Ico is the type of game I dread to play, critically acclaimed, landmark classic of the medium, influenced various games and designers I love. I dread playing those because of a fear I have, a fear that's come true : I don't like ICO, in fact, I think I might hate ICO. And now I will have to carry that like a millstone around my neck, "that asshole who doesn't like ICO". Its not even really that external disapproval I dread, its the very reputation that causes me to second guess my own sincerely held opinions. I thought I liked minimalism in game design, and cut-scene light storytelling and relationships explored through mechanics but I guess I don't. There's some kinda dissonance, cognitive or otherwise reading reviews by friends and writers I respect and wondering if there's something wrong with me or if I didnt get it or played it wrong or any other similar foolishness that gets bandied around in Internet discussions. "I wish we could have played the same game" I think, reading my mutuals' reviews of ICO. Not in a dismissive asshole way of accusing them of having a warped perception, but moreso in frustration that I didnt have the experience that has clearly touched them and countless others.

But enough feeling sorry for myself/being insecure, what is my problem with ICO exactly? I don't really know. Genuinely. I wasnt even planning on writing a review originally because all it would come down to as my original unfiltered reaction would be "Playing it made me miserable". Thankfully the upside of minimalism in game design is that its easier to identify which elements didnt work for me because there are few in the game. I think the people who got the most out of ICO developed some kind of emotional connection to Yorda, and thats one aspect which absolutely didn't work for me. As nakedly "gamey" and transparently artificial as Fallout New Vegas' NPCs (and Skyrim and F3 etc) locking the camera to have a dialogue tree, they read to me as infinitely more human than the more realistic Yorda; for a few reasons. Chief among them is that despite some hiccups and bugs the game is known for, you are not asked to manage them as a gameplay mechanic beyond your companions and well, my main interaction with Yorda was holding down R1 to repeatedly yell "ONG VA!" so she'd climb down the fucking ladder. She'd climb down, get halfway through and then decide this was a bad idea and ascend again.

ICO has been to me a game of all these little frustrations piling up. Due to the nature of the puzzles and platforming, failing them was aggravating and solving them first try was merely unremarkable. It makes me question again, what is the value of minimalism genuinely? There was a point at which I had to use a chain to jump across a gap and I couldnt quite make it, I thought "well, maybe theres a way to jump farther" and started pressing buttons randomly until the circle button achieved the result of letting me use momentum to swing accross. Now, if instead a non-diegetic diagram of the face buttons had shown up on the HUD instead what would have been lost? To me, very little. Sure, excessive direction can be annoying and take me out of the game, but pressing buttons randomly did the same, personally. Nor did "figuring it out for myself" feel particularly fulfilling. Thats again what I meant, victories are unremarkable and failures are frustrating. The same can be said for the combat which, honestly I liked at first. I liked how clumsy and childish the stick flailing fighting style was, but ultimately it involved hitting the enemies over and over and over and over again until they stopped spawning. Thankfully you can run away at times and rush to the exit to make the enemies blow up but the game's habit of spawning them when you're far from Yorda or maybe when she's on a different platform meant that I had to rely on her stupid pathfinding to quickly respond (which is just not going to happen, she needs like 3 business days to execute the same thing we've done 5k times already, I guess the language barrier applies to pattern recognition as well somehow) and when it inevitably failed I would have to jump down and mash square until they fucked off.

I can see the argument that this is meant to be disempowering somehow but I don't really buy it. Your strikes knock these fuckers down well enough, they just keep getting back up. Ico isnt strong, he shouldnt be able to smite these wizard of oz monkeys with a single swing, but then why can they do no damage to ICO and get knocked down flat with a couple swings? Either they are weak as hell but keep getting remotely CPRd by the antagonist or they're strong but have really poor balance. In the end, all I could really feel from ICO was being miserable. I finished the game in 5 hours but it felt twice that. All I can think of now is that Im glad its done and I can tick it off the bucket list. I am now dreading playing shadow of the colossus even harder, and I don't think I ever want to play The Last Guardian, it just looks like ICO but even more miserable. I'm sure I've outed myself as an uncultured swine who didnt get the genius of the experience and will lose all my followers but I'm too deflated to care. If there is one positive to this experience is that I kept procrastinating on finishing the game that I got back into reading. I read The Name of the Rose and Rumble Fish, pretty good reads. Im going to read Winesburg Ohio next I think.

Let's talk about strategy guides. It's no secret some games have very obtuse elements about them. Often times, they're not meant to be used in a first playthrough at all and are the kind of thing one would find out from Nintendo Power ages later. One example would be the Hadouken and Shoryuken in the Mega Man X games. Then there are secrets like the Lightsaber in Ico which nobody would ever find without a strategy guide, but the player probably wants to get on their first playthrough even if they don't necessarily need it.

And then you have games that can feel completely overwhelming or even unplayable without a strategy guide. I cannot even begin to name all the point-and-clicks and JRPGs filled to the brim with labyrinthine structures, permanently missable content, bugs or intended conditions that cause the player's save file to essentially become bricked, sidequests so hidden it took decades to find them, etc etc etc.

Knytt manages to be all of this. Knytt is nearly a brilliant game. When I started playing Knytt, I picked up all but 3 items blind in under an hour. At first, I thought it was a very soothing experience with an incredible atmosphere. The ambient music is shockingly amazing, and perfectly compliments the dark yet colourful world.

Unfortunately, as I neared the end of the game, I started growing increasingly frustrated. Too many platforms were lined up in such a way the player was only 1 pixel out of reach to entering a new path. It became hard to distinguish background characters from actual enemies. And then the worst part happened; I accidentally jumped into an invisible tile in the middle of nowhere that turned out to be an important warp zone.

Within minutes, my opinion of the game lowered from perhaps a 9/10 to a 7/10 at best. I'm not even certain if the last few powerups can be found without all the other warp zones I discovered in a speedrunning video, because there are no guides online. There is no communication to the player they are near an invisible tile, and the game's world is so massive it takes about 5 minutes to run across it in a straightish line. I did find some codes for the game on GameFAQs but I don't think the game itself communicates them anywhere either https://gamefaqs.gamespot.com/pc/937276-knytt/cheats

So what are we left with? A passionate and unique game that is ultimately too messy and unnecessarily obtuse for its own good. What could have been an all time classic PC metroidvania is bogged down by adhering to the "we need to sell strategy guides" school of thought despite it being a freeware indie game.

If the game looks up your alley, my suggestion is to look for how ever many items you can naturally find in about an hour with the searchlight feature, and then watch this speedrun to find the rest https://www.youtube.com/watch?v=Wmg_maTOSrs

Also worth noting, it is a 2006 PC game. It ran without any significant issues on my Windows 11 rig, but I did have to use Joy2Key for controller support and the fullscreen was a bit fucked in that it forced everything to my second monitor. It's nothing too inconvenient given how short the game is however.

The praise this game gets confuses me. Breath of the Wild itself was nothing particularly earthshattering, and this game is just Breath of the Wild again. The problem is that what made BOTW novel is not anymore. We've seen this type of expansive open world before. It's not impressive anymore.

Of course, more land was added, but what was added is half as much of what was worth exploring in BOTW. The skylands mostly exist for dungeons and chests, nothing more or less. There isn't enough landmass up there aside from the tutorial zone for it to feel like a whole new second map. The underground zone too is stagnant, introducing an annoying gimmick with an intense difficulty spike that makes exploring it a pain.

I understand that the new building system is technically impressive. I'm a game designer, I see this. However, just because something is impressive does not make it good. The fusing system itself does allow for a bunch of interesting puzzles, but it's the same gimmick reused for every single puzzle. Eventually, this mechanic too has its novelty wear off, and unless you have a degree in engineering or loved Banjo Kazooie Nuts 'n' Bolts too much, you won't be getting a lot out of it. Yes, it is impressive what it can do and that it functions at all, and the possibilities available to players is commendable. It is a feat in design that a lot of these puzzles have more than one solution. Yet the game does not force you to create anything super outside the box. While I said most puzzles have more than one solution, it is made very clear that there is 1 "right" way and every other solution is a player either a: intentionally breaking the game or b: not understanding the signs. Nowhere are you challenged to make an army of inter-continental strike drones. You can, and those who know how will, but this will never cross the mind of the average player. Had this game pushed the bounds of what this system could do perhaps I could find more praise for it. But they don't, it exists as simply a gimmick to justify the long development time and to show off a shiny new tech thing.

With this games announcement we were promised a much heavier story focus. We got slightly more story than BOTW. What we got was quite decent honestly, but it was the same egghunt from before to find all these things. This time, you just couldn't skip the intro story segment. What they gave us simply didn't carry the weight it should.

The intense amount of continuity errors are annoying too. The game hints to why this may be, but it simply does not make sense. This game likes the idea of being a direct sequel while also being too caught up in trying to rewrite it's own history. Where are the Divine Beasts? Where are the Guardians? Where is the fucking Shrine of Resurrection? Things vital to BOTW have vanished without a trace and the game refuses to explain itself. It should have, anyone who played BOTW would have noticed all of this immediately. There needs to be a reason for the sudden disappearance, and I sure would have liked to see it totally explained than just hoping I will take "time travel shenanigans" as an answer.

Tears of the Kingdom looks at what Breath of the Wild did well and misunderstands why it did well. The open world was good because it was so vast and nothing like any game had had before. Now, we have the same open world with minor variance, causing less desire to explore, and the marvel of such a vast world is now lost since it was done before. Of course, following up something like BOTW would prove to be a monolithic task regardless. Instead of improving the things BOTW did wrong, like the dungeons and puzzles, to try and succeed it's predecessor, it simply creates new things that solve nothing. Tears of the Kingdom prays its rehashed world with new zones will be enough to entice the player for the same hundreds of hours we all dumped into BOTW.

This game will forever be shadowed by it's predecessor. Not because the task was too big, but because they did not focus on the right things. Perhaps if Breath of the Wild never released, this game would be far better. Instead, it is a expansion in disguise as a $70 videogame. Shameless.

Just like Polyphia, just because something is hard to do does not immediately justify a perfect score. In a vacuum, the new system is very good, but the game simply does not allow for it to be as good as it can be, and in an attempt to perfect this feat in physics engineering and simulation, Nintendo seemingly forgot about the other aspects that make a Zelda game a Zelda game.

I bought this game on April 6th as a late birthday gift for myself. I currently have 40 hours on it and just beat Gold Stakes. I've been completely incapable of peeling myself away from it. I'm constantly thinking about how I can play the game better. I find myself going to bed thinking about how I can use jokers like Blueprint to get away with absolutely filthy builds. I wake up thinking maybe this will be the day I get a Straights build to work (it still hasn't worked). I tried playing Old School Runescape on my second monitor while playing this and every time I just ended up AFK'ing long enough on OSRS and getting autokicked while standing next to a river with an inventory full of fish. I went to a Magic: The Gathering pre-release event and realized I was constantly reordering the cards in my hands based on their colors and costs. When I spoke to a friend of mine and found out they had also been playing the game, it became the only thing we talked about for the rest of the shift. I don't watch youtube videos while I eat anymore, I just play this game instead. This game has succeeded in awakening my inner gambler.

I'm absolutely cooked.

The best Metroidvania I've played that's not either namesake of the genre (I count Bloodstained as a Castlevania) Lost Crown manages to nail pretty much everything about getting the genre down right. The combat flows so well and as someone who usually doesn't like parrying in games the parry window was forgiving enough where I actually enjoyed doing it (Not to mention that you’re not forced to use it to actually beat bosses; this game and how great it is really me reminded me of how much I hated Metroid Dread). The movement and platforming is fast, responsive, and smooth. Moving around the world feels great and there’s enough well-placed warps where backtracking never feels like a problem. Exploration is rewarding with useful upgrades and items to discover and collect. The moves you gain also feel good too and have all that growing power and variety a quality Metroidvania should have. The game also manages to make you feel powerful as you progress through the game but still demands a good engagement with the mechanics on Normal, i.e. bosses are a great mix of requiring you to know how to play but never feeling like a slog. The main antagonist especially, who is clearly Vergil, Judgement Cut and all, is a great example of this. I’m also real glad that the only thing this game cribbed from Dark Souls was the estus flask system because man I am really sick of so many indie Metroidvanias shoehorning in Souls mechanics when they don’t really work all that well with the genre; I liked Hollow Knight in spite of that, but Lost Crown doesn’t have that problem at all. A few of the side-missions are a pain in the ass though so I didn’t bother with them, but overall I did most of them and they were real fun. Ubisoft Montpellier really proving they’re like the only part of Ubi making fantastic passion projects like this instead off AAA slop anymore. Lost Crown definitely going to be one of the must play games of this year and it’s already one of my favorites.

I liked the demo enough during Next Fest but unfortunately Children of the Sun proved to be entirely style over substance. What starts off as a neat little sniper puzzler with a Killer 7-esque aesthetic devolves into trial and error, tedium, and wonky hitboxes. In some levels you aren't even able to see every enemy initially so you straight up gotta trial and error it. The later mechanics the games adds feel more like annoying gimmicks and the last level is just an absolute slog and I just gave up because I couldn't find the last damn enemy in all the visual noise and didn't feel like repeating all that shit over and over again just to find them. Easy skip and I regret I'm probably past the refund window.

I found Ultros through Skillup's weekly news video, where in the "Put this on your radar" segment he talked about playing its demo. It's a metroidvania with so called "psychedelics visuals." The vibrant art style got me interested and he said that the demo was a lot of fun. When looking into this game that word "psychedelic" was repeated over and over, which did set of a bit of a red flag since that was about the most anyone said. When the full game released I got it on steam, and enjoyed the first hour or so same as I expected. However from there my enjoyment really went downhill. At some point I remember thinking "This game's shortcomings remind me of Scorn" and sure enough when I checked, it was the same publisher (different studio though). Unlike scorn however, I don't really recommend Ultros.
The great stuff in Ultros really starts and ends with the pretty visuals. It is far too easy to feel confused, lost, and like you are doing something wrong. Like scorn, Ultros seems to not understand some of the "Language of videogames." Most issues seem like they could be fixed with a little playtesting and feedback. There are a lot of times you'll be running back and forth constantly opening the map with no clue as to what you should be doing. The exploration aspects started to frustrate after the first hour, that frustration only got worse as time went on. Combat felt too janky to pull off a smooth kill, but other people may take to it better than I did. The story and characters are boringly shallow, never giving enough info to push the story beyond "look at all this pretty stuff, is the music convincing you this is impactful?"

Very Minor Spoilers Below


The time loop angle is questionable, I don't feel like it ever improved the game and only was an annoyance to make you re-earn skills and gear. I didn't click with the gardening mechanics, usually only planting when necessary to make progress. I really don't get what they were going for with it, usually you have the correct seed on you to do any task and seeds are just sort of spread out on the map randomly so it didn't change the way I played. And I literally never had to feed a monster to make a planting location. I got early on that they wanted to do a "You are the bad guy for killing all these bugs" angle but it failed miserably. There is a weird lack of emotion to everything this game says. Once I got to the bad ending the gardener guy said that it's okay to leave and there really isn't any more for you to do. I was so relieved that I could stop there, and just watched the other ending on YouTube. If you like the visuals enough maybe this is worth a try for you, but I won't be recommending it to anyone which is pretty rare for me.

Just your average tennis game, except the SFC version has the loser exclaim SHIT!

Hard to believe, but this is one of the better tennis games of its time. The NES tennis game is so shit, I remember honestly still preferring the Atari one over it lmao.

3/5

Incredibly fun app - might be one I’ve had the best time with since the “Golden Years” of the Angry Birds, Plants vs Zombies, and Cut the Rope kinda phone-gaming era.

Part Time UFO was made and published by HAL Laboratory (of Kirby fame) wanting to focus on games made specifically for smartphones in mind. This is why I think the game works so well, and why its reminiscent of the games that I remember most fondly in smartphone gaming. Part Time UFO is made with the phone in mind, and tried its best to focus on making a game that worked with a smartphone’s features (touch screen, portability, etc) rather than fight against them. Phone gaming at this point has a bit of a bad name for itself, having mostly devolved into however cheaply a person can make a game that can quickly take a player’s money, infamously cover the gameplay in ads, and force the player away with pop-up after pop-up of MTX requests.

Paying around $4 in exchange for a fun game experience is extremely worth it in my opinion, with Part Time UFO costing around that. Early smartphone games usually only offered a demo for free, but a very kind $5 or less price for the full game. A cheap price for hours of uninterrupted fun, and for good games, too! Games made with the intention for the player to work with the smartphone’s touch and lack of buttons, rather than fight against it.

That is where I had to dock points from Part Time UFO though, as while the game clearly is well-intentionally made to be a phone game, and is leaps and bounds ahead of many other current smartphone games, it still has to rely on covering parts of the screen with a joystick and button. People often say that this game is a better experience on Switch, and I can believe it. Even though the game was originally made just for phones, the way they put a touch control joystick and button right in front of you immediately has the player start to fight against the phone’s capability, rather than work with it. It results in the player desperately wishing they had a physical joystick and button, which the Switch can happily provide them.

Even with that as a bit of a glaring knock-back, I do really love Part Time UFO, and find myself quickly losing my time when I open it up. It has quite a bit to offer, and has great replayability in allowing players to retry levels to get a perfect score, very in tune to how early smartphone games work in eating up your time. I really do recommend this game to anyone looking for a good find for their phone! It’s $4 and I think I’ve already spent 3 hours on it, and I’m not even done! The Switch version probably controls better, but it’s also double the price. I’m guessing they add more stuff or something to reason the price, but also maybe not! It is Nintendo after all lmao.

Oh well, check Part Time UFO out, you’ll have a blast. It’s cute, charming, and fun - and will absolutely eat all my battery away when I take the train.

3.5/5