burst_error
14 reviews liked by burst_error
Tekken 8
2024
if i like tekken 8 so much then why don't i marry it, and i think i will, i think i will marry tekken 8
Playing this feels like doing brain surgery inside an active tumble dryer. You're a different person by the time the campaign is over. High recommend if you want something that will fry your neurons and then regenerate them into steel wool.
This review contains spoilers
What I'll say here will sound counter-intuitive and somewhat inflammatory, but I genuinely believe in what I'll be saying so strap in.
I've attempted to play this game countless times on, let's say not original hardware, and throughout all those attempts I never made a dent past the second level. It is a grueling, tedious slog that sends you back on your way like a Chaplin-esque pratfall at your expense. You as Jekyll, attempting to make your way to your wedding and fighting the Hyde inside you, must face the many MANY obstacles ahead. Whether they be the work of demons silently influencing the townsfolk or natural mishaps and provocations that'll send Jekyll over the edge to Hyde. You are challenged to keep Jekyll calm amidst this constant chaos lest he turn to Hyde and either regain his composure or die right where he began.
As I've said, it is grueling, it is tedious, and I haven't even seen far into the game myself. However I can't help but be captivated by anti-game meta narrative at play, intended or not it gives me the kind of feeling that might drive people who play Pathologic to keep going with that game. You have to succeed as Jekyll, resist temptation of falling back as Hyde and being overwhelmed by your demons and triumph non-violently, turning the other cheek to all the vitriol the game itself throws at you. It's a Sisyphean task, and isn't that enticing in of itself? I don't have to beat it to appreciate that built into the very gameplay is a greek tragedy that instills the horror of the original story into the meta narrative, that instills it within the player. Maybe I'm a masochist, but I'll pop this game in every now and then just to enjoy the atmosphere of it all, the beautiful daytime stroll belying the bubbling anxiety and dread of becoming the monster again and undoing the progress you've so carefully maintained.
And I do have to compliment the atmosphere, the artistry of the game. The music has this victorian gothic kind of flavor that sets the mood for the game perfectly, and the pixel art just as well. The palette chosen and the black outlined style pixel art make for a kind of pulpy horror feel that is just great, especially in the Hyde section under the moonlight and with everything in ruins and facing ugly odd demons. It's the NES sure, and it's primitive, but I think they made the most with the limitations and it makes for a good horror mood. Add to that the limited story that, without dialogue presents itself clearly and the stakes understood through its' gameplay. I really appreciate the effort put into making a good and bad ending, however limited, that feels true to the story and doesn't just give a saccharine happy end. The boss fight at the end, which in the Japanese version when the boss dies has a silhouette of the main demon impaled on the Church's cross, and that's a pretty damn awesome conclusion, as well as the ambiguity of the wedding scene where the monster in Jekyll still lives... It's just real neat little story details! And while nes RPGs and games like Ninja Gaiden have more fleshed out stories, the implied story in this game plus the gameplay further nailing down the themes makes it special in my eyes.
All this to say, I'll probably never beat this game in my lifetime, and there's a lot unfair about it that could be done better. Could this game having a dodge roll for Jekyll make it so much better? I think so, as a further nonviolent approach, but maybe that clashes with the whole idea of Jekyll "keeping his composure". All in all, I think this game does something really cool with its sparse horror narrative, its chilling atmosphere and art, and anxiety inducing gameplay that comes together to make a game that is a futile effort that you can appreciate. This could've been just a Castlevania type throw potions to kill enemies as Jekyll and save the princess type game par for the course, and a lot of people wanted that out of it I think. But I really DO appreciate it as this kinda anti-game where you have to beat it as a composed non-violent Jekyll, perhaps stumbling as Hyde along the way, but still just moving forward against all the frustration and odds with a brisk walk through the English countryside.
TL;DR : This but unironically https://youtu.be/EjXn5qiM8Zw?t=903
I've attempted to play this game countless times on, let's say not original hardware, and throughout all those attempts I never made a dent past the second level. It is a grueling, tedious slog that sends you back on your way like a Chaplin-esque pratfall at your expense. You as Jekyll, attempting to make your way to your wedding and fighting the Hyde inside you, must face the many MANY obstacles ahead. Whether they be the work of demons silently influencing the townsfolk or natural mishaps and provocations that'll send Jekyll over the edge to Hyde. You are challenged to keep Jekyll calm amidst this constant chaos lest he turn to Hyde and either regain his composure or die right where he began.
As I've said, it is grueling, it is tedious, and I haven't even seen far into the game myself. However I can't help but be captivated by anti-game meta narrative at play, intended or not it gives me the kind of feeling that might drive people who play Pathologic to keep going with that game. You have to succeed as Jekyll, resist temptation of falling back as Hyde and being overwhelmed by your demons and triumph non-violently, turning the other cheek to all the vitriol the game itself throws at you. It's a Sisyphean task, and isn't that enticing in of itself? I don't have to beat it to appreciate that built into the very gameplay is a greek tragedy that instills the horror of the original story into the meta narrative, that instills it within the player. Maybe I'm a masochist, but I'll pop this game in every now and then just to enjoy the atmosphere of it all, the beautiful daytime stroll belying the bubbling anxiety and dread of becoming the monster again and undoing the progress you've so carefully maintained.
And I do have to compliment the atmosphere, the artistry of the game. The music has this victorian gothic kind of flavor that sets the mood for the game perfectly, and the pixel art just as well. The palette chosen and the black outlined style pixel art make for a kind of pulpy horror feel that is just great, especially in the Hyde section under the moonlight and with everything in ruins and facing ugly odd demons. It's the NES sure, and it's primitive, but I think they made the most with the limitations and it makes for a good horror mood. Add to that the limited story that, without dialogue presents itself clearly and the stakes understood through its' gameplay. I really appreciate the effort put into making a good and bad ending, however limited, that feels true to the story and doesn't just give a saccharine happy end. The boss fight at the end, which in the Japanese version when the boss dies has a silhouette of the main demon impaled on the Church's cross, and that's a pretty damn awesome conclusion, as well as the ambiguity of the wedding scene where the monster in Jekyll still lives... It's just real neat little story details! And while nes RPGs and games like Ninja Gaiden have more fleshed out stories, the implied story in this game plus the gameplay further nailing down the themes makes it special in my eyes.
All this to say, I'll probably never beat this game in my lifetime, and there's a lot unfair about it that could be done better. Could this game having a dodge roll for Jekyll make it so much better? I think so, as a further nonviolent approach, but maybe that clashes with the whole idea of Jekyll "keeping his composure". All in all, I think this game does something really cool with its sparse horror narrative, its chilling atmosphere and art, and anxiety inducing gameplay that comes together to make a game that is a futile effort that you can appreciate. This could've been just a Castlevania type throw potions to kill enemies as Jekyll and save the princess type game par for the course, and a lot of people wanted that out of it I think. But I really DO appreciate it as this kinda anti-game where you have to beat it as a composed non-violent Jekyll, perhaps stumbling as Hyde along the way, but still just moving forward against all the frustration and odds with a brisk walk through the English countryside.
TL;DR : This but unironically https://youtu.be/EjXn5qiM8Zw?t=903
Out Zone
1990
Beautiful videogame. A top-down free-controlling shooter, sublime in its crisp, clear presentation, instantaneous action, and game design that's so simple you could easily miss just how brilliant it is.
It goes like this: you are a guy. You have a gun. GO. There is nothing adhered unnecessarily to this frame, nothing to sully it--whereas some companies would be tempted to load the thing with weapons, Toaplan gives you just four, two primary (free shot and strafe spread) and two special (high damage flamethrower and piercing "super ball). Each is, of course, highly valuable depending on the situation.
Most of the fun comes from the way enemies are laid out, much like the forced-scrolling shooters Toaplan primarily traded in; but here, the wrinkle of free control allows them another layer of depth in the level design. Sometimes you're in an open field, swiveling and spraying wildly as enemies rush you; sometimes you're in a maze of tight corridors, peeking around corners to pick dudes off in incredibly tense, almost secret-agent-esque firefights; sometimes you're doing platforming, hopping onto moving floors and elevators and dropping bombs because you don't want to risk careening off an edge... They concocted so many little scenarios that create different kinds of tension and satisfaction, all housed in a remarkably seamless package.
I'm guessing the designers tested the game early-on, and found that it was too easy to be stingy, to use the free control to hold back, go slow, be cautious; and that did NOT fly. There's a system put in place to keep you moving forward: your energy bar ticks down as time passes, and to refill it you have to collect 'E' items stashed in set locations in specific crates throughout a level. It's incredibly well-balanced, not punishing the player overtly for being careful so much as planting a tiny seed in their head that says "keep moving," which can grow into a gnarly thicket of stress, or result in death, if not dutifully managed.
That's all not even to mention the game's fun little secrets and easter eggs, of which there many, all calling back to earlier games Toaplan made. The music is really good, if not great.
The only dings I can give it are for its rather obtuse scoring system, and the feeling that if I wasn't playing it with autofire I would be having a considerably worse time. Honestly though, if I saw this in an arcade somewhere, I'd happily sit down and mash away.
It goes like this: you are a guy. You have a gun. GO. There is nothing adhered unnecessarily to this frame, nothing to sully it--whereas some companies would be tempted to load the thing with weapons, Toaplan gives you just four, two primary (free shot and strafe spread) and two special (high damage flamethrower and piercing "super ball). Each is, of course, highly valuable depending on the situation.
Most of the fun comes from the way enemies are laid out, much like the forced-scrolling shooters Toaplan primarily traded in; but here, the wrinkle of free control allows them another layer of depth in the level design. Sometimes you're in an open field, swiveling and spraying wildly as enemies rush you; sometimes you're in a maze of tight corridors, peeking around corners to pick dudes off in incredibly tense, almost secret-agent-esque firefights; sometimes you're doing platforming, hopping onto moving floors and elevators and dropping bombs because you don't want to risk careening off an edge... They concocted so many little scenarios that create different kinds of tension and satisfaction, all housed in a remarkably seamless package.
I'm guessing the designers tested the game early-on, and found that it was too easy to be stingy, to use the free control to hold back, go slow, be cautious; and that did NOT fly. There's a system put in place to keep you moving forward: your energy bar ticks down as time passes, and to refill it you have to collect 'E' items stashed in set locations in specific crates throughout a level. It's incredibly well-balanced, not punishing the player overtly for being careful so much as planting a tiny seed in their head that says "keep moving," which can grow into a gnarly thicket of stress, or result in death, if not dutifully managed.
That's all not even to mention the game's fun little secrets and easter eggs, of which there many, all calling back to earlier games Toaplan made. The music is really good, if not great.
The only dings I can give it are for its rather obtuse scoring system, and the feeling that if I wasn't playing it with autofire I would be having a considerably worse time. Honestly though, if I saw this in an arcade somewhere, I'd happily sit down and mash away.
Metroid
1986
80s children could beat this and they were breathing in lead from gasoline fumes so stop whining and draw a damn map
Zool
1992
Do u think girls will like me if i dress and act more like 'Zool'?
Jackal
1988
game has no jackals in it
Legacy of the Wizard
1987
One of the reasons that some games appeal to me is that they can be little worlds I get to explore, and this is very much the case here. Probably one of the best getting lost simulators on the entire system. I am not sure I would recommend this game for a "playthrough" as much as I would recommend it for the experience or the journey of playing it, regardless if one gets invested enough into the game to finish it or not. If you have fun with it, finish it. Makes sense, really.
Journey
2012
"are games art?" first of all, f@ck you, second of all, here's one
Inside
2016
Inside is amazing from the get-go and proceeds to get better, climaxing with a mind-blowing series of events that wouldn't be conjured up in your wildest dreams... or nightmares. My girlfriend was so scared that she had to put the controller down and walk away. She had to get Outside.
Playdead has assembled a roller coaster of intense situations and puzzles to boggle the mind for just the right amount of time. No challenge is so difficult as to interfere with the story which unfolds with no outright exposition let alone any dialogue whatsoever.
Don't play another minute of anything else until you've set aside three to four hours for Playdead's Inside. It's guaranteed to immediately mesmerize.
Playdead has assembled a roller coaster of intense situations and puzzles to boggle the mind for just the right amount of time. No challenge is so difficult as to interfere with the story which unfolds with no outright exposition let alone any dialogue whatsoever.
Don't play another minute of anything else until you've set aside three to four hours for Playdead's Inside. It's guaranteed to immediately mesmerize.
