Feels weird to have such a sour aftertaste after loving most of Penacony, but man, 2.2 is the first time since Belobog I've felt like the game just makes no effort to set itself apart from its inspirations in certain regards.

There's only so much they can do with the game's structure and the allotted screentime characters can have, but with how much Robin and Sunday feel like they were just meant to fit moulds necessary for the story, I'd rather they just keep it at that and give its genuinely unique characters more time to shine, because I truly could not care less for the time spent on them here.

Whether intentional or not is hard to say when there's countless examples of settings like Penacony, but especially considering the dynamic of Sunday and Robin, it reminds me a loooooot of Caligula Effect 2.
The problem here is that, Caligula Effect 2 is one of my favorite stories ever that spends approximately 25 hours on being an absolutely fantastic commentary about the pressure of society's expectations (especially through the pedestal idols are unwillingly placed on) and every character uses its premise so incredibly beautifully and uniquely to truly make that emotional core of it hit.
Now ofcourse, Star Rail couldn't and shouldn't have that amount of depth with its structure as I mentioned before - but it's a bit hard to set it apart when it's so similar and yet utterly shallow in comparison. Any character development Robin gets is essentially a switch getting flipped off-screen that makes her go "hm, maybe the Family isn't so pristine actually!" and that's about it - but you can't really expect much more when they've hardly given her an hour of screentime. Her popularity makes it clear I'm definitely in the minority in needing more substance to really appreciate a character though, and that's fine. I'm glad there's still plenty of people who can appreciate her for what she has to offer.
Sunday is.. okay. He's nothing you probably haven't seen before but he's exactly what the story needed so it works. I'm not too well-versed on HI3 but I appreciate how he's intended to parallel Kevin as a nod to Acheron, so there's that atleast.

So yeah, I'm essentially at the crossroads where I wish these characters were more than they are but also can't really see a way for that to be possible, which is a weird feeling. They couldn't ever match up to my expectations and if they did get more screentime without setting themselves apart from their current roles in any unique way it'd probably just lower my appreciation of this arc further so I guess I'm just fated to feel unsatisfied about them, unfortunately.
It's just hard to say I truly love Penacony even though I had a blast with 2.0 and 2.1 when its core at the climax makes me feel.. nothing. Pretty much everything they got in this patch was exactly as I expected it would be and I groaned through whatever screentime they got as a result.

Luckily, it's not all bad though! There's plenty of characters that use the dream world setting really well. Gallagher and.. Misha, of all characters (surprisingly!) were the highlight of the patch for me by tugging at the heartstrings unexpectedly and I love that Firefly of all characters challenges Sunday's nihilistic, haughty perspective of humanity needing Penacony to live the most considering she's just about the prime example of it. But no, despite her circumstances, she's going to use whatever limited time she has to truly live and continues to cement herself as the absolute best Penacony has to offer, and I can't wait for her to continue to carry the absolute fuck out of it when the epilogue drops.

It just sucks to have to look towards the smaller parts of this patch for me to be able to appreciate it, and I can only hope having her in the spotlight makes me feel less conflicted about it all by the time it wraps up.

The phrase “x story helped me out during a rough time” is used commonly to elaborate on how much a piece of media has helped someone out, but I can’t say that about Persona 3, primarily because it’s a story that has taken root inside me deeply and stayed with me throughout the years ever since 2021 when I first played it. It’s not like it helped me during a single rough time, it was more like an affirmative embrace and an acknowledgement of my struggles throughout all of these years collectively instead of just one period of time. Persona 3, much like Good Will Hunting, Evangelion, and Pandora Hearts, is a game that I like to revisit and reflect upon every time I feel like I’m in a rut and can’t figure out who I am and what am I supposed to do in this world. It’s something I’ve closely attached to who I am because of how much it shaped my mindsets towards life, “The meaning of our lives is something that we make but don’t see”, and, “You don’t need to save the world to find meaning in life” are quotes I internalised, reminded myself of anytime I felt myself falling down an existential crisis, and the long term effects it had on me throughout the years is not something I take for granted. In a way, Persona 3 is a symbol of my struggles during my adolescence, and so, it is that revisiting it through Reload that I felt like I was looking back on parts of myself from back then and getting in-touch with them again. It felt like a reflection of my past, of all the struggles I pushed through to make it this far to where I am today, and by the end of it, I realised that much of my own growth throughout the years was because of stories like Persona 3, growth due to me burning my dread and venturing in life while living in the moment.


When you’re faced with a crisis that you have no idea how will it end, or how you will resolve it, you have two choices, whether to believe that you’ll fail and fall into a hole of cynicism or to believe in your happiness and work towards that ideal in the moment by focusing on yourself and doing what you can until eventually, everything falls into place. This sentiment seemed too unreal to me because of how clouded my vision was with all of the negativity that I surrounded myself with back in 2020 because whenever I tried to resolve my issues, I half assed it and it backfired, whether it be my existential crisis due to the societal pressure I experienced that made me feel like I had to have a larger than life success story to be worth anything, my ever growing disdain towards the fleeting nature of bonds, struggles with navigating interpersonal issues due to my self pity and cynicism as a byproduct of my fear of abandonment, and fear of death due to religious doubts I had. All of this was too much for my 17 year old self to bear, but as I said, Persona 3 and its characters all reflected different intimate parts of who I am for a reason.


For a dumb teenager like me who couldn’t believe in himself, drowned in self pity and inferiority towards others, and had trouble seeing what was so special about myself, Junpei Iori represented my struggles with the indifference of the universe crucially. He’s someone who believes his own hype to subconsciously convince himself that he’s a hero destined to save everyone, when in reality that’s merely his coping mechanism with his deep-seated insecurity about his incompetence, and that shows in the dichotomy of his goofiness and feelings of envy and jealousy. It’s only later through meeting Chidori, someone who felt like her life held meaning due to her persona, much like he did, that he realized that he doesn’t need to be this impossible image of a hero that he created within himself and that if he kept on being true to his innermost self, the one who wanted to become a baseball player, he’ll have already become a hero to someone, like he did with Chidori. I said that Junpei’s insecurities and tendency to compare himself to others reflects a part of me in the past, but truth be told, I still have those tendencies lingering in from within me, yet in the same vein, over time I’ve learned to trust in myself, that whatever I do, it’ll result in something special. I learned that it doesn’t matter if there’s someone who’s better, smarter, more insightful than me, because no matter what, they can never be me, and so long as I pursue that self and see to it that its potential is met, everything will fall into place. It’s for that reason that I can look back on Junpei’s arc in P3 fondly and think to myself about how much it helped me internalise that self trust, because there’s nothing more real than pulling a mentally ill goth bad bitch by being funny and quirky.



When I said that P3 reflects different parts of myself from the past, I meant that because it’s not just my teenage years that it reflected but my childhood as well with characters like Ken. I could go into how characters like Mitsuru, Akihiko, Shinjiro, & Fuuka connected with me but I want to go with Ken not just because he’s my favorite among the aforementioned characters (I’m quirky, I know) but because of how he crucially reflected a part of me that no other character has, and it’s how Ken chooses to adapt to his situation to fit in in self deriding ways that I feel seen by. From the start, Ken is pushed into this dog-eat-dog world where only the strong survive, even in SEES, and that sudden change in his environment not only made him lose himself but a person’s most precious value, that being his inner child. Ken was forced to let go of his childish nature, gaslight himself into thinking that such notions would only hold him back, and proceeded to move solely through objective means because of how he was stuck in an adult world where if he doesn’t man up and throw away his childish needs and struggles, he’d be left behind, much like how his mother left him behind and so did everyone else, with their looks that were devoid of nothing but pity, yet even then, in his linked episodes, he couldn’t let go of his inner child and it shows sprinkles of his inner child peeking out due to his enthusiasm. It’s a heartbreaking accurate depiction of how much Ken struggles to connect with others and most importantly himself, because nothing has been the same for him since his Mom died. Many people, when looking at Ken’s character, view Ken’s arc as a revenge arc, and while that’s a valid reading of his character, to me, it felt like it was more so Ken reconnecting with his inner child, realising that he doesn’t need to put up this facade to “survive” and “fit in” with this cruel world, and that he doesn’t need to hold himself back emotionally so much because of others anymore, because while he may have lost his family, he gained another through SEES, and that’s what “living” means. Losing people, meeting new people, bonding with them, and doing simple things like practicing your hobbies, that’s what living really means, and that meant so much to me because back when I was a kid, I never had any friends of my own, could never really connect with them, and that’s because I always hung out with my older brother’s friends, which subsequently made me mature too fast for my good and didn’t allow me to live my childhood to its fullest. I could never connect with people my age, because I was so used to forcibly maturing myself to keep up with my older friends, I always felt like bottling up my emotions and needs in favor of a facade that could get me the closeness and sense of belonging I wanted out of their company since I was too awkward to make any friends of my own, yet on the inside I was too young and emotional to get along with my older friends, creating this unstable interpersonal problem I had that plagued my childhood. It’s funny, how I’m a grown person now, yet seeing Ken be plagued with this same issue I had and recovering from it through mundane means, almost had me tearing up because it reminded me of how much I hardened myself and designed a strong man to protect the hurting child inside me.




Earlier, I described Persona 3 as a meditative experience that gives me space for my feelings whenever I need a haven to express myself within, or feel seen within, and so, there are parts of it that are timeless to me, parts of it that help me see myself in a better light and enable me to look at myself more positively, one such part is Yukari’s character and how much of an embrace it feels to me. Truthfully speaking, my aim with my media experiences is to either escape the real world, or for edutainment purposes, but it is so rare for me to engage myself with a story that can help me discover positive, strong traits within my character that makes me love myself. It’s hard for a story to do that, since what I look for in fictional characters are parts of me that I and others around me struggle to accept, more often than not are negative parts, but that’s why Yukari means the world to me, since not only does her character give me a safe space to feel seen and accepted for my contradictory feelings of love and hate towards intimacy, but she also embodies a trait of mine that helps me accept it, that being kindness and empathy. Yukari’s premise is that she struggles with the internal conflict known as the hedgehog dilemma, where she craves intimacy but disdains contact with others, because she wants to be loved, but doesn't think she's worth loving because of the self pity, sense of weakness/inferiority, & self hatred she internalised as a byproduct of being "abandoned" by both of her parents, at least emotionally. I say emotionally because her dad died so he didn’t abandon her technically, and her mother simply clung to other men for emotional support, so she didn’t consciously abandon Yukari, but at least on an emotional level, Yukari felt like she had the deepest craving she had was taken away from her, forever a wish beyond her reach, and that affected how she perceived herself and others and based her moral compass around her disdain for her Mother who abandoned her and what she represents. Following that, Yukari would disassociate with anything that resembled the escapist coping mechanisms her Mother did through either self-denial or self-isolation from others. It’s why she despises being helped out, because not only does she blame and hate herself for what happened to her parents but because it resembles her Mother’s helpless state of feeling like she needs to be saved, it’s why she was mad when Makoto helped her out during her s. Link, it’s why she tries to present herself as this being who towers above the concept of weakness to feel a sense of leverage and derive self-worth from that, but at the same time, she’s a highly emotional person who wears their heart on their sleeve, and so bits and pieces of that need for emotional support and insecurities about her self image come out. An example of this would be her jealousy and fixation over Mitsuru, she’s so fixated on Mitsuru because deep down, she wants to be like her, someone who’s unfazed, looks powerful and is the exact opposite of her Mother. A toxic sense of admiration, you could call it, since she never recognizes this jealousy, how wrong it is since even Mitsuru’s flawless demeanor was fake and a byproduct of societal expectations, and how much it contradicts Yukari’s conscious desire to present herself powerfully, and whenever she recognizes that, it’s in self-loathing, like how she did in Yakushima, because of how much she gaslights herself into thinking that she’s strong and doesn’t need help, even if it means ignoring herself and wrongly seeing others. Despite those insecurities getting in the way of how she interacts with others, she's a very kind person who has all the love to give to others, yet when it comes to loving herself, that ''love'' she has for others is devoid of any love for herself. Time and time again, in various instances Yukari shows how much empathy and kindness she has for others, even from the start of the game, like how she was the first SEES member who bothered to reach out to Makoto and connect with him instead of spying on him, how she was the first to defend Makoto when Junpei lashed out at him, how she made insensitive jokes about Junpei but then apologized to him and considered his feelings, or with how she helped other SEES members navigate their problems like Fuuka who struggled with people pleasing habits during her final s. link and Mitsuru who struggled with self-acceptance and existential dread. Additionally, if you spend enough time with her during the night events, there's a moment where she talks about how inspiring the main female character is, how she wants to be just like her, someone who's there for everyone around her and is capable, and that puts into perspective how kind Yukari is and how much she empathizes with others. Yet, she has moments where she’s a tease and makes fun of others, sometimes in a tone-deaf way, and why is that? The majority would chalk it up to her being a quirky mean white girl, and while I get it and understand how appealing that is since I’d love for a pretty white girl like her to call me racial slurs and deride me my right to live, I think that Yukari’s need to prove her toxic self image right to justify her self hate and rejection of help to disassociate from her Mom is what causes her to be such a tease and to be so slanderous, because while she's quirky and mean in her own right, it's also valid to infer that about her character. It doesn't help that being bullied due to her father's failure influenced her perception of social interaction more aggressively and might've added to that if anything. In a sense, she has the most amount of kindness out of anyone, but the dichotomy she has where she pushes everyone away while craving their love and attention, is what clouds that trait of hers and makes it harder for her to express that, and it's why whenever she gets praised for her kindness, she denies it. She's a perfect example of how someone's personality can be so dynamic, where she's a mean teaser on the outside, but would be the quickest to be there for someone else, and that part of her helps me embrace the idea that I'm a kind person, or at least, try to be because I'm similar to that aspect of her and it feels very validating. It's especially relatable because there are moments where I went out of line and lost friendships due to that, due to unhealthy tendencies and mindsets I had, and that made me reject my kindness in favor of self-loathing, yet through Yukari, I was able to see that part of me, admit to it, and love myself more authentically because of it.


By now you understand how much Persona 3 means to me, how much of a solace inducing experience it is for me, and how much it helps me to love, to feel loved, to express my earnest desires, and to be there for everyone around me, but in contrast, oddly enough, when I was playing through Reload, a certain part of it re-stimulated my fear of abandonment, my disdain for the fleeting nature of relationships due to past experiences, and my desire for everything to stay the same way, thinking about how worthless something is if it’s destined to never last, that certain part being the front and center of the game, Aegis. A few years ago, during the pandemic, I’d say I was at my worst mentally, and it’s not because of the experiences I went through by that point, but it was more so because of how I dealt with those experiences by willingly surrounding myself with negativity, choosing to be miserable instead of fighting, and preferring victimhood over the pursuit of happiness. It led to loads of perceptual issues I had, and that only piled up more on the issues I already struggled with at the time. You see, I grew up in an environment that shunned sensitivity and emotions and saw them as a sign of weakness, and so, a feminine guy like me who was highly emotional and sensitive, was essentially born and raised in the wrong environment because of how much that aspect of it contradicted how I was at my innermost core. In an attempt to fit in, I discarded myself, drowned myself in an endless hell of facades, and over time, forgot who I even was, becoming something of a colorless broken puppet unable to discern my emotions and convey them, forever emotionally stunted and ignorant of how it feels to “live” because all I did was exist. For that reason I’ve had my complications with loneliness and love, feeling like I couldn’t feel it or even deserved it. So, it is that through Aegis I was able to see a picture of my past self, a grotesque portrait of how I was 4 years ago. It was as eerie as it was comfortable, seeing a character frustratingly and confusingly try to navigate their place in the world and getting shredded by it. It felt validating, because Aegis had the same misconception that I did, and it was that I thought I had to do something larger than life itself to justify my existence when that wasn’t the case. It was very comforting for me to see a character that represents how I was a few years ago, that’s how it was at first anyway. It later dawned on me that after Aegis decided to live, she started struggling with something that I struggle with nowadays, and it’s maintaining relationships, or rather, thinking that they’re worth maintaining anyway since they all end. I’ve always had this thought that yeah, sure, all bonds end, that this is an absolute, but it always pained me whenever I met someone, because I knew deep down, that at some point they’re going to leave me behind and we’ll part ways. Even if we reconnect, it might not even be the same as before and that made me oftentimes crave a reality where time could be halted. But upon revisiting Aegis’ social link, there’s a piece of dialogue that reminded me why I cherish the people I cherish and why I’ll never stop loving the people I’m with.

“Life is both short and finite. That’s what makes it so invaluable, and why one feels that it must be cherished… When you think about it, it’s a miracle that two given people are able to ever meet in this chaotic flow of time and space.”


It’s a simple line, something that’s hard to miss, but that's the case with most ideas in life and is what makes it connect with me because of how Makoto’s dynamic with Aegis resonates with that sentiment and embodies it with the stark contrast of how they live. Their differences made them feel complete because, on the two opposite spectrums, they struggled to understand life and the worth of the process that goes within it that inevitably leads to death, yet through something simple, like knowing and understanding each others' emptiness, they felt the elusive taste of connection and yearned for more from it. Makoto is a human who tries to be a machine, while Aegis is a machine who tries to be human, yet despite their differences, they connected because they both yearn for the same thing, to stand with one another atop Gekoukan’s rooftop and gaze at the city that gave them a taste of that elusive connection. The shortage of something is what makes you fear losing it. Yet, in the same vein, it makes you want to appreciate it and make use of it to the fullest so that when it ends, you can look back on it with no regrets and cherish your memories of it because it’s the memories that make our experiences with one another flow through all eternity. And so, even if I fear losing the ones I love, even if I lived a life of an emotionally stunted puppet, even if I lived in existential dread, even if I thought at times that I didn’t deserve to be liked, or that I was of less worth than others, none of that matters, because regardless of what happens, I’m human, I have feelings worth conveying, I will always have people I love, and I have something to live for, it may not be monumental, but the small ripples caused by the day to day things I do will surely produce a result worth living for in the long run because no two days are the same. It’s funny, I talked about my time during the pandemic as the worst time in my life, yet when I look back on it, I can’t look at those days as an unhappy time. To me, they’re a sign that I’m alive, a backdrop for me to push forward from, a pat on the back telling me how much I’ve changed, and a signal to dash forward and follow my heart, because I now know that rejecting it is the most painful of all. Maybe that’s how I feel about them because over time, I’ve slowly subconsciously implemented the feelings and lessons that Persona 3 made me feel and taught me into my day-to-day life, and now looking back on it, after everything has been said and done, I feel nothing but pride and love towards who I became and who I was. Through remembering my mortality, I remembered to live, and so I did.

Yasunori Nishiki deserves the sloppiest of kisses for composing this soundtrack, genuinely one of my favourites in a long time

The charm of chibi and this games HD-2D art style is something that'll never leave my body, despite the grinding nature and traversal of this game I still think it keeps itself at bay without hurting its core too much with how atmospheric it ends up being, specific ones like ‘An Ill Omen’ and thermions theme are fucking fantastic. id even go as far to describe its soundtrack as whimsical in a sense.

I feel as though the lack of intertwinement of the cast is the biggest missed potential of this game as a whole, its split into eight individual stories to branch out the combat and the travel banter is there attempt at closing the gap but it still feels missed.

The maturity and overall tone of Primrose’s story moved me the most out the bunch, its take on you having to fight Primrose’s version of her final obstacle and then the real obstacle is a very welcomed detail. Aside from that Therion and Olbersic’s stories were favourites and even characters who weren’t on screen all that much like Leon added alot to not just Tressa’s story but everything as a whole.

All in all it’s a welcomed experience, one that I pumped 150 hours into but something id say was worth my time. I’ve been told my main gripes with this story get improved upon in 2 so im genuinely excited to continue sometime later this year

“Where’s the nearest tavern!”

Luncaid is a clear as day passion project, a game that wears its heart on it's sleeve; a game full of great ideas that means well, but ultimately isn't the strongest in it's execution of them. While the game excels in the presentation department, captivating you with its rich atmosphere, immersing you with the fantastic sound design and soundtrack, nailing the aesthetic and vibes of older games like King's Field/Shadow Tower; everything else was kinda mixed.

While the environments are beautiful and exploration is wonderful, the nature of finding secrets stopped me from fully appreciating the level design or the locales. With a lot of obtuse secrets hidden behind secret walls, which are very inconsistent in how they look with some normal looking walls being secret walls while ones with misaligned textures are normal walls, I was just going from room to room hugging walls and mashing 'E' as my first thought, rinse and repeat. Getting 100% without a guide is really tedious too, if you want all weapons/spells you'll spend an awful lot of time going back and forth between user made maps.

The game's balance just completely shits the bed as early as 2-3 hours in depending on your class and what you allocate your points into. Starting as Shinobi, I was already faster than everything in the first two areas and there were generally no threats. Put some points into speed, and in no time you're comfortably faster than the majority of the mobs in the game and combat poses no threat to you anymore. Likewise, I put some points into dex to increase my jump height for exploration, and decided to try ranged weapons since they also scale with dex; only to find out they're absolutely broken alongside magic, making you an untouchable killing machine and giving you no reason to even bother with melee weapons unless you really want to. The tension and horror elements that had me spooked out in the first 2 hours vanished with the realization I could zoom past anything and use my magic and ranged weapons to nuke them with ease. The gameplay just became really dull with the broken balance and stat allocation, realizing enemies were stuck in KF with their movement speed and animations while I was running laps around them enacting knockoff Skyrim dungeon gameplay.

It's still a fantastic homage and love letter to the genre of older dungeon crawlers and worth trying out definitely; just personally, I wish it wasn't so easy to break which resulted in a dull gameplay experience and that the secret hunting wasn't so tedious towards the end.

Earnest and empowering, in short. Trails from Zero is an incredibly powerful game that feels like a battle shonen in video game form, mixed with the long term storytelling, ambitious world building, and the mind bogglingly deep lore of Kiseki that results in a video game that combines the best of both and works perfectly, primarily because of how every element from the two spectrums I mentioned are glued together seamlessly through Lloyd bannings. On the surface, Lloyd seems like a perfectly normal main character with a clear cut moral code, but what makes Lloyd so compelling are the small neat bits of characterization that hint at a deeper, darker side to him that he grapples with without even realising it. It kind of fits with Crossbell’s setting too, because in a way, much like Lloyd, Crossbell looks like a perfectly stable peaceful state, but is actually run by the absolute worst, corrupt politicians. In the same way, Lloyd puts on an unbreakable facade and tries to be an invincible hero with an unflinchingly optimistic attitude, but on the inside, he’s the same kid that lost his brother, hasn’t moved on, and is stuck chasing after his shadow even after he died.


This is something that I absolutely adore when it comes to world building, where it feels like the city is a breathing, living character who’s tied to the main characters leading it, and that applies to Crossbell where it’s all about exploring your own truth and finding meaning to it on your own terms, because in Lloyd’s journey of uncovering his truth, he began uncovering Crossbell’s identity as well, and that acted as a genius backdrop for Crossbell’s theme of truth. Going back to Lloyd for a bit, as I mentioned, the parts of him that make him stand out to me are the small bits of characterization that people who call him boring often times miss, the small bits that show how caught up he is in his own brother’s shadow, how they seep into his mundane day to day life events, and how self damaging that can be.


When it comes to trauma, we often times unintentionally bottle it up for our self preservation since they’re unexpected, yet in spite of that, they seep into our mundane day to day life no matter how much we sugarcoat it and spreads its disease into our social interaction, which is my favorite form of portrayal of trauma and is why I adore Lloyd so much. He tries to put on Guy’s persona of an unstoppable hero that everyone can rely on even when it comes at his own expense, yet the person he forgets to save is himself, and it’s never explicitly told that this is what he struggles with until the near end of Zero because up until that point, Lloyd’s struggles are portrayed through his behaviour and it’s up to the player to infer what he goes through in comparison to the cast. In this sense, we’re put into Lloyd’s comrades’ shoes, have our intelligence tested by trying to infer what he himself goes through despite his seemingly normal demeanour, and that’s what makes the eventual exploration of Lloyd’s issues and his admittance to his insecurities hit so hard, because we as the player already could infer what he goes through yet ignores and are simply waiting for him to recognize that part of him. It’s an incredibly effective yet unique way of telling a main character’s arc through perspective, and that goes well with Crossbell’s themes about perception and truth, because even if Lloyd seems normal when we first perceive him, he is the exact opposite of that and that plays well into what Crossbell is trying to tell about the concept of truth.


Time and time again, from start to finish, Lloyd’s insecurities are shown through his actions even from the get go, where he was prepared to throw his life away to save the SSS from the geofront monster before Arios came in to save the day, and that’s not just because of the goodness of his heart but because that’s what his image of Guy would do in a situation like this. In this sense, you can say that when Guy died, Lloyd’s sense of self split into two, the part of him that admires Guy and the part of him that feels worthless in comparison to him and chases a far fetched shadow of his, forever stuck in an endless whirlpool of insecurities and living on auto-pilot mode. To illustrate further, whenever Lloyd accomplishes something, or is praised for having a good trait, he always denies that praise and credits it to Guy, which might seem like its Lloyd being humble, but in reality, it’s much more complicated and sadder. The reason for this is that Lloyd doesn’t take credit for those accomplishments or traits of his because he views them as Guy’s, or rather, the traits/accomplishments of his image of Guy that he only inhabits because of his desire to be like Guy. As such, when he does a good deed, or embodies a good trait, it’s to chase after that image of Guy first and foremost, and since those traits and actions are motivated by his desire to catch up to Guy, not just his own good will, it feels wrong to take credit for that because it doesn’t truly feel like his. He disassociates from those good deeds because they were coloured by his unhealthy admiration towards Guy and while motivated by his good will, that good will is only a secondary reason. It’s why in chapter 2 after Lloyd gives Ellie a corny friendship speech and Ellie asks him how he can be so optimistic, Lloyd doesn’t take credit for that and instead thanks Guy for it. While that’s definitely because Lloyd loves Guy, it’s also because he doesn’t believe in himself to be great enough to be that capable and strong on his own. Lloyd’s arc is all about finding balance between his image of Guy and who Guy really was, it’s about repairing his sense of self after it was shattered by how much he revered Guy and attached his individuality to him, and that’s makes Lloyd such a sympathetic main character to me, because in his attempt to find meaning in Guy’s death, he forgot to find meaning in his self, and that’s what enabled him to connect with the SSS members on such a spiritual level. At their core, Randy, Lloyd, Tio, and Ellie, are all incredibly lonely individuals with no place to call home, and that’s what enabled Lloyd to guide them and be their leader.


All of what I said about Lloyd up until now has been purely analytical, but on a personal note, there are small bits and pieces of dialogue that Lloyd said that truly connected with me, the biggest of them being when he told Randy that as strange as it is, he can finally accept that he can be his own man, reach his ultimate potential, and be satisfied, as opposed to a few months ago. This sentiment rung true to me personally, because I have an older brother that I admire and feel the need to chase after as well, yet despite being told countless times that I just need to keep being me, it all felt like hollow garbage to me that meant nothing, until lately after years of practising self love and self care, where I’ve come to identify and appreciate my own worth beyond my brother’s. It made me feel seen, because with Lloyd, the truth of his being and his surroundings and their meaning started and ended with him. This sentiment is reflected in the concept I mentioned above with Crossbell being like a living, breathing character on its own, where by overcoming his own barriers and finding his truth, Lloyd was able to understand the ins and outs of what Crossbell’s conflicts pertain, break the status quo, and change Crossbell for the better, like the hero he had hoped to become after initially running away from the city he treasured. In the end, it was all about perspective.


Truth be told, I didn’t really plan on writing such a long form piece on Crossbell mainly cause I wanted to do that once I was done with Azure, but I couldn’t really stop myself once I started expressing my passion for this game and what it made me feel. I guess that’s what happens when you let your own words flow and come together to form a pattern of thoughts instead of limiting yourself, and maybe that’s what Trails has become to me. Something that allows me to be ‘’free’’, and that’s why I’ve come to adore it and adore talking about it so much. In a word, though, Lloyd’s earnest nature is what made Crossbell’s cast (and me) love him, and through that love, he was able to find meaning to himself and have several white women wanting to fuck him.

Trails of Cold Steel II is a direct sequel to the original Cold Steel game and as usual with these Trails games reviews, talking about the story without spoiling elements from the first game is nigh on impossible so if you haven’t played Cold Steel I to the end, the best avoid reading this review for now.

Right with that out of the way, Cold Steel II (CS2) is the second Trails entry originally released for the PlayStation Vita. Its story picks up directly from where CS1 finished and in typical Trails fashion, this game heavily reuses assets and elements from the first game and builds on top of that with a few things to keep the game interesting and change things up a little.
The regular battle system now has the Overdrive mechanic, similar to the burst mechanic from Azure where once you build up a gauge, you can unleash a series of attacks without response. In CS2 it also guarantees unbalancing the enemy and allowing a follow up attack to happen as well as eventually giving you two Overdrive gauges to fill.
For those who finished CS1 you’ll know about a special kind of battle introduced right at the end of that game and here in CS2 we get to experience a lot more of them! Divine Knight battles sees Rean piloting a giant mech and clashing with other giant mechs in battles that are pretty simple in nature but something I loved because I am weak for giant mechs. Divine Knight battles basically boil down to figuring which part of your opponent to hit depending on what stance they’re taking. You can target the head, body, arms and if you pick the right part you can unbalance the enemy and hit a follow up attack but if you choose wrong you can end up missing and being hit with a counterattack. Eventually you’ll gain access to having a character assist you by using Arts and powering up your mech, Valimar, with his own unique Orbments but ultimately as I said, the battles are pretty simple and basic in nature.

Other new aspects include new towns like Rean’s hometown Ymir (a place where an event took place during the first game but only covered in a Drama CD and referred to multiple times in this game), plenty of new and well crafted dungeons to explore, and the best thing of all - A SNOWBOARDING MINIGAME! No joke, I beat every course for it because it’s probably one of my favourite minigames in an RPG ever. Aside from that, this game is more about continuing the narrative they built from CS1 than doing a bunch of new things.

So story, after C revealed his true identity, killed Chancellor Osborne, and occupied Thors Military Academy by kicking Rean’s ass so bad he had to flee for his life, the tensions in Erebonia have boiled over into civil war breaking out. The Noble Alliance led by Duke Cayenne has teamed up with the Imperial Liberation Front, Ouroboros, and Jaeger group Zephyr in an attempt to wrestle control of Erebonia from the Reformist Faction and in the month that Rean has spent out cold after fleeing Thors, the Noble Alliance have managed to occupy a large portion of eastern Erebonia as well as take the Imperial Royal family hostage.
It’s a very interesting set up to the story and one that sees many of Class VII’s families on opposing sides and leading to our characters having to make tough decisions. Jusis in particular has it tough with his brother being one of the key figures in the Noble Alliance and his father pushing his luck in trying to become the leader of the group.
As for Class VII themselves, they’ve ended up split up after having to flee Thors and the first portion of the game is centred around regrouping with Rean’s classmates. This is where the very long build up of the first game started to pay some dividends for me as I found a lot of the reunions to be very touching because of how much time I had spent with Class VII. Seeing Rean bear hug Machias put tears in my eyes and Alisa pouring her heart out to Rean was such an emotional moment. It’s also nice seeing Class VII out of their school uniforms and in unique clothing, being free to show off their own styles and personalities a bit more.
Aside from gathering all of Class VII, Act 1 of the game shows off a few clashes between the two armies at places like Garrelia Fortress (spotting a lovely new destroyed look after Crossbell annihilated it) and the Nord Highlands, and Ymir village gets attacked by some Jaegers. We also get to have some clashes with Ouroboros and the Noble Alliance as the game spends time introducing a lot of new characters like Ouroboros Enforcer McBurn who exudes a massive amount of power and Zephyr’s Xeno and Leonidas who are part of the Jaeger group that Fie was once a part of.
After the whole of Class VII have reunited we get an Intermission chapter which serves to let us find out a little more about the many people working with the Noble Alliance as well as get Rean to a point where he can control his unique power the game lovingly dubs “ogre power”. We caught a glimpse of it in the first game but it’s more prominent here. Ogre power basically changes Rean’s appearance to have white hair and red eyes and essentially it gives him a few turns of having boosted stats in battle.
Act 2 of the game focuses more on gathering up all the other students from Thors Military Academy and liberating places like Celdic and Roer from the Noble Alliance. These missions were my favourite part of the game as it was great seeing characters either rescuing their families from being held captive or standing up to their families for the atrocities they’ve been causing. It’s not perfect, the clashes with V and S sum up the Imperial Liberation Front as the biggest set of underwhelming villains I’ve seen so far (C is the only interesting about that group for me) but ultimately the freedom introduced from being able to go anywhere in the east of the country and liberation missions made this portion of the game a lot fun for me. I also really liked that the game allows you to walk from one town to another if you want to. You could see that the world was designed to be connected in CS1 but the field trip limitations meant the world felt disjointed while in CS2 as you progress further and further, the limitations on where you can travel are loosened and it really starts to make Erebonia feel a bit more like Crossbell and Liberl when you can walk (or use the motorcycle introduced as a transport option in this game) from place to place.
It ends on a high note with a great set of battles between Rean and C as the two fight for their ideals and we have to deal with Duke Cayenne’s mischief as he ends up feeling a little bit left out because he’s another kinda meh and backgroundy villain. The revelations and twists in the finale are once again fantastic and memorable for the most part (though I’m still struggling to take the revelation of Rean’s biological father seriously right now) and it quickly rearranges the whole civil war and the whole point of it in one fell swoop.
On top of that there’s a pretty meaty post game section that is a delightful treat for long time fans that have been playing the games in release order. The Epilogue is a nice send off for Class VII as they go their separate ways but that portion of the game drags on a bit longer than it needed (I’m not sure why they felt the need for a bunch of quests and another dungeon). By the end I had a few moments where tears had filled my eyes and when games can do that to you, they are a bit special. I loved my time with Class VII and I will miss seeing them all together as a group.

So the broad strokes of CS2s story on the surface is pretty solid and one I largely enjoyed but once you dig a little deeper there’s a lot you can pick apart here so this section is going have a lot of complaints about things that do kind of matter but at the same time didn’t stop me from loving the game.
CS2 is about a civil war but for the most part it feels kinda of…. Like a background thing? In the east of Erebonia the Noble Alliance have so much already under control that aside from a few skirmishes, there’s little to actually indicate a war is happening. One burning down of a town results in a grand total of 1 fatality and ultimately does little to sell the fact a war is happening. The Noble Alliance end up letting Class VII liberate so much of the territory they’ve claimed with no retaliation that it’s unbelievable until the bigger picture comes into view at the end. The war is apparently much more violent in the west of Erebonia and a few of the more powerful characters are off fighting over there but like CS1 that is something more interesting happening somewhere else that we don’t get to see. It’s just incredible how out of the way the game goes to limit the fact a war is happening.
Cast bloat. CS2 like CS1 has a cast of important characters to the point it doesn’t know what to do with them. Bardias and Le Guin are introduced in Act 1, leave a strong impression on Class VII and then don’t show up again until near the end of the game by which point you’re like who are these two again? Cedric, an Imperial Prince is almost completely forgotten about by the cast and even his own sister Alfin, as no one seems to care that he potentially needs to be rescued all the while Duke Cayenne is getting him ready for his schemes. Laura fades so much into the background in this game that she’s basically a talking sword. It’s just too many characters for the game to deal with.
Olivert, someone who is a very important character to Erebonia and plays a large part in the Liberl arc, is so underutilised here to the point he barely shows up in the game at all which is shocking to me. He spends most of his time fighting in the west off screen and has a couple of dramatic appearances but in a game with 17+ playable characters, HOW IS HE NOT ONE?
Class VII are supposed to be a third faction in this war but that only works if both the Noble Alliance and the Reformist Group are factions that need to be opposed, instead the Noble Alliance are the aggressor force in this war and as such Class VII is almost always working alongside the army to stop them that the whole third faction thing holds so little weight. We’re working alongside characters like Claire who has direct ties to Osborne while claiming to be neutral and having no one from the Noble Alliance side helping us outside of Rufus using us to help him deal with out of control members with the Noble Alliance.
For all the build up and importance given to the liberation of Trista and Thors Military Academy it is probably the most underwhelming moment in the game.
I understand Crow being a classmate and friend to Class VII but there's nobody wanting to hold him to account for his terrorist actions while Rean makes a big deal about trying to save Vulcan and Scarlet to make them atone for what they've done.
The story does well with what it explores and the cast of characters are fun enough to help carry it through the cracks that appear throughout. Yes, I have a lot of issues with how certain aspects were neglected but ultimately it didn’t detract from the fun I was having with the game.

On the soundtrack front this is largely the same OST from CS1 returning with a handful of new battle themes and a new opening song. The vocalised ending song was very powerful and was subtitled when it played to help drive home the emotions it was portraying.

So all in all, despite a few missteps with its story here and there, Trails of Cold Steel II was a step back up in quality after Cold Steel I for me. It manages to keep its narrative exciting and engaging throughout as well as throw in some really nice surprises for the long term fans. It manages to carry off its emotional moments well and use the foundation that Cold Steel I left for it to push most of its characters in interesting directions and leave an impact on the player.

Over four months of on and off playing, Steam says I finished the game with 144 hours clocked in and I'm finally finished with Baldur's Gate 3. Even though I don't agree with the popular conscious this is going to be a gateway into the next revolutionary RPG (Player choice and a game with vocal range and performances for nearly every bit of dialogue you encounter is not innovative.) one thing I can say with confidence is this is probably the independent game with the biggest budget I've seen in recent time perhaps even ever. You'd find it hard to believe a RPG with the much scope and ambition was originally crowdfunded. They did exactly what they promised to deliver on. This is 5e Dungeons and Dragons for people who don't have the time or friends to actually sink into tabletop sessions. Even though I don't really like how character classes function in this version compared to 1 and 2.5e (Warlocks especially. I loathe whenever I have to use Wyll for combat encounters) Larian did try their best to make it viable. Maybe it's because I was able to make the Custom Origin character I wanted to build around when I started but despite my issues like with how slow and excessive the downtime is between turns is, I was still able to enjoy slowing working my way towards a decent kit by the end of Act 1 to a building fairly powerful characters but the time I was two-thirds into Act 3.

Speaking of Act 3, I can't help but feel like this was kind of unfinished. The fact one of this game's recent patches added in epilogues only reinforces my point further. For how overwhelming the amount of side content and expositions are laid upon you which lead to my burnout around October, a lot of them really just end up being kill quests or companion questlines that just end abruptly until it's time for the final dungeon. I want to say I'm underwhelmed but the ending I got felt so bittersweet I honestly couldn't help but grin by the time the end credits rolled.

Albeit this is still one of the better games I played this year. Dark Urge replay when definitive edition drops next year will save me. My ass is not touching the Original Sin duology for at least 2 years minimum. I don't know how many 80+ hour RPGs I have left in me and I haven't even gotten around to finishing Starfield yet.

Also, I just beat this game on December 24th so I pretty much altered the fate of the world right before Christmas :) Happy Holidays everyone!

My friends always makes funny jokes about me saying ''I love music'' or whatever but i geniuely find it really funny how the timing of me playing turned really good for me on how much i enjoyed this game so much.

Thought it has some issues with some boss designs, i feel like this game does it best on what it needs to be. Like literally, the structure of having a rhythm while making the sound design if perfectly and especially having the soundtrack to match with the timing of an cutscene or in the middle of the fight sounds geniuely so ambitious that i can't find myself to say how cool it is.

Hi-Fi Rush such a fantastic game in terms of everything in a hack and slash game needs to be and have a sense of identity in a way that i never imagined before. The presentation and the artstyle is just too imaculate in a first playthrough.

If you look like Korsica please hit my line.