I'm acclimated to Mario 2 better than most, and after finishing it(bears saying with a healthy use of the rewind feature now and then) it really doesn't deserve the sour reputation it got. And people might hate that it includes very little in genuine graphical updates or mechanical additions but a sequel/expansion of this nature wasn't unknowable back then, and so many pivotal games had sister variants that expanded it or made its gameplay more difficult(like "Championship Lode Runner" or "Ms. Pac-Man"), but SMB2 still strikes and makes its way with a lot more originality and grace than those two games.

For me, the Japanese SMB2 is kind of like "The Stanley Parable" of Mario. I'm always the first person to bemoan over a difficult game but I was astounded how much enjoyment and connection I've managed to make with SMB2 - especially after going through what seemed like an interactive meta-commentary in every single stage. Playing "Lost Levels" feels like engaging a really intimate dialogue between the developer and the player, who are both well aware of the design nuances of the first SMB. Every level becomes a meta commentary subverting or examining core features of the first game.

Every stage the developer engages the player by asking: "Ok, but what if SMB did THIS? [presents]", and it becomes a novel thing where you are allowed to see Mario's gameplay features presented and experimented on in a different light, giving you an amazing shift of perspective: What if we included the water level enemies in the land levels? What if we can make a spring that launches you super super high up? What if we made a level entirely out of those springs? What if we gave you mushrooms that were an obstacle instead of a power up?. But crucially, you also get areas and experiments that give you a lot of clemency, like: "What if we gave you a starman at this particular spot where you need to jump over a bunch of piranha plants?". It's a brilliant, shocking insight into the nature of game development and it is superbly wonderful how this is a game that allows you to be on equal footing with a developer's headspace. That point about the starman and the piranha plants is exactly one of the many points in this game where the player's power just soars: you feel like you've gained the system and that the developer made this so you could feel a rush. It's a roller coaster. The highs of it are moments that I'm much fonder of than in Mario 1, and even the ending feels much more congratulatory, celebratory and welcoming of the player.

Every single addition here was an idea extrapolation and an experimentation of SMB1 that is akin to thought experiments and mental gymnastics and for me it is more quizzical than trying. Because of this, I've never seen the "Lost Levels" as cruel or tough, aside from the really inconvenient oversight that there is no way to save progress in the game, but instead you'll have to leave your NES powered on overnight. There are far crueler games on the NES: The basic "Mega Man" games will give you tons of unnecessary stress and I'm convinced "Zelda II" is for utter masochists. To say nothing of "Battletoads", or kusoge like "Spelunker", "Atlantis no Nazo", or the kaizo Mario hacks.

Without exaggeration: Mario 2 is hard, but not in a way people would imagine. People would imagine rows of enemies coming at you at once, shooting a swath of bullet hell pellets or having to spend an entire level just bouncing upon enemies like in the kaizo hacks, when really the difficulty is more based on placing key obstacles or enemies in testy places that are immediately observable. They are singular trick-shots, very naturally evolved from Mario 1, and not insurmountable challenges that require use of superhuman ability. Very often the tools to make it are right at your disposal.

Obviously "Lost Levels" hinges on the fact that you're familiar with the first SMB1 and that's a great backdrop to have to make an amazing exploratory meta-game of. After all, Nintendo would only do the exact same thing with Mario Maker, and hint at it in a no-small number of modern 2D Mario games. People would say that there are instances where the devs "troll" the player, but they are never cruel jokes and are just very light gotchas and temporary illusions, where usually the tools to solve it is right at your disposal. Like for example, there will be moments when you'll come across a huge dead end or a huge pit you can't leap over, but the solution it turns out is just to knock an invisible block right above you. There might be a row of spinies crawling on the floor, but you can use a koopa shell to knock an entire row of them. Plenty of these gotcha moments and gimmicks would be perfectly recycled for SMB3. Other NES games would be much more disrespectful to the player and deliberately punish them for innocent transgressions, but Mario 2 just isn't that. Not even the notorious poisonous mushrooms are that abundant - after its initial use in the first couple of levels, I've noticed that they just become quickly forgotten and discarded. They get used so rarely after World 1 and I swear that over 90% of the mushrooms in the game are normal, legitimate power-ups. Even world 8 in this game feels much fairer and more palatable than SMB1's world 8, and so many people are giving SMB1 a pass despite it being a very difficult game in its own right.

As a last point I need to mention just how utterlfy fantastic world 9 is, which you get as a reward for beating the game without using any warp zones. World 9 especially cements that it's a fun meta-commentary on Mario instead of aspiring to be the ur-kaizo. There's a whole lot of difference in intent, meaning and language used in Mario 2 that sets it apart from the kaizo community or the genre of immensely challenging games. It has more in common with developer commentaries in Valve games than "Cuphead".

If you consider yourself an enthusiast of SMB1 do give it a fair shake and get rid of the biases you might have heard. It's a great love letter and companion piece to Mario 1, but otherwise very inaccessible for casual Mario players, who have no shortage of introductory Mario games anyway.

Why yes, I did beat this game with Luigi! 💚

(Glitchwave project #016)

The tears of the dragon and its significance to the fragmented and familiar world of Hyrule is one of the most beautiful stories Tears of the Kingdom could tell...

Still, the gamified and survivalist mechanics with a touch of ancestral alien technology repeat more intensely in the sequel, to the point where not even one of the most legendary tales of the franchise can impact a... Naked Link.

Yes, a Naked Link.

A Link who learned to communicate with his world through wild and compulsive interaction with it. Objectifying everything he encounters, because everything needs a purpose for him. Even his interactions with female characters with romantic undertones come across as a violation of boundaries.

A hero with the courage to violate what he loves if the end justifies the means? I really can't understand this Link. Maybe a mix of Conan the Barbarian with a Twink but without even the strength or desire to dominate others? A link to the past? I don't really know but I congratulate him for having the courage to spend hours and hours playing pretend as an engineering student.

brutal doom for the video essay generation well, color me impressed. this is actually cool!

it seems like every other day i find a new indie game or analog horror video in my youtube feed using hackneyed "subversions of expectation" or file manipulation or arg elements for spooks. imscared was cool, but imscared came out 12 years ago. so when i heard about myhouse.wad, i brushed it off. it wasn't until last night that i bit the bullet, and let me tell you: i should have done it sooner.

the house of leaves inspiration is blatant enough as to call it an adaptation. there's no point in dissecting it, but i'd like to use it to explain why my house doesn't suffer from the pitfalls you might expect. remember how house of leaves has a bunch of hidden shit inside of it that redditors have been talking to death for years? well, you don't need it to enjoy the book. it's an addendum for people who wanna go crazy over that kind of stuff. my house is the same way with its metahorror. the creepypasta elements are contained in the downloadable journal rather than the game itself. the "deeply emotional" (read: tactless and generic internet psychological horror) themes fans don't shut up about are contained in secret content that you won't find unless you're looking for it. in that case, why should you play the wad?

cuz it's a damn good time! if you liked lost in vivo's combat-heavy take on otherworld from silent hill, you'll like my house. the maps are super pretty and fun to explore. there are cool new enemies too! if nothing else, play it to see a modern action horror doom map with strong atmosphere. it only took me 30 minutes and i'd recommend it even if you already know the "twists".

as much as i still want to mock the fandom and compare it to brutal doom, i do hope this inspires people to take full advantage of gzdoom's special features. maybe someone will make a map that uses similar technical tricks to make something in a genre other than horror. as it stands, i super enjoyed my time in my house and i recommend it to all the skeptics. this one's different.

SOLD

Trivia Time!

The real reason we greenlit this game was that we just thought it was funny to have Treasure develop a game all about treasure

Stay tuned for more Trivia Time segments in the near future!

Existe uma estranha sensação de conforto nesse jogo.
Apesar de seu mundo ser um caos apocalíptico repleto de morte, melancolia e desespero, esse jogo cria uma camada de conforto pela sua estética em game design, escrita e arte que é formidável.

Afinal, um combate e progressão competente, com um level design bem amarradinho são suficientes por si só para te fazer jogar de forma confortável, ter uma variação boa e divertidas de armas e uma jogabilidade meio beat'em up isométrico deixa o loop principal bem temperado. Mas o que me fisgou mesmo foi tudo que adorna esse design.

Esse jogo parece uma fantasia açucarada, cheira e tem sabor de um doce de coco, mas é recheado de um chocolate muito amargo. Superficialmente o sabor te tranquiliza, te traz frescor e calmaria, mas dentro vem um punch. Acontece que quando se chega ao núcleo, o jogo te obriga a tomar uma decisão: aceitar ou refazer.

Só que o jogo nos deixa preparados para tomar essa decisão.
Afinal, aos poucos o sabor se torna morno. Não necessariamente a melhor experiência que já vivemos, mas significativa o suficiente para não esquecermos e, portanto, para não apagarmos.

Encontrar o conforto no desespero é o que Bastion nos faz conquistar sem percebermos, e na tomada de decisão, ter herdado sua coragem de permanecer no caos foi o que me fez não esquecer desse jogo.

(5-year-old's review, typed by her dad)

You get to go on a slide and at the end you gotta beat Bowser, because you get to MOVE and MOVE if there's turns, and also there's a slide in the snowy place!

[Dad's note: She would use the Wii U gamepad to go do the secret slide in Peach's Castle over and over again, every day for the entire summer of 2020]