Link to my Arkham Knight Review - https://www.backloggd.com/u/Flameyboy928/review/1419456/

Christ this one is bland. Which is a shame because I love Nightwing and hearing him quip away while beating up Penguin's men is funny but this "DLC" is literally 10 minutes long. Penguin wants to break out of jail, Nightwing stops him, thats it.

Cool to see Gotham during the day time and that one billboard that shows Jim Gordon is the new mayor. Probably the worst of these DLC's.

A few months before this game was released, Yasunori Mitsuda made a blog post saying that he would no longer work with composers outside of his studio. He doesn't mention Sea of Stars explicitly, but considering the feelings he discusses in the post combined with Sabotage's use of his name to promote a game that he only contributed twenty minutes of music to, the experience was likely an alienating one for him. One minute you're a hired hand on a retro RPG, the next you're the linchpin for a set of insurmountable nostalgic expectations.

I lead with this because it's an effective symbol for Sea of Stars' haphazard approach to "borrowing" from its influences. It isn't that Mitsuda's music is better than the rest - although some of the tracks in this are plodding Quest 64 pisstakes that I certainly wouldn't want to be associated with - but that the game tries to staple it and any other homage material onto itself as though the magic will still hold without any kind of context. The fact that the reference exists is paramount; the meaning that the reference supported in its original incarnation is unnecessary. This is most egregious in the empty story, twenty-five hours of plot for plot's sake, and though I won't spoil the game/waste my time belaboring how this fails in its many attempts to emulate Chrono Trigger, I will say that everything from start to finish(es) around Garl is spectacularly mishandled. Expecting me to care about someone named Garl is already an insane ask; making him this insipid and one-dimensional to boot puts the nail in the proverbial coffin.

When the game does step outside of its comfort zone and attempts synthesis or originality, it finds some success. Though I don't love the sickly lighting or the overly busy palettes, this is still an impressive graphical achievement. The first journey across the Sea of Stars gave me a little sensory rush that this medium rarely does anymore. As a mechanical experience, its interesting resource management and strong second act ultimately collapse under its balance issues, shallow growth and equipment progression, and lack of difficulty. The emphasis on combos as a means to round out the tiny movepools falls flat because outside of Mending Light they have no utility beyond breaking an awkward lock. Your best option half of the time is just a supercharged Moonerang anyway, so most combats play out the same way, and boss fights are often too long.

I think this might hit for a young or novice RPG player, but it would also be a shame to start them here when Chrono Trigger et. al. are so much richer and more meaningful. This is mostly just branding-first pay-to-play nostalgia and its rapturous reception will probably look like Kickstarters' remorse after a few years of hindsight.

Developers have long since exhausted the trope of "child trapped in a scary world," yet despite that, Murasaki Baby remains compelling in a way that none of its competition ever was. Simply put, it quite literally puts the child's fate at the player's fingertips. Your goal is to ferry a young girl across screens of hazards by manipulating hazards using both the Vita's front touchscreen and the back touchscreen to cycle through various backgrounds unlocked by popping colored balloons. I find the Ico comparisons to be on-point, as the player must physically guide the girl by the hand via holding and dragging on the touch-screen, taking care not to stretch her arm too far lest she stumble and fall. While the game isn't mechanically complex or challenging, it nevertheless constantly engages the player by gradually introducing more elements that require the player to micromanage dragging the girl and the balloon out of harm's way and switching/tapping the background to progress. The best example of this occurs during the final stretch of the game; after another character pops a hole in the girl's balloon, the player must juggle dragging the girl around, tapping the green background to repeatedly pump air into the leaking balloon, and switching/tapping additional colored backgrounds to flip the stage with the Vita's gyro controls and powering moving platforms with electricity. Though the path forward remains clear, the game demands a strong degree of attention and precision to quickly recognize and solve the game's many puzzles while building the bond between the girl and the player.

Murasaki Baby has unfortunately been more or less forgotten by the public. A slew of technical issues does hold the game back somewhat, as others have reported that saving sometimes breaks down in the middle of playthroughs and a few more (myself included) have experienced crashes. If I really had to nitpick, the game also could have done a bit more integrating all of the Vita's control functionalities into the gameplay (unlike say, Tearaway), as the face buttons/triggers/cameras are never used and the joysticks are used for exactly one exclusive segment outside of the menu screen. While I do feel as if the game was fairly short (about an hour and a half) and wrapped up just when I was beginning to feel a bit more pressured, I'm still glad that I got to try another overlooked title that showed real promise of how far a game could utilize controls to create an emotional and completely new experience. Until the day Astro's Playroom gets a follow-up, I suppose we'll just have to dream of a world where Sony invested wholeheartedly into its hardware and the Vita was seen as more than just a glorified control gimmick.

Decimate Drive is alright. Going entirely off of the premise, this had the prospective for being one of the most effective horror games I'd be able to play. Growing up amidst a handful of cases where friends and family fell victim to (thankfully minor) vehicular accidents instilled in me a profound fear of cars. They're fucked up things, densely destructive machines, screaming hunks of steel and aluminium that instantly alter the brain chemistry of anyone behind the wheel into callous freaks fully convinced in their own invulnerability. Isn't it fucking crazy that you could be minding your own business, walking on the pavement, doing everything right, and something could just happen? All because of someone having a bad day/off their nut/losing control/insisting on breaking the speed limit to shave a minute off their commute? How am I supposed to be normal about that? I've certainly never been. It's tricky business on the Cu Chulainn Causeway, brothers 😔.

The setting of Decimate Drive, being a simple enough premise of going from A to B while under the relentless assault of vehicles in the dead of night is quite literally what I have regular nightmares of, I was interested from the jump. It handles the core pretty well, you're basically just running from checkpoint to checkpoint in the midst of a handful of underlit destruction derbies. Not exactly rich with mechanics or anything, but the game's short runtime and abundance of increasingly fucked vehicle types kept fanning the flames of tension.
There are moments where Decimate Drive hits some incredibly high notes; adept use of lighting and sound design to evoke tension. It doesn't take long for the artifice to set in, however, sharply shifting gear into a game akin to like Clustertruck. Despite the presentation of the game gunning for a sense of realism, the perpetual crashing of vehicles without any visible damage undermines the intensity and unintentionally creates a sense that they aren't putting in enough effort to pose a genuine threat to the player lol.

Ultimately this game pushed me to check in on BEWARE, which I am happy to see is still in active development :)

Issue 13 of the Official UK PS2 Magazine, published November 2001, came with a demo disk containing a handful of levels from the then soon-to-be-released Klonoa 2. Playing this demo tens of times as a wean would be my only exposure to Klonoa 2 for nearly 23 years. Despite Klonoa 1 being a childhood favourite, and a formative cornerstone that had no doubt informed my tastes and passion for videogames; I only managed to get around to Klonoa 2 proper earlier today. I’d have gotten around to it sooner, were it not for the fact that Klonoa 2 was one of a few outlier cases of games that emulated horribly on PCSX2. Fugged to the nines until relatively recent revamps in compatibility were instated. Aptly enough, it was so surreal playing the levels from the demo once again - it all came flooding back like fleeting memories returning to me from a dream fighting to be recalled.

Soberingly, I don’t think I’m anywhere near as red hot on this game as I still am with Klonoa 1. Perhaps K2 had spent too long being gassed up, cooking and stirring in my head as an elusive cryptid. On many fundamental levels I think this is absolutely beautiful work. Demonstrating incredible emotional maturity in its final hours of the narrative representative of a slightly aged Klonoa, through heartfelt writing and vocal performances. A soundtrack brimming with disparate ideas and delivering them w/ confidence, grappling a wide array of influences and energies. For such an early PS2 game, these cutscenes are composited so brilliantly, giving characters illustrative frames to act in, staging the environments in striking ways… we still get things like this wrong!! I particularly love how the camera would move during boss fights, not only tracking the boss’ movements but also working to sell their scale and let them act on the stage! Incredible level design too, making great use of unique stage quirks to impose puzzle-like ordeals - the colour changing enemy was an enlightened addition. Klonoa 2 is the proud owner of an amazing final level, too - a true sum of all of it’s works with stellar level design, and thoughtful use of music and visuals.

I’m less keen on how weak a handful of the stages in the game are, both visually and in terms of level design. I’m even less keen on the repetition the game will impose on you, it’s not enough that they’ll re-use levels at certain points; you’d also need to run a few laps around some levels as you collect keys/activate elevators and such. It’s a bit more draining than it’s necessarily worth, in my humble, made worse due to the fact that levels in this game are wildly long and can be a bit plain. If I had to be brutally honest, I think Klonoa 1 does a better job at conceptualising its levels around its many disparate worlds, wrapping around and winding between the background geometry in a way that makes it all the more satisfying to explore. It would be nice if Klonoa himself had more of an active role in the story than an optimistic errand boy. It stands in stark contrast to the first Klonoa game where he’s incredibly emotionally invested in the proceedings, but I’m sure the plan here was to demonstrate that he’s an older and wiser character this time around, more clear on his Unico-like role in life and letting the world speak for itself. There’s tremendous merit to that and I can’t help but feel more of a relation to a Klonoa who isn’t thrashing out at the world when playtime is over, but I’m a theatre kid at heart I suppose oh god.

Admittedly I played Klonoa 2 in a bit of a goofy way, where I'd finish a level, and then skim a longplay of the same level from the 2022 remaster for comparison. I can only be honest here, but I think both of them have merit! The remaster fucks up the vibes in key locations with awful colour choices, blown out bloom and weird fullbright lighting. The level in sheer darkness, necessitating you to use a limited light resource to be able to see the geometry is ruined in the remaster because it’s already so well lit you don’t even need the light spirits! But I think the additions to the geometry and character models made in the remaster are really well considered, fleshing out the world enough for them to feel closer to realisation without diminishing their overt dream-like quality. My annoying brainwyrms are expertly trained to hate the aesthetic haemorrhaging that occurs from changes and concessions these remasters tend to make, but my ideal Klonoa 2 sits somewhere between the two versions..... (I want to know what the remaster changed the weird Full Metal Jacket cypher into)

Not all heroes wear capes, some wear seriously outdated suits.

It's been a long road getting to this point for both myself and Yakuza's main star Kiryu Kazama. Like many people I got into this series with Yakuza 0 through word of mouth in 2017 and wondered what I had missed all that time. There simply isn't another game series like it. It's a Frankenstein's monster whose separate parts on paper don't feel like they should work but amalgamated together they create something magical. They are serious crime dramas, only they are off beat comedies. They are beat 'em ups yet also adventure games, RPGs and dating simulators. It's all of these things and yet none of them. Not all it's ideas work, when they throw so much at the wall some things don't always stick but without fail for me they are always emotional, hilarious and entertaining.

The series' big selling point to me though is actually it's world design. This series along with Deus Ex made me realise I don't dislike open worlds, I dislike vast areas for the sake of being vast with empty meaningless content, sometimes less is more. Yakuza games are open worlds done right, not gigantic bloated icon maps usually used for those descriptions but smaller denser hubs. Locations have meaning, they have personality, the cities feel like characters in the game as much as the cast. If the game tells me to go to a shop or street I normally know where it is without having to bring up a map. They are full of life, small compact and focused.

Yakuza 6's story follows this same thought, whether it was because this was the first game on the Dragon Engine at the time meaning they cut back I don't know but I appreciated the sharper focus on Kiryu rather than the overly large games before that were getting a bit too big for themselves. Kiryu was really the heart of this game, it's his personal story about his own values and dedication to family. Hard to discuss without spoilers but whilst the overall story wasn't quite my cup of tea generally resulting in some pacing issues it still has some fantastic characters, moments and voice acting. This is partially because Yakuza's cinematography for it's cutscenes are a step above most games to me. The camera angles, facial details and expressions have always been extremely impressive but I truly noticed it here.

Like every Yakuza game the side content is often as important as the linear main story. Yakuza 6 scales back on this too but there is still a wealth of content here I spent a lot of my 70 hours playing through on. Spear fishing in an underwater on rails shooter, building up a clan for street fights in a mini strategy game, helping a small baseball team beat their countryside rivals (I'm not into baseball but this is making me consider some other games for it) as well as the usual suspects like cabaret clubs, video chat dating, mahjong and arcade games. It even has the full arcade game of Virtua Fighter 5 as optional content which is pretty crazy as far as a throw away mini game is concerned.

Honestly except some story beats I just don't have anything negative to say about this game. The combat is a little simpler than some other titles though that doesn't concern me much as the moment to moment narrative beats and atmosphere are the core to the series to me. I started it because I needed to play it to play Gaiden as I skipped from 5 to 7 initially but then had a feeling of regret I hadn't played it sooner as the Yakuza magic took hold of me. I love the world, the characters, the side content, exploring and taking in the sights of the locations. Yakuza as I discussed is a lot of things but to someone who grew up as a Sega fan it really shows to me that they still have that spark that made me a fan of theirs in the first place and may it long continue.

+ Hiroshima is a great new location.
+ Cinematography and voice acting are superb.
+ Baseball, spear fishing and clan fighting are pretty fun side content.
+ It's Yakuza.

- Storyline is a little up and down.

15

(Non-spoiler review, but the third paragraph contains minor spoilers for the second half of the game)

I probably shouldn’t have made Silent Hill: The Short Message my first foray into the Silent Hill franchise, and although it shares no connection to the other entries, I wish I would’ve played those first to be able to give more insight into how well it stands against them, but the damage is done… so whatever! I’m not going to go too deep into this one, as it’s a free—two hour horror game akin to some random steam indie, and I don’t want to spend too much time thinking about this—honestly? Complete and utter fucking waste of potential.

The idea of a self-contained, standalone, high-budget horror game aiming to convey a brutally honest and sincere story of anguish with mental health undertones is brilliant, but the execution is shockingly piss poor here. At times—most times… it feels as if this was written by a film student without a single creative bone in their body. It’s generic, with blatantly underdeveloped themes due to its tight—not even two hour—runtime, and its worst aspect is how on the nose the writing is; throwing constant talking points at you with the subtlety of a sledgehammer. Some people are excusing and chalking this up to how short the game is, and that’d make sense—clearly that’s part of the issue, but it’s still an issue. It doesn’t matter if there’s a reason for a particular shortcoming… a shortcoming is still a shortcoming. And for me personally, if a game is talking at you rather than guiding you through the experience… it becomes exhausting to play. “Bullying is bad”, “Suicide is not the answer”, “Talk to people you’re close to about your problems”, is it me or did I just get transported back to 2017 when Netflix’s 13 Reasons Why released? Like fuck me! Come up with something more interesting to say about such complicated issues. I know this isn’t the best comparison, but a game called Gris delved into similar topics and was substantially more subtle and in-turn meaningful about them—and not only that, it had gameplay that meshed well with its writing and aesthetic to a degree. But that’s on the completely opposite side of the spectrum as people said it felt too abstract; and I guess that’s a line these games have to toe sometimes… but I much prefer the latter.

And it pains me to say all of this, because there are some good ideas at play here. Specifically the whole child abuse angle, I think the game does well to showcase the dread of having to endure a parent’s—a monster’s spiraling mental stability; circumstances continuously worsen until you finally break and all of their mistakes ripple into the rest of your life… leaving you to pick up the pieces. Like a dark cloud hanging over you, chasing you through every step of the way known as life—every loud thud, getting closer and closer; wondering if you’ll ever escape them... It’s a haunting metaphor that the game doesn’t fully pursue, as I’m sure “the monster” is linked more so to Anita’s friend: Maya, as they both share the same sweater—rather than her mother. I suppose the metaphor works both ways. Maya and Anita’s mother are two sides of the same coin, both events drastically propelled Anita’s life into chaos and pure misery; so I think it makes sense if they’re both chasing her throughout the maze, acting as a personification for life itself. But that’s sadly where the positives end. The 15 points I gave has everything to do with that thread. Whereas everything to do with the: “I’m ugly”, “She gets more likes and followers than me” story is woefully inept at conveying anything engaging… at least for me. And I’m not saying real people don’t experience feelings like that—they obviously, very much do! It’s sometimes hard not to when so much of your life is based around seeing the highlight reels of other people’s lives in the form of social media, but a game isn’t real life—and I don’t think it has any business portraying something so mundane with nothing new to say. I genuinely think my personal experience with bullying is more creative, and it feels weird to power scale “bullying”, but fuck me if it isn’t true! You’ll have to take my word on that one though, I am not elaborating further… But that’s pretty much the entire reason why the story didn’t click with me; and so the ending with the clear, hopeful sunrise directly contrasted against the bleak and fog-filled start menu… didn’t feel earned to me. It’s a nice way of conveying an arc of sorts, but at the same time… was it impactful enough to make me care about it? Nope, I can’t say that it was. But that’s not even the worst part… the gameplay is.

I’m not well-versed with walking sims, I don’t think I’ve ever really played one for longer than a few hours. But as far as I can tell, there doesn’t seem to be much here? It’s very linear in the way that the player is literally tasked with going from one room/hallway to the next, to look at notes, which more often than not will trigger a chase section—you then complete it, and the cycle restarts. It’s nothing groundbreaking—in fact, it’s among the most generic gameplay loops I’ve ever seen; and along with all the issues I’ve gone over forms a really dull experience. Its most aggravating aspect are the aforementioned chase sections. These are little “puzzles” that you have to solve by finding the correct door in a maze while outrunning a monster. And there’s definitely something exhilarating about them; running—but seemingly never being able to escape it, hearing those powerful footsteps bang against the concrete floor every step of the way—right behind you, while you slowly open doors and what-not… but when it’s so heavily rooted in trial and error—which it is, it becomes a slog. The final chase is the most guilty of this, because you’re essentially running through countless rooms that all look the same trying to find five random photographs, and if by chance you die then you'll have to repeat the entire thing; and I can’t emphasize this enough… it’s BORING, it’s AWFUL, it’s HEADACHE INDUCING. I had exactly zero fun with it.

The funniest thing by far is that Silent Hill: The Short Message is basically a UE5 tech demo… with the one huge downside being that it runs like complete fucking ass! The FPS go from the high 50s to the 30s very often due to how many assets are on screen. I’m convinced there’s forced motion blur too? But I’ve seen nobody mention this so I can’t be sure, all I know is that turning the camera felt like shit—and I couldn’t see anything. Lip syncing is also terrible, although maybe that’s intentional? Either way, it doesn’t look good and makes focusing on the cutscenes difficult because I’m constantly distracted by its weird visuals. And if this is what the future of UE5 looks like for the Playstation 5… then I don’t want it. I’d rather get a technically competent UE4 game with consistent performance that doesn’t take me out of the experience. I don’t think UE5 is viable for this console generation, as the only way to achieve stable performance would be through very heavy-handed upscaling techniques that we’ve seen plenty of games use so far ahem Jedi: Survivor, ahem Final Fantasy XVI; and both of these are using older engines! So yeah... but maybe on the Playstation 6!

All in all? This game made me want to kill myself.

Playtime: 1.6 hours

Every Game I’ve Ever Played - Ranked (By Score)
Playstation Exclusives - Ranked
Silent Hill - Ranked
2024 - Ranked

Now with the game fully out and having beaten it I can definitely say with full confidence that this is a great game. Turbo Overkill isn’t really a traditional throwback boomer shooter and feels more like a cross between Doom Eternal and Vanquish. The game controls real smooth with a whole bunch of movement options such as your chainsaw leg slide, dashes, wall-running, and grapple-hooking. Like Doom Eternal the platforming is a nice break away from shooting loads of goons. The weapons are all quite nice and I tend to use most of them. A major facet of your weapons is that you can upgrade them with unique alt-fires, i.e. the mini-gun can turn into a flamethrower, the plasma gun can become a microwave gun that hits up to three enemies simultaneously, etc. There’s even upgrades later in the game to keep the early game weapons like the shotgun and uzis very viable. Because the protag, Johnny Turbo, is a cyborg there’s also an augment system where you can get upgrades for Johnny himself, which gives you a whole range of buffs such as getting health and armor back after each chainsaw slide kill, invincible dashes or hefty discounts from the vending machines.

The level design is quite good though in a different way as its more linear than throwback shooters such as Cultic or Zortch, but that’s not a bad thing as it keeps the momentum going and the game is always throwing new obstacles your way. There’s also some vehicles levels that are a nice of change of pace too.

The narrative is serviceable for an FPS like this and the cyberpunk atmosphere of the game is neat. The aesthetic of the main villain, SYN, is also cool where she tends to be associated with TVs broadcasting laughing mouths shrouded in static. Some of the levels in Episode 3 really stood out to me aesthetically as well.

Turbo Overkill is a really fun shooter and it’s definitely one of the stronger ones of the last several years.

I can't believe what I'm seeing: Capcom has finally made a DLC that was worth the fucking money.

Even though it, understandably, repeats locations from Re4: it doesn't even matter. The gameplay loop is so good and the arenas are so memorable that, you know what? I think I will take a tour of the village again. RE4 is the one this works best in as I am always willing to play through RE4 again and again.

you are mostly going through truncated sections of the main game, so you never get into the flow that RE4 proper gets you into, but as bite sized bits of RE4 it is such an excellent package.

I am personally not a fan of what they did with the U3 boss fight, as they abandoned the cool section where you drop him in a cargo container in favor of the less interesting cave battle.

Another issue, and as much as i wanted to be nice about this, I find the voice acting for Ada very tough on the ears. I really tried, but I did my Tomb Raider 2013 strategy of switching to the French dub to put some distance between myself and the voice overs. Also, I am so fucking sick of Albert Wesker. He is just nothing. To be fair, every Resident Evil character not named Leon is a total fucking nothing, but the neverending doofus wars of Chris Redfield and Albert Wesker are just an anchor around this series.

I think this is an excellent companion piece to the already excellent RE4 campaign, and is actually GOOD. After playing total fucking dogshit like Shadow of Rose and Not A Hero it is like a gift from God In Heaven that one of these DLCs that I always fall for is not only good, but REALLY good.

Also, unrelated note, but I played this with the mod that replaces Ada's clownish default outfit with Regina's outfit from Dino Crisis. I am always chasing the high of a Dino Crisis game that isn't a total fucking bore.

Reminded me of the original Assassin's Creed games, for all the good and bad that entails. Clothes still clip through character models, physics is still janky and Basim will fling himself with the utmost confidence to his death even though that was not the direction I was holding on the analogue stick to jump in.

Ostensibly trying to capture the flavour of the first AC game, this was a nice nostalgia trip but also reminded me how tedious the original game's gameplay style could be. The game has a very strong beginning and end, but the entire meat in the middle gets boring and repetitive very quickly. There's very little mission variety, and the targets you take down in this game feel largely inconsequential for all the work you have to go through to uncover them. Thankfully, the experience is about as long as the first few games as well, so it doesn't overstay its welcome.

The environment, Baghdad, is honestly one of the most lacklustre settings in the entire franchise as well. After the visual treats we got used to with Origins, Odyssey, and certain parts of Valhalla, the bland desert and brown buildings of Baghdad feel so ugly and wonderless. There's also very little side content to explore - a grand total of 6 side missions, a few obligatory collectables, and some contracts that serve no real purpose other than to pad out the gameplay as a lot of them take you back to areas you explored as part of the main story.

Overall, I certainly didn't hate the game, but I did feel the story was not substantial or engaging enough to truly enjoy the experience. It felt more like a lesser spin-off title, not a mainline game in the series. I do hope Ubisoft continues to deliver these kinds of throwback titles with the original gameplay style going forward, but I do hope we get some bigger titles as well, as exploring the environments in the last 3 games was honestly a lot of fun. I also hope they hire some good writers because the stories have honestly been mid for the last few entries in this series. Origins was the last genuinely engaging story that we got and I hope moving forward we can get some actually meaningful stories from the series again.

riddle me this shatman, what do you get when you combine intelligent systems(fire emblem, advance wars, paper mario), saru brunei(a defunct company that had like 4 games planned but none released but a handprint left on this), and atlus(etrian odyssey, Oh My God!, Karate Kid NES, and that one relatively unknown franchise that i think is about jesus or something, who cares)
as a publisher
with the thumbs up by nintendo

you get.. ...

THAT!...

I GUESS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!................

cubivore is immensely fascinating to me as a game because its position as a video game feels like something id play in the twilight years of Roblox before the economy would crash and tix would get axed, but robust (ENOUGH) to feel like it wouldnt Exactly fit in with roblox games. I mean this in a complimentary way ofc,
This game has you going through a variation of a reincarnation mechanic where after your character eats and eats and eats to be top of the food chain and wind up having a huge animal orgy to create a sort of Junior Offspring type fucker to carry on as with a bit more capacity to DO shit

the bulk of this game aint around the environments really but the silly nature documentary esque writing, some of the scoreee and even the weight and feel it is trying to tough it out against enemies thatre bigger than you anD OH. MY. GOD. there's a lot of fuckers thatre gonna be bigger than you out here.... you cant even technically SEE the last bit of content this game has to offer unless you get atleast 100 diff transformations/combinations in this game otherwise unless you lock-in and channel ur inner apex predator i guess...
My saves got fucked up for this though! so even though id already gone through numerous cycles, I feel as though thats close enough. if u dont? thats okay, because i think of 800 games ive played before this i think i can forgive myself for going off a technicality for a game that ultimately got really frustrating by the end and taking a pretty good bit to actually get all my shit in gear for again.. and again.... aaaaaaaaaaaaand again

final thoughts: its a pretty cool survival strategy game COMPLETELY diff from anything atlus OR intsys has ever done really, uhhh its gonna cost u and arm and maybe your kidney to get this shit complete in box, definitely a white whale thing to collect and im sure as shit not gonna be up on those seas hunting it but I enjoyed it ENOUGH to tell you to get up on Dolphin and enjoy it if any of this sounds like your thing :) later bitch