Even to this day, Sonic CD stands out from its Genesis companions, but where once that difference came from how elusive it was—only having a few scattered ports and being included in some random collections— and how few actually managed to even play it when compared to the rest, as it became more easily available during the seventh generation, now it’s because the mythos surrounding it seems to be a space more about disputes than agreements, a far cry from the rest of the original series. I’m not saying that there’s a set of absolute truths surrounding the other games, in fact I myself find hard to love Sonic 2 as much as so many, many others do, but there’s a certain consensus regarding all of those 3 games (& Knuckles) that seems to be lacking over at Sega CD Land.

There seem to be as many enjoyers of the game as there are detractors, and this division of opinions is very much visible to outsiders of the series, and that’s exactly why for the longest time I was both very interested… and weary of Sonic CD. Even so many years later, with its past that once was present behind and now facing the futures, the game is still surrounded by a mysterious aura, or at least it was to me: enveloped in uncertainty, a game so seemingly strange and unique, surrounded by positives and negatives from both sides…


… and yet, the one that ended up captivating my heart.

Despite my best wishes and attempts, I found it incredibly hard to actively enjoy both Sonic 1 and 2, I still wouldn’t call them terrible games under no circumstances, but their low points and my gripes seemed to made it game that I consistently liked, with only some net positives being completely clear… With Sonic CD, I’d end quicker by saying what I didn’t like, in fact yeah, let’s get that out of the way!:

Even tho it has some incredibly interesting ideas and the laser mechanic, Metallic Madness is easily the lowest point of the game, it’s where the game gets closer to the lowest point of some of the past games’ zones, and where much of what I liked from the rest of the experience seems to be missing a bit; it also shares the same problem with Sonic 1 on how actually 100 precenting it doesn’t grant much of an active reward aside of getting the true ending (sort of, we’ll get to that) and…. Uh… I guess some acts share similar design and I wished there was more of a difference in some temporal variations?... Yeah I don’t know I got nothing else… and I could have never seen that coming.

My Sonic Genesis experience has been filled with buts and wishes to be able to love it more, but now I arrive at Sonic CD and from start to finish the only thing I could find myself feeling was… joy, the way I could just gleefully smile while traversing Whacky Workbench, being completely fascinated at the sights and sounds in Palmtree Panic, the feeling of peace and realization at getting my first good future in Collision Chaos; from a first glance Sonic CD doesn’t seem that distinct when compared to the likes of 2 — or even 1 for that matter—, but it’s when playing that the differences shine.

Sonic games always incentivized replays and getting to know the pathing and mastery of its controls, but CD rewards knowledge even beyond that: levels feel MASSIVE, so expansive and open ended that no matter the way you go, you’re most likely going the right way, and it always feels like that. Every single zone is always so damn fun to explore, so many interesting to surprises to discover that it never feels as if you are going around circles or that you are somewhere you shouldn’t be and it’s this exploration that gets tested in the Past version of the stages since you’ll need to find Robotnik’s machine somewhere. What awes me the most it’s how, for a game with so many moving parts (both literally and figuratively), it never slows down, it’s here where I’ve reached the highest speeds more-so than in any other game, dodging and dashing, making use both of the spin dash and the super peel out in different scenarios and situations, and even when the game slows you down, it never feels as it stops you in your tracks and actively makes you wait or do precision platforming for which Sonic isn’t designed for (maybe aside of Metallic Madness), Sonic CD knows what it is and what it wants to do, and does so while looking beautiful.

All zones look incredible, they share a borderline abstract look that gets amplified in the future versions, the good going always for a softer more celebratory look while the bad futures create this overtly and violently mechanical feeling, one that can be seeing again in almost all of the Act 3s; it translates the ideas of the Robotnik’s conquest of this small planet to a tea, and seeing the much more natural, organic look of the past versions and seeing far more free animal where once robots stood it’s not only the perfect way to push players to get the good futures without saying any words, it outright looks incredible. The sprites and sights are a marvel to behold, and they really feel like actual, interesting places, places with history that have been subject to change and thanks to you can improve and hold a much brighter future… and I haven’t even talked about the music! I’ve been utterly lovestruck by the original JP/EU soundtrack, no matter what song, so matter what jingle, it never misses, a perfect dance of techno mixed with the most perfect of ideas to evoke feelings on the player, details like how the themes from the past feel a liiiiittle bit more compressed or how the power-up music ends just as the power-up finishes taking effect are so obvious yet wonderful I can’t stop loving them, easily one of my favorite OST I’ve had the pleasure to listen in a long time. Compliments to the original soundtrack used to be accompanied by a jab to the American OST, but honestly… I also like that too! Nost as much as the Japanese and European one, that’s for sure, but the American goes for a much more atmospheric feeling that it’s appropriate and works super well, the fact this game basically created to amazing soundtracks in one is the funniest yet fitting showcase of how this is a experience that goes the extra mile in every conceivable way, even when it’s not necessary…

A complaint that I’ve seen being predicated by some people over on discussions and even video-analysis is how you don’t really need to engage with the time travel in any capacity to beat the game or complete it to get the true ending, and that is true, but now I cannot scratch the felling that, maybe… that was the point. For how much I’ve talked about it, the past and futures of each of the two first acts of every Zone aren’t required in any way, they aren’t mandatory, and you can ignore them if you choose too, but I found it extremely hard to simply because of how compelling they are: getting to a stop sign and managing to find a way to achieve high enough speeds to time travel its fun on its own, but even beyond that, getting to see how a Zone was before Robotnik completely destroyed it, managing to impact it and actively foil its plans to achieve a better future, or to just witness the bad future or jump across space and time is such a creatively strong decision, it incentivizes speed, it incentivizes exploration, it generates wonder, and the fact that all of that it’s options isn’t a reason to complain, but instead to be marveled at the sheer amount of work at display and the open ended nature of Sonic CD, and it works, it works so incredibly well that I played it yet again after beating it just to try out different paths and time travels, something I had never done with a Sonic game so soon, but with this one I just couldn’t resists, helped in great part by the short nature of the game itself.

CD clicks in a way very few games of this series manage to do with me, a game which even its special stages manage to be a fun time worth mentioning (and far more 3D than 3D Blast honestly!); trying different, challenging ideas to a base formula doesn’t always work, but Sonic CD uses them to expand a world and create a beyond unique adventure, one that starts and ends with beautiful animations, and that across its many levels it just kept me wishing for it to keep going a little bit more, not attempt more unique albeit easy boss battles, to see more of Metal and Amy; Sonic CD is more than an experiment, it’s this world and character taken to it’s most open-ended and crazy potential, and seeing be a reality alone it’s worth admiring, but for it to be so good and inspiring while doing it is on a whole other level.

Sonic CD is easy to love for some, but also easy to dislike for others, it’s a strange game with a ton of ideas that don’t click for some, but honestly, I think it’s quite fitting, a game that attempts so many interesting concepts that gambles between a good future and a bad one, and it ended up getting a mix of some considering how people looks at it in so many different ways. And yet, it keeps on going, and I’m happy to say that at least for me, it creates a future worth fighting for.

Also, I know I’ve been complaining about Metal Madness quite a lot, but it’s all forgiven honestly, why you ask? Because it has this! Not other zone has peak character design! Look at it! LOOK AT IT! THE PUREST OF BOIS! LONG MAY LIVE MINI-SONIC!

Sonic CD is everything, but it's also nothing. It feels substantial but it also feels incredibly empty. Not sure how I can put my thoughts into words but I'll at least try:

First off, I personally think Sonic's moveset is near perfect in this game. Think of it as a bicycle's gears for just a moment, OK? In an exploration-based platformer like Sonic CD, you have three ways to jump:
1) A regular running jump, done by gathering momentum over a distance before making the leap. This gives you the most control over your characters actions and a bit more time to anticipate what's ahead so you can plan your next course of action.
2) A Spin Dash jump, where you rev up in place, instantly generating momentum faster than a regular run before jumping immediately as you let go. Covers larger distances than a regular jump, but leaves you with less time to react to the obstacles ahead. Provides security of a spin roll when used on ground.
3) A Super Peel-Out boosted jump, where you use a slightly longer amount of time to rev up in place, before launching off at fast speeds, allowing you to jump farther distances than a regular Spin Dash jump. Still vulnerable to enemies when used on ground unless you roll, which in turn costs you speed in the long term.

See what I mean? Sonic has a versatile moveset where you choose your tools to navigate the towering platforms and mazes of Little Planet, providing you with multiple options on where to go and HOW you want to go. Sonic CD's levels facilitate such exploration, and allows you to wander through the stages freely. The main focus at hand is platforming, and speed is an afterthought, and I like that focus. It's a great contrast to the blistering, sometimes out-of-control speeds of Sonic 2.

So why do the time travel signposts betray this philosophy?

The way time travel works in Sonic CD is you hit a signpost, gather enough speed for a period of time, and once you hit the requirements without having your speed interrupted, you time travel. On paper, this wouldn't be a bad idea, but while the game offers you plenty of areas where you can time travel without worry, it sure as hell does its best to stop you from time travelling as well. And the worst part is, once you lose that signpost, it's essentially used up. In all honesty, I think the idea of time travel could work IF you time travelled immediately after reaching a sign post with sufficient speed instead of what they programmed. It would be a great way to reward the player for using their surroundings to their fullest advantage to build up enough velocity to time travel successfully. And the best thing? Being too slow won't activate the signpost, so you have multiple chances of going through them. :)

The story of Sonic CD is fairly well told: Eggman chains up a planet and fucks up the environment in the past, Sonic discovers the planet, goes back to when Eggman planted the generators and yeets them, saving fangirl Amy in the process, while also beating his new (and IMO the best) rival Metal Sonic in the process. He reaches Metallic Madness, gathering all the time stones (we'll talk about those special stages later), yeets Eggman, day saved. I especially like the idea that all the boss fights take place in the future, either to reward you for taking the time to explore each past region to break the generators, or as a haunting reminder that Eggman's actions have consequences on the ecosystem of the planet, and that you better find those Time Stones to prevent his evildoings from ruining it further. Sadly the time travel signposts also serve to distract the player with an abundance of Future signposts, which ultimately don't really do much but burn up the player's time where they can't achieve anything except gather enough rings for a Special Stage. I'd rather the game keep it simple, play a cutscene after Act 2 to indicate that Sonic time travels to the future, where he sees what his actions have brought upon the zone he'd just navigated.

Speaking of Special Stages, I really like them! They're perhaps my favourite versions of special stages in the Classic Era bar 3D Blast Saturn (we'll get to that in that review). They're really technologically advanced for their time and provide a genuine challenge that isn't frustrating like the halfpipes of Sonic 2 or whatever the fuck Sonic 1 had. My only problem is that unlike Sonic 1 and 2's mobile ports, which have easily accessible level selects akin to S3&K, Sonic CD chooses to lock this useful function behind a Time Attack challenge! And while it does server as something for the truly dedicated to tackle, it is annoying that you have to put in all that extra effort to pick up the 2 Time Stones you left behind. At least I picked up all the generators in my run, I guess.

Finally, Metal Sonic. Need I say more about this character? Sharp, sleek design ahead of its time, clearly based off Sonic yet completely different in personality and motif, and arguably one of the most iconic boss fights in the entire FRANCHISE. The designers truly popped off with the creation of Metal Sonic, and it's a genuine shame he isn't utilised as much in the future, save a few certain examples.

Those are my thoughts on the gameplay in general. and now for level specific stuff, like the graphics, the music and the level design. This is where things get messy.

Palmtree Panic
In terms of graphics, this is the most detailed looking first level we've had so far. The backgrounds are stunning, and the warn colors spill through the screen directly into your eyes. Accompanying it is either kids cheering you on as you embark on this relatively long journey, or a chill Hawaiian-esque piece that relaxes you and eases you into the atmosphere of the game. Palmtree Panic is well designed, but it also feels rather empty by comparison. There's lots of platforms for you to experiment with different gear switches and jumping, but everything starts to grow repetitive after a while, and you end up wanting to leave sooner than you'd want to, just to avoid the same ol' same ol'. Good Future music across both versions are either 'YAY YOU DID IT GREAT JOB' (JP) or 'Haha Donkey Kong music' (US), and that's neat. Boss fight is piss easy.

Collision Chaos
Not a good level of the sorts. The music of the US version is ambient but honestly doesn't fit the level. The JP version is meh. Graphics are OK I guess, but doesn't really stand out in the game overall. The pinball physics are fine enough, but damn do I hate the massive abundance of bumpers and pop-it bubbles. God's sake this is a really annoying level. Fairly standard casino-themed level, it's not as anger-inducing as Spring Yard to me, but it works out. Boss fight is Discount Casino Night.

Tidal Tempest
Everyone praises this level to hell and back, but after playing it for a second time, I don't really see the appeal. This is perhaps the emptiest a Sonic level has felt thus far: the top path isn't difficult or challenging to maintain and are primarily inhabited by these huge dragonflies that don't put up a fight at all. The bottom path, meanwhile, does have a few crushing pillars and tubes to traverse through, but ultimately most of the stage is just littered with springs to send you back up to the empty top path. Labyrinth was annoying. Chemical Plant was thrilling. Aquatic Ruin was challenging.

Tidal Tempest was boring. It looks boring, it plays boring, it feels boring. At least the music is great, Tidal Tempest Present being a standout in particular. Oddly enough, emotionally this was the lowpoint of the entire playthrough for me.

But the next stage certainly picks things up.

Quartz Quadrant
This. Level. Holy shit. The music is phenomenal across both versions. The JP version being this wonderfully composed jazzy orchestral piece that has all the bombastic uplifting feel of 90s SEGA games, while the US version has cool as guitar shreds, and I'm a sucker for hard rock, no less in Sonic games. The visuals are basically a cooler looking Mystic Cave (Present), a mossy, old-fashioned and dangerous cave (Past), and a beautiful, golden coloured city (Future), all accompanied with phenomenal music. Quartz Quadrant JP's G mix also stands out really well among this bunch of music. Remember when I said that speed was an afterthought in Sonic CD? This level effortlessly solves this problem by bring in conveyor belts that either push you along or attempt to drag you back, and that adds an extra element of challenge to your platforming. When you're moving forwards in a conveyor, you actually get a sense of speed that rivals Sonic 2, and even then you're still in control of your movement and can still execute tight platforming without much problem. It's the only level that blends together visuals, music, speed and platforming together into one really amazing stage. The conveyor belt boss fight, while easy, serves as an interesting change of pace and something unique for the player.

Wacky Workbench
Whoops this level. US version is better in terms of soundtrack. This level is the most sensory overload of the levels alongside Collision Chaos. If Tidal Tempest was nothing, then Wacky Workbench was everything. They toss everything at you, including some annoying Badniks, tons of gimmicks, spinning platforms, nitrogen exhaust pumps, and need I mention the bouncy electric floor? This level is interesting because with the electric floor getting in the way, for the first time ever, the BOTTOM route is the only path through this level that requires accurate and precise platforming for you to clear. The high routes are filled with hazards and empty platforms for you to fall back down into the blast zone. That part is all fine, you actually have stuff to explore, at the very least.

What really gets me though, is the generators. Wacky Workbench Act 1, for some reason, literally hides its generator's only entrance in LITERALLY THE ONLY PISTON IN THE ENTIRE GAME THAT DOESN'T CRUSH YOU. How does that even make sense? Why would anyone in the right mind try to get crushed in a piston? At least Wacky Workbench Act 2 had the courtesy of hiding its generator at the beginning of the level, which isn't too big of a hassle to backtrack towards. Surprisingly though, as much as I hate that, this isn't even one of my 2 least favourite zones in the game.

Stardust Speedway
See, this is why speed should be an afterthought, a reward for expert play from the player. Stardust Speedway is a case of a Sonic level that is too fast. You barely have control over Sonic when you're trying to find the generator, and somehow the level even manages to find a way to worm in Sonic 2's biggest problem into it. You're out here feeling good, feeling fast, feeling alive, and then you get fucked by a random slingshot spike that you never saw coming. Speedy sensation gone. Rings lost. Humiliation. There are a lot of automated boost pads that send you rocketing everywhere that hinder your ability to seek out the generators properly. Without said boost pads, Stardust Speedway would've been a really fun level to discover cool secrets in with its fun little 'foreground | background' gimmick. The potential for high speed travelling in this level makes this a speedrunner's wet dream.
Music is pretty good. I thought the JP B remix was solid, I could see it being used more often in future games. Metal Sonic boss fight is legendary, a thrilling challenge that keeps the player actively involved and fighting to save this random girl you don't know, just because it's the right thing to do so hell yes you're gonna do that.

And now, we reach the final zone of the game. I'm gonna be dissecting these levels act by act, because oh boy, do I have words for them.

Metallic Madness Act 1
This level is an interesting one. There is an obvious top path and a bottom path here. The bottom path requires expert navigation and some fundamental platforming to reach the generator. Then, it's off to the top path where you have only ONE POSSIBLE ROUTE to finish the level. And obviously you know they had to bring back the Scrap Brain rotating platforms for this one. One drop from a mistimed jump and you're sent plunging back into the abyss, where you have to... wait. That's right, instead of something like protruding spikes which would be a hassle to avoid again and again, they made it even more of a hassle by placing pistons that can instakill you all in a single pathway. And it's annoying, to say the least. I do not want my failed attempts at slightly unfair platforming to be punished with instant death or WAITING. Because I do not want to wait for pistons to move for fucks sake.

Act 2
Remember how I said Wacky Workbench was gimmicky? Imagine that but multiply it by several million. Act 2 has shrink rays, huge moving crushers, zoot chutes (the generator can be found by following one of those paths), and pistons that send you flying upwards much like the electric floor of Wacky Workbench. It's also most linear level in the entire game with there being only one pathway to clear the level normally. I digress, though, because this is the last level in the game and they have to provide a challenge.

Act 3
THIS IS NOT A CHALLENGE THIS IS BLATANTLY UNFAIR WHY DO I HAVE TO SCRAP BRAIN ZONE OVER A BOTTOMLESS PIT AND WAIT FOR STUPID SPIKE MATS TO FALL SO I CAN LEAP OUT OF ANOTHER PIT AND WHY ARE THOSE STUPID FIREFLIES SO ANNOYING TO HIT

AND WHY, AFTER ALL THAT BULLSHIT, IS THE BOSS FIGHT SO FUCKING EASY?

...cool music though.
----

Sonic CD is the most experimental, open game in the franchise, it's controls are fluent and innovative, its environmental themes shine throughout the entire game, the soundtrack is glorious, the level design is all over the place but a joy to explore and tear apart as a speedrunner, and it also has cool opening and closing animations courtesy of Toei! With amazing vocal tracks to accompany them (Sonic Boom, Toot Toot Sonic Warrior and Cosmic Eternity are all phenomenal tracks that only 90s Sonic could fashion up) How did I go the entire review without even mentioning it once? I have no fucking clue! It does make this game all the better, though!

8/10. It's quite literally everything everywhere all at once, except when they decide to parts of the game with emptiness and pain. Those smaller parts will never take away from how fun the experience was overall, though. Ultimately, this game is phenomenal for its exploration, especially when you can choose your own pace, your own style, and when you're given canvas after canvas of terrain to tear through, the adventurer within you will rise to the occasion.

People like to lie and say this game is great or a hidden gem and I can't see eye-to-eye with them, and I like Sonic 3D Blast.

I think the level design is needlessly maze-like in places and in others it feels disjointed and off. The time travel mechanic is cool, but you can only get it to activate under specific scenarios, making it easy to get on a path that gives you consistent speed for it only to lose it because you hit a weird part of the stage that ate your speed. The limited "Past" and "Future" signs in each stage adds to this problem, making it so you only get so many chances to check out a different time for a stage. The bonus stages to get Time Stones are awkward to play. The boss fights are all weird and either end in seconds or drag for minutes.

If you genuinely like this game, good for you. I will never be able to see things from your perspective on this. At the very least, we can agree that the soundtracks for this game are pretty fire. Music is subjective as Hell, so I won't start a debate on which soundtrack is better, but I do prefer JP.

Так уж сложилось, что вышедший до второй части Sonic CD был пройден мною уже после основной номерной трилогии. И знаете что? По моему это даже к лучшему, ибо в кои-то веки хотя бы ненадолго, но положительные эмоции от Соника я всё же получил. Без каких-либо угрызений совести заявляю, что CD больше всех своих предшественников и преемников из девяностых подобрался к тому, чем сверхзвуковой ёж мог бы быть по достоинству. Это единственная часть оригинальной 2D квадрологии, где тебе реально дают прочувствовать скорость и на самом деле ПРОБЕЖАТЬ уровень за уровнем, а не прогибаться под ловушки в склепах, падать в пропасти с воздушных платформ и спотыкаться об каждого встречного робогопника. Если бы я не знал, что игра вышла между 1 и 2 частью, то принял бы её за четвёртую, так как прогресс виден во всём, и я ума не приложу, как после здешнего геймдизайна вернулись к пресловутому платформинговому дрочу со злополучными подлянками и точечным передвижением. Нет, всё что от тебя требуется для успешного раша это не забывать про спин дэш и как можно чаще двигаться в одном направлении именно в крутящейся форме, ведь по пути враги всё же неизбежны. Саундтрек бомбический, благо технические привилегии консоли позволяют. Но речь, конечно, о японской версии. Визуальная стилистика подобна шизофреническому технотрипу, но вкупе с энергичной музыкой и динамичным прохождением всё вместе это идёт только на руку и формирует уникальный шарм, лично мне доставляющий большее эстетическое удовольствие, нежели унылые, копирующие друг друга сиквелы.
И всё бы ничего, будь оно только так. Я сбрасываю нескромные 7-8/10 с барского стола, все довольны и расходятся. Но нет, просто нет. Это же Соник, здесь иначе и быть не может. Metalic madness. Вот уж действительно безумие, руку к которому приложил сам сатана. Я могу лишь предположить, но гипотеза моя такова, что ввиду молниеносного прохождения основной части игры, было принято решение сделать финальную зону настолько жопорвущей, насколько это вообще возможно. В итоге как игру не хвали, но под конец вобрала она в себя всё худшее, что было и будет в дальнейшем Сонике. Прижимания, пропасти, подлянки, подъёмы. Поехавщий платформинг в сочетании с лабиринтоподобным левел дизайном даёт пожалуй худшую зону из всех четырёх частей. На её прохождение у меня ушло столько же, сколько на прохождение всех прошлых зон вместе взятых, и это с учётом возврата к началу уровня при лишении всех жизней, но это лишь привилегия версии 2011 года. В реальности же мы все с вами прекрасно пониманием, для чего было решено сделать финал таким богомерзким, и как он проходился на момент выхода в девяностые. Несделанная домашка, грязная посуда, скулящий у порога невыгуленный пёс, уже десятый час бесчисленных попыток перепрохождения в руках красноглазого школьника, прогулявшего все уроки. Зато в глазах родителей-потребителей игра оправдает потраченные деньги, не за час же он эту игрушку пробежал и забыл! Ведь так это работает, SEGA?

Good god I finally did it.

I managed to stomach a full Robot Generator run of Sonic CD.

Did this remotely change my outlook on this game that I have fervently hated for the past year?

No.

Sonic CD is still a game where I do not get the inherent appeal of its setup. The search for the Robot Generators can either feel superficial or extremely tedious and it isn't so much based on your skill as it is which level you're in and the gimmicks surrounding it.

I had a way more miserable time in both Collision Chaos and Wacky Workbench than I did in any other area because their level gimmicks center around springs or bouncing mechanics and you wind up not really having much control over Sonic. The pinball physics here are nowhere near as good as Sonic 2's Casino Night Zone or Sonic 3K's Carnival Night Zone and it just makes the whole exploration aspect exhausting and genuinely unpleasant.

Y'know what else makes exploring unpleasant? The timer. Honestly for what they wanted to go for in this game they either needed to extend the amount of time you have per stage or just get rid of it all together because with how the Robot Generator shit works. I timed out twice in this game looking for Robot Generators specifically in the two zones I mentioned earlier because the constant bouncing would cause me to wind up losing a fuck ton of time while searching.

I simply don't understand why this game suddenly started getting praise in recent years, genuinely. It doesn't commit to either gameplay style it tries to go for. You either have one of the most boring "Go Right to Win" 2D Sonic games where there's barely any difficulty because enemies feel so spread out, or you have an exhaustive exploration game that can get outright miserable just from the sheer tedium of it all.

At least I know that I never have to go back to this game anymore, I did the one thing I hadn't done and I no longer care to experience Sonic CD any further. It has a good soundtrack, it looks very pretty but fuck if it isn't one of the most unpleasant Classic Sonic titles I've ever experienced.

Why is it that all the games featuring Metal Sonic as a direct antagonist suck the most in this series?

GoufyGoggs and LukeGirard have been spreading the good word about CD for a lot longer than I have, so it seems redundant for me to mention how great the music is or how the looseness of the level design suits Sonic’s moveset far more than the more rigid levels of the other games, where you can inadvertently spend more time being shunted around the stage than meaningfully playing it- their videos (which I've linked and you should totally go watch) do a great job of covering those topics already.
___

Might be the best Sonic game simply by virtue of the fact that you don’t have to get the good ending by spending half you time in some minigame dimension; I revisited Sonic 3 and Mania after playing this, and the biggest speedbump in those games isn’t of the stage hazards or enemies- but being constantly pulled away to complete some minigame, the levels feeling more like a “Blue Sphere waiting room” than an unbroken test of the mechanics. Being able to meet the requirements totally within the normal confines of play is probably my favorite thing about CD, though it does make me wonder if there should’ve been a third option to get the good ending by beating the game under a certain “par” time, making it so every playstyle is accommodated (justify it as Sonic managing to beat Robotnik before some evil plan is set in motion).

And this is to say nothing of the minigame itself, which carries on the main games philosophy of just giving you space to mess around in: jumppads and speedboosters and fans that you can utilize, but don’t have to- making for an extra bit of gameplay that feels far more reflective of the broader experience than some of the detours of the other games.

There is one criticism I’d largely agree with; having beaten the game a couple of times I still feel like the levels come along in a random order- and there’s a notable lack of the visual progression and setpieces that helped to orient yourself in something like Sonic 3. The upshot is that with the inclusion of time travel, each level becomes a story unto itself, with a halcyon past, a familiar present, and if you don’t do anything, a pulsating, apocalyptic vision of the future that it makes it abundantly clear that you’ve done something horribly wrong. So the process of re-writing that, and finally coming back to the absurdly utopian future ends up feeling remarkably earned, an extra layer of narrative catharsis that elevates each of the individual levels- even if they don’t tie together in the most cohesive way.

I don’t even know if it’s that substantial a point, but I like the slight shift towards platforming with the bosses: overcoming a giant pinball machine or chasing after Robotnik seems like a better test of the mechanics than some of the non-fights that crop throughout the classic series, capitalizing more on the unique physics and mobility. The highlight, of course, being the race against Metal Sonic, which seems like the perfect way of getting something climactic out of the mechanics- all about knowing how to retain momentum and getting the most mileage out of jumps. (Had it been swapped with the final Robotnik fight as the ending to the game, and this would probably jumped up to being an all-timer for me)

Which is all to say: apparently I wasn’t paying attention when I played Mania, because all of my favorite moments from that game were secretly from CD all along. A tremendous PSYOP.

Sometimes you're just gonna have to meet a game on its own terms.

Now, I've actually owned this one for quite a while, but only did my first proper playthrough of it last year or so. In the time since trying it as a kid and actually finishing it, I've heard enough to know that it's ultimately a pretty divisive game, and I can at least understand where that mentality comes from, but it doesn't feel that accurate to completely call the game a mess. If only on the notion that Oshima and crew would have tried to make a product that can reasonably function, going into this one somewhat fresh has made it easier to see how some of the "annoyances" here do end up serving you more than they hinder:

Why are rocks and other shit everywhere if they stop you from smoothly performing time-travel? Well, maybe you accidentally touched a Future sign (GoufyGogg's labeling of these things as enemy design made this entire game click with me, watch her Sonic CD video), in which case suddenly all these bumps in the road mean that not only are they easy ways to burn off that sign, but they also end up not taking too much effort. This also goes for why some stages place springs right near their Goal signs: to stop you from finishing too early if you're still learning how to route levels out. Might be awkward, but the solution always ends up being the same: just jump.

As much as you want to try and go forward, going back is also still a way to get speed. Stardust Speedway might be overwhelming at first, but getting pushed up and down and all around can still be used well in the right situation. If it drives you mad, taking it slowly at first to learn how to properly navigate between routes sounds like a good idea.

The inputting might be a bit more rigid compared to its Sonic 2 counterpart, sure, but the implementation of the Spin Dash is particularly interesting in this game since it has a direct counterpart in the form of the Peel-Out: the former is slower but more easily keeps you safe, whereas the Peel-Out gets you to sign-activation speed faster whilst also asking that you be mindful of when to jump or steer clear of enemies. Used in tandem, they both have their place.

Ultimately, out of the original Classic games, this one has the highest skill floor when it comes to needing to be able to manage speed and level knowledge effectively, which is why I'd say that, unironically, I think it's actually too easy: even later Zones have these kind of "safe spots" where you can easily build up speed in place, which feels like it defeats the purpose. If damage of any kind could rob you of a Sign proc, then that could ensure that these areas still require some caution to get to. Since the level design itself is a much bigger factor of difficulty this time around, I might even suggest that "Hard" layouts could help facilitate more use of Sonic's movement (which could be in place of the damage suggestion). Would love to know if a rom hack out there explores this.

Granted, you'll naturally look for more interesting ways to proc time-travel as you improve at handling Sonic; it's not like you have to abide by the fail-safes, just that I think the training wheels don't need to stay on for the whole ride, whilst also feeling like they're colored in neon. Rotating around a wheel in Metallic Madness and bouncing between two springs is functionally the same thing, but the former is helped a lot by being at least somewhat disguised.

Even then, it's still possible to play the game the same way as Sonic 1, if you simply can't stand the time-travelling. It helps that the Special Stages for this one are properly about handling a running Sonic; I'm very much a Blue Sphere enjoyer, but I'd still say CD handles Special Stages the best out of the Classics.

At least the one thing I don't need to debate is (sorry to that one YouTube video <3) the game's sense of identity. 30 years on and this is still the game that most proudly screams "This is Sonic the Hedgehog": Visually exciting (if still a little mismatched in terms of a complete package) with an energetic soundtrack that is rightfully unanimously agreed upon to be nothing but excellent. The US version's focus on atmosphere might undermine that, but that doesn't mean it doesn't have its fair share of funky hits (SS Present and GF clear, I have to say it, alongside some other tracks I still ultimately prefer over JP), and it's still impressive for how little time it had to be made in.

And honestly, Sonic Boom is still always going to be Sonic's theme for me. As a kid, I never actually made it past Tidal Tempest (which I hope proves that my mechanical thoughts on this game are fair), but if there's one area where Sonic CD still gets nostalgia bias from me, it's that opening. They had the cutscenes on the Mega Collection and I remember watching them nonstop; I'm convinced they actually became a part of me, not just that song...IDK Sonic is just so fucking cool, man. This is the ideal version of Sonic for me.

Should also mention that I played this game on what is arguably one of its worst versions (Gems Collection), and I still liked it. Get on my level.

Was reccomended to by Teddie_Fazbear

"You can't even do anything, so don't even try. Get some help." Rawest bar to ever be rapped...

I like this a tiny bit more than sonic 2 I think. definitely has favorite soundtrack and visual flare out of any of the classic sonic games. The level design is also great for the most part, I like the more maze like design it really compliments classic sonic well. The environmental storytelling here is really solid, too, as funny as that is to say for a classic sonic game. The main theme of nature vs. technology is taken up to 11 here and i kinda love it.

My main issue with the game is going for the true ending though. Time traveling could've been more fine tuned, there's a limited amount of opportunities and they're all only one time shots to get them right. You also have to run for way too long in order to time travel, it doesn't really work with the level design philosophy of this game. On top of that it feels like the ratio of future to past signs is 3:1, frustrating because the future is basically pointless. the machine hunting itself is fine, can be a bit hard in some areas, but overall pretty fun.
EDIT: on another playthrough, I actually found the machine hunts to be very fun and fit it with the overall design of the game.

Despite my grievances with the game however, it was all around a pretty fun time. Also helps that those greviences can be completely avoided on other playthoughs....

.....

SONIC CDEEZ NUTS

You ever notice how as soon as this game became more available to people that this started getting criticized more? That's the bell curve at work..

Sonic CD is probably one of the best 2D platformers for its time and arguably still now.

What many don't realise is that SEGA was a company the strongly specialised stylised and memorable arcade games and their philosophy from the arcade was transferred to the home console (like everyone else but there's a point to this I swear)

As such, Sonic games in this case, their games have a strong focus on score and finding the coolest way of getting high scores. In this case, getting the good ending. (Getting the good end in sonic games is supposed to be the result of a high score play rather than a secret or reward to unlock)

To break it down lets imagine a new player's experience with Sonic CD.

By the first 3 acts the player will naturally understand the game wants them to:
- Take out as many mobs as possible (gives immediate positive feedback by rewarding 100 points)

- Collect as many rings as possible without getting hit (Ring bonus and Special Stage which both reward bonus score)

- Finishing a level as fast as possible (Time bonus score)
Along the way they will run into the time travel mechanic and from such will learn:
- Futures have more enemies and more harmful obstacles

- Past has less enemies and less obstacles
Naturally this will encourage the player to go to the past as a) it's safer and b) has more rings available and resets monitors. And of course they'll run into a Robot Transporter from which they'll immediately obtain 2000 points and every enemy will be destroyed and create a Good Future. (If they player is really smart in this case they'll realise that after destroying a RT they'll travel to the future in the same act and find and even safer layout of level design compared to the past)

Though it should be noted it'd be really difficult to perform all of this will still being able to beat a level in record time, this is where the real fun of Sonic CD starts as you'll have to make the decisions on what would net you the most amount of points for each stage.

Suddenly the 'chaos' of Collision Chaos stops being an inconveniences and actually becomes objects to play with (especially considering how they could be used as platforms with skillful play)

Now for the level design "issue". People say Sonic CD's design is random and poorly thought through and to that I say literally look at any glitchless speedrun of Sonic CD and eat your words and secondly those 4 half-pipes that do and mean nothing are meant to be landmarks. If a game expects you to look around a level to find something with no map you're going to NEED landmarks to be able to create a mental map for yourself and in conjunction of that will naturally memorise the level design for replays and mastery of the game is something that comes naturally rather than something you're forced to do.

Despite how much I've ranted I can't lie to you, I highly doubt all of this was EXACTLY intentional. Hell I'll admit that the "one of the best platformers" statement might have been an exaggeration but I'm hoping this review will help people actually properly analyse what the game you play expects then see how much it makes sense together.

Good games make sense, Bad Games are the inverse.

If there's one word to describe Sonic CD, it's chaotic.

Whether you're the type to explore or blaze through the stages in a Sonic game, most of the levels here are flatout a mess. Enemy and spike placements are questionable, the special stages have some cumbersome controls despite the idea itself being good, and the game's main gimmick, time travel, is barely achievable since Past and Future signposts are uncommonly placed in spots where activating them is a cinch, and because of that rings and even level objects are very clearly stuck in walls, to the point it's jarring.

And yet... there's also the good side of chaos here. The colors and aesthetics are some of the series best still, I don't even need to mention the music since it's still one of the most praised things about this game for a reason, and the speed and momentum here are way more fine-tuned compared to the last two games. It even made the first step towards making exploration more of a big deal, which 3&K would utilize to its fullest. And aside from Collision Chaos and Metallic Madness, the stages overall are honestly pretty damn good even with the previously mentioned design quirks.

So yea, while I do understand why "the Sonic CD effect" is a thing, this game's ironically not really something I'd say is attributed to nowadays. If anything, I think people are giving it a rather bad rep, as there's still good to be had available here. Also helps you can complete it and get all the Time Stones within like, two hours.

sonic cd's level design is focused more around exploration then it's predecessor(s). some very nice environments and music but the game design is boggling. your two choices for finishing the game and getting the good ending are fucking around in stages for 10 minutes trying to find all the generators to get a 'good future', the other is to go through like a typical classic sonic games collecting 50 rings to enter a special stage and collecting the time stones in what are probably the worst designed special stages in the entire series. one of these options is painfully slow, the other is painfully unfun.

I honestly adore this game replaying it. There's so much to love about this game in my opinion. I think the concept of time travel feels perfect for a Classic Sonic title, and the levels do this very well. The level design is very beautiful; bright eye catching colours in the good futures, dark atmospheres with the bad futures, dull old looking worlds in the past, and a base to go off of in the present. The music is also just amazing, I played with the Japanese soundtrack and there are so many songs that I can choose for a favourite, from the cheerful Palmtree Panic Good Future, to the iconic Stardust Speedway Bad Future, or even Wacky Workbench Past, there's so much to love. My only complaint about this game is all of the stuff they expect you to do. There's no way I'd enjoy this game if I went for every Metal Sonic hologram, every Robot Generator, and every Time Stone. I typically go for the Robot Generators until I have all the Time Stones, but getting the latter is such a hassle with how frustrating the special stages are that I'd rather break the generators. Even so, I love the exploration in this game. I'd like to revisit it and see what futures I'll get just by thinking less and speeding through the levels. Overall, it's a charming game and I really enjoy playing it again.