ZankRemes
128 reviews liked by ZankRemes
F-Zero GX
2003
Still one of the best racing games ever made.
I got 82% through a full completion and my character select option locked with Rey and BB8. I've tried searching online and there is absolutely no way to fix it without starting a new game which I am not doing after 70+ hours dedicated to a game had I completed been 2 ½ - 3 stars.
The game looks incredible and had so much potential but the time crunch and studio cynicism I can just feel leaking through nearly every aspect of the game. Gameplay is pretty standard, you really have seen everything by the time you are 10% through the game. Combat is mere button mashing, and it has one of the most simplistic combo system I've seen. Unfortunately the puzzles are no different. This game has about 10 puzzles and 5 mission types that they repeat on 20+ planets, so the idea of completing grew to be a chore. The missions where you would have to go on a fetch quest to multiple planets is the biggest perpetrator of this flaw.
For positives, I did like the class system of characters. In the original star wars games they flirted with this idea bug I think this game realizes it in a much fuller fashion. As stated prior the visuals are fantastic, it's amazing how a game made of bricks can create atmospheres that feel so alive and lived-in. I feel a baseline love for the Star Wars franchise, as there are a number of references to the more niche contents of the franchise which I'm sure will keep fans giddy.
It just really missed the mark overall, which is so unfortunate as it seems like for lego star wars this is the game Traveller's is putting all of their ideas into. With more time spent diversifying the gameplay and cutting out bloat, this game could've been defining for the series, but unfortunately it's representative of Star Wars in its current state. A mixed bag of ideas with no ambition to create a fulfilling final product.
2/10
The game looks incredible and had so much potential but the time crunch and studio cynicism I can just feel leaking through nearly every aspect of the game. Gameplay is pretty standard, you really have seen everything by the time you are 10% through the game. Combat is mere button mashing, and it has one of the most simplistic combo system I've seen. Unfortunately the puzzles are no different. This game has about 10 puzzles and 5 mission types that they repeat on 20+ planets, so the idea of completing grew to be a chore. The missions where you would have to go on a fetch quest to multiple planets is the biggest perpetrator of this flaw.
For positives, I did like the class system of characters. In the original star wars games they flirted with this idea bug I think this game realizes it in a much fuller fashion. As stated prior the visuals are fantastic, it's amazing how a game made of bricks can create atmospheres that feel so alive and lived-in. I feel a baseline love for the Star Wars franchise, as there are a number of references to the more niche contents of the franchise which I'm sure will keep fans giddy.
It just really missed the mark overall, which is so unfortunate as it seems like for lego star wars this is the game Traveller's is putting all of their ideas into. With more time spent diversifying the gameplay and cutting out bloat, this game could've been defining for the series, but unfortunately it's representative of Star Wars in its current state. A mixed bag of ideas with no ambition to create a fulfilling final product.
2/10
Cuphead
2017
I suck at platformers, but they are very fun. With that being said, I had fun playing this with friends (who are good at these types of games). I was carried 100%, but this experience has peaked my interest in replaying and completing more content of the game that we have not finished.
Brief Description
Cuphead is a very hard platformer. It can be played either in singleplayer or in coop, but I imagine it is funner and more intended for coop play. You control Cuphead and Mugman, who are trying to break their deal with the devil. There are three main regions with a mix of stages. There are run and gun stages (which help you get coins to buy items in the shop), mosoleums (where you unlock supers/ultimates), and the main aspect of the game, which are boss fights (beating all in a region allows you to progress the game).
Pros
-Everything about the art design and style of the game is fabulous. It is unique, and as my friend put it, a homage to old timey vintage American cartoons. The UI, character designs, animations, sound design, and overall look of the game is an S++ from me.
-The level design is really fun. I have no expert level critiques to say other than they are all unique and it is really satisfying to get farther and farther with each attempt at a level until you complete the stage.
-I love the overall juxtaposition of the cheerful design of the characters in the game with the dark undertones of the fights and the plot of the game. The sentiment of "Don't make a deal with the devil." is in it of itself really damn cool.
-I think they make it very playable for casual players considering that there is an easy mode. I have not tried it because my friend carried me, but I like that it opens to a broader audience with that.
-The variety of weapons and items that really make it fun to play the game how you want. You can beat stages in a variety of ways to challenge yourself.
-Mechanically the game is fun. The movement is fluid and the parry/dash system is fun.
Cons
-I am not going to lie-- I cannot think if a single valid con. I guess it can suck if you hate repeating levels over and over and are not particularly good at platformers, but the difficulty is a main attraction of the game because you can feel yourself getting better throughout the boss fight as you remember it's attack patterns. So, in my head, that is a plus. But I can understand the thing that this might drive people away, as I felt demotivated after I lost to a level like 50 times.
I definitely will go back to this game to try to do better at the levels and also complete the content we have not finished in the hopefully near future. It is extremely fun and I reckon that everyone should give it a try!
Brief Description
Cuphead is a very hard platformer. It can be played either in singleplayer or in coop, but I imagine it is funner and more intended for coop play. You control Cuphead and Mugman, who are trying to break their deal with the devil. There are three main regions with a mix of stages. There are run and gun stages (which help you get coins to buy items in the shop), mosoleums (where you unlock supers/ultimates), and the main aspect of the game, which are boss fights (beating all in a region allows you to progress the game).
Pros
-Everything about the art design and style of the game is fabulous. It is unique, and as my friend put it, a homage to old timey vintage American cartoons. The UI, character designs, animations, sound design, and overall look of the game is an S++ from me.
-The level design is really fun. I have no expert level critiques to say other than they are all unique and it is really satisfying to get farther and farther with each attempt at a level until you complete the stage.
-I love the overall juxtaposition of the cheerful design of the characters in the game with the dark undertones of the fights and the plot of the game. The sentiment of "Don't make a deal with the devil." is in it of itself really damn cool.
-I think they make it very playable for casual players considering that there is an easy mode. I have not tried it because my friend carried me, but I like that it opens to a broader audience with that.
-The variety of weapons and items that really make it fun to play the game how you want. You can beat stages in a variety of ways to challenge yourself.
-Mechanically the game is fun. The movement is fluid and the parry/dash system is fun.
Cons
-I am not going to lie-- I cannot think if a single valid con. I guess it can suck if you hate repeating levels over and over and are not particularly good at platformers, but the difficulty is a main attraction of the game because you can feel yourself getting better throughout the boss fight as you remember it's attack patterns. So, in my head, that is a plus. But I can understand the thing that this might drive people away, as I felt demotivated after I lost to a level like 50 times.
I definitely will go back to this game to try to do better at the levels and also complete the content we have not finished in the hopefully near future. It is extremely fun and I reckon that everyone should give it a try!
Maliciously designed to kill you.
It's banking on you to beat it out of spite. "Oh you just teleported chaingunners behind me after picking up this inconspicuous gun? Well now I'm ready next time, asshole!" It really wants to make you hate these demons with a burning passion. If Doom II was built any easier or laxer then these enemies wouldn't be much of a threat alone, and therefore less memorable. The level design accentuates the demons as scheming yet merciless. This isn't some honorable battle between warriors, this is a hunt for flesh. And there can only be one winner here.
More than many action games is Doom II a test on your memory, reactivity, and resource management. This game is straight up unfair, so you need to keep in mind what gun your currently holding before triggering the trap that killed you earlier. Demons have various levels of health, damage, and mobility; thus misusing and wasting your more powerful weapons will leave you vulnerable for when you really need that rocket launcher or B.F.G. against that Archvile. Sound cues are vital to knowing if a enemy has spotted you, or if a off-screen projectile is flying towards you. The player at least has the newly added super shotgun, though while a extremely powerful gun with good ammo efficiency, can be easy to over rely on. Definitely had times where the intervals between reloading the shotgun got me killed, when I should've attacked more from a distance with the chaingun or stunlocked with the plasma rifle.
But even with the generous usage of quicksaves, this game can get exhausting for a new player. Sometimes you get tired of being made a fool of yourself when the game teleports you into a tiny room with four imps on every side, which then proceed to tear you to shreds. Literally no way to know that was going to happen. The more bullshit people will encounter, the less willing they'll be able to continue with your game. Of course that isn't a universal rule, but there's a fine line between "Fck you, let's try that again!" and "Fck you, I quit!" For better or worse, games just don't do this kind of evil, unscrupulous design anymore.
Like Doom Eternal, I had to take breaks in the middle of levels. But unlike Eternal, it was because I couldn't be bothered at points to drudge through yet another elevator that takes me right into a horde of chaingunners that eat away at my health before I can even see where they are. It's funny how some of the earliest demons, the chaingunners, I find to be more annoying then even the Pain Elementals or Archviles.
Though with that in mind, playing Doom II showed me why this game has remained popular to this day. The enemies with their particular and variable roles, and the weapons with their satisfying designs and function, makes for near-infinite mod level packs with fresh feeling gameplay. Whether you want to have the player cleave through hordes of fodder demons with the B.F.G., or starve them for ammo as they have to whittle down a towering Cyberdemon, modding Doom II levels will live on well-passed any live service game that shuts down (six months after release).
Don't know if I played a good version of Doom II though. I'll be honest when I look up stuff for classic Doom, I get pretty intimidated by the number of ports and re-releases of the game, plus all the hard-core fans mentioning which ports are better then others. I played the standalone release from Steam on my Steam Deck, not sure what people in the community would call that port. I just took the path of least resistance to play the game, so hopefully that version won't make a Doom fan too upset at me. Did come across a few bugs, namely to do with a elevator not triggering and I had to reload my save to get it working again. Also I don't know if this is just a normal Doom thing, but sometimes it can feel pretty stingy when auto-aim will work if you're trying to hit a demon from a large elevation difference. Hard to get into a precise location to hit them when they can attack with their hitscans from wherever they want off-screen. This version of Doom 2 at least had that reticle to light up red if the next shot will hit a target, but it still doesn't change the fact how awkward "aiming" can be in this game.
And lastly, why did 'Into Sandy's City' only play in one level when it's easily the best song in the entire game?
It's banking on you to beat it out of spite. "Oh you just teleported chaingunners behind me after picking up this inconspicuous gun? Well now I'm ready next time, asshole!" It really wants to make you hate these demons with a burning passion. If Doom II was built any easier or laxer then these enemies wouldn't be much of a threat alone, and therefore less memorable. The level design accentuates the demons as scheming yet merciless. This isn't some honorable battle between warriors, this is a hunt for flesh. And there can only be one winner here.
More than many action games is Doom II a test on your memory, reactivity, and resource management. This game is straight up unfair, so you need to keep in mind what gun your currently holding before triggering the trap that killed you earlier. Demons have various levels of health, damage, and mobility; thus misusing and wasting your more powerful weapons will leave you vulnerable for when you really need that rocket launcher or B.F.G. against that Archvile. Sound cues are vital to knowing if a enemy has spotted you, or if a off-screen projectile is flying towards you. The player at least has the newly added super shotgun, though while a extremely powerful gun with good ammo efficiency, can be easy to over rely on. Definitely had times where the intervals between reloading the shotgun got me killed, when I should've attacked more from a distance with the chaingun or stunlocked with the plasma rifle.
But even with the generous usage of quicksaves, this game can get exhausting for a new player. Sometimes you get tired of being made a fool of yourself when the game teleports you into a tiny room with four imps on every side, which then proceed to tear you to shreds. Literally no way to know that was going to happen. The more bullshit people will encounter, the less willing they'll be able to continue with your game. Of course that isn't a universal rule, but there's a fine line between "Fck you, let's try that again!" and "Fck you, I quit!" For better or worse, games just don't do this kind of evil, unscrupulous design anymore.
Like Doom Eternal, I had to take breaks in the middle of levels. But unlike Eternal, it was because I couldn't be bothered at points to drudge through yet another elevator that takes me right into a horde of chaingunners that eat away at my health before I can even see where they are. It's funny how some of the earliest demons, the chaingunners, I find to be more annoying then even the Pain Elementals or Archviles.
Though with that in mind, playing Doom II showed me why this game has remained popular to this day. The enemies with their particular and variable roles, and the weapons with their satisfying designs and function, makes for near-infinite mod level packs with fresh feeling gameplay. Whether you want to have the player cleave through hordes of fodder demons with the B.F.G., or starve them for ammo as they have to whittle down a towering Cyberdemon, modding Doom II levels will live on well-passed any live service game that shuts down (six months after release).
Don't know if I played a good version of Doom II though. I'll be honest when I look up stuff for classic Doom, I get pretty intimidated by the number of ports and re-releases of the game, plus all the hard-core fans mentioning which ports are better then others. I played the standalone release from Steam on my Steam Deck, not sure what people in the community would call that port. I just took the path of least resistance to play the game, so hopefully that version won't make a Doom fan too upset at me. Did come across a few bugs, namely to do with a elevator not triggering and I had to reload my save to get it working again. Also I don't know if this is just a normal Doom thing, but sometimes it can feel pretty stingy when auto-aim will work if you're trying to hit a demon from a large elevation difference. Hard to get into a precise location to hit them when they can attack with their hitscans from wherever they want off-screen. This version of Doom 2 at least had that reticle to light up red if the next shot will hit a target, but it still doesn't change the fact how awkward "aiming" can be in this game.
And lastly, why did 'Into Sandy's City' only play in one level when it's easily the best song in the entire game?
This happened to my buddy Eric
Baldur's Gate 3
2020
This game is amazing.
I can't fully express how impressive and vast the options are in this game. I don't want to give a full breakdown with my experience in this game, as it would take far too long. Instead, I will simply add that I beat the game, have a couple runs going, and I disliked Halsin.
I had essentially no issues with the game, but I still find difficulty in whether it deserves a 5⭐ rating. For me, I think I burned out a bit playing this. Enough that I feel secure giving it a 4.5. I would still 100% agree with a 5.
The effort put into this game is on another level.
I can't fully express how impressive and vast the options are in this game. I don't want to give a full breakdown with my experience in this game, as it would take far too long. Instead, I will simply add that I beat the game, have a couple runs going, and I disliked Halsin.
I had essentially no issues with the game, but I still find difficulty in whether it deserves a 5⭐ rating. For me, I think I burned out a bit playing this. Enough that I feel secure giving it a 4.5. I would still 100% agree with a 5.
The effort put into this game is on another level.
Sunset Overdrive
2014
This game is like one of those "gaming addiction" t-shirts. You know the one. You wore it growing up because you thought it was cool, then you grew out of it mentally and physically, but several years down the line, you kinda miss when you liked stuff like that. This is precisely how I feel about Sunset Overdrive.
Everything about this game feels like the last hurrah of the raunchy, edgy side of Insomniac, the one that internally named "A Crack in Time" as "Clockblocked". A game from an interim after the PS3 caused R&C to lose its edge, and before they were doomed to work on Marvel slop with safe writing for the rest of their days. The writing in this game is not going to appeal to everyone; Hell, if I played this a few years back, I'd probably blow it off. The reason it broke through to me is because it never backs down, and it knows to never take itself seriously.
The actual plot is completely aimless though. As it turns out, you gotta do more than make a varied series of missions with really funny scenarios to actually make a memorable story. At its core, Sunset Overdrive just wants you to have fun. In a unique subversion, the orange-flavored Fanta zombie apocalypse isn't portrayed as the endtimes; It's a chance to start your life for real, no one around to tell you what to do, be your own boss. You're trapped in a surveillance state controlled by a soda brand, but you're not gonna let them stop you from enjoying yourself.
Everyone puts on an excellent performance, but Yuri Lowenthal definitely steals the show as the voice of the male protagonist, an everyman who's taking all this chaos in whatever stride he can. There's basically no fourth wall as far as the writing is concerned, so if you're still sick of those writing trends, a decent chunk of the dialogue will probably make you wince. I thought it was done pretty tastefully though. It's mostly just unafraid to remember it's a videogame, if it thinks it can make you laugh.
This game's soundtrack is like your high school band festival. One guy going ham on his electric guitar, another going apeshit on the drums, and a vocalist shouting lyrics so loudly that even the people in the very back of the venue can hear them. I don't think I'd personally listen to any of this music outside the game, but it works phenomenally for this game's tone. While a lot of the songs sound similar by nature, their individuality always keeps me guessing when a new one kicks in. I'm more likely to remember certain events from the game if you play the songs associated with them, music's kinda nuts like that.
I see a lot of reviews saying "ohhhhh, this is where Spiderman PS4 got its movement mechanics!", and I subsequently have no idea what these people are on about. The movement mechanics in Sunset Overdrive aren't heavily automated and cinematic. Instead, you control the buttons you push, bouncing, grinding, swinging, and wall-running across a veritable playground for these moves. You can grind on pretty much anything that looks like a straight edge, and there's a healthy amount of objects to jump off in order to keep your momentum going. There's a lot of random junk sprinkled around the map to collect, and I always go for it because the movement makes it so seamless. Fast travel is a nice gesture, but it feels wholly unnecessary when shmoovin' and groovin' is this engaging. Jogging around on foot will see you quickly swarmed by enemies, so grinding and bounding around them while firing away is the ideal way to play, made more enjoyable by a fairly generous auto-aim. Chaining different moves together raises your style meter, and at certain thresholds, equippable buffs known as "amps" activate, incentivizing you to keep moving. It ALL feeds back into the movement mechanics, and it never gets old.
So yeah, Spiderman PS4's origins? Get outta here, this is more like a long-lost Ratchet & Clank title, if anything. R&C1 weapons always felt homemade, like they were sloppily welded together in your garage or something. All the weapons you get in Sunset Overdrive feel like they're made of random junk that you'd find in the aftermath of a fraternity party. Shit like hair spray, stuffed animals, fireworks, vinyl records, and we can't forget the liquid nitrogen, a staple of college life. Weapons gain experience, level up, and can be equipped with amps to give them extra effects. Sounds like the Omega Mod system in Ratchet: Deadlocked to me. Hell, your crowbar is basically Ratchet's wrench, straight down to the aerial slam and using it to bust crates for money/ammo.
Imagine an alternate universe where this game released on PS4 instead. I bet it would've been considered a cult classic in some circles. No shade towards the talented people working at Insomniac, but I would've gladly taken a sequel to Sunset Overdrive instead of more capeshit. Fate dealt them a cruel hand, and now they're stuck working in the Marvel Mines forever, probably. Ah well, I'm just happy this game exists at all. Feels like an anomaly when you put it between R&C: Into the Nexus and R&C (2016).
It's bright, it's colorful, it's loud, but most of all, it's a blast. It's Sunset Overdrive, baby.
Everything about this game feels like the last hurrah of the raunchy, edgy side of Insomniac, the one that internally named "A Crack in Time" as "Clockblocked". A game from an interim after the PS3 caused R&C to lose its edge, and before they were doomed to work on Marvel slop with safe writing for the rest of their days. The writing in this game is not going to appeal to everyone; Hell, if I played this a few years back, I'd probably blow it off. The reason it broke through to me is because it never backs down, and it knows to never take itself seriously.
The actual plot is completely aimless though. As it turns out, you gotta do more than make a varied series of missions with really funny scenarios to actually make a memorable story. At its core, Sunset Overdrive just wants you to have fun. In a unique subversion, the orange-flavored Fanta zombie apocalypse isn't portrayed as the endtimes; It's a chance to start your life for real, no one around to tell you what to do, be your own boss. You're trapped in a surveillance state controlled by a soda brand, but you're not gonna let them stop you from enjoying yourself.
Everyone puts on an excellent performance, but Yuri Lowenthal definitely steals the show as the voice of the male protagonist, an everyman who's taking all this chaos in whatever stride he can. There's basically no fourth wall as far as the writing is concerned, so if you're still sick of those writing trends, a decent chunk of the dialogue will probably make you wince. I thought it was done pretty tastefully though. It's mostly just unafraid to remember it's a videogame, if it thinks it can make you laugh.
This game's soundtrack is like your high school band festival. One guy going ham on his electric guitar, another going apeshit on the drums, and a vocalist shouting lyrics so loudly that even the people in the very back of the venue can hear them. I don't think I'd personally listen to any of this music outside the game, but it works phenomenally for this game's tone. While a lot of the songs sound similar by nature, their individuality always keeps me guessing when a new one kicks in. I'm more likely to remember certain events from the game if you play the songs associated with them, music's kinda nuts like that.
I see a lot of reviews saying "ohhhhh, this is where Spiderman PS4 got its movement mechanics!", and I subsequently have no idea what these people are on about. The movement mechanics in Sunset Overdrive aren't heavily automated and cinematic. Instead, you control the buttons you push, bouncing, grinding, swinging, and wall-running across a veritable playground for these moves. You can grind on pretty much anything that looks like a straight edge, and there's a healthy amount of objects to jump off in order to keep your momentum going. There's a lot of random junk sprinkled around the map to collect, and I always go for it because the movement makes it so seamless. Fast travel is a nice gesture, but it feels wholly unnecessary when shmoovin' and groovin' is this engaging. Jogging around on foot will see you quickly swarmed by enemies, so grinding and bounding around them while firing away is the ideal way to play, made more enjoyable by a fairly generous auto-aim. Chaining different moves together raises your style meter, and at certain thresholds, equippable buffs known as "amps" activate, incentivizing you to keep moving. It ALL feeds back into the movement mechanics, and it never gets old.
So yeah, Spiderman PS4's origins? Get outta here, this is more like a long-lost Ratchet & Clank title, if anything. R&C1 weapons always felt homemade, like they were sloppily welded together in your garage or something. All the weapons you get in Sunset Overdrive feel like they're made of random junk that you'd find in the aftermath of a fraternity party. Shit like hair spray, stuffed animals, fireworks, vinyl records, and we can't forget the liquid nitrogen, a staple of college life. Weapons gain experience, level up, and can be equipped with amps to give them extra effects. Sounds like the Omega Mod system in Ratchet: Deadlocked to me. Hell, your crowbar is basically Ratchet's wrench, straight down to the aerial slam and using it to bust crates for money/ammo.
Imagine an alternate universe where this game released on PS4 instead. I bet it would've been considered a cult classic in some circles. No shade towards the talented people working at Insomniac, but I would've gladly taken a sequel to Sunset Overdrive instead of more capeshit. Fate dealt them a cruel hand, and now they're stuck working in the Marvel Mines forever, probably. Ah well, I'm just happy this game exists at all. Feels like an anomaly when you put it between R&C: Into the Nexus and R&C (2016).
It's bright, it's colorful, it's loud, but most of all, it's a blast. It's Sunset Overdrive, baby.
Penny’s Big Breakaway delivers exactly what I wanted from the developers of Sonic Mania. It is a well-designed 3D platformer that retains their vibrant visuals, smooth gameplay mechanics, and exceptional soundtrack that made Sonic Mania so beloved. However, it surpasses that game by consistently offering originality that was lacking in Sonic Mania, which unfortunately caused that game to fail in capturing my interest for multiple playthroughs or being deemed exceptional in my eyes.
It doesn’t dispute the fact that it was made by a very talented team, but shifting to a new IP has given them the freedom to break away from that restriction. It oozes with originality from start to finish, which finally makes me appreciate their meticulous craftsmanship without feeling like I'm just going through the motions.
I do have a couple of minor criticisms regarding this game. The structure of each world and the presence of a boss are really uneven. The toggleable simple control scheme is not very intuitive compared to the default pro control scheme; it feels like it wasn't specifically designed for this game. Lastly, there are instances where the collision doesn't feel polished, as I occasionally get stuck in certain areas or end up in places that seem unintended.
Aside from that, this is one of the most gratifying 3D platformers that I have ever played, with a ton of levels to beat and complete. Additionally, there are bonus levels to unlock, and all that for the reasonable price of 30 dollars?! This is Christian Whitehead’s magnum opus, alongside everyone at Evening Star who contributed their efforts to this game.
It doesn’t dispute the fact that it was made by a very talented team, but shifting to a new IP has given them the freedom to break away from that restriction. It oozes with originality from start to finish, which finally makes me appreciate their meticulous craftsmanship without feeling like I'm just going through the motions.
I do have a couple of minor criticisms regarding this game. The structure of each world and the presence of a boss are really uneven. The toggleable simple control scheme is not very intuitive compared to the default pro control scheme; it feels like it wasn't specifically designed for this game. Lastly, there are instances where the collision doesn't feel polished, as I occasionally get stuck in certain areas or end up in places that seem unintended.
Aside from that, this is one of the most gratifying 3D platformers that I have ever played, with a ton of levels to beat and complete. Additionally, there are bonus levels to unlock, and all that for the reasonable price of 30 dollars?! This is Christian Whitehead’s magnum opus, alongside everyone at Evening Star who contributed their efforts to this game.
does anyone else have this issue where everytime you reopen the game it forces you to accept all the license agreements again
this is a great game otherwise but i don't want to play it because i have to accept all the license agreements and it wastes like a minute of my time
why the fuck is there even a license agreement? this isn't an online game
this is a great game otherwise but i don't want to play it because i have to accept all the license agreements and it wastes like a minute of my time
why the fuck is there even a license agreement? this isn't an online game
Video review - https://youtu.be/SGt0XlHGOW4
I'll be blunt - it could use some more polish, and the bosses aren't very good. I sincerely hope this gets a few patches to address the occasionally weird collision detection, inputs not registering, sound effect desync in cutscenes, and other things, but at its core, this is an incredibly solid momentum-based platformer.
Chaining together dashes, swings and rolling across these wavy, sloped levels is a blast. I think this is the first game I've truly wanted to try and time attack an entire game since Sonic Generations. It took me a little bit to truly "get" the movement, but once I did, I was loving every second of it. I think I'll be aiming for all the achievements in this one too. Why not?
Of course, the music is fantastic as always from Tee Lopes. Presentation is a little lacking in the visual department, especially in cutscenes, but I feel like the developers are probably even more frustrated than I am at some of these shortcomings, so I don't think it's worthwhile to point them all out.
I highly recommend this, but maybe wait a little wait for some patches if you're on the fence. Evening Star have proven their ability to make great stuff on their own, and I hope this game is enough of a success for them to continue their vision across new projects. Well done to the entire team!
I'll be blunt - it could use some more polish, and the bosses aren't very good. I sincerely hope this gets a few patches to address the occasionally weird collision detection, inputs not registering, sound effect desync in cutscenes, and other things, but at its core, this is an incredibly solid momentum-based platformer.
Chaining together dashes, swings and rolling across these wavy, sloped levels is a blast. I think this is the first game I've truly wanted to try and time attack an entire game since Sonic Generations. It took me a little bit to truly "get" the movement, but once I did, I was loving every second of it. I think I'll be aiming for all the achievements in this one too. Why not?
Of course, the music is fantastic as always from Tee Lopes. Presentation is a little lacking in the visual department, especially in cutscenes, but I feel like the developers are probably even more frustrated than I am at some of these shortcomings, so I don't think it's worthwhile to point them all out.
I highly recommend this, but maybe wait a little wait for some patches if you're on the fence. Evening Star have proven their ability to make great stuff on their own, and I hope this game is enough of a success for them to continue their vision across new projects. Well done to the entire team!
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