to move away from the obvious “yeah this sucks,” i do wanna highlight how there really was a genuine attempt at making a defining title in the series; i can tell the environments wanted to express its predecessor’s tropes in a more unique way, but ultimately beg to be put out of their misery when clashed with unmemorable level design and annoying hazards. i can tell the devs did try and put their all into this but with their lack of knowledge in mega man and the genre, it was inevitably going to miss its mark at least by some margin. to say this is “one of the worst games of all time” is giving X7 way too much recognition. it’s one of those games where i just kinda shrug when it’s over. it’s not offensively bad in a way where i’m left angry. i was probably way more frustrated with games like NMH2 and DmC. X7 is just, disappointing. though i still do question how it ended up like this. the dev team stated they wanted to focus on “getting 3D right,” but any person attuned to games can tell you right off the bat that everything feels off. the controls are sluggish and the inherent satisfaction of landing jumps is completely lost. i wish there was some more documentation of the actual development because it’s almost like another DMC2 situation. devs who were inexperienced with said series and only had the previous game to go off of. i noticed there was some weird fixation with trying to make the game better than X6 at minimum. hindsight is a bitch. i can’t even give X7 funny points because, while yes that one youtube clip you saw screaming BURN was funny out of context, actually playing said clip i found to be quite miserable. did the devs just not care enough to fix it? who playtested this and said ‘yeah i NEED the boss to not only try and kill me but also my eardrums too.’ most of the game is this strange sensory overload both audibly and visually. a damn shame too since the soundtrack is up there as one of my favorites in the franchise. there isn’t a whole lot to be said on X7 at this point but i do think there’s been too much said on it. seriously does not deserve the attention it so comically receives. it’s super funny apparently to talk about and recommended this game when you’re someone who hasn’t played it. it’s just simply a sad game in my eyes.

sitting listening to aphex twin’s syro n thinkin bout this one. i had been thinking about all these comparisons i could draw but honestly any sort of direct comparison takes away from the beauty of the work. muffled steely dan puts pressure on your ears and your mind, constructing an immaculate vibe over euphoric colors. writing is super witty and displays very interesting topics! every girl is quirky and interesting in their own way. each have their own feelings of isolation in this desolate post-nuclear world. i’d go with the #5, personally. this is my first work of goufygogg’s and i def intend to check out the rest of em when i can find time. wanted to write a quick somethin to show my support, very lovely little game. check it out! big fan of small passion filled projects such as this. really motivates me to try and make a game of my own.

despite how fucked up we and the world can be, we move on, sometimes painfully, but such is inevitable.

putting out something pretty minimal without whole ton of thought, mainly piecing together shit i wrote on discord

i really enjoyed the subtext about capitalism and societal influence, also how theres no real resolution. it’s an outlet for its creators to express, it doesnt try and convince you there’s something wrong with this futuristic dystopia where basically everyone is fucked up and corporate corruption overwhelms, it simply just manifests. whether it’s “good” or “bad” is simply up to the player’s interpretation. i found myself in this morally gray area, seeing the overarching corrupt madness that influences everyone’s moods as a bit depressing yet motivational for some. this is how their world is and despite how it operates, people move forward. acceptance of the circumstances has sank in and acceptance of others also in the process, everyone is in the same boat. dogs, machines, talking brains; you name it. all in mutual understanding of one another.
i think some of the more sexual content can be pretty uncomfortable but it’s only very prevalent in one character and part of it does help build upon how shitty the world is, sexual desires overcome in the face of hopelessness.
characters are all super cool and i had been expecting the story to be more grandiose but i’m glad it wasnt in the end. a short but sweet small outlook into a much larger world we still don’t have a complete grasp on, but ultimately thats okay and not even its citizens fully have a grasp on it. lots of neat writing and exchanges that both satisfy with being fun and contributing to the overall ideas. it’s quirky in its own way. a fun and cozy time where you can forget and just be with these tragic yet lovable people. the infamy of the foot-tapping soundtrack also delivered. maintaining that level of intimacy with its audience that resonates. at the end i was kinda like “thats it?” but thinking about it more, va-11 hall-a doesn’t overstay its welcome at all and does exactly what it sets out to do. def one of my most memorable experiences with the genre. i’m a sucker for anything post-modern or cyberpunk related.

been a week, wrote a bunch of shit and wasn’t happy with it. had to sit on this one for a bit. danganronpa is a love it or hate it kinda game but i’m still on the fence. whatever ideas that were presented (which i almost got interested in) are handled with the elegance of an elephant in a china shop. bordering on straight up offensive with chihiro’s gender identity or just laughably boring with “hope and despair.” there is a textbook, childlike understanding of the potential of these words. doesn’t help that they’re said about what i’d believe to be over a hundred times. hope and despair here is like some weird tongue twister whose words become jumbled and meaningless just after a few verses. i’ve gone on record many, many times to say that this isn’t for me. danganronpa’s story isn’t for me and there’s no other way for me to elaborate. stereotyping, lack of connection with its player, lackluster character writing. idk, maybe i was just spoiled by playing better games in the genre. didn’t care for any of the characters. don’t blame anyone for being a fan, though. game’s just not in my taste at all and i kinda figured it wouldn’t be even before i started playing. i’m sorry to have such loaded claims without much backing but that’s just how i feel. genuinely had to force myself to finish the game. constantly checking my phone every few minutes during play sessions i think is a clear indicator of my disinterest.

looping it back, before i had said danganronpa’s story wasn’t for me. the presentation and shit like that is what i truly liked. gonna try and highlight what i liked most about it as best i can.

school. a common-ground to tread on for games geared towards teenage audiences. i think the distorted presentation of school here is pretty unique compared to its contemporaries with even a bit of subtext to pick up on about the school system itself. in the walls of hope’s peak academy, a sterilized yet chaotic viewpoint is placed upon rooms we’ve familiarized ourselves with before. further sinking in the despair anxiety felt towards this alienated “academy” enveloped since our questionable arrival. wandering the dark and gloomy gradient covered hallways does almost hit me with a similar feel to a horror game. murder, confusion, and betrayal hang in the air while anticipation builds up with each step towards the next room. what awaits us beyond the next door, the next trial? masafumi takada understood this and his compositions accurately reflect the school’s atmosphere wonderfully. unironically the visuals and music do a much better job at emotionally investing me than anything else. i found this to be comparable to killer7, as far fetched as it may sound. in the final chapter you’re tasked with exploring every classroom and walking down every hallway in a completely abandoned school with a tragic political past that i won’t spoil. both k7 and dr1 give this very raw, unhinged outlook on school. something hits different with these emptied hallways and classrooms, your thoughts being the only thing that echo throughout.
now enter the wacky, exaggerated 2D character art. juxtaposed against the sharp modeled environments, it fits very well. i don’t particularly like the artstyle of the character art but i cant deny its place in the game and how well it works. aesthetically, everything is put together super tightly where it feels comfy and looks cool at the same time. the sprites popping up like cardboard standees, crisp UI elements getting shattered and battered during trials; arguably the most recognizable aspect of the series.

there is a whole lot more i had written about previously, but as mentioned before, i wasn’t content. i found myself lazily listing each part of the game one by one and saying shit along the lines of either i liked it or i didnt like it. lame. i do feel like i want to clarify my thoughts on more parts of the game but frankly im lazy as fuck and not the best at being completely constructive. im noticeably very bad at concluding these sort of things lol. as a whole, i don’t really care for about 90% of this package and thats about it. i dont like dividing stuff into chapters cuz i like looking at shit together as one experience rather than these smaller ones that make up a whole. danganronpa is one of the most influential games in the current state of the genre, or something. when the credits rolled an immense dissatisfaction came over me to a surprising degree. did not give a shit at all. to everyone who genuinely likes this game, i give you my respect. really wanted to enjoy this but it just was not happening. admittedly fell asleep a few times while playing. also no, i will not be playing dr2. at least not for a very, very long time.

sunlight permeates the brisk morning air, illuminating the road and shiny mat finish on your car. your heart races faster than your machine’s top speed, the crowd cheers as their excitement overcomes them in the anticipation of the countdown. 3. 2. 1.

To the finish line, everywhere you look he’s right on time

there is almost nothing i could possibly say about R4 that hasn’t been said by people here who can write much better than i. a year or so ago i popped this game onto my psp with my expectations through the roof, majorly influenced by its unmatched soundtrack. so i played it and… yeah it didn’t really click. something about the controls bugged me (possibly something to do with the psp dpad, not a fan of that thing). i dont even know if i finished a single grand prix, but i digress. the time is now and i managed to get my hands on an original copy to play on real hardware and just, wow. playing this on an actual ps1 was exhilarating. it might not matter to some but playing games on original hardware always enhances the experience for me. truly electrifying.

With his silent stare… Blazing through the open air, he’s without a care

so, what about the game? yeah it’s cool lol. each race is as blood-pumping as the last. weaving in and out of the pack to assert your superior driving skills is as gratifyingly intoxicating as it sounds. in love with the sharp stylization of the menus with animations and sound design that truly impress. you all know how it is. despite my “completed” here i dont think ill ever be done with this game. so many different cars to unlock, customization options to try out, decals to create, the list goes on. the devs really understood the joy in racing. it’s about the journey, not the outcome; taking in the scenery, getting to know others, appreciating the thrill of driving. the context behind each team is more interpersonal than you’d expect.
i’d previously (many many years ago) written off the genre as “not for me,” but games like f-zero gx and R4 unearthed a sensation that i never thought i had. super glad i powered through and gave it another shot. gliding past fellow racers and sharply drifting around corners while an unhinged mood-influencing soundtrack plays overhead is in fact, fun. R4’s mechanics and raw vibes are unrivaled.

Movin' to the beat, can you feel the heat, when the tires kiss the street

its reputation precedes itself. thanks to everyone on this site who continues to sing their praises on this one, if not for that i (and many others) probably wouldn’t have given this a shot. also thanks reddish for mailing me this.

the game that timelessly encapsulates the occult appeal of classic castlevania. was incredibly impressed by the striking cutscene presentation and elegantly strong soundtrack, taking great advantage of the powerful hardware that was ahead of its contemporaries. multiple routes, playable characters, endings; rondo’s ambitions paved their way to success accompanied by rewardingly difficult gameplay. every stage is crafted with a level of expertise that enforces you to be at your best while not being frustrating. both an evolution of, and tribute to the formula. classicvanias werent really my thing, and still kind of arent, but i seriously commend rondo for what it does and i did enjoy myself a whole lot throughout the adventure. the artistic integrity and ingenuity of the series is probably represented best here. super memorable and visually stirring. everything is just very earnestly cool. so many details hidden within every level just for the sake of contextualizing each area that much more. statues, weapons, and even paintings animating to life never gets old. rondo of blood is THE castlevania, for both old and new fans. konami if you liked money youd get your asses on porting requiem to shit that isnt ps4. unexpectedly been in a castlevania mood as of late but im not complaining, love this series. important lesson here is that small children have the power to do anything in pursuit of accusing someone for being “mean.”

pretty cliche to say this but upon this replay ive realized its almost impossible to effectively sum up my thoughts on this one now. after jamming out to the ost on a weekly basis for a year since i first played it, i finally decided to sit down and replay order of ecclesia and man this was genuinely some of the most fun ive had with a game in months. literally the only problem i have is eligor and even then his fight isn’t all that difficult. just know that this is probably the best igavania and has the best set of bosses in the franchise. the ost is also my absolute fav. lots of a weird shit here that ultimately works in the game’s favor to deliver a delectably satisfying package that has a lot to offer in the combat department. was pretty sad finishing this knowing we’ll never get anything like it again. thanks konami. dont sleep on order of ecclesia or youll regret it. shanoa is every castlevania fan’s sexual awakening.

not a lot of people have written very constructively for this game and honestly? it doesnt really need it. i think almost anyone can understand the magic of the clicking sound played when hopping between objects, or the relief from defying fate knowing our victim will trudge on through life, maybe even with a new perspective. the innocence of a seemingly lost soul without its memories, left only with determination for oneself but eventually gaining sympathy in the face of others. this is probably one of the best paced games i’ve ever played. every puzzle racks your brain just enough where it doesnt feel exhausting or too easy, and when put together with fun characters and mysteries, everything flows surprisingly smooth. finding that solution and watching events play out brings out a similar (but more suspenseful) satisfaction to watching a domino effect. every character is incredibly sincere and charming to a point where there’s not a single character i dislike. while i think the ending played too much into the sci-fi aspect, when the credits rolled i was nearly on the verge of tears. i was happily somber watching our colorful cast fade away while masakazu sugimori’s beautiful eclectic score played overhead (sidenote, i really wish he had composed more stuff. his scores always fit their respective games like a glove). the previously thought impossible ending we’ve been striving for has now been made possible. ghost trick has climbed the ranks of my favorite games and i’ll certainly remember it for a long time coming. the greatest lesson taught is that being dead is awesome.

strangely got hooked on this while playing it on an actual cabinet today at a pretty cool game expo, normally at these events i dont sit down and finish a whole game but i couldn’t stop myself from finishing this one twice over. what other shmup has you flying along the front of a claw machine game where tokens fly at you, or has you tear apart a crude interpretation of space invaders followed by blowing up the motherboard behind said game? its an extremely endearing yet ruthless perspective on the chokehold arcade games had on the market during the 90s. its a battle against the past. claw machines and miniature race cars vs small children who wield the power to eviscerate galaxies. its their tastes that define popularization. game tengoku laughs in the face of danger, effortlessly transitioning between vast contrasted worlds while you maneuver your way around giant stuffed animals and intergalactic space jets. the credits? who needs em. blast each and every name to pieces. i really need to get into more cute em ups cuz shit like this never ceases to grab me. this one should be recognized among the likes of harmful park and cotton. play it if youre a fan of the genre.

a fun artistic outlook on what it means to be a creator, player, and hell, even yourself. i cant think of any other game this personal and emotional metacontexually that reflects its creator’s ambitions, struggles, and views. it’s a game about games but unlike nmh1, it travels deeper into the workings of what games represent and the process of making them, rather than embracing itself as a video game and the tropes that go along with that (not knocking nmh1 for this btw, big aspect of that game i love). each death drive game is bursting at the seams with creativity; remaining fresh yet faithful to its inspirations. they all contribute something meaningful to the overall plot and ideas. i love the one that straight up jukes you out, placing you in an unfinished unreal engine world where you can see vast floating terrain in the empty white skybox anticipating your eventual adventure, only to be thrown out of the game before you can even begin to ponder what awaits in the white void. sometimes shit just doesnt see the light of day. Fax received from K. travis strikes back got me sentimental when presented with shadowy figures of [kill] the past. here we’re cleaning up the mess of someone else’s past, forming our own future in the process. games as self expression, a hobby, past time, an inspiration, an escape.

some other things to note would include the gameplay which i honestly found to be pretty fun throughout, while not as integrated into the story as the previous games it’s some simple fun i can fuck with without a whole lot of thought. i adore the soundtrack, boasting popping hiphop and drumbeats that keep your head banging and thumbs wagging. welcome to hell being one of my favorites having sampled johnson’s japanese rap from sotd. the ktp/sudaverse references were also a pleasure as always. tho anyone who tells you “you need to be a true suda fan to like tsa!” is gatekeeping lol, this game is perfectly enjoyable to people who just like seeing travis touchdown get into his comedically serious lightsaber slashing adventures as usual.

theres things here i don’t completely vibe with but i really respect TSA in regards for what it does and its celebratory nature. the visual and sound design strike all the right cords with me. this marks the end of my kill the past journey (until october 11 at least) and it couldn’t have ended on a better note. a note whose sound will continue to play in my mind for years to come.

what does it mean to be a creator? well, obviously it’s to make a work, something that is yours. but, what defines the line between being a creator or not? as a (self proclaimed) photographer i question, am i a creator? i create photos but i do not necessarily create the world within the confines of the photo. being able to maximize the impact of said world within the limits of a photograph is what i believe to be a key part of being a photographer.

bound by the chains of corporate demands and strict time windows, suda had the vision, the world. all that was needed was mikami to metaphorically snap the photo, and capture suda’s visions in the most substantially compelling way possible.

photographers are as much creators as a painter or musician is. they may not be the direct source for what they produce, but what artist is? everyone has influences and points of reference for their work. photographers have… just a much larger reference is all, a pre-painted canvas if you will, where they can do what they see fit with this canvas to create.

all that was left was the final touch, a soundtrack to accompany this creation. like how memories and stories can extrinsically loom in a photograph, a soundtrack looms throughout a video game. takada is, putting it bluntly, a damn genius when it comes to this field. he knows exactly the right drum beat, the right guitar riff that can emotionally intensify a scene.

im not going to go into what killer7 means in-and-of itself, rather what it means as a work, a creation. to explain what in the fuck goes on in this game is fruitless, much like suda’s prior works honestly. the thrill of kill the past is in its absurdity and broad ideologies, both never ceasing to be thought provoking in one way or another. there’s an endless amount of perspectives you could assume to try and narrow down what it all means, but personally i find it almost futile. don’t get me wrong i love discussing suda’s works in the context of their deeper meanings, although honestly i’m okay knowing i don’t completely understand games like flower sun and rain, 25th ward, and killer7. people are typically infatuated with what they do not comprehend, and are infatuated with wanting to comprehend. i am infatuated with suda because of his willingness to deliberately create something that people won’t comprehend. that itself i respect and it’s always a treat when these incomprehensible creations end up becoming flat out masterpieces.

and now it is complete. through the collaborative genius at grasshopper manufacture, an overwhelmingly artistic work both before and ahead of its time has been created. killer7 is both dated and timeless; both the worst, and best video game ever made. a game such as this will never be created ever again.

i’ve spent the past few minutes rereading what i’ve written thus far wondering how to conclude this concisely in a manner that ties everything together. it’s hard. i was thinking of talking about the gameplay but everybody knows the gameplay. everybody knows that no matter what, the instant bloody combustion of a heaven smile always feels good, and that the sounds that accompany the firing and reloading of your weapon always feel good. killer7 feels good.

i’ve realized that killer7 doesn’t really conclude and nothing ties together, but that’s the beauty of it. you’re left satisfied despite this, left with ideas and thoughts that boil. and they will continue to boil. killer7 will never end. as long as video games exist, killer7 will always have the last laugh.

The day he stops smiling is the day we remember his smile.

the dark and melodramatic streets of kamurocho, contextualized by punctual camera angles, neon signs that dampen dark alleyways, and wacky inhabitants. kamurocho is alive. for every fun filled casino or arcade, an oppressive gang infested street lies just around the corner.
in the week or so since i've finished this game, i haven't stopped thinking about it. the dynamic cast of characters, the aforementioned bustling streets of kamurocho, the hard hitting sample induced rock soundtrack, and the clunky yet earnestly goofy combat; it's extremely honest and heartfelt in pursuit of a crime drama, and it certainly delivers. i think the themes of family bonds really tie everything together. the moments with the florist and his son, or date with his daughter were a bit of a deviation from the main narrative but they were ultimately for the sake of driving a point home, which i respect. yakuza 1 isn't afraid of itself unlike kiwami, it'll confidently present you its themes and gameplay without hesitation. while i do see the combat as inherently flawed it never got on my nerves or hindered my enjoyment of the game. it's clunky for sure but every attack, daft in approach, feels impactful when it connects. and with the backing of rough hardass rock beats mixed with the hip hop sample here and there, i couldn't help but be pumped up for every battle that ensued.
despite its flaws, i still appreciate yakuza 1 for what it sets out to do. the atmosphere is almost unparalleled in the ps2 library. between every freeze frame loading the next street, a sense of curiosity and infatuation follows. i don't care if kiwami is objectively better or whatever, this is the real yakuza experience to me. kiwami WISHES it could be this genuine.
BRING that shit, Kazuma.