I wasn’t really planning on writing any long form pieces of writing about Trails where I’d go in-depth in relentlessly praising it and talking about how much of a destressing, genuine experience it’s been until I was done with Sky the third because acting like a huge fan of an 11 game long series when I’ve only played 2 games seemed weird, but between the engaging political conflict that’s incredibly ambitious because of the increasing amount of parties with different motivations involved with each conflict, the twists surrounding each conflict, how these political conflicts impact the characters in realistic ways that enforce challenges upon the leading main characters to overcome both on an ideological level and a physical level, the heartwarming large cast full of good for nothing goofy ahh misfits with earnesty and charm filling their banter as much as it fills their genuine moments of emotional vulnerability, the ridiculously large scale amount of global level conflicts being set up for events far into the future with lots of twists and turns and conspiracies that kept me at the edge of my seat at times, the deep lore that’s not too convoluted and is moreso used as a backdrop for kiseki’s characters’ struggles, and most importantly, the human and grounded struggles that characters like Joshua, Estelle, Loewe, and Agate go through that brings this insanely ambitious narrative that covers several continents to a grounded level, it was hard not to scream at the top of my lunges “AHHHHHHHH I LOOOVVVEE TRAIILLSSS I LOOVVEE BRAZIL KONDO MADE A SERIESS THAT’S FOR ME BRUH”



Ok but frfr it’s virtually impossible to write down every single thing I loved about Sky FC/SC, but the best starting point I can think of is the central driving force, that being Joshua and Estelle’s dynamic and how it plays out during the story. There’s a line Joshua says in FC where he tells Estelle to go about expressing her unbridled trust towards her surroundings, her innocence, and to not so much as doubt what’s infront of her and see the darkness within it, practically telling her to avoid seeing the unpleasant side of things and questioning them and to leave the anxiety driven suspicions and doubts to joshua instead because that’s his speciality as an assassin. In a way, Joshua was keeping her vision unclouded, and telling her what he doubts and sees as dangerous to help her avoid making the wrong choice as much as he can. Similarly, at the end of SC, due to Joshua’s self isolationist, self hating tendencies that always look to make him run away from what’s right before him and wallow in his misery because that is more convenient to him than thinking he’s worth other people’s company and troubling them with his presence, Estelle told Joshua that she'll be the one to keep him in check and walk alongside him because Joshua always fails to see the obvious things like people’s love for him, how much they want to be there for him, and how important he is to them, which Estelle regulates by pointing to him these obvious cues and keeping him on the right track. In their own ways, at different points, they covered for each others’ weaknesses, and seeing their method of helping each other out transition from an unhealthy one to a much more empowering one was super poetic. That beautiful, organic transition where Estelle goes from being a naive, innocent dork to an emotionally mature, determined lady with unwavering, grounded optimism and Joshua goes from being a tryhard tough act who pretends to be emotionally mature and determined to a vulnerable, scarred soul trying to walk the right path with the bad bitch he bagged by trauma dumping and correct all the sins he’s made with his previous antics, perfectly sums up why I love their relationship so much. It’s so full of parallels like the one I mentioned yet so opposing, and in their opposition to each other in terms of background, they manage to connect to a spiritual level and works so well as the main force that pushes Sky’s themes about facing your fears and embracing the truth as the guiding light that’ll help you carve your path with others instead of losing it no matter how different you all seem.



All of what I mentioned are things I like to see in media being on full display in Trails, but…what really struck me wasn’t any of the larger than life aspects I mentioned as much as Joshua’s personal struggles did. Drowning in self denial for solace, shifting the responsibilities you’re supposed to uphold by running away from them and attaching them to external sources, hurting others in the process of putting your guilt elsewhere, and self isolating to avoid hurting others as much as possible while maintaining the distance you’ve built between you and the guilt you shifted elsewhere to balance things out, all being a byproduct of abandonment issues and the fear of losing others dear to you, are all things that terribly resonate with me and since I’m in the middle of trying to uncover the root cause for them and get rid of these toxic habits once and for all, going through Sky fc/sc was like going through my own small journey of revisiting myself and re-evaluating it from a different perspective that rung true to me. Relatibitly aside, while I do relate to Joshua in some aspects, I don’t wholeheartedly relate to him, and most of my appreciation for his character comes down to how much of a unique spin it is on the ideas and struggles I mentioned above. While most characters who fall under that trope direct that guilt towards a different person, Joshua directs it at a different version of himself, the puppet like person inside him that was born after Weissman experimented with his heart and the source of his inner turmoil, which is a very interesting touch Kondo made with his character because while it’s a less common coping mechanism than laying the blame on another different person, it’s just as realistic and potent because of how it fits his background with being a test subject who had his sense of self played with in the past.

Earnest and empowering, in short. Trails from Zero is an incredibly powerful game that feels like a battle shonen in video game form, mixed with the long term storytelling, ambitious world building, and the mind bogglingly deep lore of Kiseki that results in a video game that combines the best of both and works perfectly, primarily because of how every element from the two spectrums I mentioned are glued together seamlessly through Lloyd bannings. On the surface, Lloyd seems like a perfectly normal main character with a clear cut moral code, but what makes Lloyd so compelling are the small neat bits of characterization that hint at a deeper, darker side to him that he grapples with without even realising it. It kind of fits with Crossbell’s setting too, because in a way, much like Lloyd, Crossbell looks like a perfectly stable peaceful state, but is actually run by the absolute worst, corrupt politicians. In the same way, Lloyd puts on an unbreakable facade and tries to be an invincible hero with an unflinchingly optimistic attitude, but on the inside, he’s the same kid that lost his brother, hasn’t moved on, and is stuck chasing after his shadow even after he died.


This is something that I absolutely adore when it comes to world building, where it feels like the city is a breathing, living character who’s tied to the main characters leading it, and that applies to Crossbell where it’s all about exploring your own truth and finding meaning to it on your own terms, because in Lloyd’s journey of uncovering his truth, he began uncovering Crossbell’s identity as well, and that acted as a genius backdrop for Crossbell’s theme of truth. Going back to Lloyd for a bit, as I mentioned, the parts of him that make him stand out to me are the small bits of characterization that people who call him boring often times miss, the small bits that show how caught up he is in his own brother’s shadow, how they seep into his mundane day to day life events, and how self damaging that can be.


When it comes to trauma, we often times unintentionally bottle it up for our self preservation since they’re unexpected, yet in spite of that, they seep into our mundane day to day life no matter how much we sugarcoat it and spreads its disease into our social interaction, which is my favorite form of portrayal of trauma and is why I adore Lloyd so much. He tries to put on Guy’s persona of an unstoppable hero that everyone can rely on even when it comes at his own expense, yet the person he forgets to save is himself, and it’s never explicitly told that this is what he struggles with until the near end of Zero because up until that point, Lloyd’s struggles are portrayed through his behaviour and it’s up to the player to infer what he goes through in comparison to the cast. In this sense, we’re put into Lloyd’s comrades’ shoes, have our intelligence tested by trying to infer what he himself goes through despite his seemingly normal demeanour, and that’s what makes the eventual exploration of Lloyd’s issues and his admittance to his insecurities hit so hard, because we as the player already could infer what he goes through yet ignores and are simply waiting for him to recognize that part of him. It’s an incredibly effective yet unique way of telling a main character’s arc through perspective, and that goes well with Crossbell’s themes about perception and truth, because even if Lloyd seems normal when we first perceive him, he is the exact opposite of that and that plays well into what Crossbell is trying to tell about the concept of truth.


Time and time again, from start to finish, Lloyd’s insecurities are shown through his actions even from the get go, where he was prepared to throw his life away to save the SSS from the geofront monster before Arios came in to save the day, and that’s not just because of the goodness of his heart but because that’s what his image of Guy would do in a situation like this. In this sense, you can say that when Guy died, Lloyd’s sense of self split into two, the part of him that admires Guy and the part of him that feels worthless in comparison to him and chases a far fetched shadow of his, forever stuck in an endless whirlpool of insecurities and living on auto-pilot mode. To illustrate further, whenever Lloyd accomplishes something, or is praised for having a good trait, he always denies that praise and credits it to Guy, which might seem like its Lloyd being humble, but in reality, it’s much more complicated and sadder. The reason for this is that Lloyd doesn’t take credit for those accomplishments or traits of his because he views them as Guy’s, or rather, the traits/accomplishments of his image of Guy that he only inhabits because of his desire to be like Guy. As such, when he does a good deed, or embodies a good trait, it’s to chase after that image of Guy first and foremost, and since those traits and actions are motivated by his desire to catch up to Guy, not just his own good will, it feels wrong to take credit for that because it doesn’t truly feel like his. He disassociates from those good deeds because they were coloured by his unhealthy admiration towards Guy and while motivated by his good will, that good will is only a secondary reason. It’s why in chapter 2 after Lloyd gives Ellie a corny friendship speech and Ellie asks him how he can be so optimistic, Lloyd doesn’t take credit for that and instead thanks Guy for it. While that’s definitely because Lloyd loves Guy, it’s also because he doesn’t believe in himself to be great enough to be that capable and strong on his own. Lloyd’s arc is all about finding balance between his image of Guy and who Guy really was, it’s about repairing his sense of self after it was shattered by how much he revered Guy and attached his individuality to him, and that’s makes Lloyd such a sympathetic main character to me, because in his attempt to find meaning in Guy’s death, he forgot to find meaning in his self, and that’s what enabled him to connect with the SSS members on such a spiritual level. At their core, Randy, Lloyd, Tio, and Ellie, are all incredibly lonely individuals with no place to call home, and that’s what enabled Lloyd to guide them and be their leader.


All of what I said about Lloyd up until now has been purely analytical, but on a personal note, there are small bits and pieces of dialogue that Lloyd said that truly connected with me, the biggest of them being when he told Randy that as strange as it is, he can finally accept that he can be his own man, reach his ultimate potential, and be satisfied, as opposed to a few months ago. This sentiment rung true to me personally, because I have an older brother that I admire and feel the need to chase after as well, yet despite being told countless times that I just need to keep being me, it all felt like hollow garbage to me that meant nothing, until lately after years of practising self love and self care, where I’ve come to identify and appreciate my own worth beyond my brother’s. It made me feel seen, because with Lloyd, the truth of his being and his surroundings and their meaning started and ended with him. This sentiment is reflected in the concept I mentioned above with Crossbell being like a living, breathing character on its own, where by overcoming his own barriers and finding his truth, Lloyd was able to understand the ins and outs of what Crossbell’s conflicts pertain, break the status quo, and change Crossbell for the better, like the hero he had hoped to become after initially running away from the city he treasured. In the end, it was all about perspective.


Truth be told, I didn’t really plan on writing such a long form piece on Crossbell mainly cause I wanted to do that once I was done with Azure, but I couldn’t really stop myself once I started expressing my passion for this game and what it made me feel. I guess that’s what happens when you let your own words flow and come together to form a pattern of thoughts instead of limiting yourself, and maybe that’s what Trails has become to me. Something that allows me to be ‘’free’’, and that’s why I’ve come to adore it and adore talking about it so much. In a word, though, Lloyd’s earnest nature is what made Crossbell’s cast (and me) love him, and through that love, he was able to find meaning to himself and have several white women wanting to fuck him.

[Archived Forum Discussion: Adol vs Kratos]

" Kratos is a literal god vs some guy that is a traveler lol nah Adol gets bodied ez "

" Shield Staff negates any damage at the cost of mana, so if Adol keep eating pears to regen all MP he would never take damage "

" I feel kratos with spartan rage would still body him tho? "

" Shield staff negates any damage "

" so your saying a guy that can negate damage wins against the guy that literally two series worth of GODS and is immortal "

" Shield staff negates any damage "

Tekken is a game about decades long family feud so here’s my story of Tekken-related patricide.

When I turned 6 my dad decided to gift me a Playstation 1. We weren’t rich so we bought it second hand. He found some guy willing to sell his console and we visited him together to make sure it works. I remember his room being cluttered and messy. I also remember the game he showed us first. It was Tekken 3. It blew our minds. Never have we seen 3D graphics that looked so detailed, so animated, so lively. Coming straight from shitty famicom clones it looked unbelievable. My excitement about graphics peaked right there and I’m still trying to catch that high. That dude sold us his stack of discs as well (I also remember a shitty Mission Impossible game), but really we only cared about the “game with brawls”. When we got back we played Tekken 3 all night long. That was maybe the most memorable day of my childhood.

Years passed and I “grew out” of PS1. I didn’t have a PS2 or PS3, I got into PC gaming instead, so the rest of the Tekken series passed near me. I played some T5 on friends’ PSPs (I even showed them how to do cool Law kickflips that still worked exactly how I remembered) but otherwise it wasn’t something I was particularly interested in anymore. I’m into “smart” games now, not those meathead fightings.

But my dad, it turns out, never stopped caring. Now living a pretty prosperous life he bought his new son a PS3 (we stopped living together by then) with, you guessed it, Tekken 6. And this time it was a deliberate ploy for him to REALLY get invested in fighting. He started maining Hwoarang, actually learning his moves, trying out online. I remember my lil bro’s excitement when T7 got announced for PS4 because he knew dad would WANT to play that one, so yet another birthday Playstation was imminent. In T7 he got addicted to ranked play so he got really good. The meme about 40yo old dudes playing Kazuyas perfectly wavedashing and putting you in nasty mixup is real, except it’s my dad, he’s 50 now and he’s Hwoarang.

And of course whenever I’d visit Dad's side of the family he’d invite me to play Tekken for old time’s sake. And since he got so good it’s gotten pretty miserable. I played a bit of T7 as well since it was on PC, but never on the level that invited understanding, just mashing here and there with friends. Of course it wasn’t enough against Dad’s Hwo. And whenever he’d perfect K.O my ass he’d laugh straight in my face. Look at the gamer son who can’t play fighting games! I very much gave up on reaching his level, I just accepted my beatings at occasional family gatherings.

That is until Tekken 8.

Something clicked with me in this game. Maybe it’s fantastic learning tools, maybe it’s yet again great graphics, maybe it’s Jun Kazama being an amazingly fun character, but it got its hooks deep in me. Now I know how to apply pressure, how to put an enemy in a mixup state. I understand the concept of taking turns, the difference between crush and evade, when to use my 13i and 10i punishes. I know my character’s moves and available tools. I’m actually learning.

My Dad of course also hopped on T8. He bought an entire new laptop for the game, justifying it as a working expense! And yesterday we finally got to play some sets.

These were my most nailbiting T8 matches so far. Turns out Dad doesn’t like it when I’m ducking his highs. He also can’t do much when it’s me who’s putting the pressure and forces the mixups. I put everything into this… and finally got him. We went 4-3. I defeated my Dad. I truly am the son of the Mishima family.

Although I am not at the finish line of P3R just yet, I figured it would be best for me to put out something representative of my love for this game in between sessions, as my thoughts are more thoroughly collected. I am damn near close to 2 consecutive weeks of playing (12/14) and have just breached 60 hours of gameplay. On track to obtain a platinum trophy on my first playthrough, it feels good to be reminded of why I loved an older title I have played, and it feels even better to be reminded that the people behind said game still "get it."

Persona 3 Reload sits comfortably well above the other remakes and remasters of any game I have ever played, and it will continue to do so either for a long while, or forever.

For the longest time, integration of styles and gameplay similar to that of Persona 5 never rubbed me the right way. I was anticipating this game to be a massive stinker. Something in the vein of Atlus trying to cobble together something to milk even more money off of their best selling game. I am sure most people are aware of Persona 5 Tactica, Scramble, and X. I am in not any type of position to commentate on their quality, but the reception of these games amongst my peers has led me to a train of thought to be quite weary of what Atlus decides to output next. But their continuations of an aesthetic spawned from their best selling title into something that is seemingly absolutely unlike it reeked of creative bankruptcy. That being said, I was wrong.

And I couldn not be happier about it.

Everything from the reestablished visuals, voice acting, to the gameplay and even the music. I have not the slightest hint of a complaint or grievance. P3R's UI is an absolute gem to witness, it is fluid, intuitive, and has an identity of its own. The new cast of voices are out of this world, Yuko's especially. All of the voice actors put on a spectacular performance and their ability to encapsulate you in the world of the game is unreal. Having finished P5R's merciless mode and not having that great of an experience, I decided to go into my P3R playthrough with merciless mode, and I am having an absolutely great time with it. Theurgies add much to the strategizing and in addition with keeping the "1 more" system, I enjoy the gameplay so much more for the depth it brings. All of the remixed tracks are wonderful in their own regards, at first stuff like "Mass Destruction" did not rub me too well, but over time I broke in and I love it much like the original track, likewise the others. Truly a remake that lives up to and, in some instances, surpasses the existence of its source. I can not wait to play through P3P and watch the films and whatever extra content there is to finish up the whole complete Persona 3 experience.

Persona 3/FES and Persona 3 Reload will atmospherically provide different experiences (assuming people care about that) but otherwise I honestly can not see a reason to not play this game. It feels so good to be in love with a Persona game again.

I don't think I've ever been more conflicted after having finished a video game than I have been with Dark Souls III.

I'm going to get my praise out of the way, since you've likely heard similar things said by many others by now: The story and new lore, while nowhere near as thematically interesting to me, is still a good addition to existing canon. This game has many of the best fights in the entire series (although it also has a fair number that I don't particularly care for), and the series' combat is at its' peak here. General gameplay has been polished as well; the game looks and feels great to play as a result. When the game is firing on all cylinders, it is a sight to behold.

It's good enough to briefly make me forget all the issues I have with the game up to those points. Because, for as good as Dark Souls III plays, it also comes across as a very scared game. Dark Souls III is scared to take risks, scared to step on anyone's toes, maybe even scared of being a Dark Souls game.

Both of the prior Dark Souls games have had parts that people have since looked unfavorably towards. Blighttown, The Gutter, and so on. You could honestly google any area in Dark Souls II and find someone that swears up and down that it's the worst area (or game, if you're stupid) Fromsoft has ever created. It's something I've always found funny, because some of the previously mentioned areas have been some of my favorites in the series for how well they're able to force the player to respect their environment and really tread cautiously. They're a brutal reminder to the player that you are outside of your depth but have no choice but press on. Finding Blighttown feels like you're walking into a place that you are not supposed to find, it's immediately so openly hostile and dangerous to you that at times it can be genuinely scary. Dark Souls III doesn't really have a clean analog besides a veeery brief segment of Ringed City where you run through an active war zone, and that's because Dark Souls III feels like it doesn't want people to possibly dislike anything about it. It's supposed to be the climax of the series and everything it represents, it can't risk anything the way Dark Souls I could risk everything to cement an entirely new genre of game into the cultural landscape.

(Yes, I know Farron Keep is the new poison swamp area analogy, but it feels so sanitized and unthreatening compared to the nightmare that was trying to go through The Gutter fearing for my torch timer and scrambling for a bonfire.)

It frustrates me seeing this game fully commit to being a 'hard game where you fight hard boss fights' instead of what I really appreciated about the first two games: Dangerous forays into fallen civilizations, complete with now-mad inhabitants and crumbling architecture. Dark Souls III feels so less inclined to be another example of virtual archeology and more than happy to lean into the popular cultural idea of what Dark Souls was at a surface level. It takes the convenience of Dark Souls II's bonfire system with none of the interesting metroidvania trappings of its predecessor and willingly abandons any attempts to play with cohesion, whether to the degree of incredible density found in Dark Souls I or the nonsensical map of Dark Souls II. Dark Souls III just wants to be an action game, it wants you to take a single road throughout the journey, only pulling over briefly to go beat something's head in before getting back on that road, pushing ever closer to your goal. I want to be clear that I am not trying to paint embracing linearity as a de facto negative when it comes to game design; you can see a very similar trajectory taken within the design of the Devil May Cry games that ultimately helped fine-tune those games to perfection. What I take issue with is the cultural cost that embracing linearity has done for Dark Souls, and how that has affected the way people have interacted and viewed the series ever since. It's sad, thinking I'll never play a game as tightly designed as Dark Souls I ever again, or play a sequel as divisive and willing to break everything that came before it the way Dark Souls II did. Dark Souls III feels content to find some decisively less interesting middle-ground between both games in favor of ensuring the series can finally stick the landing.

Maybe it's fitting then, that in a game about the fading of an era that Dark Souls III itself has faded from much of what I loved about the first two games. Just as Lordran, Drangleic, and now Lothric have reinterpreted their predecessors and sought to alter the status quo, Dark Souls III marks a departure from previous Dark Souls ideology, doing away with the genius world structure of it's forefathers in favor of a land that feels dispassionately conventional. When the game wants to come out of its' shell, it's out. It shows you it can be dramatic, somber, explosive, because at the end of the day, it IS Dark Souls.

It's just buried under a mountain of ash.

The myth of a Persona 3 "definitive edition" has haunted the halls of discussion over the series's fourth game and breakout implementation of its calendar system, with newcomers intimidated by what it attempts to do and how it sticks by it. Many have people hoped for something that combines FES's general presentation and style combined with Portable's gameplay improvements, and Reload sets out to obtain a middle ground while also adding the style and flourish Persona 5 has been known for.

But we've had a definitive edition for Persona 3 already, and it was called FES: nothing of it needed to be changed and what it has been exists perfectly by itself. So Persona 3 Reload inherently misunderstands the assignment by taking a story of simple teenagers scarred by what life has handed them and the consequences of the failures of our fathers, needing to take it into the next generation's hands and believe in our possibility for self improvement, while also recognizing that we are all different individuals, and partially turning it into a flashy power fantasy.

And in that regard, Reload fails: which is why I run into my dilemma. I can talk about the tonal issues implemented by what Reload decides to implement and change, but I still came out of this story with tears once again, even with its uglier animated cutscenes and FMVs. Even after the countless problems sprouted by needing to turn this unique gem of living one's life to the fullest by your own choices into a much easily digestible work for the newest waves of Persona fans, I still reached that final day where I reflect back on all the bonds I've created and tear up at how they've been able to turn around their lives in the face of hopelessness. Even in the sanding down and flanderization of Persona 3, one thing will forever shine through, and it is the core of its story.

"Greatness does not fade away". I can't ignore how worthwhile it was for me to revisit the work that lead me into the Shin Megami Tensei series and changed me for the better because of it; I can't ignore how attached I can get to this cast, and I could never ignore that, even if I can never reccomend this to someone as the definitive way to play over FES, how glad I am that this game can stand the test of time and continue to exist in its timelessness, and in its permanent beauty.

I’ve been a MegaTen fan for a super long time now, ever since I found Persona 2: Innocent Sin on my Dad’s PSP. That game changed me as a person to be completely honest. I then dove further into the series, playing Eternal Punishment, Soul Hackers, Digital Devil Saga, etc etc. I eventually got around to P3FES in the summer of 2019. I loved it to death, as I was going through a lot of change in my life at the time and the game was like a little escape for me. It took me all throughout June, and I beat it at the beginning of July. The ending, which is iconic itself, had me crying a little bit, and Memories of You quickly became one of my favorite songs from a game ever.

Now when I heard that there was going to be a remake of Persona 3, I was super skeptical. I couldn’t believe it. Then, when the trailers started rolling out, I was even more skeptical. I really didn’t want Atlus to “Persona 5ify” one of my favorite games, and from the first couple trailers for Reload, it kinda seemed like they were doing that. But, as more things started to come out about the game, I became more hopeful and was actually pretty hyped for it. I preordered it, and played it at midnight on launch. Needless to say, I was pretty immediately blown away, and I adored what Atlus had done.

I did (and still do) have some minor nitpicks so I’ll go over those here.
- Some music (mainly near the beginning) didn’t play in the right spots
- Some of the remixes are pretty meh, the big ones I didn’t really care for were Mass Destruction and Unavoidable Battle
- I much prefer the anime FMVs from the OG for the most part, but there were a couple exceptions
Those are all of my complaints, seriously. Only 3 things, which even baffles me considering how critical I am of remakes.

Everything else that the game did though I absolutely loved. Like loved loved loved. Most of the new remixes are fucking phenomenal, the new hangout gimmick with the SEES members was super cute and they were super fun to go through and Tartarus had new life breathed into it and it looked great. The ending got me hard here as well. It was a mix of just how good the cutscene direction was, how good the music was, and my overall nostalgia for the game and how it helped me through a hard time in my life. I was sobbing, HARD. My shirt is still drenched as I write this. The Memories of You remix is gorgeous, and I will not be able to listen to it without sobbing uncontrollably for the foreseeable future.

Overall, an amazing game.