Final Fantasy XVI is being classified as a new direction for this traditional franchise. The game has abandoned the classic RPG system to focus more on action-packed battles. For some people, this change was welcomed, but some longtime fans didn't appreciate this new direction.

As I'm not a huge Final Fantasy fan, I enjoyed the battle system. My only previous experience was with Final Fantasy XV and VII Remake, so I come from this new action-oriented era of the franchise, and all the action on XVI didn't bore me.

It's a complex system, but it can be quite easy to manage all the characters' powers. The game can provide challenges at the hardest level, but it can also be a "walk in the park" for beginners. In the end, it's a classic action battle system that we've seen in other games.

The boss fights are really good and a lot of fun, but I can't say the same for when we are playing as Eikons. Controlling and facing these massive monsters feels like completely generic battles.

The world is lacking. There's hardly anything interesting to explore. We have small open worlds that don't invite us to visit other places. During my gameplay, I was always heading toward the main objective, and it didn't affect my level ups.

The map is pretty similar to what we saw in the Xenoblade franchise. It's incredible how similar it looks, even with how enemy encounters start.

The best thing about Final Fantasy XVI is definitely the story. I can say for sure that it has one of the best storylines I've ever seen in video games. The characters and their motivations are really deep. It's a complex story, but it's also really good and clearly inspired by Game of Thrones. The game touches on topics like slavery, war, and the excessive exploitation of natural resources. I didn't like how it ended, but that didn't ruin my overall experience.

Something I really enjoyed is the fact that we can consult a summary of the game anytime we want. You can pause a cutscene to see information about the character, place, or army they are talking about. By pressing a button, you can quickly read a small summary based on what's happening in the part of the game you're at. With such a complex story, this feature was very helpful in preventing players from feeling lost. It's a feature that I'd like to see in other games.

In my opinion, Final Fantasy XVI represents a new direction for the franchise, aimed at a broader audience. It offers enjoyable gameplay and an amazing story. While there are some downsides, they aren't that significant. I highly recommend it for players who haven't experienced the series before but are familiar with action games.

Like a Dragon: Ishin! is undoubtedly the best hidden gem of 2023. This Yakuza series spin-off transports players to a pivotal moment in Japan's history, circa 1860, when the nation was encountering visitors from other countries, reshaping crucial aspects of its way of life.

This game is a remake of a title originally developed for the PS3 and exclusively released in Japan. This remake version boasts stunning visuals and modern gameplay. With its new features, it stands out as one of the top games available on PS5 and Xbox Series, while also being accessible on PS4 and Xbox One.

The narrative revolves around Sakamoto Ryoma, who grapples with conflicting pressures and uncertainty surrounding his identity and societal role. Amidst a coup in Tosa, he is determined to uncover the assassin responsible for his mentor's death, leading him to operate under a secret identity on the streets of Kyoto and aligning with the formidable Shinsengumi.

One drawback for me is the reuse of faces familiar from other Yakuza games. In a story set two centuries ago, it feels off to see these faces interacting again. The presence of undercover villains is somewhat undermined if you're familiar with the Yakuza storyline, as it becomes predictable, affecting the impact of plot twists.

The game offers an open world to explore, although not overly expansive. Despite its size, there are some noteworthy locations to visit.

Combat in the game is both enjoyable and accessible. While there are four fighting styles available, players will likely find themselves primarily using just two during gameplay. The standout moments in combat are undoubtedly the encounters with bosses.

It's unfortunate that Like a Dragon: Ishin! isn't receiving as much attention as it deserves. This release is unquestionably solid, and I highly recommend it to anyone who enjoys action games.

Trim it down, to the best parts

Gaiden is essentially what they advertised, a small Kiryu...I mean Joryu adventure after the events of Yakuza 6 and during Yakuza: Like a Dragon story.

The story in this bite-sized adventure can very much rival mainline entries if you ask me. I'd recommend you to play Yakuza 6 to really understand what is going and why Kiryu ended up making deals to dissapear from his past life since it's pretty much a continuation of the latter. Unlike previous games it's not that convoluted and is pretty straightforward, it knows it's scope and plays with it nicely. At least, do it for the ending. Hits so much harder once you know who are those kids.

Don't think this game will have a lot of content on it's shoulders, in fact only the basics remain while some of the rest gets ditched or removed. And that's perfectly fine, this means this game has it's focus on the story first, content second. And while there is side-content to be enjoyed it's as basic as it gets. An excuse to level up, basically. During the story we'll meet this red haired chick "Akame" that gives us some missions to complete, this is how Gaiden handles substories and it mixes it with a completion tab. After completing a mission, we'll be gifted with both points and cash. To unlock new abilities you'll need both of them; Cash and Points. As I said before, it mixes both the completion tab and substories under one simple label "The Akame Network".

In case you have played The Kaito Files, the Lost Judgment story expansion you'll get a very similar feeling regarding it's scope, which differs from the main game. While in Gaiden we don't have clearly a game to be based on unlike The Kaito Files and Lost Judgment, it mannages to stand on it's own, even with a Frankestein-like structure. Technically speaking, Gaiden uses the latest rendition of the Dragon Engine which has seen several improvement over the years since it's debut with Yakuza 6. It takes elements from a lot of RGG games, like a ton and they're not afraid to say it so. Most of these assets went up being used in "The Castle", which if you have played previous Yakuza games you may recognize it as "The Colliseum".

"The Castle" is a free-for-all battle showdown where you can recruit fighter that can help you to overcome challenges. Familiar faces avaible as troops are definitely present in this mode. It's as complete as any Yakuza side-mode is and I wish they could expand more on this concept. Basically Mugen in a Yakuza game. It's the definitive timesink of this title and arguably the most fun I had with this game.

Combat takes huge inspiration from a lot of past Yakuza games, and it doesn't try to reinvent the wheel. Even some Judgment and Lost Judgment mechanics makes it's first appereance on a mainline title. "Yakuza Style" is the signature style Kiryu has been using since the series began. Heavy charges, strong punches. It's somewhat close to Kiwami 2 combat system. And then we have "Agent Style", think of "Crane Style" from the Judgment games but with a few extra "Gadgets" added on top. The Gadgets are the key in this fighting style and it makes fighting hordes of enemies much easier to manage, while on bosses is ineffective at best, useless at worst. I'll be honest, the combat is not as good as Lost Judgment even if it releasesed two years after it. It's not as polish as you may expect and there is a lot of bullshit moments to occur, specially on boss fights. That's why I say "The Castle" is great, it doesn't requiere precision in the amount of chaos that is hapenning there and combat generally favours going against hordes of enemies rather than a simple oponent.

Gaiden feels like the series "Greatest Hits" album, carefully selecting the elements that makes this series unique. It does come at the cost of not feeling fully-fletched and having a unique "something" that makes each title special, but for a small sized adventure is a perfectly serviceable title to have while waiting for Infinite Wealth.

the swinging package here is sewn up by three mechanics: the boost, the web zip, and the charge jump. in a modern design, the boost would inevitably be restrained by some kind of resource like a meter or a cooldown thanks to the idle nodding of designers seeing a chance to add an explicit limitation to the system. spider-man 2 doesn't need that; the boost's only mechanical restriction is that it can be used once per swing with no other catch. simply obtaining the speed that it comes with using it adds enough danger to traversal to avoid any need for an artificial check on its power. the web zip (once obtained) defrays this by opening up an escape hatch when you need to bail out. its ability to quickly change your angle and briefly cap your speed reins in runaway or unexpected swings. the charge jump overlays all of this with the ability to influence height out of the swing and weave in ground movement without losing momentum. it gives the player a variable amount of impulse based on how long it's been buffered, and it sits completely independent of the other moves, making it chargeable in the background while simultaneously swinging. these three beg not only multilayered decision-making, with fingers working independently to control different systems, but also robust split-second decision-making that keeps the player constantly juggling the three as the micropositioning constantly evolves.

that's primarily because the micropositioning (partially) controls where spidey's webs go, and it's nuanced to such an extent that you'll often have no idea what exactly it'll attach to or how you'll swing around its fulcrum. watch this quick speedrun of the pizza missions and you'll see even a world record holder overshoot objectives, muddle with awkward climbing angles, and get stuck inside a fire escape. this chaos persists even at lower speeds, so there's no point to holding yourself back; boost as often as you can and be prepared for disaster. the game's challenges accept this fact and run with it by featuring generously sized rings to run through without many "tricks" involved. in fact, most of the challenges would feel like filler if not for the volatility of the swinging system giving much-needed variety to what otherwise are checkpoints slapped inside city blocks. you're never expected to plan intricate routes through these because accepting inconsistency and learning to work around it is the core of the game's unique movement system. even simple additions to a challenge such as mandating wallrunning, loop-de-loops, or landing on the ground inside particular checkpoints wrinkle the necessary traversal in such a way that you'll remember one-off challenges days after you originally played them. these nuances are the crux of the game's appeal.

whether this sounds appealing to you in the long run depends on how much intrinsic enjoyment you can get out of this system without much structure surrounding it. its these challenges and the pizza missions providing most of your sustenance, and luckily they're available from mere minutes into the game. however, to further upgrade your base speed, expect to pay the piper by sleepwalking through ~4-5 hours of story-driven setpieces. it shockingly does little to play with your swinging chops and instead alternates extremely lax "get to the objective" segments with dull beat-em-up combat that rarely escalates beyond spamming the air combo and the contextual dodge. it luckily rarely veers into true frustration, but the fact that you have to engage with it all was a rather sore point to me. having to eat my veggies to enjoy my traversal dessert doesn't hit quite as hard when the dessert itself is a bit of an acquired taste, riddled with its own frustrations and inconsistencies. holistically the experience feels often more like something I enjoy dissecting in theory and less so in practice.

the similarities to gravity rush occurred to me while playing, as I outlined in my review of that game that it was also a bare-bones open world experience buoyed by its exciting traversal yet limited by rarely leaning into it outside of optional challenges. spider-man 2 is an even purer expression of that sentiment, with a washed-out, flat version of manhattan replacing the anachronistically rich hekseville and an even more wild and disorienting swinging system replacing the comparatively straight-forward gravity control. a game I see myself continuing to pop in to pick away at the remaining challenges, but not necessarily one that kept me enthralled.

didn't really talk much about the combat in my last few classic RE reviews because so much of it boils down to pressing aim and shooting until the zombie goes down; the main appeal is the resource consumption, where every shot counts and evading enemies is often preferable. on its face re3's combat focus seems to violate this core appeal, as the increase in enemy counts across the board comes with a corresponding increase in heavy weaponry. shotgun shells weren't even sparse in re2, and in re3 you might as well just use your shotgun as your daily driver given how lush the ammo haul is. between this, chokepoints with explosive barrels, the contextual dodge, the wealth of gunpowders, and the grace pushdowns you get if you've previously been bitten in a room, it really feels like jill is nigh invincible in most regular encounters. with the more claustrophobic corridor design and increased enemy limit in rooms, there are certainly more times that the game pushes you into one of these options instead of going for straight evasion, but at the same time the core conceit is still the same: click aim, click shoot. a lot of mechanics to defray what is still relatively rudimentary gameplay.

however, the devs went out of their way to keep the routing intact. the addition of nemesis as a mr. X replacement so thoroughly trumps its predecessor that it feels a bit shocking they didn't get it this right the first time. mr. X was a effectively an ammo conversion spot; this lumbering beast you could pump full of cheaper ammo to get drops of the nicer stuff. nemesis completely flips this on its head by offering a real challenge between all of his different mutations, with attacks such as full-screen lunges, tentacle whips, and a rocket launcher. tackling him requires a much stronger focus on positioning and dodge acumen than mr. X (or even many other early RE bosses), and fittingly in return for choosing to fight you get parts for specialized weapons. granted, actually mastering the dodge in these fights plays up the issues with its seemingly random outcomes and directions, but at the same time tanking hits or controlling his speed with the freeze grenades gives much-needed leeway in what is probably the hardest boss up to this point in the series. unfortunately, killing him in optional encounters doesn't seem to influence rank at all, and I never got a sense that these optional kills help make his later obligatory fights easier, but his presence still gives the benefit of influencing your ammo route. killing nemesis isn't cheap, so if you're interested in his weapons, the regular fights that are so easily trivialized by the bounty of grenades you receive becomes moments for you to tighten your belt and conserve ammo.

small variations to the campaign are also more prevalent in this entry, from randomized enemy layouts and different item locations to subtle route-dependent event trigger alterations. the least interesting of these are timed binary choices that are occasionally given to you during cutscenes, which generally are nothing more than knowledge checks, especially when you can get a free nemesis kill out of it like in the restaurant or on the bell tower. occasionally these actually affect routing, as on the bridge prior to the dead factory, but more often than not the difference seemed either negligible or not a real tradeoff. the rest of these do affect routing in meaningful ways, from things as minor as changing a room from hunters to brain suckers to major changes such as the magnum and the grenade launcher getting swapped in the stars office. this plus the plentiful ammo fosters a nice "go with the flow" atmosphere where reloading a save and getting thrown into different circumstances is often a worse choice than just limping along through mistakes. on the flip-side, the actual effects of this feels like it would be most relevant between many separate runs, so I really haven't played around with really planning a route for this one as much as I would have liked. it already took me a year to play through this short game lol, hopefully next year once I'm done teaching I'll come back to this one.

with that in mind, the real thing that elevated this for me over re2 was the area design. re3 sticks with general design thrust of the first two -- bigger early areas, smaller later areas -- but it moves away from interconnected inner loops and major-key gating of the mansion or the police station in favor of something more akin to spokes coming out from a wheel, where each spoke has its own little setpiece and order of exploration feels more loose. the best example of this is easily downtown, which implements an item collection challenge similar to chess plugs or medals puzzles from previous games (get supplies to fix a cable car). each primary location in this section is a building, whether a sub station or a press office, all connected via alleys and streets with interactables strewn along the way. does a good job both corralling the player into fighting enemies in narrow spaces as well as providing many separated nodes with their own little sparks of action and intrigue. not really as genius as the mansion's taut, intertwined room layout, but it's cool to see them try something a little different. the later game devolves into mini-puzzle areas on par with the guardhouse (or even smaller in the case of the park or the hospital), but these are a significantly improvement over the undercooked sewer from re2. the puzzles themselves are pretty fun too; I like spatial puzzles more than riddles, and they lean into that more here with stuff like the water purification check near the end of the game.

VVVVVV has faded into the background somewhat despite its positive critical reception upon launch, and that's a shame: I think more developers should take notes, as it succeeds at appealing to both casual and competitive audiences. From a casual viewpoint, VVVVVV takes a classic deconstructed concept ("what if we removed jumping in 2D platforming?") and expands upon this in meaningful ways with little downtime. I've often complained about the lack of tech-skill in 2D platformers, but VVVVVV remains a key exception because it's simple to pick up (just gravity flip and walking as controls) yet difficult to master due to its weightiness. Additionally, it never feels stale with its utilization of gravity flipping by innovating upon this with classic obstacle escalation, introducing flippers, screen wrapping, teleporters, and auto-scrolling in respective levels as just a few married mechanics. On the other hand, from a competitive viewpoint, VVVVVV presents itself as an almost perfect beginner's speedrunning game thanks to the general lack of RNG; all rooms begin from the same state once entered, following the same pattern every time. Upon exiting, the rooms will always reset to that exact same state playing the same pattern, meaning that timing cycles don't have to be accounted for on a broader scale and players can just focus on correctly routing the first time around. Due to the simplified routing and committal movement (since you can't flip mid-air and have very restrained control over aerial drift), players must both react quickly enough to meet single room cycles and carefully plan out input timings. It certainly helps that a solid speedrun takes less than an hour and individual sectors can be practiced as "challenges" added in a recent update.

Notice how I said "general lack of RNG" however, because this is where VVVVVV throws a wrench into the works. One of the game's twists is that upon rescuing three crewmates (i.e. clearing 3 of the 4 main sectors), the player is thrown into a 2nd intermission dubbed "The Gravitron," an arcade-like section that bounces the player between two flippers as they must dodge incoming projectiles without any vertical control. This particular intermission is the only case of RNG (in the form of randomized projectile waves) throughout the game, and unfortunately sticks out like a sore thumb in an otherwise completely consistent speedrunning experience. As an endless arcade sidemode that can be unlocked via collecting every trinket, I think it fulfills this role as a reward well, but when considering it from a deathless run perspective, it is an absolute killer in the middle of the run that cannot be easily planned for. Outside of this complaint though, I find very few things that I can fault VVVVVV for. The game's simple visuals are bright and catchy, it's got a great sense of humor with its room names and stylized pixel hazards, and the soundtrack goes harder than it has any right to: Pressure Cooker and Potential for Anything never fail to blow me away with their energetic melodies. This is an easy recommendation for anyone looking to get into speedrunning platformers despite the need to heavily practice for the Gravitron, and it's an even easier recommendation for general players looking to understand how indies can thoroughly yet succinctly explore creative yet familiar concepts in a cohesive package.

I actually beat Rollerdrome back in March and was quite enamored at first, but I've since cooled down on it somewhat. A quick replay today has only confirmed my suspicions that there's unfortunately a lot left to be desired. Feel free to take my word here with a grain of salt: I'm not a particularly huge Tony Hawk fan and was more or less playing this as part of a warm-up via Jet Set Radio-likes (since Bomb Rush Cyberfunk is coming out in less than a week, and I replayed the original Jet Set Radio right before this). Still, if I had to put my finger on why this didn't hit the mark the second time around, my best guess would be that Rollerdrome doesn't understand how to create an engaging difficulty curve, and here are some of my theories as to why:

- Progression: Rollerdrome locks its stages behind completing challenges (collect all the tokens, do a certain trick while killing a certain enemy, rack up enough points, etc), with ten challenges per stage and sixty completed challenges required to unlock the finals. This is supposed to incentivize players to tackle as many challenges as possible while going through stages, but in reality what I found myself doing was farming the earlier stages for the easiest challenges to get the base completion requirement out of the way, and throwing away dry runs to farm the more manageable challenges at the beginning before resetting and running through the stages proper. This unfortunately feels like an artificial implementation of coercing me to explore its mechanics when I was usually more concerned with straight efficiency regarding combat.

- Tricks: You need to perform tricks constantly in Rollerdrome to restore your ammo, and tricks are also a way to quickly rack up points in-between shooting to exploit your current combo multiplier. Again though, I found tricks to be unnecessarily complicated and superfluous outside of doing the required tricks to complete necessary challenges: if you don't care about your score, then all you have to do for quick ammo restoration is to just hold the stick forward and perform the same grab/flip/spin while not in combat, or just spend your time grinding on rails/edges and firing since you'll automatically regain ammo for grinding up to a certain point. It also doesn't help that I found the inputs for more complex tricks a bit fiddly and perfect dodges refresh some of your ammo anyway, reducing the reliance upon tricks. Speaking of which...

- Dodge/Super Reflex: The dodge is a little too good in Rollerdrome. You can basically invincible frame roll at any time in the game (including in mid-air and while grinding), outside of a few frames right after the roll animation ends as far as I can tell. This not only provides a reliable method for quickly getting out of danger, but also you can roll in any direction to quickly alter your momentum and enter Super Reflex if you activate bullet-time right as you perfect dodge (that is, dodging in the first few frames of an active enemy attack). To summarize, this strategy easily gets you ammo refills, allows for relative invincibility when confronted by a barrage of attacks, and powers up your shots while in Super Reflex, which as a result makes Rollerdrome almost feel too reactive as opposed to proactive since it's far too advantageous to not abuse this to safely and quickly wipe out waves.

- Stages: Rollerdrome only has 11 stages, and quite a few of these stages are just repeated locales with few hazards outside of the enemies and a lot of empty, open space outside of a few trick ramps and grind rails/edges. A bit more variety in the set design (and more walls to wall-ride, which I thought was a little underutilized) would have been appreciated since by halfway through, some of the arenas started to bleed into one another for me.

- Laser: I'm fine with most of the weapon balance in Rollerdrome, but the Z-11 (the in-game laser gun) is an exception. The main caveat to using the Z-11, aside from the three shot capacity (still more than the grenade launcher though), is that you can't use aim assist to automatically lock on to foes with it and thus must manually point your reticle at them. Not a very difficult task though, since Reflex gives you more than enough reaction time and the reticle turns red as soon as you hover over a target. Because the shotgun and pistol are limited somewhat by range for aim assist (especially the shotgun due to perfect slug shots), the laser is a godsend: it bypasses this system entirely and lets you snipe foes from across the arena, taking out most enemies after a double charge and can also pierce through multiple enemies at a time. It further disrupts this balance because the Z-11 is unlocked halfway through, meaning the game's earlier combat/combo challenges are a lot more difficult without it at first but often rather trivial once you've unlocked it.

- Boss fights: I've already mentioned that Rollerdrome's dodge roll is a bit overcentralizing, but nowhere does this become more evident than during the two boss fights, shifting the prevailing strategy from any semblance of ammo management/route planning to just basic bait and punish. Simply wait for enemy attacks, dodge to regain ammo/enter Super Reflex to finish off goons, and then approach the big robot to deal damage and enter the next phase. There's no scoring optimization or crazy tricks/maneuvering involved, and as a result, these tend to be pretty dry affairs that could have been removed from the game entirely with little value lost.

I certainly get the appeal of Rollerdrome, given its potential for optimization to maximize the combo meter and quickly speedrun stages, but unfortunately I find that the game doesn't get harder, but rather gets longer with more enemies that take more hits and throw out more attacks. Even so, I had enough fun constantly filling foes with lead in slow-mo, but even this thrill began to wear itself thin an hour in. I can't help but feel that the separate movement and combat mechanics are undercooked despite how promising "Tony Hawk with bullet-time gunplay" sounds on paper. More power to those who find the core gameplay engaging enough to try and complete all the challenges + the "Out for Blood" post-game replay with stricter margins: as for me, I'm content with putting this down after a few hours and completing Finals with a C rank. Rollerdrome is by no means a bad game, but I know Roll7 is capable of so much more.

I should have known something wasn't right about Memories of Celceta by the one-hour mark. Looking back, I’ve now repeatedly picked up and shelved this game a grand total of five times over the past year, with my feelings upon the game becoming more mixed every time. In fact, it actually made me question whether or not I liked Ys Seven to begin with. Upon a quick replay though, I can confirm that the issue was not so much Ys Seven’s baseline mechanics but rather Celceta’s interpretation of said mechanics. For the sake of simplicity, I’ll refrain from poring over Celceta’s general background (since the core ideas have carried over from Ys Seven and have been thoroughly explained here) and treat this write-up more as a compare & contrast.

The first thing that comes to mind is that despite carrying over the baseline combat mechanics from Ys Seven, Celceta’s pacing feels far more sluggish than Ys Seven. This struck me as quite odd at first, because there’s no immediate culprit that would draw my ire as anything that was excessively grindy (as compared to Ys Seven, which really suffers from an end-game resource grind for the best weapons in the game). Upon further reflection, I came to realize that it was actually a mix of smaller factors that kept intrusively interrupting the flow of Ys’s traditionally frenetic bread-and-butter gameplay over the course of the entire run. For example:

- Celceta has tons of slow swimming thanks to all the different water bodies and water elevation puzzles scattered throughout the overworld and the dungeons. This gets even more obnoxious because there are tons of enemies present in the water that Adol and company have to fend off with a very committal thrust (since you can’t dodge or flash guard while swimming).

- The first half of the game doesn’t let you freely teleport between differently colored monuments, which becomes very tedious when backtracking for resources/side quests/healing. It’s not until the Primeval Lands are unlocked and you obtain the Gold Wing that backtracking becomes much more efficient.

- There’s some coding/binding oversight that doesn’t let you use your special attack bound to the Y button without expending your EXTRA attack/gauge if it’s completely filled up. The result is that I felt pretty reluctant to use the Y special attack most of the time, and accidentally threw away my EXTRA attack plenty of times, forcing me to engage in additional grinding to enter every boss fight with a full EXTRA gauge.

- There are some high-level enemies near the beginning of the game with tons of health that you’d think would be a good idea to avoid; however, it’s actually pretty easy to defeat them by flash guarding the telegraphed attacks and they're worth boat-loads of experience. The Golden Pikkard near the middle of the game functions similarly to this, in that it can grant multiple level-ups at a time and is otherwise a somewhat unengaging fight since it will just run away from you while tanking attacks. These opportunities feel too good to pass up since it’s often very little risk for significant reward, resulting in the player occasionally grinding to become over-leveled for a good chunk of the game.

- The game encourages you to go for “aerial combos” juggling enemies for extra damage, but most characters are incapable of using standard attacks to hit launched foes because there’s no jump and most standard attacks aren’t pointed upwards. This creates this gap in combat where after hitting enemies with launcher special attacks and running out of the SP gauge, you have to wait for enemies to return to earth before resuming your assault.

- Each of the six playable party characters has a “unique” action that requires you to switch to them to activate something in the overworld (ex: Adol is the only one who can access memories, Duren is required to unlock chests, etc). This wasn’t completely absent in Ys Seven, but it’s significantly more intrusive in Celceta because there are many more instances requiring character-specific context-sensitive prompts, so a lot more time is spent menuing to switch party characters on the fly if the ones you’re currently using for combat don’t correspond with those required for overworld actions.

- While there’s no late-game resource grind as previously mentioned, there’s something far more egregious that players may feel incentivized to do. Due to some developer oversight, Falcom misaligned the world map, which means that to achieve 100% map completion, you have to unintuitively “hug” walls of certain areas to register them as part of the percentage. This gets particularly grating because the game is very picky as to what has/has not been registered, to where unregistered parts of the map may not even appear to be visibly faded while looking at the map display. You don’t have to 100% the map to beat the game of course, but since the item you receive as a reward for doing so is extremely valuable (a sub-item that accelerates the accrual of your EXTRA gauge), most players will probably end up going through this laborious and unclear clean-up that was fortunately addressed in Ys VIII with far more generous guidelines.

Looking past these pacing issues, Celceta does at least expand and often improve upon the toolkit from Ys Seven. For instance, dodge-rolling right when enemies attack performs a “Flash Move” that grants you temporary invincibility and temporarily slows the enemy down (as opposed to the Flash Guard, which is more of a “parry” that builds up your SP/EXTRA gauge), which should theoretically open up more avenues of combat. In addition, new special attacks for characters are naturally unlocked as the player progresses through the game’s fights; while Ys Seven ran the risk of players potentially not gaining permanent access to new special attacks if not used enough with new weapons, Celceta’s unlocks operate independently of purchasing new weapons to avoid this issue. Lastly, Celceta provides a stronger incentive for utilizing special attacks by allowing players to regain half of the expended SP if the special attack is used as a finisher, rewarding players for wisely timing special attacks to improve the flow of combat.

The more pressing issue then, is that the enemies and bosses are not scaled appropriately to match the player’s buffed toolkit, resulting in what is probably the easiest Ys game to date. Ys Seven at least ran the risk of punishing the player for mistiming the Flash Guard: if the player is hit during the end-lag after the active parrying frames, they would receive critical damage, thus balancing the risk vs reward. Meanwhile, Celceta not only removes this risk altogether, but in fact allows the player to mash the Flash Guard with no delay between inputs to quickly build up the SP/EXTRA gauge in practical invincibility, trivializing fights. Similarly, the charged attack is streamlined from Ys Seven to Celceta: Ys Seven forced the player to commit by holding down the attack button, while Celceta instead links the charged attack to a built-in timer (wait long enough without attacking and the next attack you launch will be charged). While this doesn’t appear to be a drastic change, there’s a lot less decision-making that goes into the latter compared to the former; the player is consciously making the decision to charge up an attack in Ys Seven, but in Celceta, it’ll naturally charge while dodge-rolling around anyways. Finally, remembered when I mentioned that most characters are incapable of hitting launched enemies with standard attacks for aerial combos? There’s one exception to this, and she’s the most busted character in the game: Karna can often infinitely juggle enemies with her ranged standard attack, and can in fact out-space the vast majority of mobs in the game. Couple all of these things with the activated flash-moves from rolling through enemy attacks, and Celceta’s combat often devolves into mindless hit-and-run strategies where you can dodge-roll/flash-guard through every attack in the game with little risk to the player.

As a result, Memories of Celceta lacks an engaging difficulty/learning curve compared to other games in the series; the same broken strategies that work at the very beginning are just as effective at running through late-game bosses, and there’s not much incentive for the player to experiment outside of their comfort zone considering how easy it is to fall back upon hit-and-run. I imagine that Falcom caught wind of complaints regarding spongey bosses in Ys Seven and thus toned down their health bars accordingly, but it feels like they went in the complete opposite direction because even the final couple of bosses absolutely melted in a couple of minutes from abusing flash guard critical-boosted EXTRA attacks. The game also lacks a satisfying payoff to justify the tedium: Memories of Celceta tries to place more emphasis upon the individual party members as opposed to the overarching lore (which is why Ys Seven’s limited storytelling feels more acceptable), but so much more time is spent mindlessly backtracking for side-quests that fail to provide interesting lore/character development, and the game abruptly grinds to a halt after an anti-climatic final boss fight that fails to provide any resolution or catharsis to any of the game’s party members. It really feels like Falcom phoned in Celceta's ending in comparison to the simple yet impactful narrative that Ys Seven provided, thanks to Ys Seven’s well-developed tragic villain and emotional climax.

Many have described Ys Seven and Memories of Celceta as a sort of “transition period” between the Ark-era isometric 2D-3D games and the “modern-era” party-based fully-3D games with broader scopes and longer runtimes, but I will go a step further: Memories of Celceta is the stepping-stone of the Ys stepping-stones. The short and thick of it is that while there is no single abhorrent quality or moment that makes the game unbearable, it's also the first Ys game that's struggled to hold my attention and I can’t think of any reasons to recommend it as opposed to its peers. If you want a tougher game with less developed mechanics but a tighter execution to fit its rougher toolkit, then Ys Seven is the way to go. If you want a more expansive and polished toolkit with a more engaging difficulty and learning curve to justify said toolkit, then Ys VIII is your weapon of choice. Finally, if you just want the tale of Celceta told to you in a more succinct and colorful manner, then I’d suggest playing through the original Ys IV via Dawn of Ys. Memories of Celceta loves to emphasize the importance of treasuring the past… but I sure as hell wouldn’t be surprised if this was the first Ys game that I ended up forgetting.

If it ain't broke, improve on it

Dead Space, the 2008 classic horror third person shooter set in space. Brought back to life after 10 years, when we thought EA had essencially killed it with Dead Space 3. The team at EA Motive did an incredible job at remaking this title. Everything is preserved in a modern take that feels faithful to the original, while expanding on areas that in the original fell flat or weren't really developed.

In my eyes, this is the definitive edition of Dead Space, even old nostalgic me can agree with that. Though, I can point out some changes that I felt the original did better but that all comes to tastes and that's the version I grew up so I'm pretty much biased here. For example, some Necromorphs animations in the original felt a bit more natural and creepier somehow or that dialogue was kept short thanks to Issac being basically mute the entire time. I don't think giving Issac a voice was a bad decision, but too much chit-chat was tiring between sections that lasted longer than in the original and in general killed the mystery mood all around but I can also attribuite that to the original release.

My biggest question is: "Was this really necessary?" For a statistics standpoint it absolutely makes sense to revive the franchise from it's dormant state while not risking too much. A new numbered title would have been a strange decison after 10 years of inactivity. The best choice was to remake the title graphically and fix some of it's weak points and that's perfect. But I wanted more of it, beyond what this remake did.

I've already completed the original game a dozen of times during my life and I know it like the palm of my hand, hell I know the USG Ishimura better than my own house. And that is why I wanted more of it. That doesn't mean it makes this remake less, far from it. The changes made in this remake made me appreciate it even more, but I can't but think they could've gone crazier with it. Add a new boss, new zones or something, just don't stop fixing the original weak points and well, to add something on their own. And I know they added some minigames, expanded on a few zones and lots more. Just wanted to see something new from the team, some new fresh ideas while again, keeping itself true to the original.

It might be just a me thing though. And I think if the original 2008 title released in this and age, the changes made in this remake could've perfectly applied through some free updates.

For a long time, I have wished for one game to give me a similar feeling of wonder and discovery as my time with Dark Souls 1. For years I have searched, and as the market filled with countless soul's-likes, I was still unsatisfied. Because they strive to fulfill different criteria of what makes a soul's-like truly great in varying degrees. Except for a single Indie RPG. Bleak Faith: Forsaken.

Made by 3 developers. And one I feel has nearly enough to stand next to Fromsoftware's beloved Soul's games for an indie RPG. Yet, the recent release has been unjustly, unfairly, and unreasonably panned by many users on the web for bugs and an Epic controversy. The former has been hyperbolized beyond disbelief and gatekeeping, while the latter is a rabbit hole; I'm not going to discuss it here.

Despite, these major claims, I sought to review the game based on its own merits upon release. This is my review of Bleak Faith: Forsaken after 34 hours. For full disclosure, I did not ask the developers for a review copy since I wanted to experience it with everyone else.

Anyway, let's get started.

Primarily an open-world survival horror action third-person RPG. A cross between sci-fi and dark fantasy. A ‘Blame! By Tsutomu Nihei’ meets ‘Berserk by Kentaro Miura’ game. You will explore the omnistructure and discover the history behind this unforgiving world. Embrace the unknown and risk your life multiple times against powerful adversaries.

That’s the main gist of what I can glean. And for the most part, it is pretty true in exploring the omnistructure. It does share similarities as a souls-like. However, there is enough content here to differentiate itself from being another soul's clone.

You don't level conventionally in Bleak Faith. Instead, the game runs entirely based on the gear you find in the world and the equipment you earn from enemies. This is an interesting take on the gameplay formula since it eliminates the need to go to a stationary safe zone to allocate stats. Instead, it enforces a bold approach where players must venture to explore the Omnistructure.

A vast world full of verticality with medium-large levels. And where some can quickly become lost in the sheer scale of wonder and discovery. In my experience, I was captivated by the level design and appreciated the environments of sci-fi megastructures to the mix of fantasy elements of technomancy. I became lost in the narrow corridors while searching for better loot and taking in the sheer scenery of places. At times, you will need a mental map of the levels you encounter. Nonetheless, sometimes your curiosity might lead you to find a great treasure or a hidden shortcut to unlock. The great thing about playing games like these without any official guides or information on the web at the time of release is that it forces the player to go in any direction at their peril and curiosity. To my utter joy, the first area you start does a good job of dropping you into the world and letting you go off in any direction. And the 2nd area is impressive due to each level being intrinsically interconnected.

Early previews of trailers have some heavy Shadow of the Colossus inspiration here. And I am glad to report there is such a system in place to climb onto large enemies to weaken them. The mechanic is not half-baked either. You will be fighting differently by striking their legs to stagger them. And then you climb atop their body to strike at their weak points. This mix of Colossus-style combat is refreshing to the combat formula where you fight lone or multiple adversaries. Now you have to keep in mind the larger giants as well.

Climbing, jumping, water traversal are allowed in the game. Adding to the player freedom and traversal on nearly every cliff, crevice, as well as a sprinkle of platforming here. A nice change of pace from battles. To see more of the level structure, the power to do so at any time and for players to figure out their path is an incredible feeling. Granted, it is not at every level. But, the fact is we can jump anytime. Also is integrated well enough with the other mechanics, not to the point of a checklist, but each mechanic felt natural and not thrown in haphazardly. Enhancing the world to make nearly every nook and cranny possible to reach. So if you think there will be some obstacles blocking your path... Well... You know what to do.

I love your character abilities here and the perk system. They visually affect different playstyles to become extra powerful or subtly with stat upgrades. For example, I could pick the Vamprism perk, granting my character life steal. One perk: Increases the number of health potions on my belt, a passive chance to create illusions. Dual weapon & heavy weapon masteries to increase damage and more.

These coupled with interchangeable character abilities, made my playthrough very enjoyable since it emphasized different builds and experimentation.

I like the crafting system here. Since it does not contain a currency system to buy equipment or items. Unlike the Souls games it's inspired by, you don't lose currency on death, so it is okay to die. Therefore, the gameplay loop of exploration and defeating enemies to gather materials becomes a euphoric feeling. Allowing the player to become stronger as they progress further. Upgrading your weapons and gear outputs a good change in the stats of your character. As a result, the crafting system helps the player overcome bosses or tough enemy mobs.

For bosses. They are threatening and do a fantastic job of giving you a good bit of trouble. But, not to the point of being insurmountable to defeat. Simply upgrade gear and weapons, and have enough items on your belt to increase damage, armor rating, and more items. Help immensely to turn the tide of battle. And for the most part that was enough for me. Attackers are also varied and I did not see a lot of copy-paste here and there. The whole world evolves in a way I didn't expect as I progressed deeper into the game, making new foes appear.

Dig the large variety of weapons and armor you can find. Made hunting around the world for unique armor sets and equipment a pleasure and fighting opponents not dull. Considering, I wanted an enemy's gear. Cool cape? That's mine now. Woah cool staff dude. That too will be mine. So the gameplay momentum is sustained as you progress further in the omnistructure.

Weaponry feels powerful and usable in certain situations since they can have one or two unique abilities attached. A unique weapon can emit a sword slash in front of you. The other can teleport behind enemy lines backstabbing them, others can summon beams of light. I haven't found all of them yet, but the sheer amount of weapon abilities with unique animations is a great plus in my books. Just like the souls series, boss weapons feel very powerful to use and very rewarding to have after a tough fight. Also, they aesthetically look very epic.

Speaking of epic. The music slaps. And I dearly want to buy the soundtrack as soon as possible. Boss tracks especially are fitting and overworld levels give off a pleasant track tunes.

Now then, as much as I want to go on praising what works effectively here. There are some things I must critique. And granted, the developers have already fixed the controls and Giant's bug. Two major complaints I had were quickly resolved. During my playthrough. This is very satisfying to see and so, I’ll focus on other matters.

First. Inventory updates. Occasionally will not show what I acquired from an enemy or what item I found. I had to check my inventory constantly and discover, “when did I get that item?” All items should pop up clearly. So I do not need to check my inventory and double-check.

Minor to somewhat troublesome bugs. Compared to the exaggerated claims by some users online panning the release as unplayable due to the number of bugs. Quite frankly, I didn’t encounter that many. And when I did they were largely fixed by the re-spawn mechanic you have innately. You can spawn one nearby when there are no enemies. Nonetheless, I did experience falling off the map, not intentionally mind you two to four times, getting outside level boundaries two to three times, and collisions with the enemy where I am stuck to them about three to four times. These all occurred throughout my thirty-four-hour playthrough and one crash to the desktop. And suffice it to say I didn’t lose a major amount of progress either. Granted my playthrough could be different and I’ve seen different reviews from other reviewers who have played to end credits stating different experiences with bugs. So this could be a ‘your mileage might vary’ type of deal. Be that as it may, most reviews on Steam still have negative thumbs-down ratings. When the developers have already fixed a good number of those complaints regarding the controls, floating while jumping, and instant death from climbing giants. This is a gentle reminder to read other reviewers' impressions of the game who have played extensively. And provide clarity and logical reasoning. There is a clear difference between ten to twenty minutes of playtime to two hours or less and then compared to those who played five, ten, twenty plus hours.

Moving on.

The next points I'll cover can be a hit or miss. Not a negative or a positive. All the same, I have decided to say here for transparency.

To start, hitboxes can be a hit or miss. Sometimes the weapon I am using is just a tad bit short. Other times it is great when evading an enemy. Could be better I feel.

I wish there is a 'perk reset' button or drinking a unique consumable to revert perks. I made the mistake of clicking one perk thinking, "This will be good." Except it's not. And now I'm stuck with a perk for my whole playthrough. Granted, there was a warning attached of picking a perk being irreversible. So that's on me.

Has jank when it was good. But also jank when it is bad. Yet, I still had a lot of fun throughout my playthrough and didn't reach a point of frustration to the degree I wanted to gatekeep this indie RPG for good. In several cases, I had jolly good laughs on some jank occurring. Some of which work in my favor!

I wish there was more story here. Seems, the narrative can be a bit vague at times. And while I appreciated the cutscenes greatly, more dialogue to explain some lore, sidequests for more side activities to do and more NPCs to flesh out the world-building could do wonders in immersing me further.

I also think the combo system can be a hit or miss. I barely touched it early on since I couldn't get the mechanic to activate it correctly. While a friend of mine told me it works for them. So I am going back to see if I can properly activate them in fights. Probably my fault for not fully understanding how it works. Perhaps a tutorial archive in the menu to refresh players on mechanics would be nice.

And that’s it. My final score for Bleak Faith: Forsaken is an 8/10. I was thinking of a 7/10. But I feel that is way too harsh. There is plenty of good content here, the game has organically especially from 3 developers. I could see it going to a 9/10 in the coming months as the devs continue making incredible progress as each day passes. And will add more free updates. Such as NG+, content expansions, and multiplayer. But first fixes since that is a very high priority.

So! If you are on the hunt, for an indie RPG souls-like in the vein of Dark Souls 1 just as I was. A mix of sci-fi and fantasy with a cross of Blame! & Berserk. And don't mind the occasional jank here and there. Then I recommend Bleak Faith: Forsaken. I have faith that the developers from Archangel Studios will come out with something great in store for us.

Front Mission Evolved is weird. Started well, but a bevy of issues kept the game’s momentum from realizing its full potential. Despite some good ideas here.

For starters. I like the Wanzer(mechs you pilot) combat. Kinda like Armored Core(AC). Except you’re mainly fighting on ground level compared to sometimes flighty combat in the AC series. Which surprised me quite a bit. But good lord there are so many things wrong here.

The characters... I wish I could say they're good... Nope. They're garbage and hold no likeability. And granted I didn't expect a great character out the gate, but I still would've liked a character who actually develops or at least in some form retain a bit of interesting personality. And I still didn't see it by the time endgame rolled around. Extremely predictable too as you progress through each Act. Of which there are five, but there are multiple missions within. Acts can take about an hour to complete more or less. Boss battles are pretty good here. Like a puzzled way to beat them and each one is different from the last. Sometimes those battles will be unfair, but re-customizing your Wanzer setup can mean the difference between victory and defeat.

The levels are alright. Early on you mainly fight on street levels. As you progress in each act they’ll take you to new mission levels where the setting changes depending on the biome. So you won’t be fighting Wanzers every day. Level designs are linear, with some leeway to collect collectibles. When you start on-foot sections those are small and have samey corridors too. There is a bit of an arcadey feeling here in that you can go replenish your Wanzer’s ammo and health. I kinda like this feature, since it allows the player to keep the momentum going. And I felt there were enough of them around to manage most levels.

I did not expect some new gameplay elements such as helicopter sections where you blast enemies to smithereens, which is also a nice way to earn income repeatedly if you’re short on cash.

And weirdly enough there are segments to fight on foot... Fighting outside your mech and having to duck behind boxes to eliminate enemies. Is… not good. Feels very janky for movement and combat making the experience not fun. On foot, enemies have basic a.i. Pop out of cover to shoot. Cover back to reload and repeat. You can use different weapons like a bazooka, SMG, shotgun, and more, but I didn’t feel the need since your setup is already powerful enough and enemies can be taken down in several shots. Honestly, the on-foot segments feel like the developers couldn’t realize the identity of the game and decided to mash different elements that feel half-baked. Can’t even try the multiplayer features since the online servers are down as far as I know. These half-measures make the single-player portion suffer and as a result, make the whole game have an identity crisis at times. I feel the developers should’ve stuck with Wanzer combat for every level and laid off on the on-foot combat and multiplayer to flesh out the single-player portion more since it does have some interesting boss fights and Wanzer customization where you can outfit your mech with different parts or weapons.

While not as intricate as Armored Core customization. I still like the developers' attempts for a lite outfit change here to equip different weapons and body parts. I just didn’t like some mission requirements where I had to equip different leg parts to start a mission. Feels forced and not very enjoyable since I wanted to outfit my Wanzer on a two-leg setup instead of a crab leg setup or the hover setup. In my opinion, removing the leg requirements would’ve allowed the player more freedom and thus made those particular missions more enjoyable than having to adjust how to use those leg setups.

The story is nothing to write home about except explosions with bigger explosions, however, I did appreciate how it held a narrative to follow from beginning to end... A narrative very thinly holding my interest. Despite the initial hook of the son trying to find his father. By endgame, all I cared about was whether the ending would redeem any of the critiques I have of the game. And sadly even that aspect failed.

There are so many things wrong here. But the Wanzer combat I feel the developers by Double Helix Games almost nails the feel of AC, but not quite there. Boss fights are interesting challenges. And Wanzer customization is the only nice things I could say about the game. And while I wish a lot of features in the game could’ve been cut and improved. The overall package feels like a janky-filled mess. I'd only recommend it for those who want to try more mecha games and for those who got the game on a solid deal.

6/10