I have forced myself to finish this game so I can properly warn everybody.

The graphics and music are good, and the gameplay itself it´s kind of fun but a little bit too repetitive, full of minigames that are hit or miss. But every good thing this game does it´s ruined by the plot and the writing.

It´s overly convoluted and doesn´t understand the appeal of the OG game. If you didn´t like the whispers before get ready for something 1000 times worse. They ruin some of the most iconic moments in gaming history.

The writing is even worse than in part one, everyone reverted to being oversimplified versions of themselves. Childish, overacted, and annoying, they are no longer the characters we used to love, especially Sephiroth. He is basically Ansen, appears out of nowhere says something cryptic, and leaves. The character is completely ruined.

Stay away from this game if you have any respect or love for the OG and good storytelling in general.

Me & My Motion Sickness

My thoughts on Me & My Katamari are rather conflicting and I don't know how much of the bad stuff I can excuse in this game for being a PSP game unlike the previous entries in the series. There are definitely flaws because of the restrictions of the Playstation Portable, but some others are just flaws in terms of weird design choices. I'm sure you'll know what I mean once you read what I wrote below.

I'm just going to name the worst offenders straight by the name: the level design and gameplay loop. Katamari's gameplay loop has always revolved about starting small, but as you roll up enough things over time, you eventually visit locations from earlier or a past level, but with a bigger Katamari. There's a sense of scale and progression, which MMK doesn't really have. The levels always play out the same and I mean that quite literally - the first city map always has the 75cm checkpoint and 1.50m size requirement, while the lake map always has the 4m checkpoint and 10m size requirement. And you're going to play these maps a lot, since for some reason the "new" gameplay loop in MMK has you going through multiple levels in a row. You would think there would be atleast some variety here, but no. After the house map, the first city map will always follow, then the lake map and so on. Every. Single. Time.
Atleast some maps have winter variants, but they're rather monotonous after the first few times too (looking at YOU, winter lake). I didn't even mention how frustrating the object placement is at times in MMK, this becomes really apparent in City 1. Now, for some reason the bonus levels all have unique map variants, but they're never used again for the "main" stages. Why? The desert map is literally used a single time in the entire game! Atleast the bonus stages are a good time and felt very refreshing to play every now and then inbetween the repetitive main story levels.

A personal major criticism I have with MMK is the shaky camera. It can't ever decide if it wants to be a third-person or top-down camera, so it keeps shifting between those two and I noticed it gets really bad when you roll over bumps. Had to quit the game two times because it made me actually nauseous and I pretty much never have motion sickness in games, this wasn't the case in Katamari Damacy and We Love Katamari either. So if you're particularly sensitive to motion sickness in games, I'd think twice about playing Me & My Katamari.

I can see how people complain about the controls too, since MMK uses the buttons instead of another analog stick like in the previous games. To be honest, I only played with the original controls for three levels before I decided to remap the buttons to my right stick and it felt a lot more natural (even if it was a bit more unresponsive than in the previous games this way). Of course this wasn't possible to implement originally because of how the PSP was built and I really believe Namco did the best they could with translating the dual-stick controls onto the device. The rolling itself feels good in this game, even if it has the same issue as Damacy, with easily being able to get stuck between objects at times.

Considering my negativity towards MMK so far, you'd think I would absolutely hate it, but I don't. There are still many cool things in here worth mentioning, like the island hub world, playable cousins, the fantastic selection of the soundtrack of the previous two games (bit of a bummer that there's only a single new song with Katamari on the Funk, but it's alright since the reused songs are very good) and the great adaption of the artstyle. Like seriously, this game manages to capture the Katamari aesthetic from the PS2 games so well. Little things like the individual island designs you get as a reward for completing a stage or the ability to equip presents again made the game really more enjoyable and I'd be lying if I said I didn't have atleast a bit of a good time with Me & My Katamari! Thanks for reading.

The combat and enemies and openworld are on the basic side, but Travis himself, and the game's immense charm and style, addicting gameplay loop, witty writing, damn solid music and unique and fun boss fights (except Speed Buster lmao) outweigh the previously mentioned negatives by tenfold.

So in short; It's Suda51, what can I say? That guy's an enigma on the level of Hideo Kojima or Yoko Taro, and all of his unique ideologies and worldviews certainly carry over here, and that makes the game and the experience of playing it unlike any other.

Of the Mario Kart games I had played prior to this whole marathon I'm doing, Mario Kart Wii was the one I played the absolute least. I think the main reason for that is I got my wii in the latter half of 2010 and got this game for Christmas that year. However, next Christmas I got a 3DS and Mario Kart 7 and just never really went back to this one because the only time I was Mario Karting was on the school bus. Eventually 8 came out and that gave me even less of a reason to come back to this one. So it's been around 12 years since I last touched this game. As such, I gave this a 6 and thought it was just an average Mario Kart purely because I barely played it. Coming back to it in 2024 though, not only is it really great, it's my favorite Mario Kart I've played thus far in this marathon. I always thought I liked DS more overall since I had fonder memories with it but Wii is just more fun overall due to a couple things it did incredibly well.

The biggest and best thing Wii excelled at I think, is its new track selection. I honest to god don't think there's a single track I dislike. Maybe there's a couple tracks I think are just decent like Luigi Circuit or Mario Circuit but the track list is absolutely chock full of bangers. Mushroom Gorge, Toad's Factory, Coconut Mall, DK Summit, Wario's Gold Mine, Koopa Cape, Maple Treeway and this game's Rainbow Road. Those are just some of my absolute favorites but the rest are really good too. I know 7 and 8's original tracks already, and I've played through most of Double Dash's through other games in the series and also have seen the tracks that have not appeared in other games. With that said, I can say without a shadow of a doubt, Mario Kart Wii has the best selection of original courses out of every game in the series. The ratio of amazing/good courses is just too high for me not to claim that to be true. Either way, certainly a big reason this game is still a ton of fun to this day.

Something else this game did well was it's retro track selection. It may not be as good as 8's or even 7's for that matter, but it's leagues better than DS's I think. A big reason for that is half of the courses aren't from SNES or Super Circuit. And the ones that were, are a lot better this time around. Same with the Double Dash picks, Peach Beach is meh but Waluigi Stadium and DK mountain are awesome picks. The N64 picks are pretty solid too. Only one I think this game did dirty was DS. Peach Gardens and Delfino Square, while not my favorites from DS, were both pretty good. However, the other two courses are Yoshi Falls and Desert Hills which were some of my least favorites from DS. They could've picked some fan favorites like Waluigi Pinball or Airship Fortress but no, they picked some of the lamest courses. Hey, 7 actually had those two courses in its retro selection so I'll definitely be looking forward to them when I get to that game. Anyways, the retro selection could've been better but it's a big improvement from DS's selection.

The other big addition this game added was the trick system. Every Mario Kart after this one also has it too and there's a good reason why they've kept it ever since. It makes ramps that much more fun to drive off of, it's just super satisfying to shake the controller and see your kart do the most sick tricks in the air. Same with the half-pipe ramps which are an amazing addition as well. Honestly, they're usually slower than just driving if they're optional ones but courses like DK Pass or Bowser's Castle where they're pretty much mandatory (unless you have a mushroom) make those levels that much more fun to play and gives the game it's own identity since 8 did away with them (they are actually back in the Booster Courses but I haven't played those).

All this stuff is great and makes me enjoy this game a ton, but I do have a couple issues with this game that makes me like it less than 8 still. One of the biggest issues is the game's balancing. Another thing the game added was bikes which was huge. The developers must've had a huge hard on for them though as they're WAY better than any of the karts. The inside drift bikes especially are just too broken. So basically, there's two types of bikes. Outward drift and inward drift. Outward drift asks like a kart basically while inward drift makes it so as soon as you start to drift you can only drift sharply into the direction. Kinda hard to explain but if you've played the game you know. I remember hating inward drifting when I played this game all the way back in the day. Now though, I find inward drifting bikes to be a really fun and not nearly as annoying to use. However, like I said they're just too broken since you can cut corners insanely fast and also instead of getting a two stage mini turbo, you only get the one stage blue sparks but in turn you can perform a wheelie at any time by shaking the wiimote and that gives you a small speed boost. Because of all this, once I got the Mach Bike or Flame Runner, I just never used a kart or outside drift bike again just cuz there's no need to. 8 definitely fixed this cuz the balancing between the two is much better in that game.

A couple other issues I had was the item frequency and the battle mode being poor. The items can be super obnoxious in this game at times. I really don't know why but it's just super easy to get spammed with blue shells when in first. There were a couple games where I'd be hit by a blue shell like 7 times in one game. And plenty of times where I'd be hit by one and then hit by lightning, this game is just insane when it comes to it's items and sometimes it's just not fun. The battle mode I also remember not being that great back in the day. The courses were solid and all but the issue was you're forced to be on teams and cannot ever have it be a free for all. This is just lame and while it's not as bad as base 8's battle mode, it certainly isn't that far off. Also I was gonna say the bloom can really make the game look ugly or weird at times but honestly I got used to it pretty quickly and don't have much of an issue with it like I once thought. Still think Double Dash looks better than this game especially since some of the character models still aren't that great looking (not nearly as mad as DS tho).

I was also gonna say how it stinks to unlock every character because a couple of them require you to get a star or more on every cup(or just play and absurd amount of races) and the way to get star rank is a little weird in this game but I was actually able to do it in the end. Got one star or higher in 50, 100 and 150cc as well as unlocking every expert ghost time trial so I was able to unlock every character. Didn't feel like doing mirror mode though so I didn't get every kart but I feel pretty satisfied with what I did. Never unlocked a lot of stuff in this game back then when I played so it felt good to finally do so.

Overall, while I had some minor issues, this was easily the best Mario Kart game I've played thus far in this marathon. I'm super happy I redeemed myself with this game because a ton of my friends love it and I can finally see why they do. Really wish I played this more with my buds back in the day haha, ah well. Next up is Mario Kart 7 so look forward to that soon!

Reviewing Castlevania Symphony of the Night is an interesting one because there is just nothing new I could possibly say about it really as a game that other far better writers with more analytical tendency's haven't covered in greater depth. The thing is though this was my first Castlevania, my first Metroidvania, and it had quite an impact on me.

I was about 20 when I first played Symphony of the Night. I'd never actually played a Castlevania game before but found the limited edition copy of this with artbook and soundtrack in a second hand store. The first thing that grabbed my attention when walking by was the amazing cover artwork by Ayami Kojima. I've always enjoyed gothic architecture, historical buildings, clothing and legends (of which vampires certainly is one of interest). Seeing that cover of a vampiric figure holding his sword upright with the moon, Castle and massive collar mixed with the slightly muted colour palette was extremely striking compared with many other drab or blocky covers in the store. The gothic atmosphere imparted in that one image left such an impression on me I had to have the game.

The artwork in the book in the back of the double CD case complimented the cover and after flipping through I popped the game in and away I went. I'm not sure what I fully expected but the hybrid mix of exploration with action RPG mechanics was a delight. It's a fairly standard affair now days, not only for the Castlevanias that came afterwards but for the dozens of indie games that have taken influence from it. The fact is though that back then this game was so influential that the genre is often simply named 'Metroidvania' partially after it. I'd never played anything like it at the time, and going back to it again over 20 years later for this digital rerelease I'm extremely pleased it's held up remarkably well on almost all fronts.

"It's strange... this castle is different than I remember it."

For those unaware, Symphony of the Night brings back Alucard the son of Dracula, a character from Castelvania III as the main character. It's a direct sequel to Rondo of Blood and Dracula's Castle has once again risen only a few years after fading away when Richter Belmont defeated Dracula..... Having actually played Rondo of Blood now a few weeks ago it makes the start all the more impactful as well as Maria's presence in the game and is a really interesting start set up literally playing against the final boss from the game before just as a prologue.

The castle itself is easy to navigate with a good map and yet it's littered with secrets as are the spells and weapons. Alucard has a variety of equipment that he can find and equip from swords, shields, hammers, cloaks etc. Additionally he can find spells and abilities for turning into a bat, a wolf or mist which help him to unlock further areas of the castle and traverse in a more fluid way. The amount of items and little easter eggs and secrets to find is quite impressive. On this playthrough trophy hunting I learned there was a sword that summons skeletons to briefly fight for you. Literally every time I play this I find something new. Playing through again after beating the game as a second character of Richter isn't something I'd tried before either and his completely different move set and abilities as a more traditional Classicvania character just add that much more life to a game.

"What is a man?! A miserable little pile of secrets!"

Great art and gameplay mechanics aside would be nothing however without Symphony of the Night's stellar audio. This particular version is the remaster based on Castlevania: The Dracula X Chronicles. This is the redubbed and rewritten version over the original 1997 release and to be honest I prefer it. The voice acting is just way better but I appreciate that is entirely subjective and you may prefer the more over the top iconic dialogue. Regardless of the version you play though, the soundtrack is an absolute striker. I could choose almost any song from the soundtrack and it would be not only a great piece but also a perfect accompaniment to build that atmosphere.

I went into this because Castlevania Nocturne is coming soon on Netflix and it's been in my backlog to replay for sometime but I'm really glad I did. It's been some years since I last played it and it's great to not only see that it still holds up to the test of time competing with almost any Metroidvania in the genre but also that it can still surprise me with content I never knew about. Replaying some games with memories through rose tinted glasses vcan sometimes be a let down and are better left in memories, but not Symphony of the Night. This is a game that influenced a lot but taken just at it's own merit it's still a fantastic experience.

I still hate the clocktower though.

+ Gorgeous 2D sprites mixed with 3D rendering.
+ Iconic soundtrack.
+ Insanely good artwork and atmosphere.

- Some small sound popping and map issues due to emulation over the original release.

On a side note, for anyone interested in retro games or Castlevania I recommend this video and channel The Making of Castlevania Symphony of the Night and Dracula X by Strafefox.

An ambiguous story that flips a lot of the hero-dependent narratives of the period on their head. I get the whole Yoko Taro story structure thing has been done to death now that we live in a post-Nier world, but it's pretty fresh here. I dig this.

Playing this game will kind of make you want to die, but honestly it's pretty disorienting in the most captivating way possible.

I see a lot of people form the conclusion that this game is "bad on purpose" but I sort of resent the implication of that. I feel like this game was good on purpose. Often games are reduced to being either "fun" or "not fun" and that's so boring. Let a game make you feel like shit once or twice, you'll be better for it (and cooler, more badass etc. etc.)

this game requires no introduction anymore so i'm not beating around the bush. drakengard has been on my mind a fair bit recently - on the off chance you'll forgive a second log i think it's worth examining some of what the title accomplishes uniquely well, or what it's able to achieve with respect to the various titles that it's in conversation with. first of all: there's nothing quite as flatline-inducing or revealing of the author's own tendencies as reading that drakengard was intentionally poorly designed, a commonly held idea in various hobbyist communities frustratingly stemming just as often from its supporters as from its detractors. not only is this a frightfully pedantic and dull reduction of the text - it's also just an elaborately constructed fiction masking deeper truths. for instance, i think it's plain as day our burgeoning critical language still struggles with titles seemingly antithetical to traditional enjoyment, and are only able to escape from suffocating evaluative lexicon through irony or genre labels. survival horror isn't normally 'fun' & people appear willing to understand this so the genre gets a normative pass en masse, although it seems worth mentioning that the longer they exist in the public eye the more their mechanical frameworks get totally demystified by the public, arguably reducing them to vehicles for pleasure and gratification anyways, resident evil being the prime example.

drakengard, of course, isn't survival horror. it's largely a musou with some horror trappings, but it's rather plain about its affectation. however, because the traditional 'game' part of it is in such conflict with its aesthetic, we end up with the idea that this dissonance is a result of intentionally languid, engineered dissatisfaction. oh wow that wacky yoko taro wanted you to feel bad so he made his debut game bad. bzzzzt. wrong. square enix wanted a commercial success with drakengard. if they didn't, they wouldn't have requested that a project starting out as a simple remix of ace combat (owing massive inspiration to electrosphere in particular, another game that combines peerless arcade bluster with bleak narrative proceedings) would incorporate elements of its contemporary blockbuster peer, dynasty warriors. none of this is to say that drakengard can't be an awkward game, but it's in large part due to a friction with cavia's inexperience/lack of technical expertise, their attempts at holding true to their initial vision for the project, and square enix being desperate for a worthy competitor to koei tecmo's success.

here's where i'll stake a claim on something potentially contentious and risible. on the basis of the title's struggles in production & development, it is somewhat shocking that drakengard is not just 'not bad', but is a totally competent musou game. given the milieu in which it released, you might even dare to call it 'good', or 'well-made'. i'll double down with something absolutely no one wants to hear: most people have no point of reference because musou is rarely put in its historic context, appreciated for its strengths, or even, broadly speaking, played. disregarding popular experimental offshoot licensed games which carry their own unique magnetism, dynasty warriors has an especially prevalent stigma in contemporary action game circles, and few seem willing to return to reevaluate the franchise. if we accept this as the case, we can begin to understand why nostalgia is the primary driver of fondness for early musou, and why you always hear dynasty warriors 3 is the best one. 'load of bull', you say, 'drakengard is not good', you say, 'dynasty warriors sold millions and is beloved for inventing the drama; surely it's better', you say, but take a look at these admittedly small sample sizes (evidence A and evidence B) and you tell me which is actually the niche ip at present. one of these broader game worlds got a FFXIV collaboration. it was not dynasty warriors.

anyways the idea that drakengard could be a respected peer to dynasty warriors - or even, perhaps, better - is not ahistorical. drakengard came out in 2003, only a few months after the release of dynasty warriors 4. by this point in the dynasty warriors timeline, your only sources of inspiration for the musou canon are dynasty warrior 2 and dynasty warriors 3. they're fine games for what they are - content-rich, pop recontextualizations of romance of the three kingdoms that fold the intense political drama, grandiose character dynamics, and poeticizing of feudal history intrinsic to the novel and morphs them into larger-than-life battles of one against one hundred. it works for that series, but having played dynasty warriors 3, it's also very simply orchestrated. DW3 is kinetic and energetic, sure, but form is not function. as a still nascent series, DW3 has yet to experiment with elements that would come to define later entries, such as a strong emphasis on field management - its presence in 3 is largely muted and, dependent upon your stats, can often be negated. it is mostly a game of fulfilling your objectives, grinding up your stats, and engaging in undemanding combat pulling the same strong combo strings against some unique generals and a multitude of carbon copy generic ones. and i happen to appreciate it for what it is, but there is no question in my mind if you slotted that exact same mechanical framework into drakengard's tone and setting, it would be similarly deemed bad on purpose.

other than its tone what does drakengard do differently from this purely mechanical perspective? honestly, not too much from DW3! archers are still often priority targets, because if you don't prioritize them you will get knocked off your horse dragon. mission structure is usually quite similar, arguably with a bit less back and forth. combos require virtually the exact same input. the camera in both games is kind of fucked up. aside from abstruse unlock requirements and a...unique, system of progression, the biggest differences are mostly relegated to additions rather than subtractions. there are more enemy designs than just grunt soldiers. you can dodge now. the game is weapon-driven rather than character-driven ala DW3, which allows for its own form of unique experimentation. the soundtrack is excellent, i'm not accepting complaints. to aid in breaking up the pace, there are aerial missions that play somewhat comparably to panzer dragoon on-rail segments which are actually quite fun; likewise, the hybrid missions allow for angelus to be used as a means of offence in ground warfare and rain hellfire from above. it keeps things relatively varied. there's no troops to manage because caim is fighting a losing war and willingly formed a pact with the only being capable of potentially turning the tides, and the game is content to use the musou form to communicate ideas about caim and angelus to great effect.

of course, it's the narrative which gives drakengard a lot of its greatest texture (and is also demonstrative of its greatest strengths and appeals as a DW clone), but we can save discussion of that for some other time; for now it's more important for me to say that it's not quite the outright condemnation of violence through ludology that so many claim it is (it's far more interested in more subtle forms of violence than the explicit and ceaseless murder it depicts anyways). really, this was just a self-indulgent exercise in placing drakengard in its historic context once and for all, away from all the retrospectives it's been getting as a result of nier's runaway success. drakengard is a game that won't be for most, but it's a game that's lingered in my memory long since i first played it. it takes an, at the time, relatively new genre, and through sheer passion and dedication spins it into a uniquely transgressive idea while still remaining an enjoyable title to let unfold. if it feels numbing or meditative, that's more or less the exact emotional resonance that something like DW3 is targeting - drakengard just uses it to achieve more things than a sense of gratifying white noise. it remains peerless because of all of its contradictions, because of how messy and thorny it is as a game, and because we'll never see anything approaching this utterly unique interplay of emotional rhythms and macabre, uncanny storytelling wearing the skin of its crowdpleasing predecessors ever again.

I know P1 is not exactly the poster child of the series, especially with its outdated gameplay mechanics and that nightmarish encounter rate that feels like it's out to get you. But there's still something special about this game that often gets overlooked.

First off, let's address the absolute worst aspect of the game: the encounter rate. God, whoever thought it was a good idea must have had a sadistic streak. But once you get past that initial frustration and manage to keep your sanity in check, there's a lot to love here.

The vibe and atmosphere of P1 are immaculate with its gritty urban setting and eerie supernatural elements. It's a far cry from the flashy, modern aesthetics of later entries, but that's really part of its charm and just hits all the right spots for me. The main characters in the game are excellent. There may not be much in the way of more drawn-out interactions, but the characters in the context of the plot are awesome and their dialogue in the overworld gives a lot of extra nice bits of characterization. It's also refreshing to play a Persona game without the overly bloated and drawn-out plotlines that can bog down the newer titles. P1 knows what themes it's going for and does what it sets out to do, and for that alone, I really liked it.

The soundtrack of the PSP version is honestly great. I know a lot of people say that the original PS1 version is better but I have to disagree as I've found myself listening to certain PSP songs on repeat a lot. I feel certain ones are among the best in the series as a whole. A lone prayer is a bop.

Now, P1 definitely isn't without its flaws. The encounter rate alone drove me insane and almost made me quit right at the beginning, and the dated gameplay is definitely frustrating at times, but it was still worth trudging through.

As someone who is really tired of the "modern" and overused anime tropes, as well as the sometimes regressive writing in certain aspects that are present in newer titles, I think P1 was a breath of fresh air and has made me excited to try the P2 Duology.