2015 was an insane year for video games, I need to stress that. Witcher, Metal Gear, Batman, and Fallout! So many big names, so many hits! How does this one stack up?

Not too well, I’m afraid.

The first time I played Fallout 4, I was impressed. Improved combat, fresh factions, a great score and atmosphere, and the added settlement system added up my playtime quickly. However, there’s a fly in the ointment - like many Bethesda titles, it’s fantastic on first contact and deteriorates with repeated playthroughs.

Fallout 4 is too streamlined, too smoothed over, and lacks the defining bumps or characteristics that made New Vegas and 3 stand out. It is the ultimate Bethesda game - most of the series’ RPG elements have been stripped clean, the main story is lacking, and the whole experience has been thoroughly idiot-proofed. The majority of quests are kill/fetch errands, and dialogue is relegated to four options. Honestly, it feels like the game plays itself half the time. Let me explain.

Nate will ask an NPC what’s up. The NPC will explain, Nate will respond in the attitude of choice, your companion will like/dislike it, and then you take the quest. Rarely is there ever a branching path or second option, it’s just a straight line. Characters rarely sound invested or urgent in dialogue, it’s just two people droning lines at each other. I’m not someone who hates the idea of voiced protagonists, but it requires a tremendous amount of talent to get it right. This goes doubly so for an RPG, where playtime will be in the tens or even hundreds. Nate and/or Nora don’t cut it for me, it’s just an additional sting for how bland the dialogue is. The one part of the dialogue system I do enjoy is how it interacts with your companion. Companion comments breathe a bit of life into the game, and make you feel like you’re not alone on the dull journey. The system built around them is a positive addition: learning their likes and dislikes over time is neat, and I think each one fills a niche that ensures that everyone will have at least a favorite or two by the time they finish the game. Nick was a big one in my first run, and Codsworth rocked in my second. It’s reminiscent of the first Dragon Age, though I think it’s done better there.

Like its forebears Oblivion and Fallout 3, the atmosphere and soundtrack is top-shelf. I don’t have any complaints about 4’s sound design, it’s remarkably solid all around. There’s a high level of detail in the presentation, with distinct sounds for every interaction, weapon, and general circumstance. I appreciate how there are distinct markers for loot containers, adhesives/tools for red boxes, drugs for blood-stained yellow ones, etc. There’s a language to scavenging that works here, and the settlement system purposefully connects to it. I played on the hard difficulty and had a fun time in combat, as it plays suitably different from normal. Using landmines and other traps is incentivized, as even your best weapons can have trouble putting down tougher foes.

Even in recognition of its few merits, the game’s skill system puts it all to waste. Gone are the days of allocating skill points and passing skill checks. In Fallout 4 you can be 20% better at something, what joy! Snark aside, its construction is a terrible pity and the reason why I chose to write this review in the first place. By removing skill-stacking, specializing, and instead focusing on perk points, the game attempts to foster a “one more turn” feeling, only to fail due to a crucial fact: the content in this game is slop. MMO-tier quests, stilted dialogue, awful story. What’s the point of chasing those perks if the only path to get there is so boring?

Imagine making your failsafe faction route composed entirely of radiant quests headed by the most annoying fucker in the whole game. That’s The Minutemen. The settlement system stapled to them doesn’t help in the quest department, as every quest is the same. Go here, kill that. The Brotherhood is almost different until they pull out Liberty Prime for the finale, which is a big disappointment. After hearing the game’s radio stations reuse songs from 3 on repeat, seeing the game rip plot points at the finish line felt like salt on a wound. That simile is an apt descriptor of 4 on the story side, as any attempt to draw into it deeper than surface level leads to unending pain.

It feels a bit mean to end my thoughts on Fallout 4 with the idea of “unending pain”, but really, it’s to be expected. 4 is the red-headed stepchild, perpetually damned with faint praise and loved for its DLC alone.

… And Nick Valentine. I think everyone loves Nick Valentine.

I was looking forward to this game as I downloaded it alongside Hellblade 2 from Game Pass, but it just ended up being very disappointing for me. So I'm not a huge Warhammer 40k fan or anything, but I do love boomer shooters and the idea of one set in the Warhammer 40k universe sounded like a match made in heaven to me.

Unfortunately this was just not for me. The sound design is excellent and the guns feel nice and weighty when you fire them. The problem is the mission design is very boring with you just collecting keycards, which yes is a staple of the sub genre, but like I need more than that at this point. Sure I don't mind the odd keycard objective here and there, but some variety is needed. About the only other thing the game does is just have lots of horde mode sections where you are locked in a big room and have to fight waves of enemies, which again is another staple of the genre, but they throw TOO many enemies at you. It's hard to dodge bullets when you're essentially a walking tank and there's enemies spawning all around you and hitting you from all directions. I had to switch to god mode in some of the sections as I just couldn’t get through them and I was playing on medium difficulty. You can say skill issues on my part, but I just say it's bad difficulty balancing.

What killed it for me though was the level design, which looked great visually and I love the game's art style, but it's very easy to get lost in them. My breaking point was when I muted the game's audio so I could listen to a podcast while playing (I was tuned out at that point), finished another horde mode section and then spent 20 minutes wandering around, with no idea where to go next. At that point, I was done.

AND NOW I FINISH!!!

Yakuza like a dragon (which from now on I'll just call Yakuza 7) was a game I had for a while but never got around to finishing. It was actually my first Yakuza game I got on PS4, and I went in assuming it was a spinoff due to the new cast, setting, battle system, and the fact it wasn't a numbered entry on the box. So a reveal 2/3rds into the game that it did in fact tie into the main series combined with that part having an insane difficulty curve meant I never finished it. But that changed, and god damn, this might be one of my all time favorites.

The game ditches it's main cast for a new character, Ichiban Kasuga. And this man is an absolute legend. He's a bombastic goofball ready to help out anyone regardless of their current reputation, seeing the world as a Dragon Quest like fantasy for the hell of it, as he comes into his own with the help of a team of great characters as he uncovers the mystery behind a set of betrayals in his life.

And the main story is great. The new Yokohama setting and it's unsteady peace between rival factions leads to a lot of interesting conflicts, especially as more and more secrets collapse into a final conflict that had me greatly emotional by the end, even if the story falls into the usual Yakuza writing traps like giving a hint certain villains will redeem themselves only for them to die later (you know the part I'm talking about, and it's possibly the worst example in the series) and having themes of standing up for oppressed groups only to have you fight against the homeless people you stood up for ten minutes ago. The game also leans into the Yakuza wackiness in it's main story much more than in previous entries, and for the most part it pays off, managing to be serious when it needs to be with some real emotional gut punches. The other party members are also great, with all of them having great arcs (even if one gets resolved in a post credits cutscene) minus the optional party member who's just a real nothingburger of a character.

And one of the big things about this entry is the turn based combat, which is...fine. The moves all have the impact they need to feel satisfying to land, but the game is insanely easy minus the massive curve I mentioned, and another fight later on (although that one is also really easy to exploit) as well as the fact I didn't really feel the need to experiment with the job system, just picking a job for each character and sticking with it for the game. Also, finding decent weapons for some jobs (enforcer) is really obnoxious. And it's not long before you have a party and just spam the same moves through every fight (turns out all those villains could have thrown darts until they took over crime syndicates this whole time, who knew?)

But what I think this game does better than any Yakuza game is side content. The main way to get money like the Y0 real estate is a business management sim, which is pretty in depth as well as really fun, especially the part where you bring a chicken to a shareholder meeting and it becomes the MVP of the whole side campaign. And the game also has the best substories in Yakuza. The Korean actor, the ghost one, the Baby formula one, all amazing. Especially due to the new summon system allowing you to bring these characters back in really fun ways.

So yeah, one of the most enjoyable games I've ever played, and I'm so glad it started my journey through what is possibly my new favorite game series. Hopefully soon enough I can get a good deal on Judgment and IW, because once I do, I'll be ready.

Such a based game.
Many games released in 10s tried too hard to do this "this game knows you exist" thing which eventually became so overdone that many good examples of that trope now can only annoy you. However I think The Magic Circle is an exception that stood the test of time, mainly because this "meta" thing serves the narrative purpose and translates the main ideas of the game really well. Bad and arrogant creators drive their games into development hell on the one side and crazy fans and gamers act entitled believing they are owed something on the other. Still relevant today, just as it was in 2015 and years before that. And the gameplay is great, almost forgot how fun the main mechanic.

As a Mega Man fan who is playing through the Castlevania franchise, this was a nice little surprise. A parody spinoff of Castlevania puts you in the shoes of the long time antagonist, Dracula, when he was a child has you jumpn' and shootn' Mega Man style through levels with a boss usually waiting at the end.

Other comparisons to Mega Man is the fact when you defeat a boss at the end of a level you get a new weapon in the form of a charge blast, that you are able to switch. Some of these charge blasts are homing attacks, explosions or even the ability to turn you into a bat for a short period. The only other thing the gameplay does to really differentiate itself from Mega Man is the ability to shoot up (which if Mega Man could do, he would be so OP).

I do wish this game had the structure of a Mega Man game where you could choose your level order, considering bosses do give you weapons this time around, it would have been cool to find an order that gives you your favorite weapons first.

Level wise, the design is more focused on shooting enemies then platforming. There are a handful platforming sections but nothing too hard or stressful. You won't get the disappearing blocks over a bottomless pit type of challenge. Some of the level themes are cool as they take some of the designs from Castlevania and "kidify" them in artsyle. The first level itself is a straight up recreation of Dracula's castle from the original title and it was so cool reliving it. Other levels are more typical levels you'd see in a platformer like the Ice stage or Desert stage - not bad but nothing too great and original either.

The game difficulty is very fair for a NES game and Castlevania game nonetheless. Someone with decent experience with NES platformers should be able to beat this in one sitting with a good level of challenge.

I liked this little fun break from the rage inducing early Castlevania titles, especially as a fan of Mega Man this is a solid MM clone and treat.

Have you ever watched a film or a TV series, read a novel or a comic book, or played any type of video game that was so fucking mind-boggling & completely insane that it literally just becomes one of your main interests for a long time and doesn’t leave your head for a single day? For me, that term belongs to none other than Killer7.

For starters, Metal Gear Solid 2: Sons of Liberty is one of my favorite video games of all time, and it’s not just because it has such a well-written story, but because of how relevant the game is in today’s time with its themes, the narrative, and everything it talks about, as well as the fact that I played it during one of the lowest times of my entire life, so you can tell how much it means to me as a person. Ever since I played it well over a bit of a year ago, the game just hasn’t left my mind since I finished it, and for many months after that, I continued to play several games, and as good as some of them are, NONE of them managed to capture the same exact profound nature that Metal Gear Solid 2 did.

That was not until I completed Killer7 on December 28th, 2023 at exactly 2:33 PM where I found a game equally on the same level, if not even crazier. And, to this day, the game has not left my brain at all, and I will remember it till the day I die.

Suda51 is an interesting case for me, as the only game of his that I played before Killer7 was No More Heroes. While at the time, it was pretty cool, there was nothing TRULY outstanding about it that proved to me why Suda was considered one of the best video game developers on the market (PS I take this back now NMH is one of my favorite games lmao), but Killer7 felt as if it uplifted literally everything good about the video game medium and took its own spin on it which no other video game could possibly recreate. It’s almost like if he sniffed 10 pounds of cocaine before he would go to the studio to work on the game, and the insanely absurd nature of it all further proves that.

The narrative and the overall story are what I found to be the best parts of the entire game, as I was literally hooked from start to finish, even if I could not comprehend whatever I fuck I even saw. Like, the whole plot revolving around Japan’s role within the circle of US politics and how Harman’s never-ending fight with Kun Lan serves as an allegory for the conflict between the East & the West just goes incredibly deep, and it also has one of the better portrayals for how terrifying some of our world leaders really are. Outside of all this, you even have the smaller storylines within the game, including the whole Blackburn subplot where we got to see more of the entire idea of sick individuals with how they can easily go unnoticed whilst bigger issues overshadow any problems that we might have with them, and there is just more and more to talk about in regards to the full story of the game which I still did not get a full grasp of.

The game also has one of the best forms of gunplay that I have ever seen within a video game, as it’s not too repetitive, not too crazy, rather it perfects the formula of how guns should be used in a combat system, not to mention the way in which every Smith has their own balance with how you use them. Also, the whole linear structure that forces players into following one set route is brilliant, and fuck the people who think it sucks, because it absolutely rocks, more so with how it literally reflects on the game’s message that the world just doesn’t revolve around you, and that in the end, it will just be the same outcome, no matter what we do. If anything, there are so many things to get out of Killer7’s messages, and this is one of the many that benefit the game in its entirety.

I obviously can’t complete this review without talking about the art style, because holy shit, it’s so clean & stylish that it's genuinely amazing to just look at and see how vibrant it is. Like, how did we reach a degree of style so well during the 6th generation and completely fucking fall off with the 8th-9th generation of video games being mostly over-realistic AAA movie games that are almost completely devoid of any sort of substance? Like, there definitely are some amazing games being released within this period of time, but otherwise a lot of them just don’t hold the same level of creativity or imagination as what we got around twenty to thirty years ago.

I don’t think that video games as a collective medium will ever reach something as insane as Killer7 ever again, and this is truly just one of the best works of art I have ever had to experience. As of right now, there is quite a long way to go in life for me, but truth be told, I will always remember this game, as both it and a few other of my favorite games have become my primary inspiration for writing online about all of my interests.

“Harman, the world won't change, all it does is turn. Now, let's dance.”

Omne... save me...

BAYONETTA 2! Oh, where do I begin? Well, lets start AFTER the release of Bayonetta 1. After Devil May Cry 4 disappointed several folks (although I think its a solid game so far), Bayonetta rose from the ashes to create a legitimately great alternative for the character action game fans out there. Almost everyone loved Bayonetta when it dropped, critics, fans, dogs and cats, everybody. So it’d be a no-brainer to make a sequel with an even grander scope. This is also the first of the followi ng two titles in the franchise that were funded in part by Nintendo, and thus, are Nintendo-exclusive. No PC, PS4 or Xbox One version in sight. It's not an unexpected move, as Nintendo did fund the project after all, and hey, like I said, emulation is free. So, while the exclusivity did sting a little, it made sense. And, thank the lord, Bayonetta 2 looks and runs phenomenally on Wii U and the 2018 Switch port. It's a big step up from the Xbox 360 and- ugh, the PS3 version. You know, the one with a 30FPS cap (sometimes not even reaching that) and sub 720p graphics? That was a fucking mess. But with Bayonetta 2’s release on Wii U and Switch, they went out of their way to port Bayonetta 1 as well, and if you bought Bayonetta 2 physically, you got Bayonetta 1 for FREE! A great move by Platinum, and hey, the Wii U version is pretty good! Overshadowed by the subsequent versions, but there's some all new Nintendo-fied costumes. Bayonetta made the most graceful transition to the Wii U possible, but that’s to speak of the quality of Bayonetta 2 itself. Because, truth be told, Bayonetta 2... is AMAZING! Bayonetta 2 kicks off even greater than Bayonetta 1. After festive lesbianism occurs, the first level kicks off with Bayonetta and Jeanne riding on fighter jets. Show this to anyone who doesn't know what the hell Bayonetta is and watch their faces change and shift, as random shit just happens. But it’s a joy to watch. The cool shots, Bayonetta jumping up to the sky naked, uhhhhh yeah it’s GOATED. And when Moon River starts blasting, you KNOW your girl is back and better than ever.

Bayonetta 2 retains a majority of its predecessor’s systems. Like Bayonetta, the delay based combos return. For a quick rundown, punching, waiting, and then punching again results in a different, stronger combo compared to 3 punches in a row, with this philosophy applying to a majority of the combos. Spam is discouraged, therefore creating the perfect skill curve with combat. That was great about Bayonetta, and I'm glad to see that it returns in 2, however, Bayonetta 2 adds a new mechanic to make these awesome combos easier. The Umbran Climax is a rather controversial mechanic within the community, to be honest. But damn, if I can't help but absolutely love it. At the cost of a full magic meter, all of your attacks become souped up Wicked weaves, and tearing down a crowd of enemies never gets old to me. But I can't help but feel it's pretty unbalanced. Yeah, that's kind of the point, but I can't help but feel that it's a bit too braindead for my tastes. While the delay based combos are still present with Umbran Climax, they’re much less useful given the clear benefits of a strong AOE presence, so you’re incentivized to keep spamming attacks, because Umbran Climax only lasts so long. One last nitpick, taking damage while in Umbran Climax needs to have a better indicator. You don't take knockback during Umbran Climax, so it's usually hard to tell when you take damage. This only gets somewhat annoying for scoring purposes, but it's whatever if you're playing casually. I’m not saying to make her invincible, but some kind of score mitigation would be pretty nice. I'd also like to note that Bayonetta herself is also slightly weaker than the prior game to compensate for Umbran Climax, as well. To be honest, it’s not really noticeable in the game to game action, but Bayonetta does slightly less damage overall, including her Wicked Weaves. Adding onto this nerf is the ability for enemies to block attacks, which is something that I was surprised wasn’t in the original game. This keeps the player on their toes, and I really like how Bayonetta 2 still attempts to throw the player off at certain points. One of the better additions in Bayonetta 2 is the weapons.

Sure, weapons were in the original Bayonetta, but Bayonetta 2 greatly expands on this mechanic, as most of the weapons are cheaper and easier to get than ever before. I'm sad to say that I was never able to use the awesome chainsaws in Bayonetta 2, but the rest of the weapons are pretty great, at the very least. I really loved the Dual Swords at first, because you can charge it up and do an oh-so powerful slash straight through your enemies. But once I got the 3 Pronged Scythe, that’s all I used. At least on my Hands, because with my feet, I still wielded the Swords. The Scythe is awesome, if you hold it out for a bit, you shoot out 3 projectiles out of the Scythe a devastating attack for most foes, and it’s also fast as fuck, one of the best weapons in the game, here. I never took a liking to the Bow, as ranged combat in Bayonetta is pretty lame in my opinion, but the Flamethrowers were neat, and the whip is incredibly strong, too. Because of this, the combat feels a lot more dynamic and diverse, adding to the already high variety of Bayonetta 1. Also, can we talk about the improvements from Bayonetta 1? The bosses feel much improved here. No longer are they just massive moving hurtboxes, they actually feel a lot more fun to fight here. With Umbran Climax, it’s a lot easier to turn the tides in your favor, and the bosses feel so much more dynamic here. From flying in the sky, to surfing on a piece of board, Bayonetta 2 never stays in one area of gameplay for long, although there is a slight problem with Bayonetta 2’s combat. It’s highly reliant on Witch Time. Now, I love Witch Time as much as the next guy, but having it be almost mandatory to survive took a lot of the fun out of it. Nailing that perfect dodge was never necessary, but it was fun because it felt like a massive “up yours” to the enemy for being aggressive. Bayonetta 2 exhibits a similar feeling, but to a slightly lesser degree, as Witch Time is required to dodge certain attacks. It’s not too apparent, but it did feel a little lame when I noticed. But overall, Bayonetta 2’s combat is just as strong as beforehand, just like the fantastic enemy design of Bayonetta. It definitely has it’s issues, but yeah, this is great! But if there’s one issue I can point to with Bayonetta 2, it’s undoubtedly it’s difficulty.

The biggest disappointment is Bayonetta 2’s very low difficulty. Bayonetta was a very difficult game for newcomers, but very satisfying to master. Bayonetta 2 feels pretty tame in this regard. The difficulty has seen a severe drop from Bayonetta. I’d say Hard Mode Bayonetta 2 is more comparable to Bayonetta’s Normal difficulty. But there also lies an issue with Bayonetta 2’s score system. ITEMS. In Bayonetta, using items was a travesty upon your rank. It counted as a Death, but Bayonetta 2 entirely removes this aspect of scoring, a dumb as hell move in my eyes. Healing is fine to not count, as there’s a damage rank anyways, but being invincible, or super powered, or UMBRAN CLIMAX for free should absolutely be punished by the game. Sure, it definitely sucked to get Stone Ranks all of the time in Bayonetta 1, but it felt equally as great to do everything perfectly and get the Gold Rank. With Bayonetta 2, very rarely did I get anything below a Silver Rank. Does improving as a player have anything to do with that? Yeah, maybe. But even then, I made frequent use of items and still made it out with the game congratulating my for my efforts. In my opinion, for this to work, there either needed to be a significant item nerf, or items need to be made waaaaaay worse. But thankfully, the final boss is still just as difficult as ever, and now that’s my cue to to talk about the endgame

God, Bayonetta 2’s finale is almost perfect. No dawdling over some stupid, unfun Space Harrier clone, no boss rush, just constant, non-stop action throughout, and I love it. Rather than your typical boss rush, in Chapter 14, they go to the past, with you controlling a mech, and it's not just a fun distraction either. It still retains all of the same, delay based combos that Bayonetta has. Rather than changing up the gameplay style non-stop, they instead add to it, making Bayonetta 2 an incredibly focused game. The level design is so much more wider and expansive, encouraging exploration, but never slow down one bit. And this applies to the final boss, too. Like Bayonetta, the one on one fights with the Lumen Sage lead up to the final chapter, where another one on one fight commences before the second phase. And when the true phase kicks in, the fight against Aesir, it’s awesome. It’s another one on one fight, and for once in it’s runtime, Bayonetta 2 actually gets pretty damn difficult. I actually died a few times here, and I like that higher difficulty. But of course, like Bayonetta 1, a giant hair god, OMNE!!!!!, with womanly proportions (god, I love this game) is summoned, giving Aesir the good old Wizard’s Foot. Okay, last Smash Bros joke, I swe- SUDDENLY, JEANNE! Riding on a goddamn plane, too. She finishes the deal. summoning another hair demon, and fast forward a few months later, MORE Festive lesbianis- SUDDENLY, PLANE! AND ANGELS! Well, you know how this ends. LET’S DANCE, GENTLEMEN!


Despite my qualms with Bayonetta 2, especially when it comes to higher level play, Bayonetta 2 is a more than worthy sequel to the original. Each time I turned off the game, I wanted to hop back in as soon as possible, because the game is THAT good. The greater depth, the incredible visuals and music, and the awesome as hell combat left me satisfied and clamoring for more. It's hard to look at Bayonetta 2 without comparing it to it's elder sister, but I think it's a toss up as to which one I prefer. As a casual player, I found Bayonetta 2 to be a lot more inviting, but Bayonetta's high difficulty made me incredibly satisfied when I completed it. It's a very tough choice, especially as someone who's seen hardcore Bayonetta players compare it to the first game (completely understandable ftr), but I have to give the very, VERY slight edge to Bayonetta 2. Sure, it may be easier, but it's far from braindead, and the difficulty is more than made up for with better gameplay. Hell, that's my opinion, though. At the end of the day, I still love both of them equally, and I recommend giving each a playthrough for sure. Once again, a must play.

Well... the Bayonetta series has been going pretty well, but that positivity ends with Bayonetta 3. Spoiler alert, but if you've been stalking my log, you know I gave it a 5/10, and I have a LOT to say about it. Nothing good, though. So, yeah. Welp, I'mma get back to writing it. But I hope you enjoyed this review, it was a little delayed, but most of that time went into Bayonetta 3. So I hope you look forward to that, so in the meantime, I'll see myself out. Thanks for reading, and I'll see you later.

Going into this, I had the expectations of a typical retro modern "remake" of the era. You know the type, where it is fairly faithful to the game it is recreating, but uses ugly 3D models for a 2D platformer that strips the original soul the game had while also not getting the controls and physics exactly right thus somehow still not making it the best version to play.
I am happy to say that Castle of Illusion is not that type of remake, but something closer to a remake that takes advantage of the eras Tech to truly make something that enhances the original experience, but also gives it it's own identity to not replace the originals. Something akin to the Resident Evil 2/4 remakes.

Right off the bat, the game is gorgeous. I did not expect a remake from the PS3/360 era to have this much detail, effort and soul in it's artstyle. The original game on the Genesis has some of the best backgrounds and sprites on that system, and somehow the team at Sega Australia lived up to it using their own modern style. As you platform your way through the colourful levels, everything is oozing charm. Even the backgrounds have things happening such a seeing the boss of the level sneaking around, doing their thing. It feels like an alive world and that is very impressive for a 2D platformer.

While mentioning this is a 2D platformer, the game brings it's own unique spin by having 3D platforming sections that work just as great as the 2D sections switching seamlessly between both perspectives like a modern Sonic game. The levels are not a 1-to-1 of the original, but something a bit more remixed while retaining all the aspects that made the original levels memorable.

The gameplay itself retains that fun bouncy Ducktales-like gameplay the original had, yet somehow made it even tighter to play.
All the setpieces from the original are here, such as the part where you need to run away from the giant apple. But this time these set pieces are now remixed into their own big budget cinematic parts of the levels.
Bosses get the same treatment, where in the original they were fairly quick and easy to beat; here they have their own big segments now that make them so fun to fight. They are closer to a boss from something like crash bandicoot.

It is a short game, but feels like biggest budget short game ive played, and I highly recommend you play it if you are a fan of platformers. Get it on steam if you see it on sale, because you'll definitely get a bang for your back. I wish Sega continued remaking these with the other Illusion titles because if they kept this quality up, it could have been the best bunch of remakes we have seen in gaming.

Sonic the fighters is a game that is just so fun and stupid that it kind of works. The gameplay still holds up and can be quite tricky on some of the stages. The game is also SUPER short so I don't really have much more to say. One last thing though, I think they should make a new sonic fighting game because I had fun with this and I'm just imaging a game with an arcade mode and a 5 hour campaign and online. I think a new sonic fighting game would have a lot of potential and I hope SEGA decides to actually do anything besides yakuza.

I am a big fan of the phrase “If it ain’t broke, don’t fix it”, and having this mentality when it comes to making anything is usually the best to have, but at the same time, sometimes the product in question, like a sequel to a popular video game, needs to have a little kick in the ass, or one or two changes here or there, to really make it feel justified in its existence. This can directly be applied to Final Fight 2, which in all aspects was still a good game, and a decent follow-up to the original game, but it introduced pretty much nothing to change up the gameplay from the original game, which could be good for those that loved the original game to death, but for those that didn’t, it wouldn’t give them much of a reason to seek that, or any of the other FF games, out. But hey, the game still sold pretty well, so it was naturally gonna get a follow-up regardless, and we would get that follow-up just two years later with Final Fight 3.

I was actually pretty excited to come to this game, cause it has been quite a bit now since I last played one of these games, and I was curious to see how this one would turn out. I didn’t think it was necessarily gonna be too special, but I have been in a big beat-’em-up mood lately, and I was curious to see if they were actually gonna do more with this rather than just being “another Final Fight again”. So, I played through the thing, and as it turns out, it is just another Final Fight again!......... but only kinda. It does feel like somewhat of a proper follow-up to the previous games, since this one does actually offer some new additions compared to the previous game, but most of it is still your typical Final Fight beat-’em-up action, which is all good for me, yet it could be tiring for others.

The story is fairly straightforward, where after the defeat of the Mad Gear Gang in the previous game, the streets of Metro City have grown rampant with crime groups terrorizing the place, with the new Skull Cross Gang taking over as the dominant gang of the city, leading to a large riot being started in the prospect of taking over said city, so it is up to Mike Haggar and Guy, along with newcomers Lucia and Dean, to set out to defeat this new gang once and for all, and to save Metro City once again. Once again, it is a pretty straightforward story, one that we have seen plenty of times in beat-’em-up games, and like with most beat-’em-ups, you don’t need that complex of a plot to go out and start kicking ass all over again, so it is fine by me.

The graphics are good, looking almost identical to that from the previous two games, yet having just enough differences when it comes to the character sprites that you can at least tell something has changed….. barely, the music is also good, having plenty of decent tracks throughout, but nothing that is gonna get me raving and bobbing my head like the tracks you would hear from Streets of Rage 3 (random example, but it works, cause beat-’em-up), and the gameplay/control is pretty much what you think it is if you have played any of the previous Final Fight games, with there being some new additions sprinkled in to spice up your Final Fighting, but it is pretty much another Tuesday for fanatics of the genre.

The game is your typical beat-’em-up romp, where you take control of one of four characters, but if you know me at this point, you already know that I am gonna play as Mike Haggar, while refusing to play as anybody else for even a fraction of a second, go through six different levels through many different locations throughout Metro City, beat down a seemingly endless horde of thugs from the Skull Cross Gang using a plethora of moves at your disposal, gather plenty of weapons to help lay the smackdown on your foes while also gathering plenty of food and point items to assist you along the way, and take on plenty of big, beefy bosses that are relatively easy to defeat, just as long as you don’t mind the giant health bars that a lot of them have. You know the drill, ya punch people, they die, and you can have even more fun punching said people with a buddy, which is all well and good in my book, even if I wouldn’t be so quick to try to get anyone to play this with me, especially if they have already played any of the other Final Fights.

New to the series in this game is that now, instead of having the basic movesets that we have had, we now have additional moves that you can pull off while facing opponents, such as a dash manuver, a charging attack for that dash, throwing attacks, and unique techniques that can be performed for specific characters. This doesn’t change up the gameplay too much from what you are used to, but it is enough to make this game feel like the series is progressing forward, giving the player more to work with and making for a much more fun and versatile experience, so I can definitely appreciate that. Also new in this game is the addition of Super Moves, which pretty much work exactly how they would in a Street Fighter game: you go around, beat dudes up, and when it is charged, you enter a button combination and use it to absolutely ANNIHILATE an opponent. I didn’t really use these all too often, cause the difficulty wasn’t extreme enough to the point where I felt it was a necessity, but it did come in handy against plenty of boss fights, so it is definitely a much welcomed edition.

Now, for this next new feature, I have to ask those Final Fight 3 experts a question real quick….. am I a fucking idiot? Cause I didn’t notice this shit at all when I was playing the game. Apparently, according to what I have read online, there are multiple pathways that you can take in the game, to reach new areas and potentially hidden goodies, but I for the life of me didn’t see that at all in the main game. Yeah, I know there are hidden bonus stages that you can find in order to get more points, but most of the game seems like a clear straight shot from beginning to end, just like with the first two games, so either these branching paths are really well hidden, or I am just incredibly stupid. I will let you all in the comment section decide for yourself why it is the latter option rather than the former.

With all that out of the way though, most of the game is still your basic beat-’em-up through and through at the end of the day, meaning there isn’t really that much here for you to be excited about or want to try out if you weren’t too big into the previous two games. Yeah, the new moves and branching paths do make the game more fun and replayable, but in an era were there were already so many different beat-’em-ups out there, this one doesn’t do anything to make itself stand out from the crowd other than being “another Final Fight”, which is fine for me, but it probably wouldn’t be for others. Also, in terms of actual problems with the game, the dialogue that shows up in the cutscenes in this game is TERRIBLE, holy shit! Like, I am well aware that plenty of games back in the day had mistranslations up the whazoo, which is fine, but I don’t remember this ever being an issue for Final Fight before, yet it is plain as day here. Seriously, it even goes as far as being Mega Man and SNK levels of bad, it is hilarious. Look up the cutscenes at some point later, and you’ll see exactly what I mean.

Overall, despite its lack of major change and some horrible translations for the dialogue, Final Fight 3 is still a decent beat-’em-up and entry in this series all around, with plenty of stages to go through with a buddy, while also not feeling like they last forever (cough, Final Fight 2, cough), plenty of new moves to try out, and just that overall energy and sense of fun that these games haven’t failed to deliver on just yet. I would recommend it for those who were big fans of the previous two games, as well as those who are big beat-’em-up fans in general, because while it isn’t too revolutionary or unique, it can still provide a decent hour of entertainment, especially with a buddy along for the ride. After all that though, I’m just wondering what the next game in the series is gonna- AAAAAAAND it’s a fighting game, GODDAMMIT, CAPCOM! Look, I get it, the games take place in the Street Fighter universe, so it makes sense, but not everything needs to be a fighting game! There’s only so much punching and kicking and killing one can do before they grow completely numb to it, I swear….

Game #597

just a grand ol time

i played this trilogy religiously back in the day, and recently got an itch to revist the game for whatever reason. i remember thinking this game was ass when i played it last, boy was i wrong. the game holds up incredibly well, despite definitely having aged in some areas.

visually, the game definitely holds up. the island setting looks beautiful, lush, and its really atmospheric as the time of day changes and you get closer to el dorado. even the character models, despite the empty looking eyes and weird hair still look pretty dang good despite coming out over 15 years ago. it's cool seeing drake, elena, and sully all in their first incarnations. anyway, it really is a feat how many different genres drake's fortune seems to flex into. everything from adventure to even a bit of survival horror near the end.

the gameplay is somewhat rough around the edges, though nowhere near as bad as people say. gunplay is fun, even if the cover system is somewhat buggy. stealth is complete ass and basically nonexistent, however, because if you so much step near an enemy that's turned the other way, the entire group is trying to kill you within a second. so best to just shoot rather than do stealth, and iirc there was never full on stealth mechanics until U4. it's just really fun to shoot from behind cover. parkour is also really fun, never had any complaints with that.

story is somewhat basic, but it's still really charming and fun. dialogue is great too, really digging the entire b movie vibes. idk, just through every facet of the game i just get the vibe the team loved making this game. idk when ill delve into U2, but i remember loving that one a lot more. might even give that one a 10 on replay. id love if this game got a remake, the island would look even more beautiful. though with only being 5 hours long it wouldnt be worth 70 bucks.

Thank you to QuentTheSlayer for giving me the final push that made me play through Super Metroid.

The Super Nintendo was probably the ultimate time of refinement for Video Games. So many game series, that are now held up as timeless classics found their definitive formula on Nintendo's second console generation. Mario, Zelda, Final Fantasy and of course today's subject: Metroid. Super Metroid is still considered by many to be the peak of the metroidvania genre, and it's admittedly strange to realize that I had never played it. Even as a huge fan of the series, I just always put it off to the side. I'll get around to it eventually. After all: In the same amount of time it would take me to get into Super Metroid, I could just replay Fusion for the 50th time. I haven't played Prime 2 in a hot minute. What's that shiny new Dread game that just came out ? And so on and so on. But then in 2024, I set aside the excuses, committed, and I can now say that I have finally finished Super Metroid.

Its hard to put into words how much of a mindfuck my first playthrough of Super Metroid was. This almost 30-year-old Super Nintendo game has you in a chokehold the moment the title screen appears. The pan across a quiet, dark laboratory. 1994. Nintendo. Presents. Metroid 3. SUPER METROID. Right there, with the bodies of dead scientist strewn across the floor and the baby metroid trapped in a glass tube, the title of the game towers in gigantic, bold letters. It's one of the most striking introductions to a Video Game I have ever seen. A statement, before you even press a single button.

Of course this strong in medias res opening is only possible due to the fact that Super Metroid is the canonical third entry of the series, continuing on from the ending of Metroid 2: Return of Samus. And the game does an excellent job of catching you up to the events of the previous games. In a moody monologue, Samus recounts her fight against Motherbrain in her first adventure, her mission to eradicate the Metroid species for good and her sparing the last baby Metroid at the end. She brings said baby Metroid to the Galactic Research Station Ceres. There, the baby Metroid is supposed to be further studied while Samus is off hunting another bounty. Of course, she barely makes it out the door before receiving the call that Ceres is under attack. Ridley and his space pirates have decimated Ceres in order to capture the last Metroid. It's here where Super Metroid first gives you control over Samus in an action packed and atmospheric opening. She blasts through the invading space pirates and storms into an inevitable confrontation with long time nemesis Ridley. After an early sneak peek at this late game boss fight, Ridley flees with the baby Metroid in his claws. Samus follows in hot pursuit and lands on the planet Zebes. The setting of the original Metroid. This series story telling has always been and would continue to be very subtle, but even this opening stands tall among its peers in terms of how much you can get across just through a quick opening text crawl and pure gameplay. Really, the recap from our badass heroine is the only dialogue you will get across the entire game, and yet it still manages to tell an engaging story as you make your way down through the underground tunnels of Zebes.

Zebes is what all metroidvania maps should aspire to be in my opinion. Isolating, with long, winding corridors and  incredibly distinct environments. This map is so well-designed that I rarely felt lost or directionless even when I wasnt exacly sure what my next step was. The map screen is there, but it does the bare minimum to give you any general information on the environment. Because it doesn't have to tell you more. The drive to explore and the invisible hand of the developers guiding you are enough. Very, very rarely did I find myself lost as to where to go next and the few times that the game had me stumped, I can attribute to my general impatients I have been trained on due to modern video games. If I spend more than 30 minutes figuring out the way forward, then it must be bad game design, right ?. Fuck you, David Jaffe. By paying close attention to the game, you can always intuit where your way forward is. It's a masterstroke of game design.

The other side of gameplay besides navigating the game world, is combat and finding upgrades. Because Samus isnt badass enough already. That was Metroids bread and butter from the very beginning really. Super doesn't hugely change the formula, but still excels in teaching you its mechanics naturally. The game has you collect all the now famous Metroid tools like Super Missiles, the Grapple Beam and so on, while always showing you how to use them with a reward that seems just out of reach, right after you got that shiny new upgrade. Again, all without a single interruption or textbox. If somebody had to nitpick any aspects of the gameplay, it would probably have to do with Samus jump and the way you switch through different weapon modes. Firstly: Samus jump arc is a weird one to get used to for sure, since she gets an unusual amount of air time for a 2D platformer. The standard jump, which can also be altered into a summersault forward, seems very stiff as well. It almost feels like the Castlevania 1 jump arc as if some weirdo happend to turn on low gravity. Weird maybe, but those quirks still very much lend themselves to the often tubelike level design of Zebes and I rarely had any problems with jumping up to ledges or across platforms. The second, more annoying nitpick would probably be how you switch weapons via the select button. It's an awkward solution that had me often fumble around when I wanted a specific weapon equipped, but it's not a dealbreaker either, just something I wished was a bit better by default. Oh, and there is a run button. Never forget that you have a run button. It had me stuck for a bit and you will thank me later, fellow non-manual readers. Those minor flaws aside, the gameplay is incredibly rewarding to master and once you do master it, the real meta game of Super Metroid begins. Sequence Breaking.

Again: It's an aspect of the genre that Metroid is already famous for and its the game that popularized it, but Super Metroid does it on a whole other level. This game has one technique in particular, one you unknowingly have access to from the very beginning, that is designed to break the game's intended progression. It's a tricky one to execute, and the game will teach it to you in an organic way at some point. Once you fully master it, you might as well throw all preconceived notions out the window that this game was ever linear to begin with. Already deep into my second playthrough, I feel the effects of playing at a higher level. Upgrades and bosses, that seemed so far away in the beginning, can now be acquired basically as early or as late as you want to. The genius decision of teaching you this high level play during your first trip through Zebes does wonders for replayability. Pay attention and the game will infinitely reward you for it. You might of course go to areas you're not equipped for yet, but if you persevere, you get the best abilities incredibly early. Risk vs Reward, entirely on the player's own terms. Genius.

I honestly didn't expect to sing this game's praises so much, and I still haven't talked about the incredible sprite work or the god tier soundtrack. Two aspects I can not find a single flaw in, and talking about them would have me repeating myself again with only superlatives. The game is one of the most gorgeous games I have ever seen, it's like a immaculate painting. The soundtrack gives me goosebumps just thinking about it, and taking the elevator down the Brinstar for the first time is already one of my top 5 magic moments of all time. There you go.

Saving my credibility for reviewing video games, whatever that is even worth, I should probably still mention my one big rage-quit moment. As no game is perfect, but Super Metroid is damn close. Maridia. Maridia fucking sucks and seems to be the one area where the developers couldn't hold back the urge anymore to design a cryptic hell maze. Not only is getting to Maridia a bullshit ordeal all on its own, actually navigating this oversized fish tank with all its invisible walls is a confusing slog. And god help you if managed to come here without the gravity suit, like i did. Now, try to figure out how to get back to dry land while Samus jogs across the ocean floor in slowmotion. Or hope your most recent save isn't too far away. Hey, there is this giant purple tube you can go up and down through, that is clearly showing you an entirely different area in the middle. Well forget that. Ain't going there yet, no matter how hard the game implies it. Finish off the underwater journey with two really sub-par bosses. Please just end me.

Alright. Despite the grueling stretch through the sludge waters of Maridia, despite every bone in my body telling me that now this supposed all-time classic has finally fallen to the rose-tinted nostalgia glasses of fanboys across the globe, it shinesparked back up like a phoenix and stuck the landing. More than that, it destroyed the landing pad and drilled itself deep into my heart to become one of my favorite games of all time. I already know this will get more than one playthrough in the near future, because Super Metroid fucking rules. Go play Super Metroid you cowards!