sovaRaven
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Long-time fan of games from all eras, with a particular preference to 90's era Square and Nintendo. Logging games I complete since April 2023.
Long-time fan of games from all eras, with a particular preference to 90's era Square and Nintendo. Logging games I complete since April 2023.
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Final Fantasy is my favorite video game franchise, with its consistently excellent music being a primary reason why. And as an avid rhythm-game-enjoyer since the heyday of Guitar Hero, I was really excited at the announcement of Theatrhythm Final Bar Line, featuring soundtracks from all mainline FF games and countless spin-offs alike.
I vowed to Full Combo every song in the game, and while this turned out to be a massively difficult task, I did get pretty close. In the end I got 1,697 out of 1801 Perfect Chains across all difficulty levels (including DLC), mostly missing some of the most brutal charts in the game. The All-Star Carnival version of Battle at the Big Bridge is easily the hardest of all, I genuinely think I have a better shot at a Through the Fire and Flames full combo.
Rhythm games live and die by their control scheme, and Theatrhythm's seemed unusually simple to me. Just four lanes, normal red notes can be hit with any of the face buttons or triggers on the controller, green notes are just sustained versions of that, and yellow notes are reserved for the left/right sticks. It has often been typical for major rhythm games to be entirely designed around some sort of unique controller peripheral, whether it be a DDR dance pad, a Guitar Hero guitar, or even DK bongos, so playing on an everyday Switch pro controller felt like a step down in quality, especially as notorious for stick drift as that platform is. (I know this game is on PS4 as well and it's probably better there, but I'm just going off my experience.) The optimal way to play faster and tougher charts ends up being utilizing the L and R buttons for the vast majority of the work, allowing thumbs to be kept on both sticks at all times. Surprisingly and most importantly, this is still a ton of fun. Legendary composer Nobuo Uematsu's work (and others) play a large part in that of course, but I've played this game with friends who weren't even big Final Fantasy fans, and they still enjoyed it. Just goes to show that it really doesn't take much for this style of game to be fun, hitting notes in rhythm games is just a naturally addictive dopamine rush.
My biggest complaint with this game as Final Fantasy VI's strongest soldier, is of course the mistreatment of Dancing Mad. A work of art comparable to The Mona Lisa or The Statue of David, this ~17 minute long final boss odyssey has been reduced to about 2 minutes, just from the fourth movement. And it stops before it even gets to the best part of the fourth movement. I'm not saying that all seventeen minutes should be one long song, but the usual ~10 minute version would have been nice, or at least include each of the four parts separately. In fact, nearly all of the music that was also in Curtain Call is just two minute tracks. This made sense in that game stuck on the 3DS with less memory, but with Theatrhythm upgrading to Switch, this just feels like a lazy amount of copy/pasting. Even new tracks that weren't in Curtain Call feel trimmed down unnecessarily, like The Airbuster from the FF7 Remake. This is made more insulting by the Advent Children movie version of One-Winged Angel being its proper six-minute length, or The Dance of Silver and Crimson clocking in at 3:32. Shadowlord from the NIER DLC is also 4:32, just as another example.
Another issue with the track list and piece of evidence that the bulk of the setlist was copy/pasted is the selection from Final Fantasy XIV Online. This ongoing MMO had received the Heavensward, Stormblood, Shadowbringer, and Endwalker expansions all between the release of the previous Theatrhythm game and this one, and yet the majority of the FFXIV songs are still from the original A Realm Reborn. The current most popular Final Fantasy title, with over ~24million registered users as of 2021, should have been handled with more up-to-date care.
Still, the overall track list is massive with most of the important Final Fantasy bases covered. DLC music from other Square Enix titles like Bravely Default, Octopath Traveler, and Chrono Trigger have since been added to make the catalog feel even more complete. There's even story-mode type missions with unlockable characters that have different attributes and moves, but its mostly just bells and whistles and hardly the focus of the experience. A whole game centered around the most stacked musical lineup in gaming may be incapable of being bad, and even as an FF superfan I still found music I had never heard before. But to those who are anything less than big fans of Final Fantasy, this one probably isn't for you.
3.0/5.0
I vowed to Full Combo every song in the game, and while this turned out to be a massively difficult task, I did get pretty close. In the end I got 1,697 out of 1801 Perfect Chains across all difficulty levels (including DLC), mostly missing some of the most brutal charts in the game. The All-Star Carnival version of Battle at the Big Bridge is easily the hardest of all, I genuinely think I have a better shot at a Through the Fire and Flames full combo.
Rhythm games live and die by their control scheme, and Theatrhythm's seemed unusually simple to me. Just four lanes, normal red notes can be hit with any of the face buttons or triggers on the controller, green notes are just sustained versions of that, and yellow notes are reserved for the left/right sticks. It has often been typical for major rhythm games to be entirely designed around some sort of unique controller peripheral, whether it be a DDR dance pad, a Guitar Hero guitar, or even DK bongos, so playing on an everyday Switch pro controller felt like a step down in quality, especially as notorious for stick drift as that platform is. (I know this game is on PS4 as well and it's probably better there, but I'm just going off my experience.) The optimal way to play faster and tougher charts ends up being utilizing the L and R buttons for the vast majority of the work, allowing thumbs to be kept on both sticks at all times. Surprisingly and most importantly, this is still a ton of fun. Legendary composer Nobuo Uematsu's work (and others) play a large part in that of course, but I've played this game with friends who weren't even big Final Fantasy fans, and they still enjoyed it. Just goes to show that it really doesn't take much for this style of game to be fun, hitting notes in rhythm games is just a naturally addictive dopamine rush.
My biggest complaint with this game as Final Fantasy VI's strongest soldier, is of course the mistreatment of Dancing Mad. A work of art comparable to The Mona Lisa or The Statue of David, this ~17 minute long final boss odyssey has been reduced to about 2 minutes, just from the fourth movement. And it stops before it even gets to the best part of the fourth movement. I'm not saying that all seventeen minutes should be one long song, but the usual ~10 minute version would have been nice, or at least include each of the four parts separately. In fact, nearly all of the music that was also in Curtain Call is just two minute tracks. This made sense in that game stuck on the 3DS with less memory, but with Theatrhythm upgrading to Switch, this just feels like a lazy amount of copy/pasting. Even new tracks that weren't in Curtain Call feel trimmed down unnecessarily, like The Airbuster from the FF7 Remake. This is made more insulting by the Advent Children movie version of One-Winged Angel being its proper six-minute length, or The Dance of Silver and Crimson clocking in at 3:32. Shadowlord from the NIER DLC is also 4:32, just as another example.
Another issue with the track list and piece of evidence that the bulk of the setlist was copy/pasted is the selection from Final Fantasy XIV Online. This ongoing MMO had received the Heavensward, Stormblood, Shadowbringer, and Endwalker expansions all between the release of the previous Theatrhythm game and this one, and yet the majority of the FFXIV songs are still from the original A Realm Reborn. The current most popular Final Fantasy title, with over ~24million registered users as of 2021, should have been handled with more up-to-date care.
Still, the overall track list is massive with most of the important Final Fantasy bases covered. DLC music from other Square Enix titles like Bravely Default, Octopath Traveler, and Chrono Trigger have since been added to make the catalog feel even more complete. There's even story-mode type missions with unlockable characters that have different attributes and moves, but its mostly just bells and whistles and hardly the focus of the experience. A whole game centered around the most stacked musical lineup in gaming may be incapable of being bad, and even as an FF superfan I still found music I had never heard before. But to those who are anything less than big fans of Final Fantasy, this one probably isn't for you.
3.0/5.0
The Legend of Zelda has a strong case as the greatest overall gaming franchise, so much so that its a victim of suffering from success at times. That is to say, this series has so many incredible games that even a great classic entry like Link's Awakening can easily go overlooked, in part due to its advanced age, but also on account of at least a handful of Zelda games considered even better still. In a vacuum from the greater franchise however, what we have here is one of the very few remaining Game Boy games that still holds up well in the present day, a remarkable feat.
The most striking aspect of Link's Awakening to me is just how impressive it is for a game of such high quality to exist on limited and primitive hardware. In development, this game began as a side project to port A Link to the Past to the handheld Game Boy, but soon grew into its own unique game with an island setting completely independent of the Hyrule we'd come to know. While measuring up to its legendary console predecessor may have been an impossible task, Link's Awakening carved itself a distinct identity all its own, even introducing some series staples that would carry over into the N64-era 3D games to follow.
Link washes up on the shore of Koholint Island, and is informed by an owl that in order to return home, he must awaken the Wind Fish, encased in a massive egg atop Mt. Tamaranch. This entails an Earthbound-style quest of collecting eight melodies, or in this case eight magic instruments, needed to play the song to awaken this mythical creature. This island setting is of a smaller scale than usual, but the classic Zelda dungeons are here, and they're mostly pretty good. The only dungeon I found to be especially annoying/confusing was The Eagle's Tower. Collapsing pillars of the dungeon to render higher areas accessible is a cool dungeon concept, but in practice its convoluted to understand just how the dungeon changes each time, and lugging around iron balls to accomplish this is pretty tedious in itself. The typical Zelda gameplay loop of finding a new item in each dungeon that must be used to solve puzzles within returns, and while most of this equipment existed in A Link to the Past, jumping around with the new Roc's Feather is really fun. Combining this with the Pegasus Boots allows Link to travel super quickly across the small screen.
Koholint Island itself is lighthearted and cozy, also notable for the unexpected presence of Mario enemies like Chain Chomps and Goombas. It's fun to see this rare crossover, but these guys don't seem like they belong in the Zelda universe at all. And that is because they aren't. Yes, as Link collects more instruments it is progressively revealed that Koholint Island and everyone on it is actually a dream. The "it was all just a dream" ending is typically a cheap narrative no-no, but in Link's Awakening its framed in a bittersweet way, the player burdened with this knowledge ahead of time means that by completing their quest they'll also be essentially removing the Koholint community they've come to know from existence. Realistically though, the only character that will truly be missed is Marin, she's the sweet and spunky girl who initially finds Link shipwrecked, and helps on his quest several times throughout the game. My favorite of these is easily her journey to the Animal Village. Featuring all-stars including the Chef Bear and the Sleepy Walrus that only Marin can sing to wake up, this is an all-time Zelda location just for how delightfully cartoony it is alone.
There are other quirky product-of-the-time things with Link's Awakening, like taking in-game pictures meant to be printed out with the Game Boy Printer, kinda wish I was there to experience that when it was new and cool. Any further complaints with the game are fairly nitpicky and fall under the subjectivity of puzzle-type games being either too cryptic at times to figure out how to progress, or merely the player's fault for being unable to solve it. There's an old man Link can phone for hints, but sometimes his advice basically just amounts to "idk just figure it out yourself lol." I found the final boss underwhelming as well for what its worth, and deciphering the path to reach this final confrontation felt unnecessarily obtuse.
The Game Boy was surely bursting at the seams trying to fit a substantial full-length adventure in that clunky cartridge, but Link's Awakening found a way. Even the music is pleasant, despite playing from speakers that often were a headache simulator, "Tal Tal Heights" and "Ballad of the Windfish" stand out especially. This game has a strong case for the best on the original Game Boy (Color), and holds up better compared to the rest of its franchise than I ever could have expected, an exception where it's okay to be just a dream.
4.0/5.0
The most striking aspect of Link's Awakening to me is just how impressive it is for a game of such high quality to exist on limited and primitive hardware. In development, this game began as a side project to port A Link to the Past to the handheld Game Boy, but soon grew into its own unique game with an island setting completely independent of the Hyrule we'd come to know. While measuring up to its legendary console predecessor may have been an impossible task, Link's Awakening carved itself a distinct identity all its own, even introducing some series staples that would carry over into the N64-era 3D games to follow.
Link washes up on the shore of Koholint Island, and is informed by an owl that in order to return home, he must awaken the Wind Fish, encased in a massive egg atop Mt. Tamaranch. This entails an Earthbound-style quest of collecting eight melodies, or in this case eight magic instruments, needed to play the song to awaken this mythical creature. This island setting is of a smaller scale than usual, but the classic Zelda dungeons are here, and they're mostly pretty good. The only dungeon I found to be especially annoying/confusing was The Eagle's Tower. Collapsing pillars of the dungeon to render higher areas accessible is a cool dungeon concept, but in practice its convoluted to understand just how the dungeon changes each time, and lugging around iron balls to accomplish this is pretty tedious in itself. The typical Zelda gameplay loop of finding a new item in each dungeon that must be used to solve puzzles within returns, and while most of this equipment existed in A Link to the Past, jumping around with the new Roc's Feather is really fun. Combining this with the Pegasus Boots allows Link to travel super quickly across the small screen.
Koholint Island itself is lighthearted and cozy, also notable for the unexpected presence of Mario enemies like Chain Chomps and Goombas. It's fun to see this rare crossover, but these guys don't seem like they belong in the Zelda universe at all. And that is because they aren't. Yes, as Link collects more instruments it is progressively revealed that Koholint Island and everyone on it is actually a dream. The "it was all just a dream" ending is typically a cheap narrative no-no, but in Link's Awakening its framed in a bittersweet way, the player burdened with this knowledge ahead of time means that by completing their quest they'll also be essentially removing the Koholint community they've come to know from existence. Realistically though, the only character that will truly be missed is Marin, she's the sweet and spunky girl who initially finds Link shipwrecked, and helps on his quest several times throughout the game. My favorite of these is easily her journey to the Animal Village. Featuring all-stars including the Chef Bear and the Sleepy Walrus that only Marin can sing to wake up, this is an all-time Zelda location just for how delightfully cartoony it is alone.
There are other quirky product-of-the-time things with Link's Awakening, like taking in-game pictures meant to be printed out with the Game Boy Printer, kinda wish I was there to experience that when it was new and cool. Any further complaints with the game are fairly nitpicky and fall under the subjectivity of puzzle-type games being either too cryptic at times to figure out how to progress, or merely the player's fault for being unable to solve it. There's an old man Link can phone for hints, but sometimes his advice basically just amounts to "idk just figure it out yourself lol." I found the final boss underwhelming as well for what its worth, and deciphering the path to reach this final confrontation felt unnecessarily obtuse.
The Game Boy was surely bursting at the seams trying to fit a substantial full-length adventure in that clunky cartridge, but Link's Awakening found a way. Even the music is pleasant, despite playing from speakers that often were a headache simulator, "Tal Tal Heights" and "Ballad of the Windfish" stand out especially. This game has a strong case for the best on the original Game Boy (Color), and holds up better compared to the rest of its franchise than I ever could have expected, an exception where it's okay to be just a dream.
4.0/5.0
This review contains spoilers
The 2010's decade in gaming history will go down as the era of indie games' renaissance. While they had always been around, this decade saw a massive rise in popularity and prominence, with some of the best examples arguably surpassing contemporary AAA games, especially in terms of style, substance, and soul. And with the dust now settled, no game embodies these core tenets quite like Hollow Knight, more colloquially known as "peak."
Shrunken down settings with bug characters are always fun, combining with the somber, melancholic world and vibes to create a wonderful and unique aesthetic. I can't emphasize enough just how beautiful the world of Hallownest is. The lonely Metroidvania sense of mystery is fully present, filled with hostile and dangerous bugs, and more than its fair share of just weird little guys. A high level of challenge and difficulty adds to the immersion of exploring an ancient underground kingdom, making the brief respite from the rest benches interspersed throughout feel so serene. Hollow Knight is light on characters with speaking roles, but most of the characters with dialogue have dark bodies and white masks, a really cool aesthetic.
Finding a friendly bug in Hollow Knight might not be a common occurrence, but the NPCs are so filled with personality that each one leaves an impression. My favorite might be the old stag, he's a homie. The gibberish spoken in this game is weirdly quotable for a fake language. (Ah, bapa nada....) The player is literally dropped into the world with basically no exposition aside from some cryptic stone monuments to read, and a little town with almost no residents left. It is unclear throughout most of the game what exactly happened to Hallownest, but there were few survivors and most of them come in the form of enemies hostile to The Knight. Even the ending(s) of the game are vague, most lore can easily go over the player's head, meant to be pieced together figured out primarily on a show-not-tell basis.
For many players however, none of that story mumbo jumbo really matters, as a Metroidvania like Hollow Knight should be judged foremost on its gameplay. Combat feels smooth, responsive, and excellent. Mastering the art of wielding the nail feels like a rewarding playthrough-long journey. Getting above enemies and using the nail to bounce off them like a pogo stick is especially fun, and there are even spells to facilitate alternate playstyles. Further customization exists in the form of findable and equip-able charms, basically classic Paper Mario-style badges that can vastly alter how players approach the game. Everything from a longer nail, to a defensive shell, to little minions assisting The Knight in fighting enemies and more. This game is difficult enough that the player will be encouraged to switch up their charms to tackle different challenges. The other key attribute of a great Metroidvania is movement. Genre staples like dashing and wall jumping feel as good as ever here, and being able to implement these in combat with the ability to swing the nail in any direction make for a smooth and satisfying experience.
The Metroidvania sub-genre had for 20+ years been defined (and named after) 90s all-time greats Super Metroid and Castlevania: Symphony of the Night. Hollow Knight feels like the first true contender for best Metroidvania since these, and much of the argument to set it apart rests on the insane quality of this game's boss fights. There are over forty in total, and the majority are memorable and outstanding. The battles vs recurring character Hornet feel like a true clash of equals (and her mid-fight voice lines are great), and the Dung Defender is a genuinely funny and highly creative encounter. Some of the finest examples of fighting multiple foes at once in a boss fight are featured as well, especially The Mantis Lords. Defeating the first mantis 1v1 only to have the other two watching in the background both stand up together is so badass. It is such a dopamine rush to learn these boss' pattern on the fly and alternate the rhythm between dodging their attacks and weaving in strikes of your own when possible. When executed to perfection, it feels more like a dance than a fight, in the best way possible. There are too many examples of these fights that would be easy contenders for best boss encounters in most games, but I need to give extra shout outs to the thrill of the Soul Master's surprise second form just when you thought you were victorious, and a particular admiration for my ghoulish goth icon Grimm. Added as DLC to be one of the hardest boss battles in the game, Grimm's battle and moveset feels like a quintessential boss fight, the sort of thing that should be taught in a class on how to design good games.
If I had a nail to my head, forced to pick a legitimate flaw with Hollow Knight, I may end up a spirit. But the usual suspect is having to purchase maps from cartographer Cornifer to actually see the map of an area. This is a style of game that can be easy to get lost in, and an in-game map is almost always a given in the 21st century. It can no doubt be a struggle for those yet to be acclimated to Hollow Knight, but for me though, this complaint falls on deaf ears. The maps are still there for those willing to take a short detour back to Dirtmouth, getting lost at least a few times in a Metroidvania is just an accepted part of the experience. And back in my day we were drawing maps ourselves with pencil and paper to attempt to help navigate in these darned games anyway.
Didn't know where else to put this, but I absolutely adore the scene where The Knight sits with Quirrel at the edge of the Blue Lake. Its quiet and bittersweet, but I felt like I could stay for a long time. There are countless points on my playthrough where I stopped for a while to admire the scenery or listen to the rain, like when arriving in the City of Tears for the first time, a lovely cozy experience.
In the modern dystopian gaming hellscape of AAA titles trying too hard to essentially be hyper-realistic interactive cutscenes, a lot of major releases can feel pretty soulless. This makes creative titles made with heart like Hollow Knight that much more refreshing, our unexpected 5-star savior isn't from some storied studio or legacy franchise, but a small independent team from Australia. "Masterpiece" is a word often thrown around too freely, but it absolutely applies here. Team Cherry fired on all cylinders to deliver a visually and musically incredible experience, I consider it to be the GOTY for 2017 and easily one of the very best I've ever played.
5.0/5.0
- My brother claims that he went into The Mantis Lords fight completely blind, and beat it first try while only getting hit once. I don't have a reason to doubt him, but that's some serious gamer credentials.
- I once did a makeup look designed to look like Grimm because I'm a loser.
Shrunken down settings with bug characters are always fun, combining with the somber, melancholic world and vibes to create a wonderful and unique aesthetic. I can't emphasize enough just how beautiful the world of Hallownest is. The lonely Metroidvania sense of mystery is fully present, filled with hostile and dangerous bugs, and more than its fair share of just weird little guys. A high level of challenge and difficulty adds to the immersion of exploring an ancient underground kingdom, making the brief respite from the rest benches interspersed throughout feel so serene. Hollow Knight is light on characters with speaking roles, but most of the characters with dialogue have dark bodies and white masks, a really cool aesthetic.
Finding a friendly bug in Hollow Knight might not be a common occurrence, but the NPCs are so filled with personality that each one leaves an impression. My favorite might be the old stag, he's a homie. The gibberish spoken in this game is weirdly quotable for a fake language. (Ah, bapa nada....) The player is literally dropped into the world with basically no exposition aside from some cryptic stone monuments to read, and a little town with almost no residents left. It is unclear throughout most of the game what exactly happened to Hallownest, but there were few survivors and most of them come in the form of enemies hostile to The Knight. Even the ending(s) of the game are vague, most lore can easily go over the player's head, meant to be pieced together figured out primarily on a show-not-tell basis.
For many players however, none of that story mumbo jumbo really matters, as a Metroidvania like Hollow Knight should be judged foremost on its gameplay. Combat feels smooth, responsive, and excellent. Mastering the art of wielding the nail feels like a rewarding playthrough-long journey. Getting above enemies and using the nail to bounce off them like a pogo stick is especially fun, and there are even spells to facilitate alternate playstyles. Further customization exists in the form of findable and equip-able charms, basically classic Paper Mario-style badges that can vastly alter how players approach the game. Everything from a longer nail, to a defensive shell, to little minions assisting The Knight in fighting enemies and more. This game is difficult enough that the player will be encouraged to switch up their charms to tackle different challenges. The other key attribute of a great Metroidvania is movement. Genre staples like dashing and wall jumping feel as good as ever here, and being able to implement these in combat with the ability to swing the nail in any direction make for a smooth and satisfying experience.
The Metroidvania sub-genre had for 20+ years been defined (and named after) 90s all-time greats Super Metroid and Castlevania: Symphony of the Night. Hollow Knight feels like the first true contender for best Metroidvania since these, and much of the argument to set it apart rests on the insane quality of this game's boss fights. There are over forty in total, and the majority are memorable and outstanding. The battles vs recurring character Hornet feel like a true clash of equals (and her mid-fight voice lines are great), and the Dung Defender is a genuinely funny and highly creative encounter. Some of the finest examples of fighting multiple foes at once in a boss fight are featured as well, especially The Mantis Lords. Defeating the first mantis 1v1 only to have the other two watching in the background both stand up together is so badass. It is such a dopamine rush to learn these boss' pattern on the fly and alternate the rhythm between dodging their attacks and weaving in strikes of your own when possible. When executed to perfection, it feels more like a dance than a fight, in the best way possible. There are too many examples of these fights that would be easy contenders for best boss encounters in most games, but I need to give extra shout outs to the thrill of the Soul Master's surprise second form just when you thought you were victorious, and a particular admiration for my ghoulish goth icon Grimm. Added as DLC to be one of the hardest boss battles in the game, Grimm's battle and moveset feels like a quintessential boss fight, the sort of thing that should be taught in a class on how to design good games.
If I had a nail to my head, forced to pick a legitimate flaw with Hollow Knight, I may end up a spirit. But the usual suspect is having to purchase maps from cartographer Cornifer to actually see the map of an area. This is a style of game that can be easy to get lost in, and an in-game map is almost always a given in the 21st century. It can no doubt be a struggle for those yet to be acclimated to Hollow Knight, but for me though, this complaint falls on deaf ears. The maps are still there for those willing to take a short detour back to Dirtmouth, getting lost at least a few times in a Metroidvania is just an accepted part of the experience. And back in my day we were drawing maps ourselves with pencil and paper to attempt to help navigate in these darned games anyway.
Didn't know where else to put this, but I absolutely adore the scene where The Knight sits with Quirrel at the edge of the Blue Lake. Its quiet and bittersweet, but I felt like I could stay for a long time. There are countless points on my playthrough where I stopped for a while to admire the scenery or listen to the rain, like when arriving in the City of Tears for the first time, a lovely cozy experience.
In the modern dystopian gaming hellscape of AAA titles trying too hard to essentially be hyper-realistic interactive cutscenes, a lot of major releases can feel pretty soulless. This makes creative titles made with heart like Hollow Knight that much more refreshing, our unexpected 5-star savior isn't from some storied studio or legacy franchise, but a small independent team from Australia. "Masterpiece" is a word often thrown around too freely, but it absolutely applies here. Team Cherry fired on all cylinders to deliver a visually and musically incredible experience, I consider it to be the GOTY for 2017 and easily one of the very best I've ever played.
5.0/5.0
- My brother claims that he went into The Mantis Lords fight completely blind, and beat it first try while only getting hit once. I don't have a reason to doubt him, but that's some serious gamer credentials.
- I once did a makeup look designed to look like Grimm because I'm a loser.