificial landscapes that crumble at “her” feet. now you see how it feels to be those Geemers and Kihunters once taken out by the masses within planet zebes. you are the helpless one. powerless in the shadow of your former glory. samus now uses more organic controls to complement her newfound body, creating further distinction between her and her “imposter.”
i find it to be pretty interesting how every game in this series tends to be its own piece yet always feel connected to its companions. they all tie back to their similar atmospheres, exploration and fear obviously but its their executions that each carry their own unprecedented singularities and efficacies. metroid 2: the black sheep that strikes terror via one’s commonly identifiable monotony. super metroid: the crowd-pleaser that invokes its trepidation based off of the unknown. and finally fusion: creating fear centered on what is known. we know our over-powered cold-blooded doppelganger is following us and awaiting our next move. we know monsters like the Nightmare and Ridley are out there. inevitability sweeps up emotion and carries it for as long as it sees fit.
there’s overall a broader focus on creating anxiety and suspicion here, compared to super where those things were more intentional byproducts of how the different areas were designed. fusion senses the player’s discomposure and plays around with it to a shockingly powerful degree. all the more satisfying in its climax where we finally get to strike some mania into our foes. features a story that somewhat subtlety places a critique on the nature of science. our once free alien friends now imprisoned for research along with other past monstrosities. the narrative unfolds cleanly and in just the right amount of doses to not feel too intrusive. the enemy is closer than it seems, but so are our friends.
not sure how i’d rank this one against its siblings but i could say that for all of them, due to their differences as previously mentioned. they work expertly in tandem with one another. this was one of the only nintendo franchises i actually fully enjoyed, hats off to nintendo r&d1. also happy 20th to this game, coincidentally started my playthrough on its release day lol. dread is coming soon….
opposes super metroid’s encouraging game feel with something almost akin to a horror game. you don’t want to continue searching this facility. you want out. to go back to your super days and forget this fusion. danger is always lurking right around the corner. its linearity does away with the extrinsic exploration of yesteryear and forces the player to frantically discover unorthodox pathways and tunnels as samus’ last resort to escape the stale and artificial landscapes that crumble at “her” feet. now you see how it feels to be those Geemers and Kihunters once taken out by the masses within planet zebes. you are the helpless one. powerless in the shadow of your former glory. samus now uses more organic controls to complement her newfound body, creating further distinction between her and her “imposter.”
i find it to be pretty interesting how every game in this series tends to be its own piece yet always feel connected to its companions. they all tie back to their similar atmospheres, exploration and fear obviously but its their executions that each carry their own unprecedented singularities and efficacies. metroid 2: the black sheep that strikes terror via one’s commonly identifiable monotony. super metroid: the crowd-pleaser that invokes its trepidation based off of the unknown. and finally fusion: creating fear centered on what is known. we know our over-powered cold-blooded doppelganger is following us and awaiting our next move. we know monsters like the Nightmare and Ridley are out there. inevitability sweeps up emotion and carries it for as long as it sees fit.
there’s overall a broader focus on creating anxiety and suspicion here, compared to super where those things were more intentional byproducts of how the different areas were designed. fusion senses the player’s discomposure and plays around with it to a shockingly powerful degree. all the more satisfying in its climax where we finally get to strike some mania into our foes. features a story that somewhat subtlety places a critique on the nature of science. our once free alien friends now imprisoned for research along with other past monstrosities. the narrative unfolds cleanly and in just the right amount of doses to not feel too intrusive. the enemy is closer than it seems, but so are our friends.
not sure how i’d rank this one against its siblings but i could say that for all of them, due to their differences as previously mentioned. they work expertly in tandem with one another. this was one of the only nintendo franchises i actually fully enjoyed, hats off to nintendo r&d1. also happy 20th to this game, coincidentally started my playthrough on its release day lol. dread is coming soon….
one of the more encouragingly dissectible metroid games. yeah you’ve heard it everywhere; the hardware limitations enforce a more anxious atmosphere and the dull colors convey it yada yada yada. but one thing i don’t always see people highlight are the hellish soundscapes that blanket the entire experience. exacerbating your trek through rubbled caverns and cities lost to time. as you creep and crawl your way up, down and all around confusing and numbing passageways a nightmarish clusterfuck of a melody backs you up. anxiety slips its way into the foreground. a fleeting silence ensues before reaching the inevitable encounter with one of the dozens of metroid creatures. business as usual. as you escape the decayed yet entrancing ruins, the ever gratifying main theme plays, signifying your triumph and carries forth motivation to continue the monotony. one more thing to add would be the setting: ancient ruins and forgotten tunnels laid to rot in the pits of hell. how did this happen? why are these places left extinct aside from the disconnected monsters that lurk? we will never know. stuff like that gets my brain going you know? insanely impressive for a game of this caliber to invoke such boundless emotion. definitely should not be overlooked.
this game, elite beat agents, and gitaroo man are all the proof i need to happily declare iNiS as the kings of rhythm games. a plethora of genres intertwined yet every song feels connected thematically. the note tapping is silky smooth and glides along to the beat naturally. all of this coated with a thick layer of inspirational emotional motivation and personal charm, presented strongly with a fun-filled artstyle. ends on such a gleeful note that erupts a certain fanfare inside all of us. transcends the boundaries of language with music as a device to communicate with the human spirit. reaches the zenith of the mountain and then shoots for the stars. bursting with overwhelming charisma. this is what video games are all about. goddamn.
1997
rough and kinda scuffed at times, but it becomes part of the charm. silly yet also impactful. treasure’s 5th gen endeavors interest me most because you could definitely tell they were mainly focusing on experimentation, but to what end? for fun? for something bigger? who knows! all i know is that they enjoyed making cool little unique weirdass action titles, and i enjoy playing them.
sorta like a proto-ikaruga only to a more extreme degree. you have two colors: red and blue. enemies have two colors: red and blue. you can only kill enemies with the opposite color shots, and the enemies can only hurt you with the opposite color shots. simple in concept, but actually playing it is like wrestling a bear. since this is treasure, you can’t just change colors on the fly, oh no. instead you have a corresponding color for each side of your body. wanna shoot blue? face left. wanna shoot red? face right. this essentially turns what would’ve been a basic run-&-gun into an almost puzzle-like platformer. you must have keen spacial awareness and consider your placement on the screen at all times. they will throw enemies of multiple colors at you at once. strategy is key to taking them all out quickly while managing to avoid taking damage yourself.
now, i wouldn’t exactly call this genius but it’s an incredibly interesting gimmick for a game of its nature and, i fuck with it. visually stunning as per treasure standard, utilizing the hardware to its fullest in animating some pristine spritework. the character designs are cutesy while still maintaining that degree of edge to intimidate. silhouette mirage is a very creative game at the end of the day. constantly bombarding you with distinct set-piece after wacky boss after confusingly sweet story beat. an intriguing one, for sure. definitely not for everyone but if you have some tolerance for experimental sidescrollers, give it a go. i honestly might prefer this to ikaruga.
sorta like a proto-ikaruga only to a more extreme degree. you have two colors: red and blue. enemies have two colors: red and blue. you can only kill enemies with the opposite color shots, and the enemies can only hurt you with the opposite color shots. simple in concept, but actually playing it is like wrestling a bear. since this is treasure, you can’t just change colors on the fly, oh no. instead you have a corresponding color for each side of your body. wanna shoot blue? face left. wanna shoot red? face right. this essentially turns what would’ve been a basic run-&-gun into an almost puzzle-like platformer. you must have keen spacial awareness and consider your placement on the screen at all times. they will throw enemies of multiple colors at you at once. strategy is key to taking them all out quickly while managing to avoid taking damage yourself.
now, i wouldn’t exactly call this genius but it’s an incredibly interesting gimmick for a game of its nature and, i fuck with it. visually stunning as per treasure standard, utilizing the hardware to its fullest in animating some pristine spritework. the character designs are cutesy while still maintaining that degree of edge to intimidate. silhouette mirage is a very creative game at the end of the day. constantly bombarding you with distinct set-piece after wacky boss after confusingly sweet story beat. an intriguing one, for sure. definitely not for everyone but if you have some tolerance for experimental sidescrollers, give it a go. i honestly might prefer this to ikaruga.
2000
no amount of words could possibly do enough justice. pure unhinged teenage profoundness. a masterclass in the culmination of elements from its inspirations. almost a parody of its pop-culture and on-rails influences, using them as a basis for both its sci-fi-action foundation and exceeding the player’s initial expectations. its face filled with complacency in admitting “yeah, we added a fully fledged cinematic-robo-socio-political narrative on top of the enigmatic disproportionately beautiful gameplay.” a blood-pumping, sharply concentrated soundtrack follows suit to wrap everything together into a somewhat messy package, but it’s an incredibly attractive and addicting package. confidently puts the “mecha” in mechanics.
1991
in some ways a victim to arcade shooter culture at the time, housing a handful of frustrating segments where it feels like the devs just haphazardly threw in a million enemies and said “yeah, that’ll get us a few more quarters.” normally i’m not one to say “just slap some screenclear bombs into it” but this is a case where i feel they could’ve helped the gameflow. spawning in after death in the later levels is like being fed to the crocodiles, some bombs def could’ve assisted in giving the player a way to gain their bearings.
despite this, i’d be lying if i said this ruined the game. normally i wouldn’t be so lenient but goddamn man aesthetically and tonally this shit owns. couldn’t help but get pumped up smiling my ass off when transitioning into the black spacey abyss of stage 2 as the stage’s title ‘CRY FOR THE MOON’ slides into view and the most unhinged otherworldly tune fades into the scene. the highs really do outway the lows in this one, frequently thinking “this is so raw” in my head, specifically when you get your super mega laser™ charged all the way up and shoot that shit out to blast everything on screen to pieces. my only gripe with it though is that it’s your only method of attack outside of regular shooting and it gets completely depleted when you die. at least it led to greater things (dariusburst uses a similar gimmick to a more convenient affect).
the profundity of the imagery and mechanical creativity in each stage is truly a sight to behold, heavily entice anyone who’s even just a bit into shmups to try the game out simply for this aspect alone. at least listen to the soundtrack if you don’t plan on playing it. from a gameplay standpoint i don’t think i’ll ever be revisiting metal black anytime soon, but sometimes style over substance can work in this genre. have to respect this on behalf of it being made in a few months with a dev team of only a handful of people.
despite this, i’d be lying if i said this ruined the game. normally i wouldn’t be so lenient but goddamn man aesthetically and tonally this shit owns. couldn’t help but get pumped up smiling my ass off when transitioning into the black spacey abyss of stage 2 as the stage’s title ‘CRY FOR THE MOON’ slides into view and the most unhinged otherworldly tune fades into the scene. the highs really do outway the lows in this one, frequently thinking “this is so raw” in my head, specifically when you get your super mega laser™ charged all the way up and shoot that shit out to blast everything on screen to pieces. my only gripe with it though is that it’s your only method of attack outside of regular shooting and it gets completely depleted when you die. at least it led to greater things (dariusburst uses a similar gimmick to a more convenient affect).
the profundity of the imagery and mechanical creativity in each stage is truly a sight to behold, heavily entice anyone who’s even just a bit into shmups to try the game out simply for this aspect alone. at least listen to the soundtrack if you don’t plan on playing it. from a gameplay standpoint i don’t think i’ll ever be revisiting metal black anytime soon, but sometimes style over substance can work in this genre. have to respect this on behalf of it being made in a few months with a dev team of only a handful of people.
-prefacing this by saying i did play this in its original intended form although a bit unorthodoxly. i used VNDS to play this on DS hardware but the overall experience remains unchanged from its initial release aside from the compressed audio.
it’s self indulgent while also taking the time to indulge its audience as well. i could feel the author’s disposition behind it. ryukishi gets it. he gets those dog day weekend afternoons where you can attentively hear the birds chirping and the trees rustling in the wind. he gets those chaotic schooldays of youth where the only thoughts of importance were the ones in the present moment. how the world and its characters are portrayed puts me in a spot where i can find solace and relatability within while also appreciating the collective creativity and compassion behind its development.
i grew up (and still live) in a fairly quiet town. if you listen close enough you can hear the cicadas in their prime during the ever-warming months of june. admittedly our community isn’t nearly as small as the benevolent townsfolk of hinamizawa but there’s a level of mutuality between everyone who falls under our umbrella. we know everyone who works at that local barbershop or supermarket, and they know us back. within our pool of classmates everyone knew each other. while my circumstances weren’t on the nose with higurashi’s context, higurashi still transcends its own being and allows the reader to place it within their own sense of self and experiences.
the juxtaposition of the wacky yet wholesome character art modeled against the uncanny photographs presents this degree of intimacy and honesty. despite their contrasting appearances you can really feel the heart that they share; the author’s passion for his hometown is as strong as the characters’ for theirs. the characters themselves aren’t particularly special but i find that to be the point. a small merry band of classmates who try to enjoy every second they share together. i think the slice of life content can be a bit too much at times but it’s still highly endearing in the end and is integral to developing these characters.
how ryushiki handles the horror and mystery aspects as of now is super engrossing. a simple conversation on the phone transforms into a frenzy of mental disparity. love how little bits and pieces of the mystery are fed to the player while their appetite continues to grow as the story unfolds. i’d share more of my thoughts on the narrative…but i think i’m getting a bit ahead of myself seeing as this is only the first chapter. i intend to experience the entire story before i give my complete analysis. i just wanted to express how beautifully this initially grabbed me. i wanna thank my buddy cloudkastel for continuously pushing for me to experience this, while i was skeptical at first eventually he had sold me and i’m glad i’m taking the time to immerse myself. this is a refreshing breath of fresh air. until next time, when the higurashi cry once more.
it’s self indulgent while also taking the time to indulge its audience as well. i could feel the author’s disposition behind it. ryukishi gets it. he gets those dog day weekend afternoons where you can attentively hear the birds chirping and the trees rustling in the wind. he gets those chaotic schooldays of youth where the only thoughts of importance were the ones in the present moment. how the world and its characters are portrayed puts me in a spot where i can find solace and relatability within while also appreciating the collective creativity and compassion behind its development.
i grew up (and still live) in a fairly quiet town. if you listen close enough you can hear the cicadas in their prime during the ever-warming months of june. admittedly our community isn’t nearly as small as the benevolent townsfolk of hinamizawa but there’s a level of mutuality between everyone who falls under our umbrella. we know everyone who works at that local barbershop or supermarket, and they know us back. within our pool of classmates everyone knew each other. while my circumstances weren’t on the nose with higurashi’s context, higurashi still transcends its own being and allows the reader to place it within their own sense of self and experiences.
the juxtaposition of the wacky yet wholesome character art modeled against the uncanny photographs presents this degree of intimacy and honesty. despite their contrasting appearances you can really feel the heart that they share; the author’s passion for his hometown is as strong as the characters’ for theirs. the characters themselves aren’t particularly special but i find that to be the point. a small merry band of classmates who try to enjoy every second they share together. i think the slice of life content can be a bit too much at times but it’s still highly endearing in the end and is integral to developing these characters.
how ryushiki handles the horror and mystery aspects as of now is super engrossing. a simple conversation on the phone transforms into a frenzy of mental disparity. love how little bits and pieces of the mystery are fed to the player while their appetite continues to grow as the story unfolds. i’d share more of my thoughts on the narrative…but i think i’m getting a bit ahead of myself seeing as this is only the first chapter. i intend to experience the entire story before i give my complete analysis. i just wanted to express how beautifully this initially grabbed me. i wanna thank my buddy cloudkastel for continuously pushing for me to experience this, while i was skeptical at first eventually he had sold me and i’m glad i’m taking the time to immerse myself. this is a refreshing breath of fresh air. until next time, when the higurashi cry once more.
2000
2003
now that i’ve played my fair share of cave shmups i wanna say that the mechanics and philosophy of bullet hells have clicked with me but in all honesty they haven’t yet. although i can say i’m probably better than your average joe-shmoe gamer at these games. by the end of my run with espgaluda though, i think that something did click, even if it was pretty minor. while playing this one there were multiple instances of me entering this zone where it was like i had been under some sort of trance. for a few moments without thinking i could effortlessly weave in between the threads of bullets as they unraveled beneath the blanket of enemies on screen. the only other games where i can distinctly remember this happening to me are ketsui, mushihimesama, and battle traverse which are also my favorites in the genre. i play shmups on a very on-and-off basis so if one manages to pull me into The zone i say it’s a memorable one for sure. obviously that’s not my only criteria for gauging how much i like these games but it’s an important factor for me personally.
i also really enjoy espgaluda as this makeshift tribute to its cave predecessors; i noticed elements and tropes reminiscent of esp ra.de., dodonpachi, and the aforementioned titles (minus battle traverse). it’s a good collaboration and evolution of the pre-established formulas. the final boss in particular giving me ptsd from mushihimesama’s final boss lol. the ost also caught me by surprise with how unhinged it is, especially the arranged/remixed tracks.
i dont think ill ever become a so called “god” at bullet hells but i dont mind truthfully. i’m content knowing i beat this game in (probably) under a 15cc while having fun. playing espgaluda reminded me why i enjoy this genre so much.
i also really enjoy espgaluda as this makeshift tribute to its cave predecessors; i noticed elements and tropes reminiscent of esp ra.de., dodonpachi, and the aforementioned titles (minus battle traverse). it’s a good collaboration and evolution of the pre-established formulas. the final boss in particular giving me ptsd from mushihimesama’s final boss lol. the ost also caught me by surprise with how unhinged it is, especially the arranged/remixed tracks.
i dont think ill ever become a so called “god” at bullet hells but i dont mind truthfully. i’m content knowing i beat this game in (probably) under a 15cc while having fun. playing espgaluda reminded me why i enjoy this genre so much.
our bad-to-the-bone monster killing cop protagonist enters an abandoned warehouse, posing as the base of operations where we suspect to find the vampirian culprits. this is our only lead. sparks shoot out of the ceiling and rusted pipes constrict the decrepit hallways. we come out into a doctor’s laboratory of sorts. dismembered human body parts, covered in blood might i add, wrap the floor and distract from the problem at hand. our flashlight blinks as it pans over to an operating table. there’s a tarp forming a body-like shape. a limp pair of feet emerge from this tarp. Mr. hero, who we would assume to be distraught after having seen the horrors presented before us, defiantly calls out.
“I guess that’s what happens when you don’t pay your insurance.”
“I guess that’s what happens when you don’t pay your insurance.”
1998
lost in the bloody shadows of war are the cries of those who seek the light.
the golden standard for equally balanced gameplay and story. blended together in such a way where one cannot exist without the other. each and every guard we come across, unknowingly trapped as pawns in a much deeper game whose players show blatant disregard for their own pieces on the board. everyone has selfish reasons for fighting, despite war never ending in favor of its soldiers turned victims. victory is reliant on how mercilessly you can move forward while forgetting the scent of past’s bloody aroma.
i’m a huge fan of every character here but the one i felt most connected to was surprisingly meryl. she’s almost like this self insert for some of the audience with her portrayal of the battlefield as this larger-than-life action flick displaying heroes and villains. as the game goes on, both us and meryl slowly discover the truth of it. there are no heroes, no villains. on the surface there appears to be two different sides, but on the battlefield there are just people, people who simply do what they’re told. mgs1 doesn’t sugarcoat anything, conveying the cold truths beneath what we know as “war.” the mysteries run deeper than we initially thought.
the game’s content wouldn’t have worked as well as it did if not for the unconventional yet effective writing combined with the surprising amount of production value. at times it can be a bit infodumpy but the subject matter is relevant and intriguing enough to keep me interested. the cutscene presentation was initially what blew me away like many others. each scene has some really good shot composition and directing. it’s definitely reminiscent of the terminators and the predators of the time while still managing to be distinct in its own right. there’s a noticeable amount of attention to detail paid to both the cinematics and gameplay. when roaming the foreboding mechanical hallways of shadow moses you have all the tools at your disposal, it’s up to you to figure out how to use those tools realistically and efficiently. there’s no one set way to do basically anything in the game. experimentation is encouraged and even today i find it to be pretty ingenious.
the past can be used as an excuse to justify our present actions. in our strive for personal benefit sometimes we lose sight of who we really are. the past is important, no doubt, but what we make of ourselves now is what counts (if you can excuse my bit of cliche regurgitation). live on snake, otacon, meryl.
metal gear solid’s legacy speaks for itself. there’s not much more i can add to the discussion that hasn’t already been said. it’s considered one of the greatest games ever made for a reason, setting a new standard for the medium that still echoes throughout the modern gaming world. one of the most revolutionary titles i’ve played in recent memory.
the golden standard for equally balanced gameplay and story. blended together in such a way where one cannot exist without the other. each and every guard we come across, unknowingly trapped as pawns in a much deeper game whose players show blatant disregard for their own pieces on the board. everyone has selfish reasons for fighting, despite war never ending in favor of its soldiers turned victims. victory is reliant on how mercilessly you can move forward while forgetting the scent of past’s bloody aroma.
i’m a huge fan of every character here but the one i felt most connected to was surprisingly meryl. she’s almost like this self insert for some of the audience with her portrayal of the battlefield as this larger-than-life action flick displaying heroes and villains. as the game goes on, both us and meryl slowly discover the truth of it. there are no heroes, no villains. on the surface there appears to be two different sides, but on the battlefield there are just people, people who simply do what they’re told. mgs1 doesn’t sugarcoat anything, conveying the cold truths beneath what we know as “war.” the mysteries run deeper than we initially thought.
the game’s content wouldn’t have worked as well as it did if not for the unconventional yet effective writing combined with the surprising amount of production value. at times it can be a bit infodumpy but the subject matter is relevant and intriguing enough to keep me interested. the cutscene presentation was initially what blew me away like many others. each scene has some really good shot composition and directing. it’s definitely reminiscent of the terminators and the predators of the time while still managing to be distinct in its own right. there’s a noticeable amount of attention to detail paid to both the cinematics and gameplay. when roaming the foreboding mechanical hallways of shadow moses you have all the tools at your disposal, it’s up to you to figure out how to use those tools realistically and efficiently. there’s no one set way to do basically anything in the game. experimentation is encouraged and even today i find it to be pretty ingenious.
the past can be used as an excuse to justify our present actions. in our strive for personal benefit sometimes we lose sight of who we really are. the past is important, no doubt, but what we make of ourselves now is what counts (if you can excuse my bit of cliche regurgitation). live on snake, otacon, meryl.
metal gear solid’s legacy speaks for itself. there’s not much more i can add to the discussion that hasn’t already been said. it’s considered one of the greatest games ever made for a reason, setting a new standard for the medium that still echoes throughout the modern gaming world. one of the most revolutionary titles i’ve played in recent memory.