Spudster
36 reviews liked by Spudster
This review contains spoilers
Much like nirvanA Initiative’s pervasive theme of wholes split in half, this game has divided opinions across the board on its overall quality. It is rare to see a middling opinion regarding this game, with much of the fanbase taking a side to either attack or defend it. I won’t act like a centrist or pretend to be unbiased in this review: AINI is my favorite game of all time.
For me, media is much more than what it is in an isolated bubble. Every piece of media is an experience, whether it be a good or bad one. Part of that experience is the way you interact with it, share it with others, and build up to it in the first place. One of the many reasons I love this game so much is just that— everything other than the game itself, too. The ARG in the weeks leading up to release, allowing the community to come together every night and solve puzzles and react to the story that unfolded, was one of my favorite things about the release. Watching every trailer, preordering the game, being excited with everyone else, it was all so magical.
Then, the game released, and I binged it over the span of a day and a half. Needless to say, I was obsessed. The ensuing discussions, fanart, and content related also contributed to my love for the game. I found it interesting listening to drastically different perspectives, mostly because of how unexpected it was for me. The fan-made content has been phenomenal, and I cannot wait to see more in the future.
So, now that the non-game related stuff is out of the way, let me explain why exactly I love nirvanA Initiative so much, starting with: the characters. I adore how every single character in this game represents some half of a whole, even beyond the characters with specific endings. Ryuki and Mizuki are both halves of the story, and each of their relationships with their siblings are further halves that each of them have on their own. Date’s other half, Aiba, willingly left him, which most likely caused him to get hurt in the explosion ending and go missing for so long. I could go on, but these are just some examples of the main theme being represented in characters outside of the ones with endings. And all the characters in this game are completely phenomenal, and my issues with them are few and far between.
Ryuki amazingly subverts the classic detective trope by being a crazy, traumatized, unreliable narrator for half the game. Mizuki is incredibly meaningful to me, being one of my top comfort characters of all time. The Enda family is insanely well-written, with Shoma, Komeiji, and Amame each having their own emotional and unique stories. Kizuna and Lien show the importance of true love and faithfulness, even over time and even when the original spark is gone, as well as loving regardless of health or disability. There’s really too much to cover, but I do love each and every character so much.
And the main mystery itself, oooh I love it so much. The bodies being split in half is so clever, and the way that the owners of the bodies are so unexpected is so fun. This game is filled with conspiracy, lies and truth, and you as the player are constantly double-checking and confirming everything, because nothing ever seems quite right. I’ve seen many people suggest that the entire game should have just been with Ryuki as the protagonist, but I feel that would massively take away from the game overall. The two protagonists represent their half of a whole story, with the two intertwining timelines forming a double-helix much like DNA, which is also a major theme of AINI, one of humanity and genome editing, as well as learning to love someone despite their flaws. The point is, without the two protagonists, there is no timeline twist, there is no frayer, there is no Naix, there is no AINI. The entire game falls apart under that rhetoric, and is nearly perfect just as it is, with no need for removing the other half of that whole.
The visual design contributes heavily to this, with the art style being much more dark and grungy than AITSF, while still maintaining a colorful and fun vibe. The character models and expressions have been improved so much, along with the UI and rest of the presentation. The ARG-style videos also stand out as incredibly unique, really giving AINI a more special feel. Cutscenes and environments were always pleasing to look at, and had such a fantastic art direction that I personally loved so so much. Everything feels much more cohesive and thought-out, with the somnia also receiving a visual overhaul.
And that brings me to my next point: gameplay. The somnia of the first game were frustratingly random and were definitely one of the weaker parts of that game. In contrast to that, I was always looking forward to the next one in AINI. They all have much more logic and sense while maintaining the charm of what made somnia special in the first place. There are just as many funny and weird interactions, unique settings, and even more hidden easter eggs to find. I can’t thoroughly state just how much I really enjoyed every single somnium in AINI.
So, not only do I really vibe with the stakes and finale of the main story, with everyone coming together through love and forming a whole to save the world, but the secret diverge ending also blew me away. It’s short, yes, but messes with the medium in a way I never personally expected. It also raises many more moral questions about truth and lies, and whether it’s better to live happily in a fake world or feel wrong in the true reality. It also says something about how we as players view and interpret media through a fictitious lens, the frayer being a stand-in for that. Diverge really made me rethink the entire game, and that happening after the finale as well was such a pleasant surprise. It reminds me of another certain Uchikoshi game in which there is some required post-ending reading that recontextualizes everything in a new light. And on top of the two endings, the timeline twist also really connected with me on a personal level. I felt disappointed that AITSF did nothing interesting with its timeline, and it honestly feels like the only Uchikoshi game in which the timeline actively hurts the game, and even AINI, which has to take place after the true ending of AITSF, the ending where Date ended up neglecting Mizuki, leading to a more bicker-y and unpleasant relationship between the two in AINI.
Regardless, the timeline twist also fit in with the aforementioned intertwined halves and DNA themes from earlier. I also thought it was done in a very clever way, with clear ways to detect that something about the timeline was wrong. I personally think it’s such a cool twist that also serves as the catalyst for diverge, activating the frayer, AKA the player, which also changes everything about the game.
Finally, I felt so much love and emotion when playing this game. Not just about the characters, but I can tell that the developers poured so much care into AINI, which just makes me love it all the much more. There are so many references and secrets and creativity to be found in this game, and I think that even if someone disagrees with me on the ingeniousness of the story and themes, I hope they can see that. While I’ve never personally understood many of the criticisms pointed at this game, and could talk with someone who sees things differently all day, I really just hope that someone sees what I see: an experience that ties love and communication and real human emotion with a tale of lies, truth, and reality unlike anything else ever has.
For me, media is much more than what it is in an isolated bubble. Every piece of media is an experience, whether it be a good or bad one. Part of that experience is the way you interact with it, share it with others, and build up to it in the first place. One of the many reasons I love this game so much is just that— everything other than the game itself, too. The ARG in the weeks leading up to release, allowing the community to come together every night and solve puzzles and react to the story that unfolded, was one of my favorite things about the release. Watching every trailer, preordering the game, being excited with everyone else, it was all so magical.
Then, the game released, and I binged it over the span of a day and a half. Needless to say, I was obsessed. The ensuing discussions, fanart, and content related also contributed to my love for the game. I found it interesting listening to drastically different perspectives, mostly because of how unexpected it was for me. The fan-made content has been phenomenal, and I cannot wait to see more in the future.
So, now that the non-game related stuff is out of the way, let me explain why exactly I love nirvanA Initiative so much, starting with: the characters. I adore how every single character in this game represents some half of a whole, even beyond the characters with specific endings. Ryuki and Mizuki are both halves of the story, and each of their relationships with their siblings are further halves that each of them have on their own. Date’s other half, Aiba, willingly left him, which most likely caused him to get hurt in the explosion ending and go missing for so long. I could go on, but these are just some examples of the main theme being represented in characters outside of the ones with endings. And all the characters in this game are completely phenomenal, and my issues with them are few and far between.
Ryuki amazingly subverts the classic detective trope by being a crazy, traumatized, unreliable narrator for half the game. Mizuki is incredibly meaningful to me, being one of my top comfort characters of all time. The Enda family is insanely well-written, with Shoma, Komeiji, and Amame each having their own emotional and unique stories. Kizuna and Lien show the importance of true love and faithfulness, even over time and even when the original spark is gone, as well as loving regardless of health or disability. There’s really too much to cover, but I do love each and every character so much.
And the main mystery itself, oooh I love it so much. The bodies being split in half is so clever, and the way that the owners of the bodies are so unexpected is so fun. This game is filled with conspiracy, lies and truth, and you as the player are constantly double-checking and confirming everything, because nothing ever seems quite right. I’ve seen many people suggest that the entire game should have just been with Ryuki as the protagonist, but I feel that would massively take away from the game overall. The two protagonists represent their half of a whole story, with the two intertwining timelines forming a double-helix much like DNA, which is also a major theme of AINI, one of humanity and genome editing, as well as learning to love someone despite their flaws. The point is, without the two protagonists, there is no timeline twist, there is no frayer, there is no Naix, there is no AINI. The entire game falls apart under that rhetoric, and is nearly perfect just as it is, with no need for removing the other half of that whole.
The visual design contributes heavily to this, with the art style being much more dark and grungy than AITSF, while still maintaining a colorful and fun vibe. The character models and expressions have been improved so much, along with the UI and rest of the presentation. The ARG-style videos also stand out as incredibly unique, really giving AINI a more special feel. Cutscenes and environments were always pleasing to look at, and had such a fantastic art direction that I personally loved so so much. Everything feels much more cohesive and thought-out, with the somnia also receiving a visual overhaul.
And that brings me to my next point: gameplay. The somnia of the first game were frustratingly random and were definitely one of the weaker parts of that game. In contrast to that, I was always looking forward to the next one in AINI. They all have much more logic and sense while maintaining the charm of what made somnia special in the first place. There are just as many funny and weird interactions, unique settings, and even more hidden easter eggs to find. I can’t thoroughly state just how much I really enjoyed every single somnium in AINI.
So, not only do I really vibe with the stakes and finale of the main story, with everyone coming together through love and forming a whole to save the world, but the secret diverge ending also blew me away. It’s short, yes, but messes with the medium in a way I never personally expected. It also raises many more moral questions about truth and lies, and whether it’s better to live happily in a fake world or feel wrong in the true reality. It also says something about how we as players view and interpret media through a fictitious lens, the frayer being a stand-in for that. Diverge really made me rethink the entire game, and that happening after the finale as well was such a pleasant surprise. It reminds me of another certain Uchikoshi game in which there is some required post-ending reading that recontextualizes everything in a new light. And on top of the two endings, the timeline twist also really connected with me on a personal level. I felt disappointed that AITSF did nothing interesting with its timeline, and it honestly feels like the only Uchikoshi game in which the timeline actively hurts the game, and even AINI, which has to take place after the true ending of AITSF, the ending where Date ended up neglecting Mizuki, leading to a more bicker-y and unpleasant relationship between the two in AINI.
Regardless, the timeline twist also fit in with the aforementioned intertwined halves and DNA themes from earlier. I also thought it was done in a very clever way, with clear ways to detect that something about the timeline was wrong. I personally think it’s such a cool twist that also serves as the catalyst for diverge, activating the frayer, AKA the player, which also changes everything about the game.
Finally, I felt so much love and emotion when playing this game. Not just about the characters, but I can tell that the developers poured so much care into AINI, which just makes me love it all the much more. There are so many references and secrets and creativity to be found in this game, and I think that even if someone disagrees with me on the ingeniousness of the story and themes, I hope they can see that. While I’ve never personally understood many of the criticisms pointed at this game, and could talk with someone who sees things differently all day, I really just hope that someone sees what I see: an experience that ties love and communication and real human emotion with a tale of lies, truth, and reality unlike anything else ever has.
at least it's not peace walker
Yakuza
2005
A cold damp wind flows across town, invading the pores of your skin. To walk the streets of Kamurocho is being subjected to a freeze frame every 10 seconds as you move across streets, you will listen to the same whispers on the streets looping in the span of a blink or two. Which is why it speaks volumes that Yakuza is still able to envelop you inside itself; the combination of the thick atmosphere and the blaring soundtrack makes every fight feel like a battle for survival. It’s something that I feel has been lost from this franchise, with only 2018’s Judgement being able to replicate that feeling to some capacity. No doubt a million praises have been sung for this game’s atmosphere but every single positive comment is earned.
This is exactly the reason why every gesture of worship I offer the original Yakuza becomes nothing more than another point in a long list of reasons why I don’t like Yakuza: Kiwami. It’s easy for new fans of the series to look at the remake and make a false assumption that it must be better due to the fact it shares 0’s shiny combat as if the combat of the original game is something broken, something “outdated”. People will throw out the statement that the original’s combat “aged badly” as if it was something that needed to be fixed but actually playing the game it’s laughable at how this couldn’t be further from the truth. Every punch every kick has an oomph to it, and each heavy attack has this satisfying sound when your hits connect; although it’s more a question of if your hits connect because despite crafting up a combat system that’s still very enjoyable, there are inevitably a few shortcomings which hold it back from reaching the heights that it can, although maybe I’m just spoiled by later entries as even Yakuza 2 was a step up in this regard, with every entry after it slowly perfecting the combat, and subsequently elevating the legend of the Dragon of Dojima itself, and that is exactly why Yakuza is a game that shouldn’t be overlooked.
It’s easy to look at the bombastic stories of later entries like 0 and think the first game is tame by comparison but what Yakuza lacks in its set pieces, it more than makes up for with a narrative that’s just as enthralling as today as it was in 2005. It’s this game’s very simplicity that raises this entry by a significant margin, it’s a tale about two men who are done running from their problems. This is their destiny, any regrets they carry is baggage that will always weigh them down yet they keep moving onward, they keep moving towards each other. The Koi will shed everything to become the Dragon, even if it means hurting what it once held close. There’s no going back. They can only go forward.
𝗧𝗢 𝗟𝗜𝗩𝗘 𝗜𝗦 𝗧𝗢 𝗡𝗢𝗧 𝗥𝗨𝗡 𝗔𝗪𝗔𝗬.
This is exactly the reason why every gesture of worship I offer the original Yakuza becomes nothing more than another point in a long list of reasons why I don’t like Yakuza: Kiwami. It’s easy for new fans of the series to look at the remake and make a false assumption that it must be better due to the fact it shares 0’s shiny combat as if the combat of the original game is something broken, something “outdated”. People will throw out the statement that the original’s combat “aged badly” as if it was something that needed to be fixed but actually playing the game it’s laughable at how this couldn’t be further from the truth. Every punch every kick has an oomph to it, and each heavy attack has this satisfying sound when your hits connect; although it’s more a question of if your hits connect because despite crafting up a combat system that’s still very enjoyable, there are inevitably a few shortcomings which hold it back from reaching the heights that it can, although maybe I’m just spoiled by later entries as even Yakuza 2 was a step up in this regard, with every entry after it slowly perfecting the combat, and subsequently elevating the legend of the Dragon of Dojima itself, and that is exactly why Yakuza is a game that shouldn’t be overlooked.
It’s easy to look at the bombastic stories of later entries like 0 and think the first game is tame by comparison but what Yakuza lacks in its set pieces, it more than makes up for with a narrative that’s just as enthralling as today as it was in 2005. It’s this game’s very simplicity that raises this entry by a significant margin, it’s a tale about two men who are done running from their problems. This is their destiny, any regrets they carry is baggage that will always weigh them down yet they keep moving onward, they keep moving towards each other. The Koi will shed everything to become the Dragon, even if it means hurting what it once held close. There’s no going back. They can only go forward.
𝗧𝗢 𝗟𝗜𝗩𝗘 𝗜𝗦 𝗧𝗢 𝗡𝗢𝗧 𝗥𝗨𝗡 𝗔𝗪𝗔𝗬.
Saya no Uta
2003
"Are you ready for the sexualising minors in your story lesson?"
Kazutaka Kodaka gulped.
Katsura Hashino nodded.
Nisio Isin blinked nervously.
"Yes, Gen Urobuchi" they said in unison.
Kazutaka Kodaka gulped.
Katsura Hashino nodded.
Nisio Isin blinked nervously.
"Yes, Gen Urobuchi" they said in unison.
i just can't get into it
𝐈𝐍 𝐓𝐇𝐄 𝐅𝐔𝐑𝐓𝐇𝐄𝐒𝐓 𝐑𝐄𝐀𝐂𝐇𝐄𝐒 𝐎𝐅 𝐓𝐇𝐄 𝐇𝐔𝐌𝐀𝐍 𝐂𝐀𝐏𝐀𝐁𝐈𝐋𝐈𝐓𝐘, 𝐀𝐍𝐘𝐎𝐍𝐄 𝐂𝐀𝐍 𝐁𝐄𝐂𝐎𝐌𝐄 𝐀 𝐁𝐄𝐀𝐒𝐓.
There's a cheapness in the thrill of being on the verge of death. Risking something as valuable as life itself just to get a kick out of it is really the dumbest thing a human can do; then why is that an hour in I was feeling that exact same rush? In the cold comfort of it being fictional, having my heart pound with excitement as I put these people in harm’s way, there’s nothing quite like it.
The thing about Your Turn To Die is that the premise in of itself isn’t really unique. Completely ignoring the obvious comparisons one could make to that one video game franchise with the talking bear, “death game” as a genre is something that’s existed long before many of us were even alive. That is exactly how this game deceives you, making you think that what you’re about to experience is a by-the-numbers tale you’ve experienced many times before; but to chalk up Your Turn to Die as that is to box it in a cage that’s completely ignorant of the bigger picture. Because underneath this game’s bleak atmosphere is a tale of the exploration of the human condition, as it’s seeking an answer for why we do the things we do by putting us on the cusp of death. In a way, it's exactly what you've come to expect from experiencing the contemporaries of this sub-genre yet that's why this game works as well as it does, why it's willing to go the extra mile.
The level of deception this game operates on isn’t just something that exists in regards to the way of how it presents itself to the player or the narrative in of itself, it extends to game mechanics themselves. Whereas one could see the way every choice in Chapter 1 being inconsequential as cheap, I view it as a mockery of your abilities. To fully make you realise just how out of your depth you are here, which only serves to make the later chapters hit as hard as they do due to the newfound resolve you earn at the end of Chapter 1 earns you the right to change the course of the game both narratively and mechanically. It’s character development in the truest sense, where the effects are felt in also how you play the game, as second guessing becomes natural for you; it's not out of need to survive yet due to a want to protect those you hold closest to you, even if it means not having complete faith in them.
The character of Sara Chidouin in many ways feels combative against many other protagonists who’ve been placed in similar situations to her. It’s the same old tale of heroism, morality and hope. Trying to be an example even in the roughest of times yet Chidouin is deeply human. “I don’t want to die” is understandable sure, but sprouting up the same old message about “truth” seems to feel redundant when it’s going to deeply hurt the ones you care for. This is why Keiji Shinogi works so well with her, easy to see him as this game’s stand-in for a Maya Fey archetype, a policeman who can’t even hold a gun, but here the effectiveness of these two depends solely upon how much trust they place in each other. Their trust weaponizes itself, as it takes Sara being the finger and Keiji ironically being the gun in their dynamic to let them move past any difficulty they may face, and they may have faced, letting them grow with each passing argument. With the arguments themselves being mechanically comparable to the trial segments in Ace Attorney. While not as complex or difficult, it sets itself apart with it’s own mechanics, trying to bite further down into your mind as it makes every line thrilling. It’s exactly what the character of Sara Chidouin would do, and that’s what sets this apart from the rest. That every lie, misinformation, contradiction and even truth the itself is irrelevant; it’s completely irrelevant if she can’t even save one life.
Your Turn To Die breaks down those concepts of heroism, morality and hope I mentioned, but not out of cynicism. It goes to greats lengths to reconstruct them from the ground up; showing why such childishness and stubbornness is necessary for you to keep moving forward. Everyone’s got a reason to live and with each passing trial you have to wonder if death would be preferable, if it’d be better if you died in their place to make sure your hands stay clean, but thoughts like that are irrelevant. You still live, you still breathe, you still eat, you still sleep, so what’s the harm in living in another day?
It’s not Your Turn To Die. Not yet.
There's a cheapness in the thrill of being on the verge of death. Risking something as valuable as life itself just to get a kick out of it is really the dumbest thing a human can do; then why is that an hour in I was feeling that exact same rush? In the cold comfort of it being fictional, having my heart pound with excitement as I put these people in harm’s way, there’s nothing quite like it.
The thing about Your Turn To Die is that the premise in of itself isn’t really unique. Completely ignoring the obvious comparisons one could make to that one video game franchise with the talking bear, “death game” as a genre is something that’s existed long before many of us were even alive. That is exactly how this game deceives you, making you think that what you’re about to experience is a by-the-numbers tale you’ve experienced many times before; but to chalk up Your Turn to Die as that is to box it in a cage that’s completely ignorant of the bigger picture. Because underneath this game’s bleak atmosphere is a tale of the exploration of the human condition, as it’s seeking an answer for why we do the things we do by putting us on the cusp of death. In a way, it's exactly what you've come to expect from experiencing the contemporaries of this sub-genre yet that's why this game works as well as it does, why it's willing to go the extra mile.
The level of deception this game operates on isn’t just something that exists in regards to the way of how it presents itself to the player or the narrative in of itself, it extends to game mechanics themselves. Whereas one could see the way every choice in Chapter 1 being inconsequential as cheap, I view it as a mockery of your abilities. To fully make you realise just how out of your depth you are here, which only serves to make the later chapters hit as hard as they do due to the newfound resolve you earn at the end of Chapter 1 earns you the right to change the course of the game both narratively and mechanically. It’s character development in the truest sense, where the effects are felt in also how you play the game, as second guessing becomes natural for you; it's not out of need to survive yet due to a want to protect those you hold closest to you, even if it means not having complete faith in them.
The character of Sara Chidouin in many ways feels combative against many other protagonists who’ve been placed in similar situations to her. It’s the same old tale of heroism, morality and hope. Trying to be an example even in the roughest of times yet Chidouin is deeply human. “I don’t want to die” is understandable sure, but sprouting up the same old message about “truth” seems to feel redundant when it’s going to deeply hurt the ones you care for. This is why Keiji Shinogi works so well with her, easy to see him as this game’s stand-in for a Maya Fey archetype, a policeman who can’t even hold a gun, but here the effectiveness of these two depends solely upon how much trust they place in each other. Their trust weaponizes itself, as it takes Sara being the finger and Keiji ironically being the gun in their dynamic to let them move past any difficulty they may face, and they may have faced, letting them grow with each passing argument. With the arguments themselves being mechanically comparable to the trial segments in Ace Attorney. While not as complex or difficult, it sets itself apart with it’s own mechanics, trying to bite further down into your mind as it makes every line thrilling. It’s exactly what the character of Sara Chidouin would do, and that’s what sets this apart from the rest. That every lie, misinformation, contradiction and even truth the itself is irrelevant; it’s completely irrelevant if she can’t even save one life.
Your Turn To Die breaks down those concepts of heroism, morality and hope I mentioned, but not out of cynicism. It goes to greats lengths to reconstruct them from the ground up; showing why such childishness and stubbornness is necessary for you to keep moving forward. Everyone’s got a reason to live and with each passing trial you have to wonder if death would be preferable, if it’d be better if you died in their place to make sure your hands stay clean, but thoughts like that are irrelevant. You still live, you still breathe, you still eat, you still sleep, so what’s the harm in living in another day?
It’s not Your Turn To Die. Not yet.
I adore Thracia 776. Never in my life have I been so positively passionate about such a frustrating, punishing, but mechanically complex and rewarding video game than this one. Each chapter was some form of struggle, but I eventually would understand how everything worked, and after executing long thought out strategies for several chapters, I had done it. I had beaten one of the most infamous Fire Emblem games ever made. I have a lot of things to say, and I probably won’t be able to word them all out here, but please read the rest if you can.
Chances are if you’ve been a fan of Fire Emblem for a decent time, you’ve more than likely heard of the infamous Thracia 776, a sidequel to 1996’s Genealogy Of The Holy War. The game’s reputation has been so widespread, however, very few people have seemed to actually play it. It’s very easy to be intimidated by Thracia because of what you may have heard online, but the truth is, the game really isn’t that unfair as fans online make it out to be. Not to say the game doesn’t have its moments, or that it’s an easy game (believe me, it most certainly is NOT) but Shouzo Kaga and his team put their best efforts to create a very tough, but totally learnable game that would reward players who can wrap their head around its mechanics.
I think what will doom you most about going into Thracia is trying to approach it like most other Fire Emblem games, because this entry is almost a polar opposite in some regards. An oversimplification of Fire Emblem gameplay is “position all the blue guys to kill the red guys until they’re all gone and then seize the throne”, which is honestly mostly true, and I’m not saying it’s a bad thing. It’s just that this one is less about the combat of Fire Emblem and focused on pure strategy.
A good example I think is Thracia’s emphasis on staves. Without a doubt, this is the Fire Emblem with THE most heavy stave usage in the series, with entries like The Binding Blade getting sort of close. The amount of warp and rescue staves you’re gonna be finding while also dealing with is crazy, and you’re going to want to train up your staff users as much as possible. A pretty frowned upon strategy in Fire Emblem games is the act of “warp skipping”, which is effectively warping a strong player unit to immediately kill the boss then sending your lord over to seize the throne. It’s viewed as “cheap”, and while I can understand that sentiment, it fits the tone of Thracia 776 like a glove. Absolutely EVERYTHING is stacked against you in the enemies’ favor if you try and approach each chapter like a normal Fire Emblem game, chances are the struggle will be unreal. The appeal of warp skipping and other “cheap” tactics is what makes the game so damn fun. Seeing how you can easily clear a chapter by outsmarting enemies with the tools given to you is never not going to be satisfying. Like as one instance, chapter 22 has the probably the hardest boss in the game, but if you’re a creative player there’s plenty of ways that you can cheese him. Maybe cast sleep on him, which permanently renders him useless for the rest of the chapter (since status ailments last forever until a chapter is over). Or if you think even HARDER you can steal a berserk staff from another boss, then use it on the other guy which will make him more than likely kill every single unit on the right side of the map, which I’ve seen in action through YouTube clips and it’s amazing. There’s huge potential that players who invest enough time into the game can tap into, and it is absolutely fascinating.
Tonally the game is literally perfect. The constant reinforcements and extremely tight chapter design makes Thracia a game about how it feels to be the underdogs of a war, but ultimately still shine through with enough wit and perseverance. I’d be lying if I said that I wasn’t so heavily touched by the narrative, as it can be so bleak and depressing, and yet there’s always that feint light of hope that kept me going. The further I got, the more it felt that I was seeing the light at the end of this long, long tunnel. Actively seizing the throne in the final chapter was like a thousand tons being thrown off my shoulders at once, the feeling was absolutely AMAZING.
Story wise I’m not sure if I like this one more than Genealogy, but what I AM sure of is that Leif is my favorite Fire Emblem protagonist. It’s not even a contest. If anything, Leif feels like a reflection of the average player. He’s young and inexperienced, and he loses many battles, but he NEVER gives up. Even after all he’s suffered, he has something to live for, and grows as a person. He grows with the player. I’ve seen arguments online that Leif is a weak lord, but that’s just flat out not true, both narratively and gameplay wise. He’s no Seliph in terms of sheer power, but he has good growths and his light brand is a really handy weapon especially early game. But once again, I think that ties back to the core problem….
Thracia 776 is misunderstood. Horribly. Now, I’m not saying that if you dislike the game, your opinion is invalid, or that you got “filtered” or whatever. I’m more so talking about the regurgitated opinions I hear about this game online that convinces me that most of these people have never even played the game. The constant reminder of the same few points such as “did you know staves can miss?” or “the status effects are terrible”. Now I will admit that some aspects of Thracia’s design can be unfair, mainly fog of war chapters with enemy staves or ambush spawns, that is absolutely not fair. But conversely, about 90% of the game’s unique quirks either don’t matter that much or are just actively great mechanics.. Like I never see anyone mention the genius of the capture system, or being able to trade items multiple times in a turn, or in the case of things like status ailments, can use them in YOUR favor. Or how about how basically every single unit in this game is viable and has valid usage? You can’t say that about really any other FE game. What I’m getting at is that the same misconceptions that Thracia being “too unfair” are more than likely from people who never even experienced the game firsthand.
And I completely understand that is the thing. I’m not faulting ANYONE for saying things like that, because I doubt it has any harmful intention. I was scared of playing the game myself, and look where I am now! I took the time to understand, analyze, and absorb myself in it, and now it’s something I consider an all time classic. Is Thracia a game for everyone? No, absolutely not. It will test you in a lot of ways. Your good items will break, some units may die, you’ll have to reset a lot, failure is inevitable. But the best part is, these hardships were made to be overcome. Just like Leif, you must press on, and never give up to prove your worth. I implore you give this a shot, especially if you love Fire Emblem, or unique SNES games, or Tactical games, or just good ass video games as a whole. Maybe you won’t like it, or maybe you will. But I think if I could do it, then hey, maybe so can you.
Chances are if you’ve been a fan of Fire Emblem for a decent time, you’ve more than likely heard of the infamous Thracia 776, a sidequel to 1996’s Genealogy Of The Holy War. The game’s reputation has been so widespread, however, very few people have seemed to actually play it. It’s very easy to be intimidated by Thracia because of what you may have heard online, but the truth is, the game really isn’t that unfair as fans online make it out to be. Not to say the game doesn’t have its moments, or that it’s an easy game (believe me, it most certainly is NOT) but Shouzo Kaga and his team put their best efforts to create a very tough, but totally learnable game that would reward players who can wrap their head around its mechanics.
I think what will doom you most about going into Thracia is trying to approach it like most other Fire Emblem games, because this entry is almost a polar opposite in some regards. An oversimplification of Fire Emblem gameplay is “position all the blue guys to kill the red guys until they’re all gone and then seize the throne”, which is honestly mostly true, and I’m not saying it’s a bad thing. It’s just that this one is less about the combat of Fire Emblem and focused on pure strategy.
A good example I think is Thracia’s emphasis on staves. Without a doubt, this is the Fire Emblem with THE most heavy stave usage in the series, with entries like The Binding Blade getting sort of close. The amount of warp and rescue staves you’re gonna be finding while also dealing with is crazy, and you’re going to want to train up your staff users as much as possible. A pretty frowned upon strategy in Fire Emblem games is the act of “warp skipping”, which is effectively warping a strong player unit to immediately kill the boss then sending your lord over to seize the throne. It’s viewed as “cheap”, and while I can understand that sentiment, it fits the tone of Thracia 776 like a glove. Absolutely EVERYTHING is stacked against you in the enemies’ favor if you try and approach each chapter like a normal Fire Emblem game, chances are the struggle will be unreal. The appeal of warp skipping and other “cheap” tactics is what makes the game so damn fun. Seeing how you can easily clear a chapter by outsmarting enemies with the tools given to you is never not going to be satisfying. Like as one instance, chapter 22 has the probably the hardest boss in the game, but if you’re a creative player there’s plenty of ways that you can cheese him. Maybe cast sleep on him, which permanently renders him useless for the rest of the chapter (since status ailments last forever until a chapter is over). Or if you think even HARDER you can steal a berserk staff from another boss, then use it on the other guy which will make him more than likely kill every single unit on the right side of the map, which I’ve seen in action through YouTube clips and it’s amazing. There’s huge potential that players who invest enough time into the game can tap into, and it is absolutely fascinating.
Tonally the game is literally perfect. The constant reinforcements and extremely tight chapter design makes Thracia a game about how it feels to be the underdogs of a war, but ultimately still shine through with enough wit and perseverance. I’d be lying if I said that I wasn’t so heavily touched by the narrative, as it can be so bleak and depressing, and yet there’s always that feint light of hope that kept me going. The further I got, the more it felt that I was seeing the light at the end of this long, long tunnel. Actively seizing the throne in the final chapter was like a thousand tons being thrown off my shoulders at once, the feeling was absolutely AMAZING.
Story wise I’m not sure if I like this one more than Genealogy, but what I AM sure of is that Leif is my favorite Fire Emblem protagonist. It’s not even a contest. If anything, Leif feels like a reflection of the average player. He’s young and inexperienced, and he loses many battles, but he NEVER gives up. Even after all he’s suffered, he has something to live for, and grows as a person. He grows with the player. I’ve seen arguments online that Leif is a weak lord, but that’s just flat out not true, both narratively and gameplay wise. He’s no Seliph in terms of sheer power, but he has good growths and his light brand is a really handy weapon especially early game. But once again, I think that ties back to the core problem….
Thracia 776 is misunderstood. Horribly. Now, I’m not saying that if you dislike the game, your opinion is invalid, or that you got “filtered” or whatever. I’m more so talking about the regurgitated opinions I hear about this game online that convinces me that most of these people have never even played the game. The constant reminder of the same few points such as “did you know staves can miss?” or “the status effects are terrible”. Now I will admit that some aspects of Thracia’s design can be unfair, mainly fog of war chapters with enemy staves or ambush spawns, that is absolutely not fair. But conversely, about 90% of the game’s unique quirks either don’t matter that much or are just actively great mechanics.. Like I never see anyone mention the genius of the capture system, or being able to trade items multiple times in a turn, or in the case of things like status ailments, can use them in YOUR favor. Or how about how basically every single unit in this game is viable and has valid usage? You can’t say that about really any other FE game. What I’m getting at is that the same misconceptions that Thracia being “too unfair” are more than likely from people who never even experienced the game firsthand.
And I completely understand that is the thing. I’m not faulting ANYONE for saying things like that, because I doubt it has any harmful intention. I was scared of playing the game myself, and look where I am now! I took the time to understand, analyze, and absorb myself in it, and now it’s something I consider an all time classic. Is Thracia a game for everyone? No, absolutely not. It will test you in a lot of ways. Your good items will break, some units may die, you’ll have to reset a lot, failure is inevitable. But the best part is, these hardships were made to be overcome. Just like Leif, you must press on, and never give up to prove your worth. I implore you give this a shot, especially if you love Fire Emblem, or unique SNES games, or Tactical games, or just good ass video games as a whole. Maybe you won’t like it, or maybe you will. But I think if I could do it, then hey, maybe so can you.
well then
So my critiques from the Painful - Definitive Edition still apply here. Gamefeel in combat is kinda weird. I'd argue a bit less so, but it's still there.
Unlike with Painful, I do think this is the best version of the game to play. While Painful mostly saw changes in the fluff, stuff like party member interactions and whatnot, Joyful has received a few small mechanical changes that drastically alter the quality of the game's combat.
The new warlord abilities are excellent. Chef's kiss. Not all of them are of equal use, but they allow Buddy to better act as a solo party member and are good enough that you could actually do a Joyless run of the game, which was previously considered the incorrect way to play and an absolute slog if you tried. Now? I kinda love doing this game Joyless. It's way more fun than I was expecting and you're going to need to do it Joyless to access the new content.
I guess they called it a "sidequest." That's a term for it. My first major issue with LISA: The Joyful - Definitive Edition is that the new content is INCREDIBLY DIFFICULT TO FIND. I mean, sure, we live in the era of just looking shit up on the internet, but this is a whole other level. You're forced to solve an incredibly esoteric series of puzzles, some of which require you to have prior knowledge of LISA: The First and the secret content in LISA: The Painful - Definitive Edition. LISA: The First isn't included in the Definitive Edition, so some players will just have absolutely no idea where to even begin.
But to swing back to complimenting the game, I do think the new content is very good. Same as with Painful. It feels more focused than the original, tying together much more nicely both with the overall story of LISA and the new content in Painful. It goes in a few bold directions that I'll admit I'm not entirely a fan of. Without spoiling, there is a specific line that is meant to highlight a character's immaturity and cowardice that ended up taking me out of the experience. Even so, I think the broad strokes are incredibly well done. Fortune favors the bold.
The problem is that if you don't seek out any of this additional content, the story of Joyful is identical to the original. It still feels unfocused trying to resolve the unanswered questions of the original and concluding the arcs of several major characters. This wouldn't be such a problem were the new content easier to find, but for the majority of players who want to go in blind, they're going to be playing through the same, incredibly flawed story that the original had, just with better gameplay. Maybe that's enough for some people, but I wish it weren't so.
This is definitely a better game than the original LISA: The Joyful, and I would consider this game great, but it isn't a masterpiece even with the changes. And if you don't know where to look to get the meat of the content, then you'll end up with a worse experience.
Now I am done with LISA.
For now.
zzz
So my critiques from the Painful - Definitive Edition still apply here. Gamefeel in combat is kinda weird. I'd argue a bit less so, but it's still there.
Unlike with Painful, I do think this is the best version of the game to play. While Painful mostly saw changes in the fluff, stuff like party member interactions and whatnot, Joyful has received a few small mechanical changes that drastically alter the quality of the game's combat.
The new warlord abilities are excellent. Chef's kiss. Not all of them are of equal use, but they allow Buddy to better act as a solo party member and are good enough that you could actually do a Joyless run of the game, which was previously considered the incorrect way to play and an absolute slog if you tried. Now? I kinda love doing this game Joyless. It's way more fun than I was expecting and you're going to need to do it Joyless to access the new content.
I guess they called it a "sidequest." That's a term for it. My first major issue with LISA: The Joyful - Definitive Edition is that the new content is INCREDIBLY DIFFICULT TO FIND. I mean, sure, we live in the era of just looking shit up on the internet, but this is a whole other level. You're forced to solve an incredibly esoteric series of puzzles, some of which require you to have prior knowledge of LISA: The First and the secret content in LISA: The Painful - Definitive Edition. LISA: The First isn't included in the Definitive Edition, so some players will just have absolutely no idea where to even begin.
But to swing back to complimenting the game, I do think the new content is very good. Same as with Painful. It feels more focused than the original, tying together much more nicely both with the overall story of LISA and the new content in Painful. It goes in a few bold directions that I'll admit I'm not entirely a fan of. Without spoiling, there is a specific line that is meant to highlight a character's immaturity and cowardice that ended up taking me out of the experience. Even so, I think the broad strokes are incredibly well done. Fortune favors the bold.
The problem is that if you don't seek out any of this additional content, the story of Joyful is identical to the original. It still feels unfocused trying to resolve the unanswered questions of the original and concluding the arcs of several major characters. This wouldn't be such a problem were the new content easier to find, but for the majority of players who want to go in blind, they're going to be playing through the same, incredibly flawed story that the original had, just with better gameplay. Maybe that's enough for some people, but I wish it weren't so.
This is definitely a better game than the original LISA: The Joyful, and I would consider this game great, but it isn't a masterpiece even with the changes. And if you don't know where to look to get the meat of the content, then you'll end up with a worse experience.
Now I am done with LISA.
For now.
zzz
Serial Experiments Lain has always been one of those pieces of media that's trapped in this weird limbo of simultaneously being niche but also not niche due to its recognition in certain circles. The Lain anime has taken off significantly in recent years, whether it be due to Lain replanting herself in a lot of memes and what not or general social media influence. Point is, at this point, lots of people have watched Serial Experiments Lain. But significantly less people have played Serial Experiments Lain for the Playstation; let alone even know what it is. Even just looking at this website, there are only 75 reviews of this game on here. Not that backloggd is the be all end all of how well known a game is, but it's still somewhat worth mentioning.
PSX Lain was actually my very first exposure to the series. I remember sitting in my room scrolling on my computer on a school night when I saw a youtube video titled: “Serial Experiments Lain (PSX) FINAL CUTSCENE” I ended up watching it and was met with a video of a girl with brown hair committing suicide on a rainy day. I don't think I have the right words to describe the way I felt after seeing that. All i knew is that i had to know what the fuck Serial Experiments Lain was. I took it to google and ended up finding out about the anime, which I promptly watched all of within the next two days. I was definitely confused after finishing because there was no graphic suicide like the video i had seen, so eventually i did end up finding out that there was a playstation game of the same name, but i never actually took the plunge and played it myself until recently.
PSX Lain is one of the most interesting works of art I have ever experienced. Lain isn't so much of a game as it is an interactive CD ROM. Getting wrapped up in the story of Lain feels more like sneaking around somewhere you shouldn't be than having a story told to you. It feels like you're accessing the traces of what someone left behind, and unraveling this sort of horrific secret as the subject matter of the game gets darker and darker as it goes on. Many say the game actively discourages a linear style of progression, which is somewhat true, but to a certain extent that only heightens this feeling more. Taking the story linearly is completely possible, however. At times playing PSX Lain feels no different than snooping around someone’s computer files that you’ve hacked into. The gameplay (or lack thereof) is certainly a hard sell at first, but once you start to get into it you feel compelled not to stop.
It’s worth noting that the story present in PSX Lain is completely different from the one present in the anime. They touch on similar themes, but the story told here is a much more personal one. Understanding both Lain and her therapist Touko– as well as the relationship between the two– is crucial to understanding the plot of Serial Experiments Lain. PSX Lain is less confusing than the anime, due to its much less abstract (albeit still extremely non-conventional) approach to storytelling. This game has the most thorough depiction of mental illness in ANYTHING I’ve ever seen. It’s sort of incredible how in depth this game goes with it without letting it take over the whole narrative. Lain touches on mental health in lots of depth, it's even arguably the focal point of the story; but that is not all Lain is about. It delves into technological existentialism and the digital age, the relationships between others; be it romantic, platonic, or parental, and abusive workplace culture. PSX Lain talks about all of these things gracefully with extreme tact while still managing to have them be important to the story.
Playing this game is to truly get to the core of what Serial Experiments Lain is as a series. Lain and Touko aren't just simply characters, by the end of the game they feel like real people that you've known at some point in your life. The Lain anime certainly has similar vibes to the game; but PSX Lain feels like the original vision of what Lain is. I’ve already slightly spoiled this game but I absolutely implore you to take the plunge and experience who Lain is. Definitely be warned about the graphic depictions of violence and suicide as well as the heavy subject matter, and most importantly take your time with this one. You don’t want to rush through this one and take all of it in in a short period of time. If you’re a fan of the anime, playing this game will do nothing but increase your enjoyment of Lain as a series and make you appreciate it that much more. There really isn't anything else out like there quite like Serial Experiments Lain for the Playstation.
PSX Lain was actually my very first exposure to the series. I remember sitting in my room scrolling on my computer on a school night when I saw a youtube video titled: “Serial Experiments Lain (PSX) FINAL CUTSCENE” I ended up watching it and was met with a video of a girl with brown hair committing suicide on a rainy day. I don't think I have the right words to describe the way I felt after seeing that. All i knew is that i had to know what the fuck Serial Experiments Lain was. I took it to google and ended up finding out about the anime, which I promptly watched all of within the next two days. I was definitely confused after finishing because there was no graphic suicide like the video i had seen, so eventually i did end up finding out that there was a playstation game of the same name, but i never actually took the plunge and played it myself until recently.
PSX Lain is one of the most interesting works of art I have ever experienced. Lain isn't so much of a game as it is an interactive CD ROM. Getting wrapped up in the story of Lain feels more like sneaking around somewhere you shouldn't be than having a story told to you. It feels like you're accessing the traces of what someone left behind, and unraveling this sort of horrific secret as the subject matter of the game gets darker and darker as it goes on. Many say the game actively discourages a linear style of progression, which is somewhat true, but to a certain extent that only heightens this feeling more. Taking the story linearly is completely possible, however. At times playing PSX Lain feels no different than snooping around someone’s computer files that you’ve hacked into. The gameplay (or lack thereof) is certainly a hard sell at first, but once you start to get into it you feel compelled not to stop.
It’s worth noting that the story present in PSX Lain is completely different from the one present in the anime. They touch on similar themes, but the story told here is a much more personal one. Understanding both Lain and her therapist Touko– as well as the relationship between the two– is crucial to understanding the plot of Serial Experiments Lain. PSX Lain is less confusing than the anime, due to its much less abstract (albeit still extremely non-conventional) approach to storytelling. This game has the most thorough depiction of mental illness in ANYTHING I’ve ever seen. It’s sort of incredible how in depth this game goes with it without letting it take over the whole narrative. Lain touches on mental health in lots of depth, it's even arguably the focal point of the story; but that is not all Lain is about. It delves into technological existentialism and the digital age, the relationships between others; be it romantic, platonic, or parental, and abusive workplace culture. PSX Lain talks about all of these things gracefully with extreme tact while still managing to have them be important to the story.
Playing this game is to truly get to the core of what Serial Experiments Lain is as a series. Lain and Touko aren't just simply characters, by the end of the game they feel like real people that you've known at some point in your life. The Lain anime certainly has similar vibes to the game; but PSX Lain feels like the original vision of what Lain is. I’ve already slightly spoiled this game but I absolutely implore you to take the plunge and experience who Lain is. Definitely be warned about the graphic depictions of violence and suicide as well as the heavy subject matter, and most importantly take your time with this one. You don’t want to rush through this one and take all of it in in a short period of time. If you’re a fan of the anime, playing this game will do nothing but increase your enjoyment of Lain as a series and make you appreciate it that much more. There really isn't anything else out like there quite like Serial Experiments Lain for the Playstation.
Superliminal
2019
Hello, my name is Dr. Glenn Pierce.
Superliminal is a game that's very dear to me, possibly my favorite puzzle game ever. I love almost everything about it, so much that I've gone out of my way to see just about everything the game has to offer. I found it a very worthwhile experience. I would easily recommend it to anybody.
The game is a feast for the eyes and ears. Almost every level in the game (I'm looking at you, Blackout.) has this unique style that uses these soft, pastel colors that easily contrasts with the dull, dimly lit back hallways of the dreams you explore and pairs with the wonderful piano music to create a calming vibe that lets you concentrate on solving puzzles. It's also funny as hell. Despite only having one actual person completely off screen and one computer voice, Superliminal has a lot of jokes that, along with some of the absolute mindfucks that the puzzles give you, will at the very least get a little smirk or nose exhale out of anybody. Let me tell you, that guy really is named Dr. Glenn Pierce.
The puzzles are amazing too. The gist of the game is that objects are resized to how large they appear to be based on how close they are when you pick them up. Basically, imagine if you didn't have depth perception and you picked something up, turned around, set it down, and suddenly it reached the ceiling or was as small as a fly. Not only will they require you to challenge how you approach puzzle solving as a whole, but there's plenty of little changes to the world around you and tons of visual gags that make great use of the central mechanic. On top of all that, there are tons of little secrets and collectibles that can easily warrant multiple trips through this therapeutic wonderland.
Despite being only an hour long, the game is packed full of meaning. Through the main mechanic that leaves you forgetting there were limits to your thinking, the reoccurring motif of chess, a game that requires you to consider every possible move and rewards unconventional ways of thinking, the many mindfucks the game will throw at you, the contrast between the warm and fuzzy puzzle rooms and the dim service hallways with nothing to pick up or do and the dichotomy between the hopeful Dr. Glenn Pierce and pessimistic, strict robotic voice, the game effortlessly and flawlessly delivers the main message it likes to scrawl all across the levels.
Perception is reality.
Superliminal is a game that's very dear to me, possibly my favorite puzzle game ever. I love almost everything about it, so much that I've gone out of my way to see just about everything the game has to offer. I found it a very worthwhile experience. I would easily recommend it to anybody.
The game is a feast for the eyes and ears. Almost every level in the game (I'm looking at you, Blackout.) has this unique style that uses these soft, pastel colors that easily contrasts with the dull, dimly lit back hallways of the dreams you explore and pairs with the wonderful piano music to create a calming vibe that lets you concentrate on solving puzzles. It's also funny as hell. Despite only having one actual person completely off screen and one computer voice, Superliminal has a lot of jokes that, along with some of the absolute mindfucks that the puzzles give you, will at the very least get a little smirk or nose exhale out of anybody. Let me tell you, that guy really is named Dr. Glenn Pierce.
The puzzles are amazing too. The gist of the game is that objects are resized to how large they appear to be based on how close they are when you pick them up. Basically, imagine if you didn't have depth perception and you picked something up, turned around, set it down, and suddenly it reached the ceiling or was as small as a fly. Not only will they require you to challenge how you approach puzzle solving as a whole, but there's plenty of little changes to the world around you and tons of visual gags that make great use of the central mechanic. On top of all that, there are tons of little secrets and collectibles that can easily warrant multiple trips through this therapeutic wonderland.
Despite being only an hour long, the game is packed full of meaning. Through the main mechanic that leaves you forgetting there were limits to your thinking, the reoccurring motif of chess, a game that requires you to consider every possible move and rewards unconventional ways of thinking, the many mindfucks the game will throw at you, the contrast between the warm and fuzzy puzzle rooms and the dim service hallways with nothing to pick up or do and the dichotomy between the hopeful Dr. Glenn Pierce and pessimistic, strict robotic voice, the game effortlessly and flawlessly delivers the main message it likes to scrawl all across the levels.
Perception is reality.
