This is a game I’d heard vague things about back when it came out, but never all that much. It’s a game that I knew got pretty trashed in reviews back in the day, but it’s also one that I’d heard some fairly positive sentiment towards here and there in the time since then, so I really didn’t know what to think. I have no real attachment to Bionic Commando as a franchise, as I’ve never played any of the other games beyond dipping briefly into the original and bouncing off of its difficulty very quickly as a kid, so I was going into this with about as open a mind as I could. It overall took me around 10-ish hours to beat the English version of the game on normal mode while getting every collectible and getting every achievement I could manage (which was like 90-ish% of each).

Bionic Commando 2009 is a narrative sequel to the previous year’s reimagining of the original Bionic Commando Rearmed. After taking down the fascist Imperials and their war platform the Albatross several years earlier, public sentiment turned to suspicion and distrust towards the “Bionic Commandos” who’d made it all possible. The Federal States of America eventually pass a law that’s deemed “The Bionic Purge”, which forcibly imprisoned all bionics and robbed them of their mechanical enhancements. Nathan “Rad” Spencer, the original Bionic Commando (and our main character) is one such bionic captured by the government, and he’s been awaiting his death row sentence for the past 5 years for killings he carried out under orders by his superior “Super Joe”. Now that very same Super Joe has gotten him out of prison for a Rambo-style pardon deal.

A pro-bionic terrorist organization made up of ex-Imperials and escaped bionics, Bio Reign, have hit Ascension City with a massive nuclear device, killing hundreds of thousands, and invading soon thereafter. The government is therefore sending in Spencer to find out what’s going on, and they even throw in a promise to tell him about his missing wife if he goes along with it. Very unhappy and distrustful of the whole situation, Spencer nonetheless agrees to go along with Joe’s plan, as anything is worth finding out more information about his beloved wife.

That’s a pretty long intro summary, but I give it because this game is actually nowhere near as serious as its premise may lead you to assume. In that very first scene with Joe trying to talk a barely non-murderous Spencer into taking this deal, an unnamed background NPC is scared by a jet engine and lets out a VERY loud Wilhelm scream, nearly drowning out the dialogue in the process. Such a weird and silly start is exactly how the game intends to carry on, as I found this game a delightfully silly pastiche of modern edgy reboots (and stories in general) while also being a super fun homage to 80’s and 90’s action movies. The story’s got heart, but it's also got tons of one-liners, campy dialogue, and even an evil Nazi with a big, silly German accent (that no one else on his side has XD). I guess I can see how a gaming public primed for wannabe film games like the contemporary Uncharted 2 would see a game as silly as Bionic Commando and scoff back in 2009, but I think they were missing out on something super fun. This is a wonderfully weird and campy story that’s a ton of goofy fun for anyone willing to give it a chance, and it had me grinning ear to ear and cackling with laughter at it from beginning to end.

The gameplay of Bionic Commando reminds me of Spider-Man games I’ve played more than anything else, but it’s a far more linear approach to that kind of gameplay. The game is assorted into various acts and (effectively) levels within those acts, and your goal is to complete objectives and get from one end of the stage to the other. To accomplish this, Spencer has not only his famous bionic arm, but a small arsenal of guns too! In addition to grenades and a pistol, you can carry one bigger, special weapon with you that you can find in drop pods along the way. The gunplay is decent, but the bionic arm is definitely the way to play.

While its main use is grappling onto just about anywhere to pull you up and around stages, you’ll also slowly unlock more and more ways to beat up bad guys with your big, fancy arm as the game progresses. The grappling and swinging take a little getting used to, but I found it quite intuitive and very fun. You’ve got a blue reticle at all times that tells you what you’re going to grapple on to if you launch the arm, and it’s really generous in what you can reach at any given moment. Level design is quick and tight, and there was never really a time where I felt like I was just screwed because I just didn’t have enough mobility options at hand. If anything, I more so felt I was spoiled for choice on how to handle any given encounter! XD.

You can grab enemies to whip at other enemies, grapple onto big robots and double-boot kick them as you zip towards them after a jump, and even hurl cars into the air before kicking them into unwitting enemies in front of you. The enemy variety is pretty darn good combined with the level design. The big biomech robo suits are your most dangerous enemies, but the flying polycraft and even normal grunts with guns can still pose a significant threat if you’re not careful, so figuring out the best (or just the most fun) strategy for how to take on any given encounter was always a blast (even if I didn’t end up surviving that particular attempt XD).

You’re also very heavily encouraged to experiment too, as the game’s achievements are actually in-game as well. Completing achievements (which are almost universally combat-based) will both unlock further achievements as well as unlock passives to make Spencer stronger. These passive upgrades range from higher max health to performance upgrades for specific weapons, and they made chasing achievements a lot more fun than just the usual dopamine boost of seeing the “Trophy Unlocked” pop up. The game’s got fun normal combat and big bosses that are loads of fun too. It’s a game so fun that I was bummed when it was over, and I honestly still debate on going back to it to hunt for more collectibles just so I can spend a bit more time flinging around Ascension City’s ruins and thumping enemies in the face as Rad Spencer x3.

The game’s aesthetics are pretty good, but thoroughly 2009. Environments and enemy designs are colorful and interesting, and main character models in particular look quite nice (even if their in-game models can look a touch uncanny at times in certain cutscenes). The music is also quite good, with music that fits scenes well in addition to a special opening theme for the Japanese version of the game! I’ve really gotta give praise to the vocal performances, though. This game doesn’t have a terribly big cast, but the English voice cast nonetheless absolutely kill it in regard to hitting the campy tone they’re going for. The silly German accent on one of the main bad guys of course had me giggling every time I heard it, but I don’t wanna sell Spencer or the other main cast short either. The story would’ve been a lot worse had the voice direction not gotten the vibe right, so thank goodness they hit it so well~.

Verdict: Highly Recommended. I can almost kinda see what the fun-hating reviewers back in 2009 didn’t quite care for in this game, but I’ve gotta squint pretty hard to get there. I had an absolute blast playing this game. From the snappy, thumpy combat and gameplay to the delightfully cheesy story and Spencer’s one-liners, I loved every minute of this game and it kinda bums me out that they never had an opportunity to make another. Regardless, this is easily one of the best uses of 500 yen that I’ve had in a while, and I hope that you end up enjoying Spencer’s mission to whup fascist butts just as much as I did~ ^w^

After finishing Haze last week, I decided that it was fitting to move onto the other super infamous “meme bad game” of the PS3’s early life cycle. I’d always heard that this was an infamously super disappointing and bad game, so much so that it killed Factor 5 in the process, but I really didn’t know anything more about it than that. In total honesty, had I known how similar to Rogue Squadron it was, I likely would’ve skipped it entirely, as I’m admittedly not the biggest fan of flying games like this, but I’d already bought it, so I figured I may as well do my best to try and finish it. It took me around 6 hours to finish all 15 levels in the English version of the game playing on real hardware.

Lair is the story of Rohn. A member of the Sky Guard, the kingdom of Asylia’s dragon air force, he’s thrust into yet another conflict when the Asylian’s great rival nation, the Mokai, suddenly attack the capital. It’s a harrowing attack on the city, but the defense withstands the attack, and so begins the first event in a war so great that it will forever change the face of both nations. Lair’s story is incredibly generic. That isn’t such a bad thing in an of itself, as a story about those whom you’ve always been told are enemies being far more like you than you ever imagined is always something nice, but the shallowness of Lair’s narrative makes this story very hard to care about.

That kind of shallow writing is fine for one of Factor 5’s Star Wars spinoffs, because the audience (presumably) already has so much backstory of the narrative in the first place, but that kind of writing really doesn’t cut it for a completely original property like this. If it perhaps took itself a little less seriously and added some camp in, that might’ve made the story a bit more bearable, but as it is, Lair’s narrative is generic as it is forgettable, and that’s doing the game no favors when the mechanics are as rough as they are. The game actually does have a Japanese dub, which I was quite impressed with, though I opted quite quickly to switch to the original English if only to understand the tutorial messages and mission objectives better, as I learned very quickly how badly I’d need them XD.

The mechanics of Lair are incredibly infamous and deservedly so. A more arcade-y flight simulator very much in line with Factor 5’s prior Rogue Squadron Star Wars games (even down to having bronze, silver, and gold medals on each stage), Lair sets itself apart from those earlier games by using the PS3’s Six-Axis gyro motion controls for ALL of the flying rather than a joystick. Mercifully, a patch was added sometime after launch that allowed the player to simply bind that flying to the left joystick instead. There are still various quick time events and maneuvers (such as a 180-degree quick turn) that still require motion controls to function, but this makes the game go from utterly miserable to baseline tolerable.

Even playing nearly the whole game with the analog stick flying controls, it was still remarkable to me just how much of the game is designed around making combat possible at all with the original controls. You’ve got a light tracking on your fireballs, a very generous lock-on you can toggle with R1 or L1, and you’ve even got an ability to zoom towards a locked-on target. A few mechanics such as the one-on-one dragon duels you do for extra health still take a bit of practice to get used to, but all of these features that help compensate for the lack of decent flying control make the game remarkably easy compared to the Rogue Squadron games, though that isn’t necessarily a compliment.

A common complaint with Lair back when it came out was that missions are far too hectic with their objectives and designs, and that is something I very heavily agree with. Nearly every mission revolves around attacking an objective while simultaneously defending another objective (often several at the same time) that it can get very overwhelming to even figure out what you’re meant to be doing, particularly with how vague your mission instructions often are. Your allies are constantly shouting battle barks about what you “should” be doing, but they don’t actually take into account whether or not you’re currently in the process of doing that thing. They just berate you with repeating the objective ad nauseum, and it’s incredibly irritating. What’s even more irritating are the constant interruptions of the gameplay for ultimately not very important cutscenes updating you on the course of battle. Sure, it’s nice to know definitely for sure that an allied ship has gone down, but it’s something that very easily could’ve just been an actually useful voice line instead of something that rips you away from the action for 20 or 30 seconds before abruptly returning you to it. The combat and game being mechanically not that demanding ended up being a nice side feature because it meant that juggling all of these balls in the air for every single mission wound up being far less miserable than it always seemed at first.

Lair also lacks several basic amenities of Rogue Squadron games that makes all of this far more annoying and irritating to deal with. First of all, there is no mini-map of any kind. You’ve got a vaguely useful larger map on the pause screen (if you’re willing to wait for it to load in the first place), but its depictions of the fields of play are both devoid of enemies as well as too illustrated (and therefore abstracted) to really be of much help most of the time. Additionally, the game has no crosshair on be default. You can mercifully turn one on in the options menu, but given that you have no mini-map, that means that you have absolutely no way of telling friend from foe with the default options layout, and that isn’t helped at all with the game’s aesthetic designs.

This game is from 2007, and that means we are firmly in the era of games chasing realism, cynicism, and gritty atmospheres, and that means a largely grey and brown color palette. While in a lot of games, that can lead to environments or enemies looking bland or unmemorable, in Lair it ends up impeding on the basic gameplay as well. In Rogue Squadron, it’s just Star Wars, so telling friend from foe isn’t really that difficult due to how the ships themselves are designed. If you’re a rebel pilot, chances are 99 times out of 100 that the TIE Fighter flying past your X-Wing is an enemy. In Lair, you’ve got no such luck. The game’s color palette is mostly just greyish browns and greens, and you and your buddies are flying dragons just like the enemies are. It’s effectively impossible to tell at a glance (or hell, even with a long, hard look) that the brownish dragon in front of you is an enemy or an ally because the distinctive markers of each are so subtle, and I quickly just stopped guessing and fired at anything because it was just never worth the guesswork with the color of my crosshair.

The game overall has pretty cutscenes, but the actual game shows its age very badly in how ugly it looks. In-game graphics look muddy and ugly, particularly in the environments, and the very frequent framerate dips aren’t doing it any favors either. The only real strength of the game I can point out is the music, which tends to be quite good, really. A way in which it is good is being funny, granted, as it sorta swaps between feeling like off-brand Star Wars or off-brand Lord of the Rings depending on the scene in question (which I found very funny for a game that feels in so many ways like a rip off of both franchises between its gameplay style and setting), but it’s honestly so good at recreating the vibes of those series that I have a pretty hard time actually holding any negative sentiment towards the game for it. They’ve got a vibe they’re shooting for and they hit it, and the game would frankly be a whole hell of a lot better if they’d managed to do that in any other department.

Verdict: Not Recommended. Even though the analog control option makes the game go from unbearable to baseline tolerable, Lair is still a game that is just as bad as its reputation lets on. Even if it isn’t the worst game or the worst story ever, there’s just so little done here with any real competency that I would find it very difficult to recommend actually playing Lair to anyone, even a big flying game or Factor 5 fan, instead of just doing nigh anything else with your time on the PS3.

This is a game I’d heard vague things about back when it came out, but never all that much. It’s a game that I knew got pretty trashed in reviews back in the day, but it’s also one that I’d heard some fairly positive sentiment towards here and there in the time since then, so I really didn’t know what to think. I have no real attachment to Bionic Commando as a franchise, as I’ve never played any of the other games beyond dipping briefly into the original and bouncing off of its difficulty very quickly as a kid, so I was going into this with about as open a mind as I could. It overall took me around 10-ish hours to beat the English version of the game on normal mode while getting every collectible and getting every achievement I could manage (which was like 90-ish% of each).

Bionic Commando 2009 is a narrative sequel to the previous year’s reimagining of the original Bionic Commando Rearmed. After taking down the fascist Imperials and their war platform the Albatross several years earlier, public sentiment turned to suspicion and distrust towards the “Bionic Commandos” who’d made it all possible. The Federal States of America eventually pass a law that’s deemed “The Bionic Purge”, which forcibly imprisoned all bionics and robbed them of their mechanical enhancements. Nathan “Rad” Spencer, the original Bionic Commando (and our main character) is one such bionic captured by the government, and he’s been awaiting his death row sentence for the past 5 years for killings he carried out under orders by his superior “Super Joe”. Now that very same Super Joe has gotten him out of prison for a Rambo-style pardon deal.

A pro-bionic terrorist organization made up of ex-Imperials and escaped bionics, Bio Reign, have hit Ascension City with a massive nuclear device, killing hundreds of thousands, and invading soon thereafter. The government is therefore sending in Spencer to find out what’s going on, and they even throw in a promise to tell him about his missing wife if he goes along with it. Very unhappy and distrustful of the whole situation, Spencer nonetheless agrees to go along with Joe’s plan, as anything is worth finding out more information about his beloved wife.

That’s a pretty long intro summary, but I give it because this game is actually nowhere near as serious as its premise may lead you to assume. In that very first scene with Joe trying to talk a barely non-murderous Spencer into taking this deal, an unnamed background NPC is scared by a jet engine and lets out a VERY loud Wilhelm scream, nearly drowning out the dialogue in the process. Such a weird and silly start is exactly how the game intends to carry on, as I found this game a delightfully silly pastiche of modern edgy reboots (and stories in general) while also being a super fun homage to 80’s and 90’s action movies. The story’s got heart, but it's also got tons of one-liners, campy dialogue, and even an evil Nazi with a big, silly German accent (that no one else on his side has XD). I guess I can see how a gaming public primed for wannabe film games like the contemporary Uncharted 2 would see a game as silly as Bionic Commando and scoff back in 2009, but I think they were missing out on something super fun. This is a wonderfully weird and campy story that’s a ton of goofy fun for anyone willing to give it a chance, and it had me grinning ear to ear and cackling with laughter at it from beginning to end.

The gameplay of Bionic Commando reminds me of Spider-Man games I’ve played more than anything else, but it’s a far more linear approach to that kind of gameplay. The game is assorted into various acts and (effectively) levels within those acts, and your goal is to complete objectives and get from one end of the stage to the other. To accomplish this, Spencer has not only his famous bionic arm, but a small arsenal of guns too! In addition to grenades and a pistol, you can carry one bigger, special weapon with you that you can find in drop pods along the way. The gunplay is decent, but the bionic arm is definitely the way to play.

While its main use is grappling onto just about anywhere to pull you up and around stages, you’ll also slowly unlock more and more ways to beat up bad guys with your big, fancy arm as the game progresses. The grappling and swinging take a little getting used to, but I found it quite intuitive and very fun. You’ve got a blue reticle at all times that tells you what you’re going to grapple on to if you launch the arm, and it’s really generous in what you can reach at any given moment. Level design is quick and tight, and there was never really a time where I felt like I was just screwed because I just didn’t have enough mobility options at hand. If anything, I more so felt I was spoiled for choice on how to handle any given encounter! XD.

You can grab enemies to whip at other enemies, grapple onto big robots and double-boot kick them as you zip towards them after a jump, and even hurl cars into the air before kicking them into unwitting enemies in front of you. The enemy variety is pretty darn good combined with the level design. The big biomech robo suits are your most dangerous enemies, but the flying polycraft and even normal grunts with guns can still pose a significant threat if you’re not careful, so figuring out the best (or just the most fun) strategy for how to take on any given encounter was always a blast (even if I didn’t end up surviving that particular attempt XD).

You’re also very heavily encouraged to experiment too, as the game’s achievements are actually in-game as well. Completing achievements (which are almost universally combat-based) will both unlock further achievements as well as unlock passives to make Spencer stronger. These passive upgrades range from higher max health to performance upgrades for specific weapons, and they made chasing achievements a lot more fun than just the usual dopamine boost of seeing the “Trophy Unlocked” pop up. The game’s got fun normal combat and big bosses that are loads of fun too. It’s a game so fun that I was bummed when it was over, and I honestly still debate on going back to it to hunt for more collectibles just so I can spend a bit more time flinging around Ascension City’s ruins and thumping enemies in the face as Rad Spencer x3.

The game’s aesthetics are pretty good, but thoroughly 2009. Environments and enemy designs are colorful and interesting, and main character models in particular look quite nice (even if their in-game models can look a touch uncanny at times in certain cutscenes). The music is also quite good, with music that fits scenes well in addition to a special opening theme for the Japanese version of the game! I’ve really gotta give praise to the vocal performances, though. This game doesn’t have a terribly big cast, but the English voice cast nonetheless absolutely kill it in regard to hitting the campy tone they’re going for. The silly German accent on one of the main bad guys of course had me giggling every time I heard it, but I don’t wanna sell Spencer or the other main cast short either. The story would’ve been a lot worse had the voice direction not gotten the vibe right, so thank goodness they hit it so well~.

Verdict: Highly Recommended. I can almost kinda see what the fun-hating reviewers back in 2009 didn’t quite care for in this game, but I’ve gotta squint pretty hard to get there. I had an absolute blast playing this game. From the snappy, thumpy combat and gameplay to the delightfully cheesy story and Spencer’s one-liners, I loved every minute of this game and it kinda bums me out that they never had an opportunity to make another. Regardless, this is easily one of the best uses of 500 yen that I’ve had in a while, and I hope that you end up enjoying Spencer’s mission to whup fascist butts just as much as I did~ ^w^

After finishing Haze last week, I decided that it was fitting to move onto the other super infamous “meme bad game” of the PS3’s early life cycle. I’d always heard that this was an infamously super disappointing and bad game, so much so that it killed Factor 5 in the process, but I really didn’t know anything more about it than that. In total honesty, had I known how similar to Rogue Squadron it was, I likely would’ve skipped it entirely, as I’m admittedly not the biggest fan of flying games like this, but I’d already bought it, so I figured I may as well do my best to try and finish it. It took me around 6 hours to finish all 15 levels in the English version of the game playing on real hardware.

Lair is the story of Rohn. A member of the Sky Guard, the kingdom of Asylia’s dragon air force, he’s thrust into yet another conflict when the Asylian’s great rival nation, the Mokai, suddenly attack the capital. It’s a harrowing attack on the city, but the defense withstands the attack, and so begins the first event in a war so great that it will forever change the face of both nations. Lair’s story is incredibly generic. That isn’t such a bad thing in an of itself, as a story about those whom you’ve always been told are enemies being far more like you than you ever imagined is always something nice, but the shallowness of Lair’s narrative makes this story very hard to care about.

That kind of shallow writing is fine for one of Factor 5’s Star Wars spinoffs, because the audience (presumably) already has so much backstory of the narrative in the first place, but that kind of writing really doesn’t cut it for a completely original property like this. If it perhaps took itself a little less seriously and added some camp in, that might’ve made the story a bit more bearable, but as it is, Lair’s narrative is generic as it is forgettable, and that’s doing the game no favors when the mechanics are as rough as they are. The game actually does have a Japanese dub, which I was quite impressed with, though I opted quite quickly to switch to the original English if only to understand the tutorial messages and mission objectives better, as I learned very quickly how badly I’d need them XD.

The mechanics of Lair are incredibly infamous and deservedly so. A more arcade-y flight simulator very much in line with Factor 5’s prior Rogue Squadron Star Wars games (even down to having bronze, silver, and gold medals on each stage), Lair sets itself apart from those earlier games by using the PS3’s Six-Axis gyro motion controls for ALL of the flying rather than a joystick. Mercifully, a patch was added sometime after launch that allowed the player to simply bind that flying to the left joystick instead. There are still various quick time events and maneuvers (such as a 180-degree quick turn) that still require motion controls to function, but this makes the game go from utterly miserable to baseline tolerable.

Even playing nearly the whole game with the analog stick flying controls, it was still remarkable to me just how much of the game is designed around making combat possible at all with the original controls. You’ve got a light tracking on your fireballs, a very generous lock-on you can toggle with R1 or L1, and you’ve even got an ability to zoom towards a locked-on target. A few mechanics such as the one-on-one dragon duels you do for extra health still take a bit of practice to get used to, but all of these features that help compensate for the lack of decent flying control make the game remarkably easy compared to the Rogue Squadron games, though that isn’t necessarily a compliment.

A common complaint with Lair back when it came out was that missions are far too hectic with their objectives and designs, and that is something I very heavily agree with. Nearly every mission revolves around attacking an objective while simultaneously defending another objective (often several at the same time) that it can get very overwhelming to even figure out what you’re meant to be doing, particularly with how vague your mission instructions often are. Your allies are constantly shouting battle barks about what you “should” be doing, but they don’t actually take into account whether or not you’re currently in the process of doing that thing. They just berate you with repeating the objective ad nauseum, and it’s incredibly irritating. What’s even more irritating are the constant interruptions of the gameplay for ultimately not very important cutscenes updating you on the course of battle. Sure, it’s nice to know definitely for sure that an allied ship has gone down, but it’s something that very easily could’ve just been an actually useful voice line instead of something that rips you away from the action for 20 or 30 seconds before abruptly returning you to it. The combat and game being mechanically not that demanding ended up being a nice side feature because it meant that juggling all of these balls in the air for every single mission wound up being far less miserable than it always seemed at first.

Lair also lacks several basic amenities of Rogue Squadron games that makes all of this far more annoying and irritating to deal with. First of all, there is no mini-map of any kind. You’ve got a vaguely useful larger map on the pause screen (if you’re willing to wait for it to load in the first place), but its depictions of the fields of play are both devoid of enemies as well as too illustrated (and therefore abstracted) to really be of much help most of the time. Additionally, the game has no crosshair on be default. You can mercifully turn one on in the options menu, but given that you have no mini-map, that means that you have absolutely no way of telling friend from foe with the default options layout, and that isn’t helped at all with the game’s aesthetic designs.

This game is from 2007, and that means we are firmly in the era of games chasing realism, cynicism, and gritty atmospheres, and that means a largely grey and brown color palette. While in a lot of games, that can lead to environments or enemies looking bland or unmemorable, in Lair it ends up impeding on the basic gameplay as well. In Rogue Squadron, it’s just Star Wars, so telling friend from foe isn’t really that difficult due to how the ships themselves are designed. If you’re a rebel pilot, chances are 99 times out of 100 that the TIE Fighter flying past your X-Wing is an enemy. In Lair, you’ve got no such luck. The game’s color palette is mostly just greyish browns and greens, and you and your buddies are flying dragons just like the enemies are. It’s effectively impossible to tell at a glance (or hell, even with a long, hard look) that the brownish dragon in front of you is an enemy or an ally because the distinctive markers of each are so subtle, and I quickly just stopped guessing and fired at anything because it was just never worth the guesswork with the color of my crosshair.

The game overall has pretty cutscenes, but the actual game shows its age very badly in how ugly it looks. In-game graphics look muddy and ugly, particularly in the environments, and the very frequent framerate dips aren’t doing it any favors either. The only real strength of the game I can point out is the music, which tends to be quite good, really. A way in which it is good is being funny, granted, as it sorta swaps between feeling like off-brand Star Wars or off-brand Lord of the Rings depending on the scene in question (which I found very funny for a game that feels in so many ways like a rip off of both franchises between its gameplay style and setting), but it’s honestly so good at recreating the vibes of those series that I have a pretty hard time actually holding any negative sentiment towards the game for it. They’ve got a vibe they’re shooting for and they hit it, and the game would frankly be a whole hell of a lot better if they’d managed to do that in any other department.

Verdict: Not Recommended. Even though the analog control option makes the game go from unbearable to baseline tolerable, Lair is still a game that is just as bad as its reputation lets on. Even if it isn’t the worst game or the worst story ever, there’s just so little done here with any real competency that I would find it very difficult to recommend actually playing Lair to anyone, even a big flying game or Factor 5 fan, instead of just doing nigh anything else with your time on the PS3.

I played this game very briefly many years ago, but never gave it a proper shot. Now that I can finally play PS3 games again (thanks to what is hopefully a true long-term capture solution for it), I looked around local resale places for cheap, neat games I could finally play through, and this was one of the batch of games I picked up. I’m loosely familiar with the sequel, but the original The Darkness was a near total unknown for me, but I was excited to see just what was in store for me with a game so early in the console generation’s life cycle. The game doesn’t record time, but I reckon it took me around 10-ish hours to beat the English version of the game on normal mode while getting a little under 75% of the collectibles and doing a little more than half of the side quests.

The Darkness is the story of Jackie Estacado. A hitman for a New York crime family, it’s the day of his twenty first birthday when two important events befall him: The head of the family starts trying to have him killed, and he gains mysterious and powerful darkness abilities. Using the powers of the titular Darkness, Jackie begins his mission to both stop his power crazed Uncle Paulie from having him killed as well as keep himself from begin consumed by the will of the Darkness on the way.

I really had no idea what to expect from the writing in The Darkness, it being a first-person shooter based on an indie comic I am completely unfamiliar with, but I was very pleasantly surprised by the writing in this game. The large strokes of the story are a love story and a revenge story, but this isn’t just an FPS. It’s also an adventure game, and the extra characters in this game really help it come to life in a delightful way. Jackie uses the subways to get around, and that’s where you’ll find tons of both mandatory story NPCs as well as eventually optional NPCs with requests for Jackie. There isn’t a great mechanical reason to help them, mind you, as it’s not like this game has a money or equipment system to get rewards from. All you’ll get for doing quests are collectibles, but they’re their own reward in more ways than simple completionism.

The voice acting in this game and the delivery of its story are loads of fun. Helping out NPCs with their quests was always super fun just to see how Jackie (whose delivery is very reminiscent of a younger Keanu Reeves doing a light Italian mobster accent) would bounce off of all of the weird and interesting people you find to help. Additionally, the collectibles were always something I’d comb areas for, because they take the form of phone numbers. You cash in those collectibles (unlocking the concept art and such in the extras menu) by calling those numbers at the public payphones in the game, and the answering machines and weird people always made a new collectible acquisition a very exciting time. Heck, even the random NPCs (both friendly and hostile) will have long, rambling, bizarre conversations with one another that I always loved stumbling upon. As grim and violent as the story often is, it knows when it’s okay to be silly, and that mix of silliness and sincerity make for a delightfully campy time along the course of Jackie’s big tale of love, loss, and revenge.

The mechanics of The Darkness are a somewhat typical FPS, in a sense, but with an extra twist with the Darkness powers you’ve got. Jackie’s got a collection of guns to blast people away with, of course, and you’ve got Doom Guy pockets too, so a gun collected is a gun collected forever. Something the game doesn’t exactly signpost (and I’m glad my partner pointed out to me, as she’d played this before) is that Jackie truly DOES have super Doom Guy pockets for his guns. He doesn’t actually reload his guns. He just picks up more. Firing one shot from a pistol and then reloading literally throws that pistol away (you can see him do it!) and brings out the next one, so there’s actually quite the risk-reward system in terms of reloading early or not. Guns overall were things I generally favored the dual pistols you start the game with (as they have both great range and good stopping power), and you can even fire each one respectively by pressing the respective trigger button on the controller, but the guns overall feel good and add a little bit of spice to what could’ve been a safely generic gunplay system.

The Darkness powers take a bit of getting used to, but they ultimately give the game a fair bit of variety, especially in how they influence level design. You press L1 to activate the Darkness, and while it’s out Jackie has a shield from it. When it’s not out, he dies almost instantly to gunfire much like enemies do, so you really wanna have it up whenever you can for combat. However, the Darkness feeds on, well, darkness, and being in the light actively robs you of your Darkness energy that both powers that shield as well as fuels your Darkness attacks you acquire through the game. This gives a lot of interesting decision-making aspects to combat that a lot of other shooters don’t generally have. Do you go in guns blazing hoping for a quick victory, or do you lose the element of surprise and open up by shooting out some lights to give yourself a safe place to hide? Taking stock of where sources of light are in any area is a key element of surviving and succeeding in any combat encounter, and it adds a bit of a neat spin to the level and encounter design too.

This also goes for how you operate your Darklings, which are minions summonable from spawn points you can only see with your Darkness activated. You start out with just a normal melee-focused Darkling, but eventually you unlock a gunner, a bomber, and a light killer Darkling. Each spawn point can only maintain one Darkling, so deciding which one to summon and when is just one more decision to make during combat. Darklings can either be directed in combat (with an admittedly awkward waypoint system) or just left to their own devices, and they’re generally smart enough that I just summoned them when I could and let them do their thing. Additionally, Darklings are creatures of Darkness just like your powers are, so shooting out those lights isn’t just for you, it’s for them too. Darklings are trash talking little weirdos in addition to being helpful for drawing enemy fire, and having them ambling about while I fought stuff was always fun~.

That said, the mechanics can be a bit fiddly at times. Your Darkness powers take a while to get actually, well, powerful, and for a good while I just felt like I was playing the game wrong when, in fact, it was just that I didn’t have much at my disposal outside of just shooting things (from a practical perspective). As previously mentioned, directing Darklings is kind of a pain, and the gun variety never felt like it mattered a ton with just how good the default pistols were. In addition to all that, the pace of combat can be a bit too slow due to fundamental design choices. The most obvious one is the focus on shooting out lights that I already mentioned, but the other main factor is how you power up your Darkness powers, which is by eating hearts from downed enemies. While the animation for this is gory and neat, it does take a good few seconds to do, and even though you’re free to walk around and leave while the animation is playing, this does make consuming several hearts in quick succession take a pretty good while. The mechanics may be novel and interesting in their own ways, but they’re also clunky in a way that the game doesn’t particularly benefit from, and that poor signposting can really be a bummer in a game with checkpoints that are often far too far apart.

The presentation of the game is really remarkably good for a mid-2007 game. It’s got some fun music tracks that underset the action well, but the graphics in particular were what I really liked. This game is based on an indie comic, and NPCs (particularly some of the named characters like your friend Butcher Joyce) really do look like they stepped right out of a mid-2000’s graphic novel. As previously mentioned, the voice work is excellent and fits the game great. It sadly has no Japanese dub (leading to why I just played it in English so I could have English subtitles too), but the English voicework is great and brings the characters to life wonderfully.

There’s also an interesting approach to UI, and the game actually has almost none. There’s no meter on screen for Jackie’s health or Darkness energy. Instead, you just wait for the red on his vision to go away to indicate your health has regenerated. For the Darkness powers, you’ll hear the light burning you if you’re standing in the light (draining your energy), and you’ll see the darkness tendrils on the sides of your vision sucking in darkness when you’re stood outside the light. However, the only way you really know just how low your Darkness energy has gotten is your power suddenly not triggering, or the Darkness itself suddenly involuntarily recoiling into you (often quickly followed by your death shortly thereafter). While I certainly appreciate the design philosophy of trying to keep things diegetic, I think some kind of visual indicator for your remaining Darkness energy would’ve gone a long way towards keeping me alive longer.

The game mostly runs well, but there were a few bugs I found here and there. The number one thing I can say about performance is that skipping dialogue with NPCs is something you do at your own risk. Virtually all the glitches I encountered were a result of skipping some dialogue I’d heard before, as even though it cuts the voice line short, it doesn’t stop the animation. This means that, particularly when the person you’re talking to is going to do an action at the end of their voice line, you can bug out that action by being too trigger happy on the skip button. I even managed to permanently break a side quest because I skipped their dialogue, and they just got stuck trying to do the action after it ^^;. It wasn’t an important or particularly interesting side quest, but I’d imagine that this would be a true nightmare for any completionist playing this game. Perhaps the 360 version doesn’t suffer from this problem, but I can’t comment on that. The PS3 version runs mostly fine, but just be careful with the dialogue system.

Verdict: Recommended. This game isn’t perfect, for sure. It’s got some performance problems, the gameplay can be a bit too slow paced sometimes, and just how far apart checkpoints are can really be a burden when you keep getting sniped by an annoying enemy you just can’t spot in time. That said, it’s got a lot going for it! The writing is fun and campy, the mechanics are fairly novel and neat, and the aesthetics are good too. If you’re a fan of shooters or even just a fan of fun, quirky stories (and don’t mind a bit of gore), then this is a game super worth checking out. I wouldn’t even consider myself much of a shooter fan, and I still really enjoyed my time with this game, so I’ll let that part of the recommendation speak for itself in terms of how enjoyable it is~.

This is a very “meme bad game” I’ve heard about for years and years. Getting trashed both critically and popularly when it came out to the point that it tanked beloved developer Free Radical, Haze is a game that I’d imagine most gamers of a certain age have at least heard of, even if they aren’t super familiar with its contents. I was absolutely one of those people. I’ve never been much of a shooter fan, particularly for online-focused shooters, so Haze was a game that I’d heard about when I was younger as a legendarily bad game, but it wasn’t one I’d ever gone out of my way to learn more about beyond that. Why waste my time with it? However, with my recent interest in PS3 stuff again, this was a game that fell into my interest again (especially after picking up fellow legendarily meme bad PS3 game Lair). In fact, it was my mistaking Lair for Haze that led to my friend Robin buying this game for me in the first place XD. She unfortunately couldn’t watch me play it in the end, but play it indeed I did~. It took me about 5.5 hours to play through the Japanese version of the game on normal mode in one sitting.

Haze follows Shane Carpenter, a soldier in the PMC group Martel. Powered by Martel’s signature performance-enhancing drug, Nectar, and deployed to an unspecified place in Central or South America in the late 2040’s, Sergeant Shane quickly finds things are not as he had expected them to be. His army buddies are very gung ho about destroying the rebels and taking captive their vile, human skin-wearing leader, but as his Nectar flow is repeatedly disrupted, the world and everything in it slowly shifts around him to show him how things really are. Thus begins Shane’s journey towards finding out what’s really going on with Martel, the rebels, and this mysterious wonder drug called Nectar.

I’d actually never really heard anything about Haze’s narrative all these years, but, given when it came out, my expectations were on the floor. This decade is packed with shallow military-glorifying schlock that was tacked on to a multiplayer game simply because multiplayer-only games weren’t an accepted part of video games yet, and I figured this would just be another forgettable pile of crap. Despite how unsubtle the opening is, I was honestly astonished at just how well considered Haze’s narrative is, and it was easily the highlight of the game for me. Very clearly inspired very heavily by Apocalypse Now, Haze is a story of military disillusionment.

It has some pretty severe pacing problems (with like half of the game’s runtime having nearly nothing to do with the narrative other than “go here, do this, rinse and repeat”), the start and end are strong enough that I think it succeeds regardless. Remarkably light on (although not completely free from) racism and such for a game of this type from this era, I think Haze does a really commendable job at commenting on the state of contemporary American foreign policy. It has those pacing issues and could also certainly do with a better lead in to the story (as it is basically immediately obvious that you are, indeed, the real baddies, when they have plenty of time to lead into that a little more subtly), but the bones of the story are strong enough that I ended up really enjoying it. As a friend of mine put it, “Haze crawled so Spec Ops: The Line could run”, and I think that’s quite deserved praise on Haze’s part.

While the Japanese version doesn’t have its own dub or anything, I do want to finish off my section on the narrative by giving credit where credit is due for the Japanese subtitles. As much as they certainly don’t fix it, they do a really admirable job of trying to give the lead in to the game some more subtlety that the English version really would’ve benefited from. In particular, they make the distinction between being on and off Nectar much starker for how you hear your companions talk. While their speech while you’re on Nectar is much more sanitized and reserved, when you’re off Nectar, you finally get to hear (or in this case, read), the hateful, brutal language they’re actually using around you, where the English audio just achieves this by bleeping their speech when you’re off Nectar in a way that comes off as incredibly clumsy. I really would’ve loved to hear a proper Japanese dub for this game, but I understand why it wasn’t a priority for a game like this, and I really do give the Japanese translator(s) credit for making the game just that little bit better put together in their version of the story.

While I’d basically heard nothing about the story when I was younger, what I did hear about Haze was the mechanics, and they more or less live up to their poor reputation. It isn’t the worst game ever by any means, but it’s thoroughly underwhelming particularly with the context of this being a Sony exclusive while Xbox players were already enjoying Halo 3 roughly a whole year earlier. The gun selection isn’t terribly big, and what’s there never really felt terribly worth experimenting with. The two sides of the conflict each have their own versions of many weapons with different drawbacks to each, but I just used the Martel rifle the whole time, since it had basically infinite range, plenty of stopping power, and tons of ammo. There’s actually a neat mechanic where you can cannibalize guns of different types to get ammo for the gun you’re using (with diminishing returns each time), but all it really does is discourage you that much more from trying out other (worse) guns, so it’s hard to praise that cool idea all that much, really.

The campaign design is put together to try and give you a taste of playing both with and without the Nectar mechanics, but it’s mostly playing without to the point that it makes me question why they even did it in the first place. The main Nectar mechanic is pretty neat, where you hold R2 long enough to fill the meter with Nectar, but not too much otherwise it’ll backfire on you. In exchange you get a longer duration of speed as well as all enemies turning into big glowy spheres, making them very easy to spot and shoot. I get why they didn’t make the whole game this way for narrative reasons, but that kinda just ties into a larger point of how making a multiplayer-focused shooter with this particular message is decidedly at cross purposes with itself (a criticism that was also leveraged against Spec Ops: The Line years later for including an online multiplayer component, and rightfully so there as well).

The game all around is just very mid and not put together super well, and that extends beyond the fairly linear and uninteresting level design. In addition to the lackluster guns and underutilized bespoke Nectar mechanic, you’ve got vehicles that control like crap and far too many sections that use them. I know the meme back in the day was players driving around “invisible jeeps” in multiplayer (because of loading issues on the server), but those vehicles also just sorta handle like crap and break far too easily. Additionally, the AI is absolutely terrible. I was only playing on normal mode, sure, but it’s not like I was playing on easy mode either. They’ll just charge out from behind cover while nonetheless brandishing a gun at you, they’ll just stand in open space with no cover and fire at you, and your own allies will run in your line of fire constantly as if you weren’t even there. Thankfully, your allies dying just means you’ve got a little less help in drawing enemy fire away from yourself, but it’s still annoying all the same. Bundle that all in with how the AI (both friendly or otherwise) is spouting the same voice clips CONSTANTLY (there is rarely a moment of no speaking), and you’ve got AI that are pretty dreadful to deal with.

Aesthetically, it’s all around okay if not a little poor for the time. Music is fine yet forgettable, but the voice performances are quite well done, I’ll say, at least where it counts. Your main army rival and your main ally in particular I felt were very well acted for getting the points across that they’re trying to make with each character. On a related point, face models generally look quite good too, at least on the main characters. They’re not the best thing we had at that point, but the facial animations are pretty darn good for ’08, and the subtler features like your army buddies looking healthier or sicker when you’ve got Necter’o’vision or not is also a very neat touch. Unimportant NPCs, however, often look a bit uncanny, and part of that is due to the textures/models for their faces seemingly taking too long to load compared to important NPCs.

Environments in general look a bit low-polygon and muddily textured, and it gives the game a remarkably cheap and cruddy feeling compared to games I’ve played from less well funded studios that were released years earlier (like The Darkness, which I’d just finished playing before I started this). It’s not like the most hideous game in the world, or anything, but I definitely see why it did not impress back when the game came out, as it is decidedly underwhelming to say the least. Performance was also fairly fine and stable, though I will say that the game did crash on me once near the end, which is certainly worth mentioning even if the game’s generous checkpoint system ultimately kept me from really losing any progress.

Verdict: Hesitantly Recommended. As mid and unimpressive as the gameplay is, the story had me walking away from this game with far more positive an impression than I expected it to. If you’re big into shooters and are likely to be pushed away by something derivative and uninspired, then this game will likely bore you to tears. That said, if you’re okay with unoriginal gameplay if it’s got a neat story (in a game you can beat in an evening or two), then this very well may be something you don’t regret checking out, just as it was for me. Even not really caring much for shooters, I enjoyed the story enough that I’m happy that I played this game, and if what I’ve described about it piques your interest, then it just might be worth your while to hunt down a copy of this and give it a go~.

This was part of the bundle of games that a close friend of mine in the UK sent me last year. It was all her GameBoy stuff from when she was a kid, and she wanted it to go to a good and loving home (which I was happy to provide~ ^w^). I already played through the Batman game in that bundle last year, and the other day I finally decided to sit down and play this one. The Animaniacs as a series are something that I am juuuuust old enough to have caught some of on TV as a kid, so it’s a series I quite like, but I’ve never had much exposure to the video games and really had no idea what to expect with this. Despite being developed by Factor 5 of all people, this is still a Konami game at the end of the day, so after beating it on easy mode, I had to beat it again on normal mode to actually see the final level and final boss. It took me around 1 hour to beat it on easy mode, and then it was about 1.5 hours between both attempts I gave to beating normal mode. I beat the English version of the game on real hardware via my Super GameBoy.

Animaniacs follows the titular characters, that being the Warner Bros and their sister Dot, on a quest to open a hip pop culture shop. To do it, they’ll need to go around the Warner movie lot tearing through studios to steal famous movie props from currently recording movies! However, they’re not just going to be able to walk in and take them. In addition to the hazards already present on the movie sets, the ever-vigilant security guard Ralph is constantly on the move trying to capture our “heroes”, and Pinky and the Brain are also about and causing mischief for the Warners as they try to take over the world.

It’s not got much of a story, ultimately, but it definitely had more cutscenes than I expected it to. Before each level, the Warners will have a little silly chat with one another about the movie they’re about to barge into, and they capture the comedy of the show very well with their banter. This is actually a port of a Genesis game made by Konami themselves, and there have been quite a few sacrifices in getting a 16-bit game to work on the GameBoy. While the Genesis version has a lot more of it, this game still has quite a few other Animaniacs characters (usually Mindy and Buttons) bouncing around certain levels that you get to interact with in silly and fun ways, which I appreciated.

The gameplay is a rather puzzle-focused platformer. You can press Select to swap between the three Warner siblings, and each of the three of them has a different attack/power they can use to interact with the environment. Yakko can push and pull boxes as well as attack enemies with his paddleball; Wakko can hit enemies, detonate bombs, and break blocks with his big mallet; and Dot can blow kisses to most living enemies to stun them into no longer moving. The Genesis version has a lot more in the realm of action along with the puzzles, but this game is more so an action-puzzler than it is an action-game.

Some of the puzzles are very unclear how to actually do them, with some bosses (particularly the Western level and final boss) having very unclear paths to victory, but that was nothing looking up how to solve them couldn’t fix XD. The game overall is pretty tough, but far from insurmountable. Granted, I’m quite experienced with platformers, so keep that in mind as I say this, but I didn’t find this game to be terribly difficult, and it usually only took one or two tries at an obstacle before I could overcome it basically every time.

The Genesis version is significantly more difficult and in a much more Konami way, and I may as well relate here the differences I noticed between the two (after watching a longplay of the Genesis version shortly after finishing this version). This is missing one whole level from that game, having only 4 stages instead of the 16-bit version’s 5, and many levels either have simplified certain sections or have cut bits of them entirely (with the final level being nearly half as long as well as quite a bit different). This game is also a fair bit slower than the Genesis version, and honestly it can be quite a pain in the butt to do (or at least reattempt) certain puzzles because you saunter around at such a leisurely pace. It isn’t the worst thing in the world, and the game is, at least, balanced around your move speed, but it can still make the game somewhat irritating to play now and again.

The presentation is quite nice, especially on the Super GameBoy. The animations on movements, especially on the player characters, are very fluid and nice looking for a GameBoy game, and I reckon that might be the cause of why the game otherwise runs so slowly XD. The music tracks are nice original tracks on top of fun renditions of songs from the show (namely the main theme as well as the Pinky and The Brain theme), and it’s especially nice on the Super GameBoy. This is actually one of the very small handful of Super GameBoy-enhanced GameBoy games where you get not just a fancy border and way more color on the Super GameBoy, but you also get all new sound and music! This game uses the SNES’s sound hardware to give it a whole new soundtrack on the Super GameBoy, and it made for a very cool and novel experience compared to playing most other games on the Super GameBoy.

Verdict: Hesitantly Recommended. This is a neat little GameBoy game, but it’s still really nothing special. It’s certainly far less vicious than its 16-bit counterpart, but it’s still weirdly signposted enough that I think it’d be quite difficult to actually figure out some sections without consulting a guide, and that’s really not the experience you want with an action platformer, even a puzzle-focused one. If you’re a big nerd for Super GameBoy stuff or a fan of the show, then this is one you might find some good value in checking out, but if you’re more selective with how you spend your puzzle-platforming energy, then you’ll likely find your time better spent elsewhere.

This was part of the bundle of games that a close friend of mine in the UK sent me last year. It was all her GameBoy stuff from when she was a kid, and she wanted it to go to a good and loving home (which I was happy to provide~ ^w^). I already played through the Batman game in that bundle last year, and the other day I finally decided to sit down and play this one. The Animaniacs as a series are something that I am juuuuust old enough to have caught some of on TV as a kid, so it’s a series I quite like, but I’ve never had much exposure to the video games and really had no idea what to expect with this. Despite being developed by Factor 5 of all people, this is still a Konami game at the end of the day, so after beating it on easy mode, I had to beat it again on normal mode to actually see the final level and final boss. It took me around 1 hour to beat it on easy mode, and then it was about 1.5 hours between both attempts I gave to beating normal mode. I beat the English version of the game on real hardware via my Super GameBoy.

Animaniacs follows the titular characters, that being the Warner Bros and their sister Dot, on a quest to open a hip pop culture shop. To do it, they’ll need to go around the Warner movie lot tearing through studios to steal famous movie props from currently recording movies! However, they’re not just going to be able to walk in and take them. In addition to the hazards already present on the movie sets, the ever-vigilant security guard Ralph is constantly on the move trying to capture our “heroes”, and Pinky and the Brain are also about and causing mischief for the Warners as they try to take over the world.

It’s not got much of a story, ultimately, but it definitely had more cutscenes than I expected it to. Before each level, the Warners will have a little silly chat with one another about the movie they’re about to barge into, and they capture the comedy of the show very well with their banter. This is actually a port of a Genesis game made by Konami themselves, and there have been quite a few sacrifices in getting a 16-bit game to work on the GameBoy. While the Genesis version has a lot more of it, this game still has quite a few other Animaniacs characters (usually Mindy and Buttons) bouncing around certain levels that you get to interact with in silly and fun ways, which I appreciated.

The gameplay is a rather puzzle-focused platformer. You can press Select to swap between the three Warner siblings, and each of the three of them has a different attack/power they can use to interact with the environment. Yakko can push and pull boxes as well as attack enemies with his paddleball; Wakko can hit enemies, detonate bombs, and break blocks with his big mallet; and Dot can blow kisses to most living enemies to stun them into no longer moving. The Genesis version has a lot more in the realm of action along with the puzzles, but this game is more so an action-puzzler than it is an action-game.

Some of the puzzles are very unclear how to actually do them, with some bosses (particularly the Western level and final boss) having very unclear paths to victory, but that was nothing looking up how to solve them couldn’t fix XD. The game overall is pretty tough, but far from insurmountable. Granted, I’m quite experienced with platformers, so keep that in mind as I say this, but I didn’t find this game to be terribly difficult, and it usually only took one or two tries at an obstacle before I could overcome it basically every time.

The Genesis version is significantly more difficult and in a much more Konami way, and I may as well relate here the differences I noticed between the two (after watching a longplay of the Genesis version shortly after finishing this version). This is missing one whole level from that game, having only 4 stages instead of the 16-bit version’s 5, and many levels either have simplified certain sections or have cut bits of them entirely (with the final level being nearly half as long as well as quite a bit different). This game is also a fair bit slower than the Genesis version, and honestly it can be quite a pain in the butt to do (or at least reattempt) certain puzzles because you saunter around at such a leisurely pace. It isn’t the worst thing in the world, and the game is, at least, balanced around your move speed, but it can still make the game somewhat irritating to play now and again.

The presentation is quite nice, especially on the Super GameBoy. The animations on movements, especially on the player characters, are very fluid and nice looking for a GameBoy game, and I reckon that might be the cause of why the game otherwise runs so slowly XD. The music tracks are nice original tracks on top of fun renditions of songs from the show (namely the main theme as well as the Pinky and The Brain theme), and it’s especially nice on the Super GameBoy. This is actually one of the very small handful of Super GameBoy-enhanced GameBoy games where you get not just a fancy border and way more color on the Super GameBoy, but you also get all new sound and music! This game uses the SNES’s sound hardware to give it a whole new soundtrack on the Super GameBoy, and it made for a very cool and novel experience compared to playing most other games on the Super GameBoy.

Verdict: Hesitantly Recommended. This is a neat little GameBoy game, but it’s still really nothing special. It’s certainly far less vicious than its 16-bit counterpart, but it’s still weirdly signposted enough that I think it’d be quite difficult to actually figure out some sections without consulting a guide, and that’s really not the experience you want with an action platformer, even a puzzle-focused one. If you’re a big nerd for Super GameBoy stuff or a fan of the show, then this is one you might find some good value in checking out, but if you’re more selective with how you spend your puzzle-platforming energy, then you’ll likely find your time better spent elsewhere.