Buckshot Roulette is a short and simple game of shotgun Russian Roulette between you and a… thing that calls itself “The Dealer”. The Dealer loads up the shotgun with a random number of shells and blanks, and you each take turns shooting the shotgun at either yourselves or your opponent. If you opt to shoot yourself, your opponent’s turn is skipped. You’re each hooked up to a defibrillator with a certain amount of charges that will bring you back to life if you get shot, but there is a limited number of times the defibrillator can be used. The game ends when either you or The Dealer run out of chances to use the defibrillator.

The game does spice things up a little bit by giving you items at the beginning of rounds that you can utilize to help yourself get an advantage. You can get a knife to saw off the end of the shotgun which causes it to do twice the amount of damage, a magnifying glass which lets you peek and see what round is currently loaded into the gun, handcuffs that prevent your opponent from taking a turn, a can of beer that lets you eject whatever round is currently loaded, and a pack of cigarettes that will restore a chance to use the defibrillator. However, The Dealer is also given these exact same items. This adds another layer of strategy to the game, where you’ll have to think when you want to use the items you’re given, while also considering the items The Dealer has and when they will use them as well.

The game has a pretty cool, yet measured concept. Despite how intriguing The Dealer and the setting are, there isn’t really a narrative to speak of. If you win, you get a results screen and a case full of money. That’s all. The game itself can be figured out pretty easily and beaten in about 30 minutes. The core gameplay, while decent, doesn’t make for something that’s especially replayable in my opinion. I love its low-poly artstyle, and I really dig the techno track that plays in the background. Its presentation in general is really strong and immersive, especially given the game’s setup.

There’s just not a whole lot to this game, which is its only real issue. I had managed expectations going into Buckshot Roulette. I didn’t think that it’d be anything mindblowing considering it’s on sale for $3 on Steam (actually, I guess it technically is mindblowing now that I think about it…). I expected a short, but decent time and that’s exactly what I got. It’s a fun little flavor of the month type of indie game that I do think is worth the $3. Just know ahead of time that you’re really not going to get a whole lot of mileage with it.

The first Devil May Cry has simple but satisfying combat, a fun and overly edgy story, and really, really cool atmosphere. This is a good first entry to a series, it's rough around some edges in terms of game design and mechanics, but we can cut it some slack since it invented a genre. The world for this game is sick, I loved the atmosphere the entire way through. The music is awesome too. The only really big downside is that camera. It SUCKS. Very clearly was a reworked Resident Evil game. But, I got used to it, and when I did I was having a really fun time with this game.

I'm so excited to play the amazing future entries!!! Wait what? A really bad sequel? Oh yeahhhh, guess I gotta get through that first.

I thought this game would be funny bad but it's actually just the most offensively boring game ever. The combat is bad, the levels are bad, the story is bad, the pistols are infamously broken, the camera is even worse, nothing is good. The enemies and bosses are completely braindead, but they have the biggest health bars so the fights are just extremely boring. The only single good thing about this game is Dante's design, it's pretty cool. But even Dante in this game is boring as a character. I was begging for it to end the whole way through, I'm just glad this game is short.

I was born too late for the SEGA Dreamcast, but I was born just in time for the Nintendo GameCube, and one of my favorite games growing up was Sonic Adventure DX: Director’s Cut. I loved this game immensely growing up, and I played and replayed it over and over again, to the point where the disc wore out and stopped working. As the years went by, and I got older and came to play a wider variety of games, I eventually stopped enjoying Sonic games as much as I used to when I was little, to the point where nowadays I view the franchise with nostalgic indifference. It’s something that I definitely used to love and I might check in on occasionally, but it rarely occupies a space in my brain these days. Recently, those feelings of nostalgia took hold of me when I learned about how the DX version of Sonic Adventure was apparently a lot worse in comparison to the original. I read that it introduced new bugs and glitches, and it changed the game’s overall visual style for the worse. So, out of curiosity, and because I wanted to be reminded of old times, I decided to emulate the original Sonic Adventure to see how much better it actually was in comparison to the allegedly maligned DX version, and in all honesty, I don’t really think that DX is as much of a downgrade as I was led to believe. The game itself wasn’t as much of a fun nostalgia ride as I’d hoped it’d be, either.

Dr. Eggman has returned with a new plan for world domination, and this time he’s in command of a creature known as Chaos, a liquid monster who grows more powerful and changes shape after being fed the legendary Chaos Emeralds. Sonic and company all get involved with Eggman’s plot in some fashion, as they attempt to stop him from feeding Chaos all seven emeralds and wrecking untold havoc upon the world. You play as Sonic and five other characters, each with their own style of gameplay and personal narratives that occasionally crossover with one another.

I have to admit, reviewing this game is rather difficult for me. I played DX growing up so much that I know the game like the back of my hand. I’m used to the physics, I’m used to the boss fights, I know where I’m supposed to go and when, I can quote so many voice lines… basically I can play this game almost without thinking. There may be aspects of the game that I find easy that other people might struggle with. Sonic Adventure is a bit of a finicky game, and getting acclimated to how the game feels and controls may not come as naturally to others as it comes to me. Once you get used to it though, the whole game is very much a walk in the park. Each character shares the same core controls, but they also have their own abilities which make them unique.

Sonic’s campaign is by far the most fun in the game, and clearly where the most attention was given. His stages simply take the speed focused platforming approach of the 2D games and apply it to levels made in 3D. Sonic’s stages are often long and made up of multiple sections with a variety of different environments and music tracks for each section. Sonic for the most part feels pretty good to control, especially when you manage to get him going at higher speeds. The biggest problem that I have both with Sonic’s stages and with the game in general is easily the awful camera. The camera often acts like it has a mind of its own, and when Sonic or other characters go at high speeds, it often can’t keep up with them, or it’ll get stuck on level geometry, freak out, and prevent you from seeing where you’re going. The only times I ever died during my replay of this game was when these camera issues happened, and they happen most frequently when you’re going at high speeds through tunnels like in Sky Chase or Speed Highway. Sometimes to get the camera under control, you just gotta slow down and give it a second to catch up, which can be annoying, but it’s not the worst.

As mentioned, the rest of the cast all have their unique styles of gameplay, but for the most part, they all reuse various sections of Sonic’s stages. Some characters have sections of stages unique to them, and there is one stage (Hot Shelter) that Sonic doesn’t have that other characters do, but 95% of the other characters’ stages are reused or slightly edited sections of Sonic’s stages, and their gameplay for the most part isn’t different or interesting enough to really feel substantial. Playing as the other characters can feel rather repetitive and boring as a result.

Tails is easily the best example of this. His stages involve racing an AI-controlled Sonic through chopped up sections of Sonic’s stages. Tails can’t run as fast as Sonic, but he can fly, and there are these booster rings he can fly through that allow him to take shortcuts that Sonic can’t utilize himself. It’s never a challenge to outpace Sonic, and Sonic can sometimes get stuck on level geometry and not even advance forward at all until he rubber bands and teleports right next to you in order to catch up.

Knuckles’ stages have him searching for broken pieces of the Master Emerald. His ability to glide and climb walls allows him to explore stages in a way Sonic can’t, making the stages themselves a lot more open and exploration focused. His gameplay is different enough from Sonic’s that replaying stages isn’t really that big of a deal. His stages are my next favorite after Sonic’s.

Amy’s campaign is surprisingly fun. Amy has to flee from an invincible robot called Zero, which chases her across all of her stages. Amy’s on the slower side, but she has her own special movement abilities and attacks she can perform with her Piko Piko Hammer to make up for it. She also has the most unique content compared to the other playable characters that aren’t Sonic, as she has sections of Sonic’s stages that he doesn’t get to experience himself, such as the fun house in Twinkle Park. My only complaint is that she has the least amount of stages in the game (three in total).

Then there’s Big’s campaign… Big has always been rather infamous when it comes to discussions surrounding this game. As opposed to every other character’s gameplay, which is generally focused on exciting action, or high speed setpieces, Big the Cat’s gameplay involves fishing for his pet frog named Froggy. There are pools of water in stages that are occupied by Froggy as well as other fish, and you have to catch Froggy in order to clear Big’s stages. I think it’s pretty understandable why people don’t care for Big’s campaign. His gameplay is so different from everyone else’s, and if you want to complete the story, you have no choice but to do them. The fishing itself isn’t especially fun either, and it can be confusing because the game itself doesn’t really explain how fishing works. I remember being so frustrated and angry with Big’s levels as a kid because I didn’t know what I was supposed to do, and didn’t realize that you needed to flick the control stick down whenever Froggy bites onto the lure in order to actually hook him onto it so that you can start reeling him in. To the game’s credit, fishing is explained in the game’s instruction booklet (both this version and DX’s), so it’s a bit hard to blame it for not telling you what you’re supposed to do. That doesn’t change the fact that the fishing itself is still not particularly engaging. At the very least, it’s not difficult at all once you figure out how it works.

Finally, there’s E-102 Gamma’s campaign. Gamma is a robot built to serve Dr. Eggman. His stages involve running and gunning, blasting enemies and obstacles and defeating a boss at the end of each stage. I don’t really know how else to describe Gamma’s stages other than braindead. That might sound a bit harsh, but I genuinely can’t think of any other way to put it. You hold down the action button to target obstacles, wait to target as many as you can, and then Gamma will fire auto-homing shots to destroy targets. It’s also hilariously easy to just stun lock all of the bosses at the end of Gamma’s stages and keep them from fighting back at all.

The story, much like the gameplay, is ambitious, and I do actually think it’s executed well enough. However, the horrible dialogue and the stilted 90’s voice acting can really knock the wind out of its sails. It’s charming enough to find it funny, but very much in a “so bad it’s good” kinda way. Eggman’s voice actor is an exception though. Deem Reginald Bristow actually kills it with his performance. It’s really lively compared to every other character in the game, and he sounds like he’s honestly having a lot of fun with the role, as opposed to everyone else, who just sounds like they’re phoning it in.

By far the best part about this game is its soundtrack. God, to this day nothing really hits me like this game’s soundtrack. It’s honestly pretty damn close to perfect. Each track just adds so much to the immersion of each stage, while also being immensely groovy or electrifying songs on their own. Some of my favorite tracks include Run Through the Speed Highway, Red Hot Skull, and Pleasure Castle, but in all honesty, pretty much every single song is a banger, and aside from maybe some of the vocal tracks, it’s really difficult to find a song that isn’t great in this game.

As for how this compares to the DX version, I think that visually, environments look a lot more appealing in comparison. The textures in the Dreamcast version are a lot more colorful, and places like the Mystic Ruins look far more lush and appealing. Other than that though, I’ll be honest: I don’t think that this version has much else that makes it worth playing over DX. For the sake of making a good faith comparison, I did play through a chunk of Sonic’s levels really quickly in DX to see if I could run into any obvious bugs or glitches, but I didn’t encounter anything, and I don’t ever recall running into any particularly notable glitches in the DX version during the several playthroughs of it when I was a kid. If anything, I feel like I still prefer DX a bit more because it has a free camera option you can turn on during stages, which is a huge blessing since the auto camera is so terrible. You can also skip cutscenes in DX which is super convenient. I feel like the glitches and bugs of DX are overblown, it seems like you really gotta go out of your way to experience them. You could argue that since I didn’t play DX from beginning to end that I’m not making a fair comparison, and y’know what, I won’t argue with you. I just really don’t have it in me to play this game from front to back a second time.

It’s clear that there was a lot of passion and ambition that went into Sonic Adventure and I have nothing but respect for that. I feel like this is one of the most experimental games I’ve ever played, especially for its time. It’s just that not all of its ideas pan out very well, and it causes the game to feel bloated and boring at times. Sonic Adventure, no matter which version I play, is always going to be a big source of nostalgia for me, and I’ll definitely treasure those memories I had of playing the game as a kid. But it’s impossible to deny how rough and flawed the game truly is.

Here it is, my 100th review. I wanted this one to be very special since ever since I did this gaming cleanse I feel like i've been able to really appreciate and go into a more in-depth look on the way I feel about videos games. Banjo Kazooie is the prime example of what it means to be a strictly fun game with very little fluff in between. Right off the bat you learn of this games world and setting quickly, and when you leave Banjos house it doesn't matter if its your first time playing, the game asks if you know all of banjos moves prompting you to select yes or not, basically meaning you can skip the tutorial. And I mean just something like that really goes a long way in feeling like the devs care about you, they don't treat you like the dumb fuck babies most modern games do, they believe if you've got it down, then why hold you back any further. Get out there and beat that Grunty.

Anyways, Banjo Kazooie is a game that's very near and dear to me, I could easily just do a general review on the game but its all good, like even the quote on quote "Boring" levels are still fun to play through. The music is amazing and the world and the characters are so charming, full of childlike wonder and whimsy. It really is one of those games you just don't find in todays era. I want to specfically mention the bear and bird duo, I love everything about their dynamic, Banjo the calm but sort of naive one, and Kazooie the hot headed and mean one, but both still help each other out at the end of the day. And get this, they're 3D Platforming mascots who TALK. Yep, crazy right, in an era with mostly silent protagonists hearing the characters REACT to their environments and the world around them does wonders for keeping me engaged. And I care about these two goofballs so much.

I'm not sure what else to even say, this may be like my 10th time replaying this game and every replay is as good as the last. If you still haven't experienced Banjo but are a fan of 3D platformers, then what are you waiting for?

Man I don't know what everyone else saw in this game that I didn't but I just hated my overall time playing this one. The map design is so bland and boring, the movement is so limited, the card system is a neat idea if you can actually get enemies to drop the damn things. And while it is their first attempt at a metroidvania on the GBA, it really felt like it. The removal of currency and having no game shop made this game unnecessarily hard. If I weren't playing this one on the emulator I don't think I would've beaten it. I filled out like 90% of the map and even by the end I was struggling. I hear people really enjoy the card system but I could never get these damn things to drop. I feel like drop rates in this game in general are so rare and scuffed that It doesn't matter how well you play, you'll reach a bullshit section due to how underleveled you are and don't have the appropriate armor to take care of the threat.

Also, you can ONLY use a whip in this game, Idk man that's just lame, I get it, he's considered to be a belmont but this just makes him less fun to play as. I think the devs may have realized this so for Aria you actually play as a non belmont, and further down the line if you do play as one they give you the option to use different weapons like with Jonathan in Portrait of Ruin.

Yeah I didn't like this one, at all, I wish I could see what all the 3-4 stars people saw in this one but as it stands this is my least favorite metroidvania i've played.

I knew from the moment I saw Alucard show up in this nothing game, starting to spout words to a character he never mentions ever again in the series, this game was definitely someone's fan-fiction. Like there's no other way to explain it, no offense to the character herself, I think its great that we have a female protagonist after all these sweaty buff guys, but she really fucked herself over by having a Gameboy game of all things, as we know already those games aren't the greatest, and neither is this one.

After rising from the ashes of a long and tumultuous development (which at one point had to start over from the ground up), DOOM 2016 managed to surprise just about everyone with how high quality its final release was. Part sequel, part soft reboot, the game does a phenomenal job at bringing the core appeal of the original games into the modern age, while still carving out an identity unique to itself. While it does lack some polish and refinement in certain areas, the game overall is an excellent, adrenaline-fueled first person shooter with immensely satisfying combat and a hellish heavy metal aesthetic that is 1000% My Shit™.

In the far future, the Union Aerospace Corporation, directed by the cyborg Dr. Samuel Hayden, has discovered a new form of energy known as Argent Energy, which comes directly from Hell itself. From their facility on Mars, the corporation creates portals and sends teams into Hell to farm this power source and use it to solve humanity’s energy crisis. During one of their expeditions to Hell, they also discover a sarcophagus containing the series’ protagonist, the DOOM Slayer, who is the DOOM Marine from the original games. After Hayden’s protege, Dr. Olivia Pierce, falls victim to the seduction of power promised by the demons that occupy Hell, she converts staff members of the UAC into a demon worshiping cult, and opens a portal to Hell that allows an army of demons to invade the facility, brutally decimating just about every staff member in the process. Hayden awakens the DOOM Marine as his failsafe measure, and attempts to guide his actions, but the DOOM Marine pays him no heed, and sets out to put a stop to the invasion by doing what he does best: visceral demon slaughter.

Just by playing the game, it’s clear that the team behind 2016 had a huge love for the DOOM franchise. Behind the scenes, they were committed to making sure that above all else: this game felt like DOOM. In fact, they even canceled an entire initial concept of the game that lifted a lot of elements from other first person shooters that were popular at the time of its initial development (specifically Call of Duty), simply because they didn’t feel like that direction was suited for DOOM. After going back to the drawing board and making a dramatic effort to embrace their roots, they managed to really nail their goal, as 2016 definitely captures the core appeal of the original DOOM games. All of the elements that make DOOM what it is are here: the playful “popcorn horror” tone, the huge arsenal of weapons, (almost) all of the different types of demons, the fast paced combat that requires you to manage all of the different resources your weapons use, and the heavy metal-inspired music and imagery. It’s all here, and it’s all unabashedly DOOM. There’s a phenomenal documentary from the YouTube channel Noclip called DOOM Resurrected, which features interviews from many key members of the team that worked on the game. The documentary gives great insight into their creative processes over the entire course of the game’s development, including a small look at the original “Call of DOOM” concept phase. I highly recommend giving this documentary a watch, as you can see the clear love and passion that went into making the game, and it’s an all-around delightful watch, especially if you really enjoyed 2016.

The gameplay of the original DOOM games is translated rather faithfully, though 2016 has some slightly different takes on certain gameplay elements. You’re still exploring environments, searching for keys and eviscerating demons. However, navigating levels is more straightforward in comparison to the original games. The level designs aren’t quite as maze-like, and while you do need to examine your environment and look for unconventional ways forward in order to progress at times, you’ll almost always have an objective marker you follow that will take you to your target destination. However, there are still plenty of secrets to find if you opt to ignore the objective marker and explore levels as thoroughly as you can, including various collectables and plenty of fun throwbacks to the original games. My only issue with exploration is that there will sometimes be areas where you will be required to platform, and falling into a bottomless pit will instantly kill you and cause a game over, forcing you to sit through a loading screen that’s just a bit too long for my liking. This is more of a nitpick in all honesty, but it’s enough of an annoyance that this was changed in 2016’s sequel, DOOM Eternal, where instead of instantly dying, you just respawn while losing a chunk of health.

Combat is where 2016 differs the most from the originals. Over the course of a level, you will be locked into arenas heavily reminiscent of the multiplayer maps from DOOM’s sister franchise: Quake. These arenas are where a majority of combat encounters are held. You’ll have to survive an onslaught of demons whenever you enter these arenas, taking them out one by one until you’ve ripped and torn your way through them all, after which the arenas will open up and you’ll be able to progress further into a level. I absolutely love these combat arenas, as well as 2016’s approach to combat in general. Being locked into an arena with all of the demons, each of which have their own strengths and weaknesses, creates combat encounters that force you to constantly stay mobile, frantically switching between your different weapons depending on the situation and the demons you’re fighting in order to stay alive. Standing in one place is the fastest way to get you killed in 2016. You need to constantly be moving throughout these arenas, or you will easily get overwhelmed and pummeled or blasted to death by a Hell Knight or Revenant. The combat arenas themselves are also fantastic. They’re designed in a way that makes it easy to learn, memorize, and traverse their layouts.

Another unique addition to combat are the glory kills, which are cinematic finishing moves you can perform on an enemy after doing enough damage to them. While I have seen some mixed responses towards these, I personally love them, and find them to be a big part of why I adore modern DOOM’s combat so much. You can perform a variety of different glory kills based on the position of yourself and the demons, so you’re generally seeing a decent variety of glory kills depending on the situation you’re in during combat. Being able to perform glory kills at all of these different angles really adds to the immersion of combat in a big way as well, as they prevent the flow of combat from being broken. Glory kills are also generally rather short, they rarely take more than a second to perform, keeping them from being particularly intrusive. Though, larger enemies do get longer and more dramatic glory kills, which makes it even more satisfying when you manage to perform one on them. For me, glory kills add such an immense level of satisfaction to combat. Performing one on a particularly stubborn enemy or towards the end of an especially difficult combat arena provides me with unheard of levels of dopamine.

DOOM Guy’s arsenal of weapons sees a rather large expansion in terms of their capabilities. You can tell that they were attempting to give each weapon in the game a dedicated purpose, but unfortunately the balancing of the weapons just doesn’t quite work out that way the farther you progress in the game. The Chainsaw has been changed so that instead of being a melee option, killing enemies with it will grant you additional ammo, at the cost of requiring fuel charges in order to use it. As long as you’re not burning your fuel, you’ll almost always have an opportunity to not only instantly remove an enemy from the battlefield, but replenish any ammo you spent as well. Since ammo management isn’t that big of a concern, once you get the Super Shotgun, the Rocket Launcher, the Gauss Cannon, and the BFG 9000, you’re pretty much set for the rest of the game, and your other weapons feel rather superfluous. The Super Shotgun in particular wound up being a little too overtuned in what I’m sure was an attempt to stay true to the strength of the original weapon in DOOM II: Hell on Earth. It has a wide spray, does a lot of damage and staggers enemies at closer ranges, making it the go-to weapon for almost every scenario. You could honestly get through the entire game with just the Super Shotgun and then using the Chainsaw on enemies to replenish your ammo for it, if you really wanted to.

There are also the new weapon modifiers, granting special abilities to your weapons, but these also are made redundant by the more powerful weapons in the game. This is my biggest issue with DOOM 2016. A lot of your weapons and their modifiers just feel like excess baggage by the halfway point of the game. They don’t serve too much of a purpose, nor do they feel especially satisfying to use. As a result, I find little reason to use pretty much half of your arsenal. Hell, I forgot this game even had throwable grenades until I replayed it, because you never need to use them for anything. Thankfully, DOOM Eternal goes above and beyond to address this issue, but I’ll definitely go into more detail regarding that once I review that game (and I gotta say, I’m hella looking forward to reviewing it).

There’s more of a focus on storytelling in comparison to the original games, in so much as there actually is an in-game narrative. iD’s approach to storytelling in 2016 is interesting. For the most part, it’s there if you want to experience it, but if not, you can ignore it and move on. However, there are still certain cutscenes and cinematic setpieces that you’re forced to experience and can’t really skip. If you are playing to experience the story as well as the gameplay, it’s no big deal, but I can’t imagine the folks that don’t care about the story are especially fond of these unskippable moments of the game. They also can make the game a bit of a pain to replay as a result as well. The story itself is one that suits DOOM. It’s not particularly detailed or complex. It’s simple, straightforward, and easy to digest. There is actually a lot more lore under the surface that’s explored in the game’s codex entries that’s an entertaining read if you take the time to look through them.

Since 2016 primarily takes place either on Mars or in Hell, you spend almost the entire game traversing through red or orange environments, and it can make the levels bleed together a bit in terms of their visual design. There are still elements that make these locations look distinct though, for example, the Mars facilities are a lot more science fiction inspired, whereas Hell more so resembles fantasy, with environments that look like they were ripped straight off of a Slayer album cover. The artstyle of the characters translates the old school designs of the DOOM Marine and the demons from the original games into a modern look very faithfully. The demons manage to look kinda scary, yet they still have that 90’s charm to them that keeps them from being super terrifying. I like the design of the new Praetor suit for the DOOM Marine as well. It’s not my favorite suit (I think Eternal’s blows it out of the water) but it’s not at all bad.

Mick Gordon’s soundtrack, which has received a lot of praise, is undeniably solid, but I don’t quite share the same enthusiasm for it as other people do. Despite Mick specializing in the genre, and despite the fact that heavy metal music has always been a core part of DOOM’s identity, in part three of the DOOM Resurrected documentary, Mick mentions that he was specifically told early on in development that the soundtrack should NOT be heavy metal focused. He only went back and started adding more heavy metal elements to the soundtrack after initial fan feedback. As a result, the soundtrack as a whole is mostly very atmospheric and electronic based, with a lot of extremely bass heavy synths with the occasional opera singing when in Hell. There are a couple of tracks that do utilize guitar, and in my opinion, these are the more standout songs of the soundtrack, specifically Mick’s rendition of At Doom’s Gate which plays as the level cleared theme, Rip and Tear, and of course, the iconic BFG Division, an anthem from this game that I honestly believe deserves to be held in the same regard as all of the other classic and memorable DOOM tracks. The soundtrack as a whole is great in the sense that it suits the environments that you explore very well, but it doesn’t have enough guitar for my tastes.

Revisiting DOOM 2016 for the first time in quite a few years was pretty fun. I’m not going to lie, I kind of really had to hold my tongue and keep myself from mentioning DOOM Eternal more than I already did throughout this entire review. All of the good things that 2016 does are improved upon tenfold in that game. As a matter of fact, Hugo Martin even at one point said during marketing for Eternal that once you play it, it’d be hard to go back to 2016, and in all honesty, he was right, but I digress. 2016 is still an accomplishment worthy of celebration. The team that worked on it went above and beyond their goal of translating the experience of the old DOOM games into something new and modern, while still retaining DOOM’s core identity. It’s exhilarating in all of the ways only a DOOM game can be.

What can I say that hasn't been said about this game like 100 times over already, it doesn't even matter what you think of this game, it's peak. This game has flaws yes, but they do very little to hamper my overall experience, the inverted castle is still the weirdest idea for padding out game time but you know what? I don't even care because the game is so fun to play anyways that I don't mind exploring it. And In all honesty, it's not as bad as everyone likes to say it is.

Symphony of the Night was their first attempt at a Metroidvania and by golly did they ever succeed in that. This is one of the most fun games i've ever played and while it isn't my number 1, it is still goddamn fun to replay over again.