Normally, when I play through a game, I will accumulate about two and a half pages worth of notes on whatever game I am playing. These couple of pages are usually filled with things about the game that I find interesting, as well as any meaningful ideas I find interesting; I find that writing down interesting findings helps me remember the games better later on, as well as help me better write the reviews for them. Spyro: Year of the Dragon has barely a page for its entry. This is not because I think it is a bad game, not by any means; it is honestly a great improvement over Spyro 2. But, that improvement doesn’t necessarily come from a place of innovation, rather a correcting step backwards; a step that was definitely needed, but in the process, creates an experience that is very much more of the same.

What I have come to realize is that Spyro suffers from what I like to call the Tomb Raider dilemma. This is a dilemma where the first game in the series comes out the gate near perfect, and it leaves the developer in a situation where they don’t really know where to go. Either, they do more of what works and risk being criticized as derivative, or they try new stuff and risk alienating the players. Spyro 2 attempted the latter and, for the most part, failed; it ended up being an experience that just lacks the sense of flow and progression that the first game had, and replaced with boring and infuriatingly bad mini games and side quests. Conversely, Year of the Dragon corrects the additions made by Spyro 2 by having its side quests function within the realm of the games core mechanics, rather than them having their own proprietary controls and mechanics. The primary form of these changes comes from the new playable characters; there are five of them in total, and while each of them do play differently from Spyro, they aren’t too dissimilar and the objectives of their stages/quests are the same as the rest of the levels, that being to collect gems and save dragon eggs. Compare this to the mini games from Spyro 2 like the ice hockey and or crystal popcorn section that don’t follow the core gameplay loop and are really jarring in conjunction with the rest of the game. Though there are still a couple of mini game type challenges that made their way into Year of the Dragon, they control way better than the predecessors and are overall more fun; the skate boarding challenges are a great example of this. But, these improvements are not without drawbacks.

Year of the Dragon is a big game, it is bigger than Spyro 2, and it is much bigger than the first game; and because of how this game streamlines and uses the Spyro gameplay loop, it is really noticeable just how big this one is. Spyro 2, despite its bad game design choices, still distracts you from its increased run time by having you do different tasks; but here in this one, it is very much noticeable. The new characters do help slightly with variety, but their sections are so few and far in between, it feels like an eternity before you get to play as one of them again. Because of this, and the prior mentioned streamlining, a lot of this game’s levels kind of overstay their welcome. Personally, I felt really burned out by the end of the game because I felt like I just played a longer version of Spyro 1, which isn’t a bad thing per se, but nonetheless that's how I felt. Additionally, none of the levels reach the peak that they should, there is no real crescendo if you will. Spyro retains all the abilities he gained in Spyro 2, yet there is no level that pushes the player to utilize those abilities in interesting and creative ways; the game is just content with giving the player easy as all get out levels throughout the entire game until it is just over. There is a slight difficulty spike in the final world that I enjoyed, but still nothing stands out. I don’t think I could name a level from this game that isn’t one of the new characters' home world missions. It all just adds up to a game that just doesn't do a whole lot

I know the general fan consensus is that this is the best game in the trilogy, and I can understand that, but for me it's just ok. I think overall Year of the Dragon is a good game, not quite as good as Spyro 1, but definitely better than Spyro 2. It just doesn’t do anything that hasn’t already been seen in the previous games, both in terms of gameplay and aesthetic. It is more of the same, albeit a good more of the same.

Best game of the trilogy. Baby dragons are cute. Surprisingly enough, the music is actually somewhat decent. There were still some dumb tracks though, like Bentley's theme.
Again, some bullshit challenges/minigames keep me from 100%ing this.

I liked the new characters. Bianca is great and so are the playable characters. I enjoyed playing as them for the most part. Kept things fresh. Although they all moved so damn slowly. They could really have done with a speed increase.
Sadly, I didn't do any of the Sparx missions before beating the final boss so I didn't get any of those Sparx upgrades. But after trying out one, I am kind of glad that I missed them since I thought the first Sparx mission was pretty bad.

Considered one of the best games in the series... But not for me, the game isn't bad, even in certain parts I prefer it more than the first Spyro, but I don't know, after playing Spyro 2: Ripto's Rage (which for me is the best of the trilogy), I thought this game was just good, like the stages are shorter,
but strangely you don't have much of a challenge which bothers me after playing the second title which always had an objective to be achieved, they came back with some things from the first game like going after the animals that steal eggs and that run faster than Sonic and chests that need a key to be opened,
the speedway stages didn't change much, but they added races that at first I thought was meh, but after understanding I really liked it and I'll miss it when I replay Spyro 2, the stages vary in quality, some are good, others are so meh that they almost take my mind off desire to play (like the infamous Lost Fleet),
And another criticism I give about the stages is that almost none of them have a varied theme, like the game has two snow stages, one good and the other just ok, are there different challenges for each one? There is, but I found it a bit lazy on the part of the developers, I think what makes this game the "best of the trilogy" is the possibility of you playing with other characters,
which is cool in idea, but in execution it's basically minigames in disguise, there's nothing special about it, I thought Sheila was ok, I really liked the little bird (which looks more like a penguin), I thought Sulley with the stick was cool and I hated the monkey, and the bosses are an improvement compared to the second game, being more challenging, but I hated the last boss,
I thought it was simply HORRIBLE to fight with him, I almost wanted to play cheat to defeat this disgrace straight away, but I would only cause damage if I used weapons that cause damage and these weapons are horrible to shoot at him, it seems that I'm more lucky, it made me miss him from Grunty from Banjo Kazooie (or even Ripto from the second game).
And this was the only game in the trilogy that I didn't do 100%, I didn't feel like doing it.

Hey, I played this one recently enough that I have its completion date listed, cool. I'll cover this and the remake separately.

Spyro: Year of the Dragon was the first Spyro game I played. I played a little bit of it at a friend's house in middle school on his PS One, alongsite Crash Team Racing and Crash Bash. I think I've mentioned before that before my family owned game consoles, we used to rent them (mostly PlayStation 2s) from Blockbuster, so I have a lot of extremely scattered nostalgia for various PlayStation games. Before you get too excited, said PlayStation titles were all for the PS1 (this being right after the PS2 dropped, PS1 games were most of what we had access to) and were all licensed titles (PS1 Harry Potter, The Lost World: Jurassic Park, Buzz Lightyear of Star Command, etc). This would've fallen in a very particular sweet spot, coming after I had regular access to non-computer video games on my GBA but before I had regular access to console games on my GameCube. Thus, this one throwaway visit to a friend's house, in which I played a little Hot Air Skyway on CTR, the first few mini-games of Bash's story mode, and a couple levels of Year of the Dragon, constituted the last possible time I could have that mysterious, magical experience I always had, playing PlayStation games at a time I couldn't have regular access to them.

This is getting off-topic, but I don't really see any other opportunity to mention this on this website - I think the PS1 has my favorite video game bootup sequence. Something about that low, digital bass note on that white logo screen, the ambient beats, the shift to the pure black screen with the colorful alternate logo while the bass note sustains itself, and the digital chimes kicking in, becoming the main notes... I dunno. To me, there's wonder behind that opening. Like, I associate that sound with the rare experience of renting games (well, the back half of that, given how PS1 games boot up on PS2), so there's always the promise of, "you're about to go on a strange and marvelous adventure, the likes of which you've never been on before". It's... hard to explain, I think, but I think people who grew up with the PS1 in their lives in some way understand this. I of course love the GameCube's bootup, and the PS3 goes the easy route of starting with an orchestra tuning itself, but those don't replicate the same emotions I get from the PS1. Maybe I'll never again feel that way, and maybe that's okay.

Anyway, back to Spyro. Like I said, we played a little bit of Year of the Dragon that day. I wanna say my friend (good kid, hope he's doing all right) started a new save to show off, but I also remember us playing specifically Sunny Villa, Sheila's Alp, and Icy Peak? Definitely remember the hockey game, and how much of a silly juxtaposition that was in the middle of the standard adventure. It wasn't a LOT, but it was enough that the experience stuck in my head (even if it'd take me years to remember the specific game we played) and that it colored a lot of my fondness for Spyro overall. Probably not much of an exaggeration to say that this single day is why I'm more of a Spyro fan than a Crash fan; yes, CTR kicks ass, and Crash is excellent overall, but... I dunno. 6 times outta 10, I'd rather be playing classic Spyro than Crash.

With all this said, this is probably my least favorite of the original trilogy. The Sorceress is far and away the least compelling of the original three villains (Gnasty Gnorc sucks, but he's at least funny), and her fights kinda drag on and on. Also, she's trying to suck the magic out of these dragon eggs so she can live forever, but she was around when dragons were booted out of the Forgotten Realms Worlds a thousand years ago? Sure you need the extra juice, Sorceress?

The game also constantly gets distracted from playing Spyro levels, so if all you want is to scamper around as the li'l guy, you're gonna have to wait your turn. These days I know why - Insomniac was struggling with new things to have their quadrupedal protagonist do, so they distracted the point by inventing new characters and gameplay modes (notice how all four new animal friends are bipedal? Or how you first get playable Sparx AND Hunter in the same game?). And I don't mind too much, since the friends are all fun to play as and are over and done with fairly quickly. But it's not hard to see why Insomniac was happy to step away from the series at the end of this game.

I'm... sorta torn on Super Bonus Round, too. I kinda love it as a do-or-die, one-last-time encore victory lap, showcasing some final combinations of mini-games and power-ups. But ending on another Sorceress fight? I guess that's what you SHOULD do, reprise the final boss, but...

Ah, well. The core of it is still a ton of Spyro goodness. Even moreso than Ripto's Rage, there's a real "anything goes" sense to this title. Like, there's a world where everyone talks exclusively in haikus, apparently as some sort of compulsion. There's one sequence that's just straight up Insomniac recreating DOOM in their silly fantasy platformer, complete with a first-person perspective and a UI change. There's a shout-out to Tomb Raider, a 2D platformer segment, and you have to keep Nancy Kerrigan Polar Bear from getting kneecapped by Rhynocs. Why? Why not?

Actually, on the subject of Rhynocs, whaaaat the hell even are those guys? In the grand tradition of having weird gobliny blah-thingies as your 3D platformer enemy minions, now you have a buncha rhino-lookin' guys. What's their relationship with the Sorceress? Why do they keep showing up in post-Insomniac games??? Ah, whatever, they're fun little weirdos.

This has kinda been a rambly review, but the main of it is that Year of the Dragon is a great game, even if it's not my favorite in the series. I think it makes for a great ending for the original trilogy. As many bones as I might make of Super Bonus Round and stuff like that, I like the very very end of it, hinting at budding relationships and future adventures. That little message at the end of Insomniac themselves thanking the player and bidding them farewell, implicitly acknowledging that Insomniac themselves were gonna step away, is a nice little good-bye, closure the likes of which you don't really see anymore in major game releases. I dunno, there's something sweetly poignant to all of it. It's a game where the very start and the very end are some of my favorites in any video game, relics of things that no longer are what they are and can never be what they were. I think, even if these aren't our favorite things, these are the things that are most important to remember and to hold onto going through our lives.

A game that goes absolutely off the rails in the best kind of way. While Spyro 1 was a very simple game that focused on one thing, and Spyro 2 was a more well-rounded, filled out experience, Year of the Dragon throws as many ideas as it can think of into the game, stuffing it with a wild amount of content with reckless abandon, sacrificing cohesion in favour of an unpredictable game that always has a curveball waiting for you. While undoubtedly less consistent than the first 2 entries, feeling less finished than them as well, I can't help but appreciate this kitchen sink approach a lot for how many weird and wonderful moments it leads to, and it makes the game as a whole an absolute joy to play.

The style of side objectives that the player experiences is the biggest point of deviation from the 2nd game, and results in the most divisive element of it as well. The 2nd game largely utilised Spyro's basic movement options and had the surrounding elements contribute to the individual tasks that you needed to do, with the behaviour of the enemies and environment being the main factor that provided variety, with the couple of exceptions such as the trolley of Breeze Harbour being very rare moments that stood out a lot. In contrast, Year of the Dragon messes about with gameplay styles a lot, not only having 5 other playable characters that control differently, but adding some vehicle sections in for good measure, with further gameplay styles often found within that. The Agent 9 missions especially feel emblematic of this approach, being a 3rd person shooter in his own level, but then having every other instance of him in the game take on a different control scheme, with one being top-down, one being a rail shooter, and other one being a Doom inspired FPS. His missions are also emblematic of the fact that Year of the Dragon is not afraid to put the player through some janky nonsense, as most of those missions are very rough to control, regardless of how neat it is that they exist in any capacity. This is echoed through the entire game, as while there are some places where it works well enough for what it needs to do, for every cool skateboarding or submarine section, there's a barely functional boxing or slide section close by.

This focus on minigames and similar side objectives ends up being a cause for a lot of the core approach to individual level design to be changed as well, taking one step further away from cohesion since in all fairness, it would probably be extremely hard to naturally incorporate most of these additional setpieces into the one stage without leaving huge chunks emptiness all over the place, but still being compelling despite this. Now a lot of the extra objectives are separated by portals, with the main stage being made more linear and straightforward, with most deviations being additional, longer paths rather than small aspects of the level that sneakily hide a few extra gems or the like. While this isn't my preferred approach to these games, it has its own unique properties that make it appealing in its own regard, especially with how it ties into the game as a whole having a far more surreal, dreamlike quality to them, rather than the unbridled whimsy of Ripto's Rage. Little thought has been put into how these stages within the world itself, the inhabitants just exist in these themed locations and it's treated as normal, you're told how certain areas function and events that happen even when it's clearly playing out differently to how it's been described and it all feels very disconnected in a way that ends up wrapping around to being a very similar atmosphere to Spyro 1 in places, only this time the world feels more populated. While the stages don't invite a similar sense of needing to explore the boundaries of the space you exist in, many stages are still able to feel extremely expansive, as if you're only able to see a small slice of something far greater, but this time there are a few more instances of something completely different jumping out at you as well.

Everything about Buzz's fight especially stands out to me in this regard, with landscape being hellish, further supported by the music and the strange, grotesque design of Buzz himself. It's intimidating and lacks a lot of the usual lighter feel that the game has, but is also the first boss and nothing in the game comes close to this again, with even later boss fights being in more mysterious arenas as opposed to surrounding you with mountains and lava, not to mention that the boss designs themselves are far more "normal" despite being imposing nonetheless. I also love what they did with Moneybags in this game, transforming him from a greedy roadblock into someone who's downright malicious in his attempts to squeeze every last gem out of Spyro, no longer just being content with blocking doors, but actively imprisoning animals and even trying to peddle a dragon egg, being far more smug about the whole ordeal as well, blatantly mentioning that he's being paid off by the sorceress as well. His presence also contributes to the Sorceress being a far more insidious force in the story as a whole, providing many more tangible examples of awful stuff she's doing, and while she still isn't as fun or interesting a Ripto, it's appreciated and continues adding that slightly darker edge to what's otherwise a really bright and charming game.

While this game is far less cohesive and is packed with a few sections and ideas that are genuinely insufferable, Spyro Year of the Dragon makes up for it by using its disparate elements in a way to craft its own unique feel, one based on its own incongruencies and constant need to expand outwards, rather than refine which ultimately leads to an experience that works so well because of its inconsistencies, rather than despite them. The worlds are so bright and charming, there's more weird stuff to spice things up than ever before, so much about the game embodies the PSX jank that I'm so fond of, I just adore it even if it doesn't lean into the same collectathon appeal that makes me so enamoured with the first game.

Tras terminar Gateway to glimmer, la nostalgia abundaba mi cuerpo, y después de The year of the dragon no ha disminuido en absoluto. La tercera entrega era mi favorita de cuando era un crío. Me fascinaban sus mundos y disfrutaba muchísimo pasando horas y horas descubriendo cada detalle. Ha llovido mucho desde esa época, y siempre será un juego al que le guarde mucho aprecio. Aunque ahora lo veo con otras lentes, y pese a que me parece un juego genial ahora dudo si realmente es el mejor de la trilogía original.

Spyro 3 decide expandir en lo presentado en Ripto's rage, esos pequeños minijuegos y desafíos opcionales, hasta un punto que me da la sensación de que son el plato principal de este juego. Su integridad como collect-a-thon y plataformas se mantiene intacta, sin embargo es difícil no darse cuenta que a lo que más tiempo te dedicas en estos niveles son dichos desafíos y minijuegos. Y la verdad es que me gustan, le añaden una variedad y riqueza a su diseño jugable en líneas generales, salvo alguna excepción que se sienten tediosos y poco inspirados. Incluso complementa esto con nuevos personajes jugables, que enfocan de una manera distinta la forma de resolver sus niveles. Tengo que destacar a uno de ellos por encima del resto, y es Agent 9. Sus niveles me parecen sublimes, puede llevar a Spyro desde un shooter en raíles super memorable hasta a un top-down shooter sensacional. Hasta esos puntos es donde Insomniac pretende llevar la variedad con su diseño en este juego. Tanto es eso, que trataron de dar más profundidad a sus niveles basados en el vuelo, algo que se agradece, pero siguen siendo bastante aburridos de nuevo, no hay quien los salve.

Por otro lado, creo que The year of the dragon tiene algunos de los niveles con mejor ambientación de toda la trilogía clásica. Su estilo artístico me fascina, siguiendo con ese toque colorido ya presentado en las anteriores entregas que le sienta como un guante. Si en los otros comentaba que tanto la original como la reignited están bien, creo que aquí el remake de 2018 falla con el diseño artístico de algunos personajes, haciendo que me incline mucho más por la original.

En definitiva, Spyro 3 es uno de los juegos a los que más cariño le tengo. Es un plataformas 3d excepcional sobre todo si eres un chavalín. Está en una pelea bastante dura con el segundo por ser mi favorito en mi adultez. Pero para mi yo de niño este siempre será “el más mejor”.

Fixes most of the Spyro 2 issues like bad pacing, lame collectables, and the backtracking is better designed and much easier to skip. Seriously, you can skip all the backtracking with a youtube search and a couple minutes of attempts at most. The new characters are more interesting to play than Spyro 2's minigames, the story, world, and characters are more developed, and the levels are overall more fun. Still has some annoying minigames and it probably wasn’t the best idea to add FIVE new playable characters, (maybe add two or three and develop them further), but it’s a good final entry in the series. Wish they made a fourth one that was an actual game. Toys for Bob if you can hear us please save us Toys for Bob

It's the Year of the Dragon, so I finally played Spyro Year of the Dragon. Just like Crash 3, Spyro 3 relies heavily on bad gimmicks because it mistakenly thinks it needs them to keep things fresh. Unlike Crash 3, Spyro 3 doesn't have incredibly good non-gimmick levels to fall back on. Honestly, I probably wouldn't have even noticed the levels feeling kinda lackluster if it wasn't for the gimmicks being so prevalent... they really just bring everything down and highlight the deficiencies. It's really not a bad game, I still mostly enjoyed it, but it's easily the worst and least essential of the trilogy; it doesn't have any aspects that would make me recommend it over the previous two.

Insomniac continues the trend of making the game more wild and varied whilst simultaneously making sure the quality and enjoyability of each is varied just as much.

Seriously, it's like.

Spyro 1 - Consistently just alright
Spyro 2 - Better characters and better levels but also more shit ones
Spyro 3 - fuck it, what if we have the most charming levels and environments in the series but also have some mega trash like flying penguin segments who makes you want to break your controller

thanks man