This is my favorite 2D Mario game of all time. I know there are many others that people would swear by, like Super Mario World, or maybe even the newer games, but to me, this is the PERFECT 2D Mario game in my eyes.

The story is what you would expect from a Mario game, so no need to go into it, the gameplay is fast and incredibly fun, the controls are heaven, the graphics are great, the art style is very appealing, the music is catchy and iconic, the powerups are incredibly fun to use, the levels are really fun to run through, with something different about each one, the difficulty is just right for me, and the game is much longer than the previous games, giving you a lot to do before you are done with it.

If I could complain about anything, I could say it is kind of annoying how there is no way to save your progress or use a password, especially since this game is kinda lengthy, but that doesn't really bother me that much, as I usually finish it in one sitting whenever I play through it again.

Overall, while there have been many other great 2D Mario games before and since this one, I will probably always consider this game to be my absolute favorite out of all of them, and a must play for anyone who is a fan of the series.

Game #6

Around 1986-1987, a little company by the name of Squaresoft, or simply just Square, was in deep trouble. They were facing the threat of bankruptcy, and while they had previously made several previous titles that were somewhat noteworthy at the time, such as Rad Racer, King’s Knight, and The 3-D Battles of WorldRunner, none of those games were successful enough to keep the company afloat, coupled with plenty of other factors that would play a part in this. With a single spark of hope still remaining in them, they had decided to give it one last shot, to develop one final game that would decide the fate of their company. If it had succeeded, they would go about business as usual for the foreseeable future, but if it hadn’t, they would close their doors forever and become a forgotten studio of the past. It was quite a gamble, to be sure, but one that they were willing to take. And so, in 1987, Square would go onto release that game for the NES, known simply as Final Fantasy.

I’m sure we all know where the story goes from here: the game was a smash hit, it allowed Square to keep making games, and since then, the series has become the flagship franchise for Square, now Square Enix, and has been going strong all the way up to this day, with the latest title, Final Fantasy XVI, just releasing a few months prior to me typing this. The series has evolved in many ways over the years, both good and bad, and despite the many, MANY hurdles it went through, it is considered by many to be one of the best RPG series of all time, and even one of the greatest video game franchises of all time. But, with all that being said, how does the original Final Fantasy, from all the way back on the NES, hold up after all this time? Well… it is good… but it has definitely aged A TON since 1987. It did introduce a lot of elements that would be a staple in not just this series, but for RPGs in general, and it can be fun to go back and play every so often, but many will agree with me when I say this is definitely not the first title you would go back to when revisiting older Final Fantasy games, and even if you were to go back to this one, it wouldn’t be with this version.

The story is extremely basic for an RPG, about four chosen heroes on a quest to restore their respective crystals involving the four elements, and saving the land from the forces of evil, but I will give it some slack, seeing as it was the story for the first game in the series, the graphics are pretty good for the time, not being too impressive when compared to other titles, but providing that sense of wonder and adventure that visuals like this need to provide, so it works, the music is iconic, with plenty of main staple tracks of the series being introduced here, and many of these tracks are still great to listen to now, even if they have been made better in subsequent remakes, the control is… exactly what you would expect from an RPG, so no need to discuss it any further, and the gameplay is… also exactly what you would expect from an RPG, but it helped evolve it in ways not seen previously, and would help make the genre a mainstay in many players’ eyes.

The game is a classic role-playing-game, where you take control of four player characters that you give unique names to, as well as choose their own class of warrior for out of six choices, you travel around a large world filled with plenty of towns, dungeons, and more, talk to NPCs, buy items and equipment to give you an advantage in battle, gather plenty of other helpful items that will allow you to explore more of the world, and of course, get caught in a series of random battles, where you and your party take on a wide assortment of creatures, using main attacks, magic, items, and your own strategy to take down these monsters, gain gil + experience, and level up. Now, this is all stuff we have all seen in RPGs before, and plenty of other games before this, such as Dragon Quest, also did a lot of the stuff that this game does, but as any RPG fan knows, execution is one of the big factors that defines whether an RPG is good, and the original Final Fantasy has a pretty great execution.

The game does make it feel like you are going on an epic journey across this world, not only due to the many faces you meet and interact with, but also with the opening sequence seen after beating the first dungeon and setting off into the world. It may not seem like much for players nowadays, but I’m sure back in the day, this was more than enough to get a player sucked into what they were about to experience. What also helps is that the game still plays pretty well, having a basic RPG formula that many can understand and get a feel for pretty quickly, and with all the stuff that you can get not just from battles, but exploring more of the world laid out to you, it definitely keeps you wanting to move on and see what more you can find. This is also made better with the fact that, halfway through the game, your entire party is given a substantial upgrade, where you all now look much more badass, and have plenty more skills that you can dish out on monsters, giving a sense of progression that feels extremely satisfying, especially for someone like me who doesn’t typically play traditional RPGs all that much.

In addition to this, while it doesn’t do too much different when compared to other RPGs at the time, what it does change up does make the game feel more enjoyable. Pretty much every other RPG before this always had battles take place in a first-person-view, which was cool and all, but it does leave a lot to be desired in terms of how battles can be shown. In this game though, battles now take place from a side view, where you can not only see your opponents, but also your entire party at once. Again, it may not seem like much, but it does add that little extra bit of flavor to make it more exciting, seeing these characters that you made and helped get more powerful take on these fearsome foes, and feeling satisfied whenever they do gain experience from these fights, while doing their victory dance after every fight. And finally, this game does have plenty of replayability, with the previously mentioned selection of classes that you can give to your four warriors upon starting the game. This makes it so that you can make whatever kind of team you want, whether it be a varied team with four different classes brought together, or maybe even a team full of people of only one class. It is neat seeing what kind of combinations you can make, how they will fair in battle, and also finding the right set of characters that suit your playstyle.

With all that being said though, any fan of both Final Fantasy and RPGs in general can all agree with me when I say this game has issues. While this game did a lot of things to benefit and popularize the RPG genre, nowadays, it is pretty bland in comparison to plenty of other games not just in the genre, but in later sequels. That is to be expected, of course, but it can make going back to the original game more difficult for those curious about the series. In addition, this game can be pretty fucking brutal at times. There will be plenty of instances where you will be bombarded by a whole gang of enemies, even up to 9 of them, and they can easily take you down if you aren’t careful, with there being plenty of times where they can gang up on one party member, and kill them immediately. And speaking of which, whenever a character dies, you can’t just simply revive them with a Phoenix Down like in other titles in this series. The only way you can revive them is by going to churches in the towns of the game. So, basically, if you are deep into a dungeon, and one of your party members happens to die in a battle, you have to go alllllllllll the way back to a town just to revive them. That pretty much means you will be FUCKED, as it is pretty difficult to get back to a town when you are caught in this scenario, let alone get out of the battle you are currently in unscathed if the dead party member just so happens to be your strongest one.

And finally, I must stress this: if you are planning on checking out the original Final Fantasy at any point in the future, don't play the NES version. That’s not to say that the original version is a bad version, as it is still perfectly playable, but anyone who has played it compared to any other version knows that it is pretty busted. For example, a lot of the magic spells and stats just straight up don’t work, such as the case of intelligence doing nothing whatsoever, and some spells do the exactly opposite of what they are supposed to do, which can be bad when you use them on a tough foe. In addition to this, some of the classes in the game are completely useless compared to others, such as the case with the Thief class. Not only does the class not have the ability to steal anything, making the class’s entire existence a fucking joke, but it also has no access to magic in the first half of the game, and while it is supposed to make running from battles easier, OOPS, that doesn’t work either! So yeah, needless to say, if you are going to play the original Final Fantasy, play one of the remakes, preferably the Pixel Remaster, since it is the most accessible. Trust me, you will have a much better time with it.

Overall, despite having plenty of issues that hold it back from true greatness, as well as there being plenty of updated remakes that make this version obsolete, the original Final Fantasy for the NES is still a good time, and I did enjoy my time with it when revisiting it, even if I will never be touching it ever again after this review, and sticking to other versions of it. I would recommend checking it out for hardcore fans of not just Final Fantasy or hardcore fans of the original game, but also for major RPG nuts as well, but for those who are just casual fans of Final Fantasy or RPGs, then there are definitely much better versions out there. But hey, at least we can appreciate the game for saving Square in their time of need and allowing them to still develop not just this series, but plenty of other games all the way up to this day. Let’s just hope they can keep up this level of quality and increase it further with the next game to come after this. I mean, they couldn’t POSSIBLY screw that one up, right?

Game #366

I praised Half Life for having near flawless pacing. Aside from the opening train ride and ending cutscene, it never took away control. Half Life 2 for some reason felt the need to do the exact opposite and lock the player inside rooms with characters endlessly talking.

Luckly when the chakels come off, the game does let you just play, having seriously improved gunplay with an impressive Physiques engine. I admire the attempt to have vehicles segments, seriously clunky though, but the varity in weapons has been exhanged in favor of them. I do still think how technicaly impressive Half Life 2 is can be described as the best part. That inturn does come with with the downside of less varity in the enviroment again.

I like the idea of having the nondescript eastern european City 17 be the backdrop to the Combins alien reign over earth, but nobody can tell me that the grey block buildings and dirt roads dont get seriously repetitive. I do wish their was more Alien architecture and technology, expanding what was hinted at in Half Life 1.

In the end it does lead up to a exciting finale that gives a great cliffhanger, with the question of how the Combine managed to take over Earrth in 7 hours when they are this fucking incompetent.

Valve releasing the 25 anniversary update was the perfect time to do another replay of this classic. Sadly, the new update is broken as of the time I'm writing this. Scripted events didn't trigger, and object collision seems to be wonky at best. The game becomes a nightmare from Surface Tension onwards.

As for the game in general: Half-Life remains one of the best shooters of all time. Exceptional paced, including Xen in my opinion. Its combat loop is so good, almost never repeating the same encounters. All packed up in a sci-fi story that allows depth to be brought into it by the player, but never forces anyone to ever stop playing the game. It's my ideal way to tell Video Game Story's: Those who want to stop and soak in the details can do that just as well as people who just want the action. I never get tired of doing both depending on wich mood strikes me and Gordon Freemans journey through Black Mesa never gets old for me.

Resident Evil is a universe ripe for exploration via genres other than survival horror, so it only made sense that after the explosive success of the original trilogy a spin-off title with a different genre would be commissioned. Director Hiroyuki Kai decided to make a light gun shooter, but instead of focusing on a tightly-designed on-rails experience, he decided to blend it with the survival horror formula that the series had been known for. Unfortunately, the team at TOSE was unable to pull this off, creating what many people consider to be possibly the worst game in the franchise.

The game's story, written by Noboru Sugimura and Naoyuki Sakai, is rather silly and poorly told. Say what you will about the narratives of the previous entries, the problem mostly lay in somewhat haphazard execution, rather than the scripts themselves. In Survivor, the narrative's problems exist on a conceptual level as well. You play as an unnamed man who, after a helicopter crash, wakes up on an isolated island overrun by a T-Virus outbreak. Suffering from severe amnesia, he believes he is a man named Vincent Goldman, an Umbrella executive that the game makes sure to let you know is unbelievably and cartoonishly cruel. Vincent had been performing inhumane experiments on kidnapped children, inflicting as much pain as possible to almost literally extract fear from their brains, which is used to manufacture T-103 Tyrants. Of course, our protagonist is revealed to not be Vincent, rather he is Ark Thompson, a private detective sent to the island at the request of Leon S. Kennedy. This plot twist could be seen coming from a mile away and any sort of mystery it could have possibly added is just wiped away by how obvious it all is. It's already hard enough to believe that this doofus is a detective, let alone a cruel scientist.

Well, the story is always secondary in Resident Evil, right? The main focus is usually the gameplay and how it creates the horror that we love to experience. Being a light gun shooter, I expected Survivor to be more "horror-themed" than actually scary, but I didn't expect it to be so dull. The game isn't a traditional light gun shooter; instead of being an on-rails experience, the player is allowed to roam freely and even avoid enemies altogether. This sounds like an interesting concept until you realize that they ridiculously simplified the mechanics, due to the Namco GunCon controller only having 4 buttons. The game tries to add variety by allowing you to take different paths, but at no point can you backtrack to see what you missed, making it feel overly linear despite TOSE's poor attempt at the illusion of free choice. Puzzles are ridiculously simplified. All they amount to is finding a key in one room and unlocking something in the next. I understand that RE puzzles were never Silent Hill-level mind-benders, but these can barely even be qualified as puzzles. The actual shooting doesn't manage to feel satisfying either, especially when the camera continuously jerks around when any fast-moving enemies are encountered. Movement is very awkward too. The "run" and "move backward" options are mapped to the same button that makes you move forward, so it's kind of confusing how to trigger one or the other. There isn't any strafing so all movement must be done manually, which isn't necessarily a major problem as much as a minor annoyance. All of these problems would be eliminated if TOSE just made it a normal light gun shooter a la The House of the Dead, but the insistence upon trying multiple things means it fails at all of them when it could have excelled at one.

The game is also a bit of a visual nightmare. Most of the assets are from previous games, which looked pretty good in those due to the camera's distance from models, but up close, they are a blocky pixelated mess. The environments are very basic and lack detail, which would be fine if it was released earlier on in the PlayStation's lifespan, but this was released in 2000, right as the PS1 was breathing its dying breaths. Considering Silent Hill was released the previous year and looks worlds better, this isn't acceptable. Cutscenes are also hilariously poor, with characters animating like stick figures, with horrible cinematography that sometimes obscures characters for whatever reason. Like the previous three games, Survivor uses full-motion video for some of its cutscenes. Previous games used either live-action film or CGI animation to show sequences that the PS1 was simply incapable of rendering believably. Survivor, on the other hand, might as well not even have them. The FMV cutscenes use the same assets as the in-engine cutscenes and all animate the same, so it's pretty confusing why they decided to go through the effort of pre-rendering them all when they look no better.

Resident Evil is infamous for its voice acting, so Survivor living up to that infamy isn't exactly a bad thing as many think it adds to the franchise's cheesy b-movie charm. I think it's worth noting, however, that Survivor's voice acting is miles worse than even the original Resident Evil, and has just as many hilarious lines. Such examples include "I AM NOT VINCENT. I AM ARK!!" "Am IIIIIIIII, Vincent?" and "VINCENT. YOU. ARE. A. MURDERER.". It's generally hilarious stuff and I can't complain about it considering the series pedigree.

If there's any bright spot in this otherwise tedious game, it's the soundtrack composed by Shiro Kohmoto. It's a bit formulaic, lacking in any genuinely memorable tunes, but it does build a half-decent atmosphere and sounds mostly in line with RE2 and RE3's OSTs. It's just more of the same, but it works, which is more than can be said for the rest of this game.

Resident Evil Survivor is an awful game and a sorry excuse for both an RE title and a light gun shooter. The game cannot commit to its premise, the story is silly and unengaging, it's dull to play, and is just generally ugly to look at. Clocking in at only three hours of playtime, I can imagine it being a rather disappointing purchase back in the early 2000s. I suppose if you're a die-hard RE fan it's not the worst way you could spend an afternoon, but that energy is probably best spent playing something else. Both RE fans and fans of the genre should stay away.

The original Resident Evil is a great game, but it is a little rough around the edges. Although it has aged rather well, a remake was warranted. However, how does one remake Resident Evil, especially after a relatively short period? You hire Shinji Mikami as director, of course. After all, who would know more about Resident Evil than the original's director? Capcom intended for REmake to be a darker, scarier, and overall more realistic interpretation of the original, and I'd say they leaped above and beyond expectations, creating what I'd argue is the best survival horror game of all time.

The plot, originally written by Kenichi Iwao and Yasuyuki Saga, is relatively unchanged, so I won't be going into specific details. If you've played the original, you know what to expect here. The original game had quite a good story, but it was marred by haphazard execution. Said execution is mostly improved here. Plot reveals are set up much better and character motivations are explored in more detail. There is a genuinely interesting mystery here and if you're not familiar with the original you'll find yourself invested. Jill Valentine and Chris Redfield are still somewhat flat protagonists, but it's more than made up for by the supporting cast. Barry Burton, Rebecca Chambers (my favorite), and Albert Wesker are all great additions to the cast and remain memorable over two decades later. The only outright new plot element is Lisa Trevor, and while I will not spoil the mystery surrounding her, she adds to the story's emotional core in an effective way.

While the central narrative involving the STARS members is certainly good, I found the environmental storytelling much more interesting. The bottles of alcohol lining a scientist's bedroom. The swaying zombie corpse hung from the banister. The letter to a lover, pleading her to forgive him. It feels like you've stepped into a world where you don't belong, that you're intruding on the personal lives of everyone who used to be here. It feels like this whole area used to be filled with people, but they all just up and left. It helps to flesh out the world in a masterful way.

Capcom was not simply content with remaking Resident Evil with better graphics and narrative tweaks. Instead, the entire game has been redesigned from a gameplay perspective, forming the ultimate survival horror experience. Not only do you have to struggle with limited health and ammunition, but also kerosene. In REmake, zombies do not die. When defeated, their corpses will reanimate later on as a crimson head, which is faster and stronger than the average shambling husk. To prevent this, the player must burn the corpses using kerosene. However, there isn't much of it, and not every corpse can be burned. In addition to carefully planning which zombies are worth killing, one now has to consider the potential dangers of doing so, which adds yet another layer of strategy to a game already so mechanically complex. The game is also incredibly difficult but in a way that comes off as ridiculously satisfying. When I died, it is because I had poorly planned a run rather than Capcom pulling out some unperceivable trick. You can't take very much damage, and enemies deal a lot, which helps make every encounter terrifying as even the lowliest zombie can end potentially 20 minutes of progress. If you play your cards right, and properly plan for any potential encounters, you will eventually become a survival machine that can handle any encounter, though the game does not lose its difficulty even then. Puzzles are also moderately improved. While they may not be particularly challenging they are creative and are satisfying to complete. They add to the sense that you are not just exploring the Spencer Mansion but slowly unwrapping its layers.

Another thing I enjoy is the playable characters. Unlike most games, where choosing a protagonist tends to only affect the story, there is an inherent gameplay difference between Jill and Chris. Jill may be more of a glass cannon, but she has two extra inventory slots, which goes a long way. Chris on the other hand is a bit tankier, but he is missing two slots and this makes backtracking to safe rooms a more frequent endeavor. Jill also has a lockpick which can be used to open simple locks throughout the mansion. Instead, Chris has to locate a limited number of old keys to open these doors, putting additional strain on your resource management. Chris, needless to say, is the game's hard mode and should be reserved for second playthroughs. Nevertheless, I still find his campaign particularly rewarding and I enjoy how Capcom went out of their way to make sure each character played differently.

REmake is a visual masterpiece. From the art direction down to the technical elements, every single visual element of this game works perfectly within intention. The dark, cobwebbed corridors of the mansion are beautifully rendered via pre-rendered backgrounds, providing significantly more detail than the GameCube's hardware could ever hope to provide in real-time. The backgrounds are impressively dynamic and layered, too. Dynamic lighting bounces off the walls and 3D models pass beneath pre-rendered elements. Even when rendered at 1440p, the effect remains convincing. Character models are detailed and while facial animation isn't mindblowing it's better than a lot of games at the time. Monsters are realized with disgusting fidelity and remain disturbing even today. REmake is probably the best-looking game on the GameCube and reaches levels of realism unparalleled by even other 6th generation visual masterworks like Silent Hill 3.

The soundtrack, rearranged by Shusaku Uchiyama, features the same songs from the original game redone to better fit the tone. Although I don't exactly know if I'd say they're better than the originals, they're more fitting for Mikami's differing vision. It adds to the more realistic atmosphere while still keeping the musical themes that made the original's score so iconic. Which one is overall better will be up to personal taste, but I find REmake's score to be at least on par and a perfect complement to the visuals.

The original game's voice acting is infamous for being hilariously bad, ruining a lot of the tension in cutscenes. Naturally, REmake being a more realistic interpretation of RE1, redubbed the voice lines to be more natural. The voice acting in REmake is still not great, though it is an improvement. There is not a single line of dialog that is nearly as bad as the original's, but it can still be spotty at points. Joe Whyte, Ed Smaron, and Hope Levy do a decent job with their roles despite occasional iffy line delivery. I found that Heidi Anderson-Swan, Jill's actress, was the least convincing with her performance. I wouldn't call her bad necessarily but she could have been cast better. Peter Jessop gives the game's best performance, portraying Wesker as a truly manipulative and evil man. Overall, not bad, but not fantastic either.

The only major criticism I have isn't of the game itself, but rather, the PC port of the HD Remaster. It's a bit of a mess. Firstly, the port is unnecessarily demanding on lower to mid-end hardware, leading to an inconsistent framerate on those machines. Secondly, despite supporting 120 FPS, the game forces your monitor to output in 60 hertz in fullscreen mode, causing screen-tearing. The game also has no borderless fullscreen mode, meaning that when alt-tabbing, the game has to not only defocus the game but also change the refresh rate back to your monitor's default. This is incredibly inconvenient. Some music tracks even play faster than they're supposed to. These issues can all be fixed with relative ease, but shouldn't exist in the first place. Nevertheless, the PC port is the only way you can currently experience this game in 60 FPS or greater, so it's worth it if you're willing to spend 20 minutes downloading some fixes.

Shinji Mikami's Resident Evil Remake is a survival horror masterpiece. Everything that matters in this game is done perfectly. From the atmosphere to game design, to horror, to visuals, it accomplishes it all. It even expands on the story in a meaningful way, which I greatly appreciate. Insanely difficult, incredibly terrifying, and unfathomably gorgeous, REmake is a game everyone needs to play.

Ion Storm is an infamous development studio, but you can't attribute said infamy to a lack of trying. With some of the industry's best talent at the time, the auter-based studio's output was mixed, to say the least. From vehemently disregarded like John Romero's time-skipping FPS, Daikatana, to the positive-but-ignored reception of Tom Hall's ambitious-Final-Fantasy-like Anachronox, and of course the duology of console-constrained sequels Deus Ex: Invisible War and Thief: Deadly Shadows, only one of Ion Storm's games would manage to be both critically and commercially successful: Deus Ex. Very few games claim to have the influence and popularity that Deus Ex enjoys, much less maintaining that reputation for over two decades. Often hailed as a prophetic harbinger of things to come narratively while celebrated for gameplay that would come to redefine the medium, the game is a mixture of many different elements that come together nearly perfectly. I've played very few games that, despite whatever flaws they may have, feel perfect in the way that Deus Ex does, nor come together so cohesively.

Part of this Ion Storm's approach to level design, one which they'd abandon for future games due to the technical limitations of consoles. Calling Deus Ex an open world game would be stretching the truth, but the game presents you with multiple extensive hub worlds (to the degree that the fanbase struggles exactly to define when a level begins or ends) that are dense in objectives both mandatory and optional. There are no waypoints, no handholding, just mission objectives and clues you can find by exploring the maps. Exploring these maps is fun particularly because of how open ended the mission objectives are. The first level, Liberty Island, is perhaps the pinnacle of open-ended game design. Do you want to storm the front gates, or scale the back of the building and break in? You could always take the route to Harley Filben to get the key, but that route is more dangerous. Once you're inside, do you try to save Gunther, and if you do, do you give him your weapon? These sorts of choices, both mechanically and narratively, allow for the player to tailor their playstyle however they want, because the level design allows for it. Every level contains multiple secret nooks and crannies, sometimes featuring useful goodies, sometimes showing entire secret areas crucial to accomplishing side objectives. The open-ended nature of Deus Ex, something even a lot of modern games struggle with, is part of why the game remains so impressive today. Each playstyle, whether it be lethal, non-lethal, or entirely stealth based is largely equally viable, with multiple augmentations that stem towards benefiting. Sure, it's probably easier to cut down enemies with the one-hit Dragon's Tooth laser sword, but self imposed challenges are encouraged, as the game keeps track of how you play and characters will comment on how violent or stealthy you are. The gameplay mechanics do feel slightly simplistic compared to later immersive sims or even later Deus Ex games, but they're still surprisingly intuitive, fun, and challenging (though the game is really not that hard, even on hard mode). I really like how the early game encourages you to play like a cybernetic Jason Voorhees, lurking in the shadows before leaping out at an unsuspecting foe. You're able to fully customize your ablities from augmentations, to skill point division, to weapon choice, weapon mods, etc. Needless to say, Deus Ex is a game where player freedom matters to an extreme degree, more so than most games, from level design to game mechanics.

While these problems feel minuscule at most, I will say that even on hard mode, the game feels like it gives you too many passes. You can hack the computers of important NPCs in positions of power from the very first time you find one with the appropriate skills, aside from some annoyed remarks, no one ever tries to stop you. You can just do obviously concerning things in front of NPCs who would, in future Deus Ex games, become aggro'ed instead of just standing there. This isn't a serious flaw by any means, but it's one of the few moments where player freedom seemingly means lack of player consequences, and I think the game would be more challenging in a beneficial way had that been implemented. I also find the shipyards level pitifully boring and somewhat frustrating to navigate due to the level design taking a sharp drop off, but it's mediocre at worst and ultimately not a long section of the game. Area 51 has some interesting ideas but feels like a similar drop.

Although Deus Ex's gameplay was praised and is highly influential to this day, it's the narrative that people usually connect with the most in the modern day. Deus Ex has a reputation for being near prophetic; an early 2000s prediction into the plights we currently face as a society. Deus Ex is not exactly unique in this regard - many writers from this era made many similar predictions - but it is one of the few video games of this era, even nowadays, to be so thoroughly well-researched with care and effort to make sure the very real facts that line its fictional plot have some basis in reality. The game's scenario writing is intricately plotted, somehow making the ridiculous high concept of "what if a ton of conspiracy theories were entirely true" able to be taken entirely seriously, and even when it's corny it doesn't remotely detract from the experience. While most of the characters aren't particularly deep, they feel very realistic within Deus Ex's world setting, and my allies and enemies alike are burnt into my mind as some of gaming's most iconic. Speaking of the world setting, it's so ridiculously well-defined and written that it feels hyperreal at points. The Unatco bulletin boards feel exactly like something I'd see on the news or any government entity's social media page. It's fleshed out to the point where the writers wrote fake excerpts of in-universe novels that convey much of the game's themes (and even included excerpts of real-life books too, which is beyond cool). The game is also highly politically intelligent, and while I don't always agree with all of Spector's sentiments here, I can't argue that the majority of Deus Ex's political theories aren't well-reasoned or thought out. Every character has their own ideologies and, if the player chooses, they can ask them more and even engage in debates with a few characters, which can lead to interesting revelations. On top of all of this, the game manages to be a globe-trotting adventure with a narrative filled with tension and intrigue, and I was hooked from beginning to end. The endings are a bit polarizing among fans but I like how all of them are unquestionably negative and there's not really a "good choice" among them. I do think they're a bit abrupt and end pretty inconclusively - I would have liked to see the results of your actions. Favorite quote: "God was the dream of a good government".

Although Deus Ex fits pretty squarely into the cyberpunk genre, aesthetically it's a fairly grounded representation. Outside of patrol bots scouting the streets, the majority of the time it looks like something you'd be able to go outside and see for yourself. Focusing largely on downtrodden, poor areas, the most extravagant you'll ever see is Hong Kong, which even so is only livelier due to the different style of lighting. Deus Ex is a game plunged into eternal nocturne, with well-lit areas exclusively reserved for indoor areas and this does a great job of making the player feel small, lost in the game's nighttime atmosphere. The disregarding of past technology (conveyed thematically in Gunther and Navarre, whose mechanical augmentations are outclassed by JC's nanoaugs) as tech gets both more efficient and inaccessible leads to a future that seemingly has regressed in many ways. The character designs are quintessentially early 2000s, with JC heavily resembling Blade and characters such as Navarre looking straight out of the leather-clad Matrix. It's easy to look back on designs with a condescending "its of its time" tone, but I do genuinely think they look distinctive and cool. Graphically speaking, Deus Ex isn't exactly a stunner even for 2000, with its large environments being blocky and sparsely detailed, which I find excusable due to the difficulties of rendering large outdoor environments on PCs where the recommended amount of RAM was 128 megabytes. Animations are somewhat stiff (especially player animations, which to be fair, are rarely seen) and character models aren't exactly extremely detailed, but the game manages to convey its aesthetic through this anyways. That's not saying the game looks bad by any means, overall it still looks quite solid by the standards of the time, and areas like Hong Kong really showcase how beautiful the game can look at points with its bright colors and greater detail due to a more condensed environment. I also think the game has a fairly unique approach to facial animations which do look a lot more realistic than the puppet-flaps of Half-Life or the complete absence of System Shock 2. Ultimately, I do not think the low-key aesthetic exactly demands an extravagant visual presentation, but what they managed to accomplish on Unreal was quite solid, if slightly behind its peers in ways that are often excusable.

Full transparency, I've been obsessively listening to Deus Ex's score for weeks now since beating the game. Lead primarily by composers Alexander Brandon and Michiel van den Bos and building off of their similarly excellent work on Unreal, I feel the need to compare the game's soundtrack to Ennio Morricone's score to The Good, The Bad, and The Ugly, not because it sounds similar even in the slightest but rather because it has a similar feeling of transcendence. A lot of games go for a more low-key ambient style when trying to approach atmosphere and while there's nothing wrong with that, Deus Ex's emphasis on melody over soundscape distinguishes it and feels very distinctive in comparison. The amount of effort put into making sure each area has a dedicated theme (as well as sub themes for conversations, combat, special rooms, etc.) begins to get a little absurd and there's a ton of variety in not only tracks but musical style. From the angelic vocals in New York City to the Asian themed composition and rhythmic bass in Hong Kong to the screaming alarms of Paris' combat theme to the utter emptiness of the Hong Kong canals, there's something new every time while still tying together into a unified sound and cohesive tone. I can't say I'm a huge fan of the game's club/bar music but that's fine, because they still fit exactly what I'd expect in a club or bar, so I consider it effective nonetheless. Deus Ex's soundtrack is also somewhat dynamic, as the aforementioned tracks do switch up depending on whether you're in combat or talking to NPCs, but its not nearly as in-depth as something like System Shock. Still, the variety is much appreciated. It's a near perfect soundtrack that I struggle to find a single poor aspect of. It melds with the game's presentation perfectly and the fact that it's homaged by future games in the series proves that the music is part of what has stayed with people over the following decades.

Deus Ex is not a perfect game, it's somewhat too easy and there are one or two somewhat questionable levels, but it's one of those games where each of its core elements come together so cohesively that it's hard to find serious fault. It's open-ended level design, emphasis on real and genuine player choice mechanically and narratively, nuanced and complicated storytelling, well-researched political themes, low-key aesthetic and transcendent soundtrack make it an absolutely magical game that feels like no other. I don't care if its "dated" or that it can be somewhat of a pain to get working on modern PCs, it's a game that regularly goes on sale for less than a dollar and should be at the very top of anyone's to play list.