516 reviews liked by hazys


Massively underrated or just Made For Me to a degree no other game has ever been? A little bit of both. Either way, this is going in my 5-star Favorite Games Of All Time Superstar Club.

A much superior game to Shinobi 2002, and also maybe the best action game I've played since Ninja Gaiden, Nightshade is exactly what I like in my action games to a degree that I wonder if I actually designed this game through some rift in time. We need to start considering games like this and Ninja Gaiden Black as art games. I think incredibly stylish and well-choreographed action are as artistically unique uses of the medium as boring-as-fuck shit I'll never in a million years finish like Kentucky Route Zero.

One of the absolute best designed ninja suits ever, worn by a badass woman, incredibly fast and skillful gameplay, style and substance, with an incredible drum'n'bass soundtrack to boot. The game would have to periodically cut to episodes of Columbo if I were to rate it any higher.

This is a 5-star based on vibes alone, as I really don't think this one is for everyone. It's incredibly difficult, requires precision and mastery on a level that most will find frustrating, and the camera, while a massive improvement on Shinobi's, is still not ideal for the later level's bottomless pits. From my personal standpoint, you absolutely should play this with save states, as the general checkpoint system is far too punitive for the kind of accuracy it demands from you. It's VERY old-school in that sensibility.

It also has many difficulty options, including a beginner mode which I found very welcoming of the game after the US release of Shinobi cut the easy mode for god-knows-why. Shinobi is a game I really like, but find WAY too unwelcoming and prickly to truly love. It's like a friend's really ill-behaved cat, where you know that little piece of shit is going to scratch or hiss at you just for daring to exist near it. Impossible to love but too endearing to hate.

A lot of this comes to Hibana feeling better to control than Hotsuma, especially in-air. Shinobi would demand a lot of perfect air-combos, but Hotsuma didn't feel quite as maneuverable and lacked a dedicated kick button, meaning enemies who could block you were a massive pain in the ass. The most immediate improvement Nightshade adds is that Hibana can kick from the air, giving you better gap-closing opportunities, better combo extension, and allows for you to deftly navigate the game's bottomless pits through knowing how to RESET those in-air combos. It feels much more stylish and skillful than Shinobi, while giving it the necessary bit of streamlining to feel more approachable.

I also played the undub of this game, as one of the biggest "What the fuck" changes is removing the Japanese dub entirely. Shinobi was pretty unique in letting you listen to the Japanese voice track instead of the English dub. This isn't a huge problem as for the era, these dubs aren't actually that bad. I like Hibana's voice in the English dub, and my research indicates that her voice actress also was interviewed in documentaries about Joan Crawford and Greta Garbo, which is curious. More curious is Hisui, who is voiced by "E. Cahill", which, and I'm not sure, might be Erin Cahill, better known as Jen Scotts from Power Rangers: Time Force. I have watched many hours of Power Rangers throughout my adult life, and a lot of them was on Time Force, and I REALLY don't know if they are the same. Who is the same though is Hibana's japanese voice actress, Atsuko Tanaka, who has been in EVERYTHING EVER. You might know her best as Motoko Kusanagi in Stand Alone Complex and the dub voice for Lisa in Night Trap. Her voice for Hibana is sooooo good, applying a very deep and professional tone with this cool-guy edge you rarely get to see a female character have. She manages to be a consummate professional like Hotsuma while being incredibly distinct from him in her devil may care attitude in contrast to Hotsuma's grave seriousness.

One of the most striking things about Hibana is her flare for style. Hotsuma's TATE poses were classic ninja-movie stuff: dude puts his sword away calmly while his enemies collapse to pieces. Hibana is more willing to strike a pose: spinning her knives, holding her sword in the air, and the more TATEs you build up the more dramatic. Pulling off the 30 TATE might be when I decided this was a 5-star game, it was so enormously difficult, as Nightshade punishes you HARD for input spamming, forcing you to get a rhythm down to approaching TATEs. It was then I realized that Nightshade was cooking in a way no one really appreciated, in the similar way Sekiro feels rhythmic in its combat encounters, building long-stretches of TATEs in Nightshade is the same way!

The rhythm of this is enhanced by the BEAUTIFUL MATSERPIECE M'WAH PERFECTO soundtrack consisting of the best drum'n'bass ever fucking PRODUCED. Composed by a ton of Sega pros, one of the most notable names on here is Fumie Kumatani: the composer for all the BEST TRACKS in Sonic Adventure 1 and 2. She was also responsible for the best tracks in Shinobi!! She can do no wrong!

Here are some of my favorite tunes, including the composer name as sourced from VGMDB.

Shinobi Tate by Fumie Kumatani
https://youtu.be/Nl930cF0tVU?si=EwDidZuTuXPeROaJ
Overcome Speed by Keiichi Sugiyama
https://youtu.be/MjCJuppjOG8?si=iyzeCCjOLmNjRb5p
Dark Kingdom by Tomonori Sawada
https://youtu.be/8ZN8vzehu4c?si=bLXEisdEXEYjQmQN
Jade Water by Fumie Kumatani
https://youtu.be/hZT1ZB-VQBc?si=eqM6PIEcUsxpAklq

As with Shinobi, this OST is a must-listen if you like D'n'B, as they assembled the fucking Avengers of the Amen Break on this one.

I have written more words about Nightshade than have been written in 20 years, so I'll try and wrap it up. I find this an immensely stylish and rewarding game with a surprisingly dramatic and well-directed storyline, with gameplay improving on everything Shinobi did while adding in more. Bosses are more mechanically interesting, levels feel more considered, and movement feels fantastic once you get its intricacies down. It's not gonna be for everyone, but it was for me more than any game really could hope to be.

Embarrassingly good. Story is whatever, aesthetics are goofy, but the combat is real stylish, halfway between musou and character action, with good parries and timing-based damage bonuses. The finisher is a bit finicky; it's mapped to attack+jump so when it doesn't register you end up bunny hopping around like a dipshit.

Most importantly, there is zero fat-- it's a remake of two games and it still wraps up in less than 4 hours.

Kenji Sasaki, the director of Sega Rally at one point in development worked so much on the project that he began questioning the very thought of finding driving "fun".

As a minnow you'll barely know how to drive a go-kart in Super Mario Kart, in comparison a fine-tuned high performance Toyota Celica GT-Four is well above your pay grade. You will start racing in the beginner-friendly Desert course just fine and dandy, until you try to make the very long easy right near the end and see yourself smacking head-first into the stone wall, sometimes even finding your curious eyes getting distracted by the zebras standing nearby. The Forest with it's pine trees welcome you to a hairpin turn that you have no hope of knowing how to handle in your weighty polygonal real world vehicle, and you barely find yourself making it to the end out of sheer luck. Then the apparent finale rears it's ugly head, an insurmountable Mountain with not only it's own hairpin turn, but many tricky curves, a long narrow turn leaving little room for error, and precise maneuvering through town. This is the end for you, this mountain cannot be conquered. You're left to zero knowledge of the hellish Lake Side extra course that lies beyond that mountain, home to narrow precision-demanding turns and chicanes that only true experts of the dirt may discover and have any hope of navigating.

You become enamored over how mean the mountain is, and find it's song mesmerizing through it's triumphant guitar riffs that feel like it's cheering you on. You're but a kid, but you try your best to figure out the science of operating a championship-grade motor vehicle. You only learn so much, even if you do get a bit better at the other portions of the track, a hairpin turn is still essentially a guaranteed crash. Despite an obvious skill plateau for your moronic self, you still find the game fun to play and come back to it just to hear it's cheery demeanor root for you. You've game over'd so many times, but it never feels bad, because the game only wishes to entertain and not belittle.

As an adult you come back to the same game with fondness, puzzled as to why you took so much leisure just driving by yourself in time attack. Was it really just the music? Was the Celica GT-Four just that cool of a car? You come back to the same course and struggle as you normally do, albeit this time with knowledge of how to decelerate and utilize the brake properly. You hug the inside of those corners, you get the drift around the hairpin without touching the embankment, and not a single wall is run into as you make the quick descend through town. That "cool part" of the music that you really liked is now suddenly the victory jubilee as you approach the finish line on the third and final lap. Addiction to the feel of the road sets in, and you find yourself beating the arcade mode and getting the esteemed honor to officially drive on the Lake Side course without the need of that code you found one time on your dad's shitty internet. The Stratos car also becomes yours, best of luck driver, you are now a true master and may access these dangerous assets at any time. You deserve it truly.

It's at this point we come back to Sasaki, who had taken a moment to drive his own car around the mountains to find his spark again to make good-ass driving games, he found the experience so exciting that he based the Mountain track on it and made the very same course that I loved and still do to this day. To transfer that experience to a video game and have it somehow resonate with a six-year old who is now a full grown adult that can handle that hairpin turn with relative ease is a true mark of brilliance, and why Sega Rally stands on it's own as the foundation of all rally racing games and possibly one of my favorite driving games ever made.

Hurrah to you Mr. Sasaki.

I learned more about life from playing this without a mic than I did from anything else.

I spent way too much time as a kid trying to get this technology to work.
This game is so perplexing I can't objectively rate it so I'm giving it 5 for creativity.

It took 10 years but I'm really happy they made Dark Souls 2

One of the best ubisoft open-world games ever made, funnily enough. And yet.

Unicorn Overlord starts strong--it doesn't waste your time jumping into the meat of the game, putting you in the world and basically telling you "go ham" on liberating the nations from the Evil Empire. This ends up playing out like those Ubisoft games I mentioned--the various towns you liberate are 30 second long puzzle fights that are actually quite endearing, which act as towers that mostly unlock the surrounding area. You have a set of pretty tedious things to collect in each region just like that, it ends up being very checklist gaming.

And this works for a while, but the difficulty tuning is just way off. I played on the hardest difficulty before NG+ and it was trivial to do content 20+ levels above me because the power scaling goes crazy if you actually try even a little to do content.

This is also hampered by an actually atrocious story. It's somehow both overwritten and underwritten at the same time, using a thousand words to say something that has the content of ten. I was actually shocked by how literally every plot and subplot is like, the lamest most overly-played out trope of whatever that plot is. There is not a shred of intrigue to be found in the moment to moment writing nor the grand narrative at play, and yet the cutscenes just take it so seriously and feel like they want you to.

It honestly made me hate it all the more. I'm serious, if this game completely removed the narrative and made it play out more like Total War or X-Com or something where you have a vague objective, it'd be significantly better.

The saving grace is of course, the actual game. It's an interesting mix of Super Auto Pets-style trigger setting to create a doom machine with Fire Emblem as an RTS that has infinite amounts of space for clever players to work with. Of course, the issue as I mentioned before is the game doesn't really utilize it. I am by no means a "clever player", I'm a fucking ape in these sorts of games, but even my monkey brain "well if i put three of the cavalry guys who get a 'all cavalry get +50% strength' skill in a party surely its good" was able to literally blitz through the game.

It's good enough that I played through the rest of the game just to see what it was doing. What I'd really like to see is a Unicorn Overlord 2 where they actually push the battle system harder, make you think a little. And maybe actually try and write a story, its not like we don't know Vanillaware can't--13 Sentinels was literally their last game!

While Nintendo was never afraid of experimenting with Mario's identity, providing numerous detours in aesthetic and thematic imagery just by jumping from SMB1 to SMB3, Super Mario Land definitely earns its distinction of being "the weird one".

Super Mario Land interprets the plumber's magical landscape as one filled with ancient history and sci-fi cultural artifacts from our own planet that somehow feel more alien than what the Mushroom World has accustomed us to. There is definitely something very otherwordly and dreamlike about starting a level with the implication that Mario arrived on a UFO and that the enemies you will be facing are Easter Island face fellas, and the changes made to accomodate the limitations of the hardware, such as the exploding turtles and the bouncing ball power up, further elevate Super Mario Land's odd quirky vibe.

What I love the most about it though is its brevity. Low of difficulty and brisk paced, Super Mario Land is beatable under 30 minutes with little chance for game overs and with enough variety sprinkled inbetween that makes picking it up for a high score attempt highly leasurable and absolve it of the settling monotony that plagues the repeating assets and levels from SMB1. Add to that the beautifuly simplistic monochrome sprite line work and eternal earworm tunes that will never leave your head for all of your life and I'm very tempted to call it a perfect game, despite its lackluster platforming physics. A priveledged Mario that preceeds its own brand, that's pretty neat.

Try not to feel joy while listening to this:
https://www.youtube.com/watch?v=0f1I1i_t94E&ab_channel=GilvaSunner%3AArchive

Quake

1996

Like visiting your Grandpa and finding out exactly why your family is fucked up in the ways they are. For its slight imperfections and occasional frustrations, this is the ooze I crawled out of, the reflection staring back at me when I look in the mirror. The incoherent but indelible monsters, that soul-pounding Reznor score, the gorgeous industrial-gothic landscapes, the goofball chapter-ending paragraphs, these are the neurons that intertwine to create my mind. Quake is too definitional to what I love. It barely registers as a game. This is a divine manuscript by which the heavens bestowed onto us mortals a most holy of artefacts, the rocket jump. John Romero may be chained to a boulder, destined to have his spleen devoured by an Emu every day for the rest of time, but it is a small price to pay for such enlightenment.

had a seizure and died
notable for it's throw//reverse//escape system, where on any throw a quick minigame happens where the one thrown has to time their escape or reversal, and on successful reversals the one who threw first has to time theirs. it's really just a wrestling game! i love how this one looks, sounds, and plays. a very cozy, small fighting game.