Back in September of 2023, I decided to replay both Banjo games to see how much I still liked them. It had been around 10 years since I had played Kazooie since then, and 4 years since I'd last played Tooie, so I was excited to dive into both games. Well, as it turns out, I loved replaying both so much I decided to replay them directly after. I very rarely do that, so I just knew I had to bump both games to a 10. Well, after my whole review purge, I decided to replay these once again and rereview them all over again. Only 7 months later after playing them both twice before, I'm a madman I know (haha you won't get this reference because those reviews are now deleted). Anyways, just like before...I had a blast replaying Kazooie and consider it one of the best N64 games ever.
The first thing I'll get into are the controls and Banjo-Kazooie's moveset in general. I honestly think this game controls masterfully, Banjo and Kazooie have such a varied move set that flows well with each of the levels. The talon trot is a must in every level as it let's you go through each area that much faster. With the c buttons, it's also really easy to remember how to perform it too. In fact, I haven't played the game on anything but the N64 itself, but idk how I'd feel about playing it on another controller just cuz I find the N64 controller fits it perfectly lol. Besides the talon trot, you also have a roll attack, rat-a-tat rap which is an aerial move, golden feathers which you can use to turn invincible as long as you have them, red feathers which you can use to fly (and the flight in this game is more satisfying than Mario 64), the beak bomb which is an attack you can use while flying and more. All of this you unlock gradually while playing and is all used plenty through-out the game. You also have two power-ups that let you either traverse unsafe ground (wading boots) and the speedy shoes which, as the name implies, let's you go fast. Even the swimming in this game is pretty nice once you know how to use it. I've seen some people say it's awful because it's so clunky. Which, if you're not holding the R button then yeah totally, but if you are it's very nice and smooth as you have a breast-stroke and a paddle you can perform depending on what you need.
The game itself is incredibly charming, both aesthetically and comically. The world's all look lovely and is just full of that N64 Rare ware charm. When playing through a world, you would be hard pressed to not see a pair of googily eyes on an enemy or even the items (when the item explanation first pops up) and for how lighthearted this game is, it very much fits. That's not to say the dialogue is all light-hearted. It's not as dark as Tooie obviously but they still put in a couple of dirty jokes hear and there. The dialogue itself, while not nearly as funny as Tooie imo, its witty enough especially Gruntilda's dialogue.
Going into Gruntilda and her lair in general, both are fantastic. The lair is a tightly designed hub world that is super memorable, not just because of it being compact in size and easy to traverse, but because the whole way through Grunty insults you and eggs you on. Kazooie has way less dialogue than Tooie, and Grunty herself I find more menacing in that game, but when it comes to her insulting rhymes...they're easily the most memorable pieces of dialogue in the game. Even on this most recent playthrough, I was still hearing rhymes I've never heard before. Really makes me wonder just how many there are in total lol.
When it comes to the worlds themselves, they are excellent tightly designed levels just like Grunty's lair was. Mumbo's Mountain is the worst one imo, and that's just because of how small it is...which makes a ton of sense because it's the first world. All the rest are very enjoyable, with some of my favorites being Freezezey Peak, Clanker's Cavern and Click Clock Wood. Now you might be saying to yourselves, Clankers Cavern? Yeah, idk why but it might've been my favorite world this time around. I honestly don't have an issue with the swimming portions, I love the track that plays in it and the dank grimey atmosphere I find wonderful (which makes sense because I love Tooie and it has a lot of that). It feels like one of the more unique world settings next to Rusty Bucket Bay. Speaking of Rusty Bucket Bay, it has the infamous engine room area and yeah that's still my least favorite part pf the game. It's not TOO bad if you do that part right away, but I still died like 5 times this playthrough. I also died to Click Clock Wood very stupidly, those two levels even now can still get me as they're easily the two hardest in the game. Going back to the engine room tho, the reason it's so hated is because it's the only world with an instant death pit. In the N64 version, instant death means you lose all your notes as the game tracks a total note score in this version rather than keeping your notes when you die like in the Xbox version. This is also a small gripe I have, but only in these last two levels because I pretty much never die in any of the earlier ones.
The music in this game was done by Grant Kirkhope and he's absolutely legendary. He has a very distinct bouncy style to his music and it absolutely fits here with how goofy this game is. My favorite tracks in the game would have to be Rusty Bucket Bay, Spiral Mountain, Clanker's Cavern, and The Final Battle. The entire soundtrack is wonderfully though, and I especially love Grant's use of dynamic music. His work on Banjo Kazooie and Tooie, and DK64 show he's a big fan of it and it's perfect in these types of games.
Once you beat every single world, and have obtained enough notes and jiggies to progress, you enter Grunty's Furnace Fun. This is basically a giant quiz show that puts your knowledge to the test. It's very goofy and fitting for the type of game Banjo Kazooie is. The questions consist of listening to the voice of a character or song of a level and guessing who/what it is, random trivia, playing a mini-game from the main levels or a Grunty question. The grunty questions consist of trivia about Grunty herself that you must know to answer. To find these out in-game, you must hunt down her sister Brentilda, who is hidden in specific areas of the lair. You might think, meh I'll just look the answers to these online. But they're randomized per playthrough so you simply cannot do that. Luckily, with the joker card which let's you skip 2 spaces on the board, you can bypass these if you weren't able to find Brentilda. Same with the instant death skull spaces which are usually just a basic trivia question, but still are very nerve-wracking. After you get to the end of the board, you get a hilarious joke where Grunty makes her escape by forcing credits on you. After that though, it's actually time to fight her.
Before you fight Grunty, depending on how many collectables you have gotten, you can unlock consumable refills and even double health. Once you've gotten what you need, it's time fight Gruntilda herself. The final battle may honestly be in my top 20 fights ever, it's super good. It tests you on many of your moves you've learned through out the game and it has a killer boss theme to boot (as you know with my favorite songs portion). The end of it is super satisfying too, with the Jinjonator being summoned to defeat her. If there's any one thing I love more than Tooie, it's this final boss and cutscene. The Hag-1 is a fine enough final boss for that game, but it pales in comparison to Kazooie's final fight.
All in all, I'm glad I replayed this once again as it's still amazing and still one of my favorite games ever. Back in September, I stated I might love Tooie even more for the things it improved on and its expanded worlds, and yeah I probably do in the end. However, Kazooie has its own strengths , some even over Tooie's and it's still a must play as an N64 fan. Next up though is Tooie, and I simply cannot wait to replay it so look forward to that review coming soon!!
The first thing I'll get into are the controls and Banjo-Kazooie's moveset in general. I honestly think this game controls masterfully, Banjo and Kazooie have such a varied move set that flows well with each of the levels. The talon trot is a must in every level as it let's you go through each area that much faster. With the c buttons, it's also really easy to remember how to perform it too. In fact, I haven't played the game on anything but the N64 itself, but idk how I'd feel about playing it on another controller just cuz I find the N64 controller fits it perfectly lol. Besides the talon trot, you also have a roll attack, rat-a-tat rap which is an aerial move, golden feathers which you can use to turn invincible as long as you have them, red feathers which you can use to fly (and the flight in this game is more satisfying than Mario 64), the beak bomb which is an attack you can use while flying and more. All of this you unlock gradually while playing and is all used plenty through-out the game. You also have two power-ups that let you either traverse unsafe ground (wading boots) and the speedy shoes which, as the name implies, let's you go fast. Even the swimming in this game is pretty nice once you know how to use it. I've seen some people say it's awful because it's so clunky. Which, if you're not holding the R button then yeah totally, but if you are it's very nice and smooth as you have a breast-stroke and a paddle you can perform depending on what you need.
The game itself is incredibly charming, both aesthetically and comically. The world's all look lovely and is just full of that N64 Rare ware charm. When playing through a world, you would be hard pressed to not see a pair of googily eyes on an enemy or even the items (when the item explanation first pops up) and for how lighthearted this game is, it very much fits. That's not to say the dialogue is all light-hearted. It's not as dark as Tooie obviously but they still put in a couple of dirty jokes hear and there. The dialogue itself, while not nearly as funny as Tooie imo, its witty enough especially Gruntilda's dialogue.
Going into Gruntilda and her lair in general, both are fantastic. The lair is a tightly designed hub world that is super memorable, not just because of it being compact in size and easy to traverse, but because the whole way through Grunty insults you and eggs you on. Kazooie has way less dialogue than Tooie, and Grunty herself I find more menacing in that game, but when it comes to her insulting rhymes...they're easily the most memorable pieces of dialogue in the game. Even on this most recent playthrough, I was still hearing rhymes I've never heard before. Really makes me wonder just how many there are in total lol.
When it comes to the worlds themselves, they are excellent tightly designed levels just like Grunty's lair was. Mumbo's Mountain is the worst one imo, and that's just because of how small it is...which makes a ton of sense because it's the first world. All the rest are very enjoyable, with some of my favorites being Freezezey Peak, Clanker's Cavern and Click Clock Wood. Now you might be saying to yourselves, Clankers Cavern? Yeah, idk why but it might've been my favorite world this time around. I honestly don't have an issue with the swimming portions, I love the track that plays in it and the dank grimey atmosphere I find wonderful (which makes sense because I love Tooie and it has a lot of that). It feels like one of the more unique world settings next to Rusty Bucket Bay. Speaking of Rusty Bucket Bay, it has the infamous engine room area and yeah that's still my least favorite part pf the game. It's not TOO bad if you do that part right away, but I still died like 5 times this playthrough. I also died to Click Clock Wood very stupidly, those two levels even now can still get me as they're easily the two hardest in the game. Going back to the engine room tho, the reason it's so hated is because it's the only world with an instant death pit. In the N64 version, instant death means you lose all your notes as the game tracks a total note score in this version rather than keeping your notes when you die like in the Xbox version. This is also a small gripe I have, but only in these last two levels because I pretty much never die in any of the earlier ones.
The music in this game was done by Grant Kirkhope and he's absolutely legendary. He has a very distinct bouncy style to his music and it absolutely fits here with how goofy this game is. My favorite tracks in the game would have to be Rusty Bucket Bay, Spiral Mountain, Clanker's Cavern, and The Final Battle. The entire soundtrack is wonderfully though, and I especially love Grant's use of dynamic music. His work on Banjo Kazooie and Tooie, and DK64 show he's a big fan of it and it's perfect in these types of games.
Once you beat every single world, and have obtained enough notes and jiggies to progress, you enter Grunty's Furnace Fun. This is basically a giant quiz show that puts your knowledge to the test. It's very goofy and fitting for the type of game Banjo Kazooie is. The questions consist of listening to the voice of a character or song of a level and guessing who/what it is, random trivia, playing a mini-game from the main levels or a Grunty question. The grunty questions consist of trivia about Grunty herself that you must know to answer. To find these out in-game, you must hunt down her sister Brentilda, who is hidden in specific areas of the lair. You might think, meh I'll just look the answers to these online. But they're randomized per playthrough so you simply cannot do that. Luckily, with the joker card which let's you skip 2 spaces on the board, you can bypass these if you weren't able to find Brentilda. Same with the instant death skull spaces which are usually just a basic trivia question, but still are very nerve-wracking. After you get to the end of the board, you get a hilarious joke where Grunty makes her escape by forcing credits on you. After that though, it's actually time to fight her.
Before you fight Grunty, depending on how many collectables you have gotten, you can unlock consumable refills and even double health. Once you've gotten what you need, it's time fight Gruntilda herself. The final battle may honestly be in my top 20 fights ever, it's super good. It tests you on many of your moves you've learned through out the game and it has a killer boss theme to boot (as you know with my favorite songs portion). The end of it is super satisfying too, with the Jinjonator being summoned to defeat her. If there's any one thing I love more than Tooie, it's this final boss and cutscene. The Hag-1 is a fine enough final boss for that game, but it pales in comparison to Kazooie's final fight.
All in all, I'm glad I replayed this once again as it's still amazing and still one of my favorite games ever. Back in September, I stated I might love Tooie even more for the things it improved on and its expanded worlds, and yeah I probably do in the end. However, Kazooie has its own strengths , some even over Tooie's and it's still a must play as an N64 fan. Next up though is Tooie, and I simply cannot wait to replay it so look forward to that review coming soon!!
Having to make my own decisions was a terrifying experience. I will never do it again. And before anyone asks, I did it, everyone! I fixed her! (I got the good ending)
It was one of the best visual novels I have ever played. Great voice acting, great story, and the voices in my head are accurate. It's impressive that they are still updating the game, and a big update that'll extend the game by 25% is on its way. It's also not a very long game; I finished it in 5 hours because I took my sweet time and wandered around.
There was a sequence where I refused to continue doing what I was told, and the game shut down after the entity told me, "I will be here when you are ready" or something. I was flabbergasted. Next time I opened the game, that same entity welcomed me, and I continued where I left off.
I just wished that the Voice of the Hero and the Narrator's voice wasn't so identical.
It is truly a unique experience and a must-play.
It was one of the best visual novels I have ever played. Great voice acting, great story, and the voices in my head are accurate. It's impressive that they are still updating the game, and a big update that'll extend the game by 25% is on its way. It's also not a very long game; I finished it in 5 hours because I took my sweet time and wandered around.
There was a sequence where I refused to continue doing what I was told, and the game shut down after the entity told me, "I will be here when you are ready" or something. I was flabbergasted. Next time I opened the game, that same entity welcomed me, and I continued where I left off.
I just wished that the Voice of the Hero and the Narrator's voice wasn't so identical.
It is truly a unique experience and a must-play.
Gave myself a day to kinda just sit with the whole experience of my first playthrough. Xenogears is one of those games that kinda just existed within the culture in a way where I always heard people vaguely gesture at its greatness, but never actually got any full details about what exactly made it so great. So for years and years and years and years and years I kinda just kept putting it off, playing many other games before and after it, hearing about its complexities but never really the details as of what those complexities were. Finally experiencing it for myself I completely get it.
An experience that is some parts Neon Genesis Evangelion, some parts Gundam some parts sci-fi novels and films, Xenogears wears all of its inspirations firmly on its sleeve and proudly bears it all as it goes into its own psychological, religious explorations of the self.
The ways in which it talks about running away from your problems rather than dealing with them and how that inevitably comes to bite you in the ass, there's a quite good example with the martial arts tournament you enter that genuinely surprised me when it happened.
The ways it delves into how trauma can inform and explain behaviors, can cause people to drift one way or another instead of facing the real problems within themselves, be lead to more and differing kinds of abuses, or completely shut themselves down due to their inability to truly cope with the things that've happened to them. But it also firmly discusses how important it is to continue to live, to continue to fight and go on despite the struggles we face in life, how we have to take responsibility for ourselves and the things we do despite our traumas, that again our traumas can be an explanation for behaviors and actions you may take, but at the end of the day you have to be responsible for your own actions.
There are a few characters I do wish were able to get more from the story (Rico, Maria, Chu Chu) and the very clear rushing of things does absolutely fuck with what was clearly supposed to be this ambitious and sprawling experience, though I will say in spite of the clear rush job that Disc 2 ends up as, I genuinely still quite loved the way they handle the presentation and style. Some of the quick cuts are really sharp and effective, I dig the kinda play stage type beat they do for some of the cutscenes they didn't have time to fully make enviornments for, I like the way they frame each part from differing characters POV's. There's a lot of cool things that make that second disc really interesting, kinda reflecting episodes 25 and 26 of NGE in ways.
It's such a strange feeling in ways cause like I kinda despised the gameplay at times (ground combat relies a bit too heavily on deathblows and grinding them out where-as I feel like the Gear combat is a bit better balanced in terms of building up to your deathblows and having to strategically manage your fuel levels in interesting ways). But even though I wasn't huge on the combat or some of the dungeon design (fuck Babel Tower) the whole thing just really came together for me. Everything it was doing was absolutely fuckin aces, it honestly reminded me of watching NGE for the first time as a teenager AS WELL AS watching both Shiki-Jitsu and Rebuild of Evangelion 3.0+1.0 with what exactly it was going for in its messaging and just how much it resonated with me. How much Fei's character arc resonated with me, how dense and packed of an experience it was overall.
I think I can safely say that I'm getting into the series cause I wanna see what else can come from anyone involved who was able to put this together.
An experience that is some parts Neon Genesis Evangelion, some parts Gundam some parts sci-fi novels and films, Xenogears wears all of its inspirations firmly on its sleeve and proudly bears it all as it goes into its own psychological, religious explorations of the self.
The ways in which it talks about running away from your problems rather than dealing with them and how that inevitably comes to bite you in the ass, there's a quite good example with the martial arts tournament you enter that genuinely surprised me when it happened.
The ways it delves into how trauma can inform and explain behaviors, can cause people to drift one way or another instead of facing the real problems within themselves, be lead to more and differing kinds of abuses, or completely shut themselves down due to their inability to truly cope with the things that've happened to them. But it also firmly discusses how important it is to continue to live, to continue to fight and go on despite the struggles we face in life, how we have to take responsibility for ourselves and the things we do despite our traumas, that again our traumas can be an explanation for behaviors and actions you may take, but at the end of the day you have to be responsible for your own actions.
There are a few characters I do wish were able to get more from the story (Rico, Maria, Chu Chu) and the very clear rushing of things does absolutely fuck with what was clearly supposed to be this ambitious and sprawling experience, though I will say in spite of the clear rush job that Disc 2 ends up as, I genuinely still quite loved the way they handle the presentation and style. Some of the quick cuts are really sharp and effective, I dig the kinda play stage type beat they do for some of the cutscenes they didn't have time to fully make enviornments for, I like the way they frame each part from differing characters POV's. There's a lot of cool things that make that second disc really interesting, kinda reflecting episodes 25 and 26 of NGE in ways.
It's such a strange feeling in ways cause like I kinda despised the gameplay at times (ground combat relies a bit too heavily on deathblows and grinding them out where-as I feel like the Gear combat is a bit better balanced in terms of building up to your deathblows and having to strategically manage your fuel levels in interesting ways). But even though I wasn't huge on the combat or some of the dungeon design (fuck Babel Tower) the whole thing just really came together for me. Everything it was doing was absolutely fuckin aces, it honestly reminded me of watching NGE for the first time as a teenager AS WELL AS watching both Shiki-Jitsu and Rebuild of Evangelion 3.0+1.0 with what exactly it was going for in its messaging and just how much it resonated with me. How much Fei's character arc resonated with me, how dense and packed of an experience it was overall.
I think I can safely say that I'm getting into the series cause I wanna see what else can come from anyone involved who was able to put this together.
I mean, why not? When Nobunaga ruled part of Japan, and was asked for his reasoning to go after the rest, he simply went "because it's there". I'm pretty sure he said that, I was alive for it. It was essentially the same mindset I had with finishing the Advance Collection.
Known as "Vampire's Kiss" for our PALs, "Dracula X" could only be assumed to be meant as "Dracula's Hug" rather than some attempt at the 2Xtreme movement of the 90s. You see, because in here Dracula gives you a nice little hug and a peck on the cheek, all before he kicks you down a hole in his dilapidated humble abode. It makes one wonder why Dracula would even bother with floors in general when he's more than capable of flying everywhere, especially if he's already figured out that the best defense against Belmonts is to simply either make them walk up stairs, or dare them to hop with their cement-infused boots across magical levitating platforms. Where these platforms are coming from is a mystery, but I assume it's where all those holes in Dracula's throne room came from, or perhaps that's the origin of all the gaps in the grand hallway where one slip up means Richter falling into an alternate stage that denies him the ability to rescue Maria's now completely useless ass.
"Wow, thanks Richter! Good luck on your quest, I'll make my way out now."
Bitch.
It's really intriguing how a final boss fight can completely overtake discussion, and it's quite telling what the legacy of the Dracula's Smooch version of the climactic finale leaves behind when there exists an entire guide on GameFAQs dedicated to it. A useful one at that. Part of me wishes the Game Gear version of Sonic 2 would have something like that for it's first boss, but I guess there's not much to be helped there beyond "I sure hope the balls don't hit me". To say that the fight with Dracula X is a slog would be shorting it a few hundred didgeridoos, because man I could've made some tasty pancakes in the time it took trying to wait out his ass to get into an advantageous position to hit his godawful hitbox along the pillar system he installed in his throne room prior to him calling in an assist from Devil Kazuya. Kaiser Sigma from X3 would puke at all the times I uselessly cracked my whip across Dracula X's forehead and had it not register, because Konami designed this game from the ground up with anti-blockbuster rental countermeasures instead of waiting for it to come out to us, thus destroying all potential goodwill it could have found as a demake later during the age of emulation, with an audience less upset at being bamboozled out of a more faithful and less mean-spirited retelling of the beloved PC Engine classic. Instead, Switch owners will be annoyed they have to deal with this while Requiem continues chilling as a PS4 exclusive nearly six years later.
Baffling, though not quite as baffling as the censorship where they kept the blood on the title screen, but got rid of Death's Mortal Kombat Deception-style Hara Kiri where he decapitates himself with his own scythe, meanwhile Richter in our version apparently explodes into a pile of flour for Dracula X to make his cookies from.
What cookie would Richter be? Puzzling...
My opinion was ever so slightly improved from forcing myself to replay this for completion-sake, but the most heartwarming thing I get out of Dracula's Kiss personally is seeing the font used at the bottom of the title screen for the copyright, and being reminded of a childhood banger in Konami's Biker Mice From Mars which uses the same thing, so I guess I'll go play that now instead. Ciao.
Known as "Vampire's Kiss" for our PALs, "Dracula X" could only be assumed to be meant as "Dracula's Hug" rather than some attempt at the 2Xtreme movement of the 90s. You see, because in here Dracula gives you a nice little hug and a peck on the cheek, all before he kicks you down a hole in his dilapidated humble abode. It makes one wonder why Dracula would even bother with floors in general when he's more than capable of flying everywhere, especially if he's already figured out that the best defense against Belmonts is to simply either make them walk up stairs, or dare them to hop with their cement-infused boots across magical levitating platforms. Where these platforms are coming from is a mystery, but I assume it's where all those holes in Dracula's throne room came from, or perhaps that's the origin of all the gaps in the grand hallway where one slip up means Richter falling into an alternate stage that denies him the ability to rescue Maria's now completely useless ass.
"Wow, thanks Richter! Good luck on your quest, I'll make my way out now."
Bitch.
It's really intriguing how a final boss fight can completely overtake discussion, and it's quite telling what the legacy of the Dracula's Smooch version of the climactic finale leaves behind when there exists an entire guide on GameFAQs dedicated to it. A useful one at that. Part of me wishes the Game Gear version of Sonic 2 would have something like that for it's first boss, but I guess there's not much to be helped there beyond "I sure hope the balls don't hit me". To say that the fight with Dracula X is a slog would be shorting it a few hundred didgeridoos, because man I could've made some tasty pancakes in the time it took trying to wait out his ass to get into an advantageous position to hit his godawful hitbox along the pillar system he installed in his throne room prior to him calling in an assist from Devil Kazuya. Kaiser Sigma from X3 would puke at all the times I uselessly cracked my whip across Dracula X's forehead and had it not register, because Konami designed this game from the ground up with anti-blockbuster rental countermeasures instead of waiting for it to come out to us, thus destroying all potential goodwill it could have found as a demake later during the age of emulation, with an audience less upset at being bamboozled out of a more faithful and less mean-spirited retelling of the beloved PC Engine classic. Instead, Switch owners will be annoyed they have to deal with this while Requiem continues chilling as a PS4 exclusive nearly six years later.
Baffling, though not quite as baffling as the censorship where they kept the blood on the title screen, but got rid of Death's Mortal Kombat Deception-style Hara Kiri where he decapitates himself with his own scythe, meanwhile Richter in our version apparently explodes into a pile of flour for Dracula X to make his cookies from.
What cookie would Richter be? Puzzling...
My opinion was ever so slightly improved from forcing myself to replay this for completion-sake, but the most heartwarming thing I get out of Dracula's Kiss personally is seeing the font used at the bottom of the title screen for the copyright, and being reminded of a childhood banger in Konami's Biker Mice From Mars which uses the same thing, so I guess I'll go play that now instead. Ciao.
Control is another incredibly unique experience from Remedy. From its gripping start that left me wanting more, to plenty of secrets and rich lore waiting to be uncovered, it's a game that pulls you in and keeps you hooked. The intriguing storyline, the immersive atmosphere, the amazing sound design, and the sheer thrill and fun of hurling all kinds of objects at otherworldly beings all contribute to its unique charm.
But as the hours passed, the gameplay loop of navigating the same environments, fighting the Hiss, and cleansing the control points started to feel a bit too repetitive. While the storytelling remained creative and engaging, the lack of variation in enemies and scenery became a noticeable drawback. This honestly slowed me down quite a bit as my play sessions became less and less frequent. As much as I love story-driven games, the gameplay loop just didn't click with me as much as I wish it did. Which is a shame, because the actual gameplay with all the fun physics and abilities is buttery smooth.
Overall, I'm glad that I finally got the time to play Control and experience something special. Just like Alan Wake, Control stands as a fantastic testament to creative storytelling. It's a perfect example of how story-driven games can unfold in innovative ways.
And the Ashtray Maze was just freaking awesome. Ahti has great taste in music.
But as the hours passed, the gameplay loop of navigating the same environments, fighting the Hiss, and cleansing the control points started to feel a bit too repetitive. While the storytelling remained creative and engaging, the lack of variation in enemies and scenery became a noticeable drawback. This honestly slowed me down quite a bit as my play sessions became less and less frequent. As much as I love story-driven games, the gameplay loop just didn't click with me as much as I wish it did. Which is a shame, because the actual gameplay with all the fun physics and abilities is buttery smooth.
Overall, I'm glad that I finally got the time to play Control and experience something special. Just like Alan Wake, Control stands as a fantastic testament to creative storytelling. It's a perfect example of how story-driven games can unfold in innovative ways.
And the Ashtray Maze was just freaking awesome. Ahti has great taste in music.
Rear Automata: A Film by Uwe Boll
(Played this a while back, but forgot to log it.)
One of my friends really loves Class of '09, so I bought it sometime ago on a Steam Sale for cheap to try it out and played a bunch of routes, but the novelty wore off rather quickly and it got boring real fast. The humor was too over the top for my liking and the writing felt like it became generic satire early on, not to mention the same jokes were repeated over and over across several routes and it's lazy. Especially the pedophilia jokes were recycled way too much and I feel like a lot of swearing was thrown into the writing just to make it feel more mature and edgy, but it comes off as needlessly corny. Maybe I'm just not the target audience.
As I only played two routes, I don't have much to add in regards to content, except that I enjoyed the voice acting for the most part - especially Nicole's voice direction is very well done. Still, there are better visual novels out there, and funnier ones too. Class of '09 might be worth looking into if you're a fan of this very specific type of humor, else I wouldn't bother with it at all.
One of my friends really loves Class of '09, so I bought it sometime ago on a Steam Sale for cheap to try it out and played a bunch of routes, but the novelty wore off rather quickly and it got boring real fast. The humor was too over the top for my liking and the writing felt like it became generic satire early on, not to mention the same jokes were repeated over and over across several routes and it's lazy. Especially the pedophilia jokes were recycled way too much and I feel like a lot of swearing was thrown into the writing just to make it feel more mature and edgy, but it comes off as needlessly corny. Maybe I'm just not the target audience.
As I only played two routes, I don't have much to add in regards to content, except that I enjoyed the voice acting for the most part - especially Nicole's voice direction is very well done. Still, there are better visual novels out there, and funnier ones too. Class of '09 might be worth looking into if you're a fan of this very specific type of humor, else I wouldn't bother with it at all.
It's actually a common misconception that this is a video game because it's instead a list of bullet points on what your new personality is going to be.
a beautifully paced murder mystery, unravelling into a web of philosophical themes backed by a stellar cast, fantastic pacing and a wonderful soundtrack. masterpiece.
I hope this flopped and they didn't make any other entries, that'd be worth a laugh! I havent had any playing this. This mf Simon with his perfectly chiseled chin and wealthiest caveman in the cave rizz can't whip worth a damn. Is he asexual? Why does he think he's him? Call it y = b^x the way shit went off the rails so fast, what a difficulty curve folks. You have to be there to see it. There's not really a specific enemy to make fun of so I won't focus on that aspect. Except Dracula on steroids but those were different times, the basement dweller community has foregiven Dracula.
Let's breakdown how the game plays. There are no input cancels obviously this ain't no Tekken, once you jump you are vulnerable for around 1 second and to approximately 33 threats, you can only walk and slightly crouch, not to mention (I'll mention) the whip having more screentime where it doesnt hit once you press the destroy foes button. So basically you're dead on arrival. Also, sometimes you get hit by a projectile thats been destroyed or a mf who already vaporized. Shit that should only happen in Mexico and I don't wager Simon is having his pilgrimage there.
I've warmed up, but huh no physical activity to follow because I need to say good things about this decent game. The night is dark and the path is.. not always clear, especially stage 17 with those gears but it all looks great. Dracula looks like his breath smells of garlic which makes me worry about his health being a vampire and all, but I won't judge him if he stepped out the hospital just to whoop my ass he's just that guy. Not gonna lie I had to use save states between every hit because I didn't trust myself enough and I was playing the game on break I wanted to finish it today at least (as in friday 22nd march, I'm actually reviewing it on the day I finish a game which I usually never do and condone! But we do this ig)
Let's breakdown how the game plays. There are no input cancels obviously this ain't no Tekken, once you jump you are vulnerable for around 1 second and to approximately 33 threats, you can only walk and slightly crouch, not to mention (I'll mention) the whip having more screentime where it doesnt hit once you press the destroy foes button. So basically you're dead on arrival. Also, sometimes you get hit by a projectile thats been destroyed or a mf who already vaporized. Shit that should only happen in Mexico and I don't wager Simon is having his pilgrimage there.
I've warmed up, but huh no physical activity to follow because I need to say good things about this decent game. The night is dark and the path is.. not always clear, especially stage 17 with those gears but it all looks great. Dracula looks like his breath smells of garlic which makes me worry about his health being a vampire and all, but I won't judge him if he stepped out the hospital just to whoop my ass he's just that guy. Not gonna lie I had to use save states between every hit because I didn't trust myself enough and I was playing the game on break I wanted to finish it today at least (as in friday 22nd march, I'm actually reviewing it on the day I finish a game which I usually never do and condone! But we do this ig)
Maybe one day, you’ll remember this place…
A Link to the Past starts on a stormy night...
I actually never have beaten any 2D Zelda games until now, for reasons that are a story for another time, but I have played an tried quiet a ton of them, some until the half-way point or even a bit after that, and the one thing they all share in common is how well they sell this larger than life epic, an adventure with its silly moments, but that it still feels consistently ‘’grand’’, and the menace of evil looming over the heads of everyone in Hyrule. This isn’t a complain, not in the slightest, and that isn’t the reasons I didn’t see any of those games to the finale, is just a part of their identity, like the dungeons, vast worlds opened by upgrades, and Octorocks…
Link’s Awakening begins on the quiet coast…
…But Koholint Island felt different. It still has the many dungeons with their bosses —some being not that great to be honest, at best they end too soon and at worst they are slow or overly simple—, it still has the usual items and upgrades, it has a TON of Octorocks ; in many ways, it still has the mark of 2D Zelda…only instead of feeling like an epic , at times it feels closer to a fairy tale.
Mist forest filled with secret passages and tricker raccoons, songs of fishes and frogs that give new life to what has been gone for a really long time, and what’s perhaps one of the funniest side quests in any game that’s essentially just an item-trade hunt, but it goes on and on across the entire island and your final reward is basically getting two items and scammed, it’s amazing!
There’s a joy to be found in the island, be it the in the little chats with the weird folk or the great search for the color dungeon; even when you aren’t at one of the incredible dungeons, which from a design perspective are the most fun I’ve had with 2D Zelda ever, I never felt like I was losing time or getting side-tracked. The little things like walking a Chomp-Chomp around and playing a crane machine feel just as important as getting the fabled legendary instruments, so mundane but at the same time so mysterious, so fun, so dream-like.
The diorama comparison was also completely on purpose, the toy-like feeling the remake offers is nothing short of amazing, everything feels made out of plastic and clay in such a purposeful way I got nothing but praise for it, and playing through this world reminded me of the tales I made while playing with my tales, distant memories flourishing amidst a world full of wonder and shells.
It sucks that it comes to a price; the game’s frames tank… a LOT, sometimes in the dungeons, but mostly out in the open, and it’s pretty noticeable. I understand that running a completely ‘’open’’ island with such wonderful visuals would have its consequences on performance but I would lie if I said it sometimes felt a lit too much, and I’m left wondering if maybe a bit more time in the oven or a patch or two would have helped things, ‘cause as it is it can feel jarring and take you out of the dream.
It's honestly a bit of a weird remake at times; the fact the jump item isn’t immediately binded to a button permanently boggles my mind considering just how essential jumping is for the whole adventure, especially the scroll sections; that plus how cryptic some enemies’ weaknesses can be compared to others which are pretty much clear as day, I’m left wondering, more-so than after playing any other remake, how the original holds-up and if maybe it can feel more consistent. Don’t get me wrong, I’m still in love with the visuals, and things like the Telephone Hint Huts and are a godsend for people like me, but I feel like I’ve missed something by not playing the original… or maybe I’m just searching excuses to return to the island.
You have no idea the mental strength I’m putting in to not talk about every single interaction and moment, ‘cause Link’s Awakening feels special, like a dream, yes, but also like a pas memory, memories of spending summers at the beach and waling along hills, memories of thinking of adventure and meeting strange yet lovable folks, scattered memories from a distant past or even a completely different Goomba-infested reality, memories of songs so far away they are beginning to echo…
I feel like I’ve been missing something incredible by not playing this sooner, yet I’m happy to have finally clicked with one of Link’s adventures, and especially this one. It’s fun, it’s carefree, it’s exciting… and beautiful in its own particular, amazing way, to be honest…
…and then, it’ll become real.
A Link to the Past starts on a stormy night...
I actually never have beaten any 2D Zelda games until now, for reasons that are a story for another time, but I have played an tried quiet a ton of them, some until the half-way point or even a bit after that, and the one thing they all share in common is how well they sell this larger than life epic, an adventure with its silly moments, but that it still feels consistently ‘’grand’’, and the menace of evil looming over the heads of everyone in Hyrule. This isn’t a complain, not in the slightest, and that isn’t the reasons I didn’t see any of those games to the finale, is just a part of their identity, like the dungeons, vast worlds opened by upgrades, and Octorocks…
Link’s Awakening begins on the quiet coast…
…But Koholint Island felt different. It still has the many dungeons with their bosses —some being not that great to be honest, at best they end too soon and at worst they are slow or overly simple—, it still has the usual items and upgrades, it has a TON of Octorocks ; in many ways, it still has the mark of 2D Zelda…only instead of feeling like an epic , at times it feels closer to a fairy tale.
Mist forest filled with secret passages and tricker raccoons, songs of fishes and frogs that give new life to what has been gone for a really long time, and what’s perhaps one of the funniest side quests in any game that’s essentially just an item-trade hunt, but it goes on and on across the entire island and your final reward is basically getting two items and scammed, it’s amazing!
There’s a joy to be found in the island, be it the in the little chats with the weird folk or the great search for the color dungeon; even when you aren’t at one of the incredible dungeons, which from a design perspective are the most fun I’ve had with 2D Zelda ever, I never felt like I was losing time or getting side-tracked. The little things like walking a Chomp-Chomp around and playing a crane machine feel just as important as getting the fabled legendary instruments, so mundane but at the same time so mysterious, so fun, so dream-like.
The diorama comparison was also completely on purpose, the toy-like feeling the remake offers is nothing short of amazing, everything feels made out of plastic and clay in such a purposeful way I got nothing but praise for it, and playing through this world reminded me of the tales I made while playing with my tales, distant memories flourishing amidst a world full of wonder and shells.
It sucks that it comes to a price; the game’s frames tank… a LOT, sometimes in the dungeons, but mostly out in the open, and it’s pretty noticeable. I understand that running a completely ‘’open’’ island with such wonderful visuals would have its consequences on performance but I would lie if I said it sometimes felt a lit too much, and I’m left wondering if maybe a bit more time in the oven or a patch or two would have helped things, ‘cause as it is it can feel jarring and take you out of the dream.
It's honestly a bit of a weird remake at times; the fact the jump item isn’t immediately binded to a button permanently boggles my mind considering just how essential jumping is for the whole adventure, especially the scroll sections; that plus how cryptic some enemies’ weaknesses can be compared to others which are pretty much clear as day, I’m left wondering, more-so than after playing any other remake, how the original holds-up and if maybe it can feel more consistent. Don’t get me wrong, I’m still in love with the visuals, and things like the Telephone Hint Huts and are a godsend for people like me, but I feel like I’ve missed something by not playing the original… or maybe I’m just searching excuses to return to the island.
You have no idea the mental strength I’m putting in to not talk about every single interaction and moment, ‘cause Link’s Awakening feels special, like a dream, yes, but also like a pas memory, memories of spending summers at the beach and waling along hills, memories of thinking of adventure and meeting strange yet lovable folks, scattered memories from a distant past or even a completely different Goomba-infested reality, memories of songs so far away they are beginning to echo…
I feel like I’ve been missing something incredible by not playing this sooner, yet I’m happy to have finally clicked with one of Link’s adventures, and especially this one. It’s fun, it’s carefree, it’s exciting… and beautiful in its own particular, amazing way, to be honest…
…and then, it’ll become real.
If there’s anything in this world worth keeping alive, it’s love.
In the void that is Revachol, we see the light of love and hope slowly fade away. It is up to us to cultivate and nurture that light so it does not die. Love is not dead! As you read this, you are alive and breathing, and it's up to you to seize what remains and fight for it. We can no longer wait for some great revolution that will fix all of our problems. If you truly desire a revolution, you must create the conditions necessary to birth it!
Disco Elysium isn’t just a game about what political faction you align with or finding out who lynched the man behind Whirling-in-Rags; it’s a story about love and why we must hold onto it, even in the darkest of times. I understand that nowadays, with the current state of affairs, it's hard to believe in love and hope. It's difficult to place our hope in a future that seems to have been stolen away from us, yet that's precisely when we need it the most.
I choose to believe in love. I choose to hold on to the hope that a better future is possible, no matter what, because I believe it is. The people we know, the community we live in, and the world we inhabit are worth fighting for. Disco Elysium taught me that fixing the world and making it a better place isn’t just about picking up a gun and waging some violent revolution; it’s about cultivating community and caring for those in it. That’s where the true beauty of Disco Elysium lies.
I believe the way this game conveys that message is quite powerful. Disco doesn't make some grand showy gesture beating you over the head with its message; instead, it laboriously takes the time to show you that the world you live in is beautiful and worth fighting for. It spends the time showing you the inner lives of those around you and has you helping them, one person at a time.
There is one specific character that I feel best embodies this: Cuno. Cuno, at first, is seen to be an irrational, difficult, vulgar, and poorly-behaved child, which leads you to inevitably hate him. As you learn more about Cuno and his home life, however, you realise there’s something greater at play. He doesn’t act out for the hell of it; he is the way he is because his father is a drunk who’s fallen down on his luck due to becoming a victim of the system giving up on him and his son. He’s left with no choice. The system has abandoned Uuno and his son, leaving them both to fend for themselves and pick up the pieces. Which sadly isn’t uncommon in Revachol and the real world as well. It’s perhaps one of the most striking and poignant stories in the game. I eventually went from despising Cuno to feeling empathy for him, as I did for many others in Revachol when I learned their stories.
I believe this approach to storytelling and character writing is incredibly effective, and the best part about Disco Elysium is that these kinds of stories are all over the game. This goes to show how much love and care was put into humanising the inhabitants of Revachol, which helps make the world feel alive. Because of how well the game fleshed out its world and characters Disco Elysium was successful at conveying the message that this world is worth fighting for. Not only was I captivated by this world, but as the game drew to a close, I found myself deeply invested in the wellbeing of these characters and the city.
As I learned about these stories, Revachol’s history, and the many political factions vying for power, I realised that this game was never about solving a murder or finding which faction is "correct." It was about learning to love those around us and working together to create a better world, one step at a time. Creating a better world was never an unattainable goal conjured up in the minds of idealistic and "ignorant" kids. It is a possible reality, but it demands the working toiling masses of the world unite and work hand in hand in creating this future. It is on us to seize the future and lift eachother up when we need it most.
Never give up on fighting for this future. It is only dead when you allow yourself to be convinced that it is.
In the void that is Revachol, we see the light of love and hope slowly fade away. It is up to us to cultivate and nurture that light so it does not die. Love is not dead! As you read this, you are alive and breathing, and it's up to you to seize what remains and fight for it. We can no longer wait for some great revolution that will fix all of our problems. If you truly desire a revolution, you must create the conditions necessary to birth it!
Disco Elysium isn’t just a game about what political faction you align with or finding out who lynched the man behind Whirling-in-Rags; it’s a story about love and why we must hold onto it, even in the darkest of times. I understand that nowadays, with the current state of affairs, it's hard to believe in love and hope. It's difficult to place our hope in a future that seems to have been stolen away from us, yet that's precisely when we need it the most.
I choose to believe in love. I choose to hold on to the hope that a better future is possible, no matter what, because I believe it is. The people we know, the community we live in, and the world we inhabit are worth fighting for. Disco Elysium taught me that fixing the world and making it a better place isn’t just about picking up a gun and waging some violent revolution; it’s about cultivating community and caring for those in it. That’s where the true beauty of Disco Elysium lies.
I believe the way this game conveys that message is quite powerful. Disco doesn't make some grand showy gesture beating you over the head with its message; instead, it laboriously takes the time to show you that the world you live in is beautiful and worth fighting for. It spends the time showing you the inner lives of those around you and has you helping them, one person at a time.
There is one specific character that I feel best embodies this: Cuno. Cuno, at first, is seen to be an irrational, difficult, vulgar, and poorly-behaved child, which leads you to inevitably hate him. As you learn more about Cuno and his home life, however, you realise there’s something greater at play. He doesn’t act out for the hell of it; he is the way he is because his father is a drunk who’s fallen down on his luck due to becoming a victim of the system giving up on him and his son. He’s left with no choice. The system has abandoned Uuno and his son, leaving them both to fend for themselves and pick up the pieces. Which sadly isn’t uncommon in Revachol and the real world as well. It’s perhaps one of the most striking and poignant stories in the game. I eventually went from despising Cuno to feeling empathy for him, as I did for many others in Revachol when I learned their stories.
I believe this approach to storytelling and character writing is incredibly effective, and the best part about Disco Elysium is that these kinds of stories are all over the game. This goes to show how much love and care was put into humanising the inhabitants of Revachol, which helps make the world feel alive. Because of how well the game fleshed out its world and characters Disco Elysium was successful at conveying the message that this world is worth fighting for. Not only was I captivated by this world, but as the game drew to a close, I found myself deeply invested in the wellbeing of these characters and the city.
As I learned about these stories, Revachol’s history, and the many political factions vying for power, I realised that this game was never about solving a murder or finding which faction is "correct." It was about learning to love those around us and working together to create a better world, one step at a time. Creating a better world was never an unattainable goal conjured up in the minds of idealistic and "ignorant" kids. It is a possible reality, but it demands the working toiling masses of the world unite and work hand in hand in creating this future. It is on us to seize the future and lift eachother up when we need it most.
Never give up on fighting for this future. It is only dead when you allow yourself to be convinced that it is.
As I traversed the upside down castle with whip in hand fighting knights with my cool back dash I thought to myself Castlevania Symphony of the Night is a great game! I was however playing Afterimage, a Metroidvania made by Aurogon Shanghai. It's one of those games that I simply can't remember where I heard about it but It's been on my radar a while for it's gorgeous visual style...and I'll frankly play any Metroidvania you throw at me.
From a Metoidvania point of view it's kind of weak in a lot of ways though. The game is absolutely massive with about 20 locations to explore over the course of the adventure. Some of these locations are almost the size of other games of the genres entire maps and it took me over 30 hours to initially finish it off. The level design is expansive with various secrets to find with more skills and abilities unlocked as you would expect but backtracking is a nightmare and fast travelling uses a consumable item which just seemingly discourages it early on. The mid game I found it difficult to know exactly where to go and there is a weird difficulty spike due to the multiple directions which took a while to smooth out. The story equally feels it lacks cohesion. It's very dialogue, character and plot heavy but at the same time wants to be mysterious and lore intense like Dark Souls / Hollow Knight yet instead just leaves a lot of questions like it was never really finished. Playing the extra mode unlocked after several endings as a side story does answer some of it, as does the true ending but there are still many aspects of the plot that feel very incomplete or unsatisfying.
So why a 7/10 if you are luke warm on the level design and story Fallen? I hear you ask in confusion. It's simply because despite that, I had a lot of fun with it. The locations are varied and the artwork is really stunning throughout, the soundtrack is beautiful and sometimes haunting. The protagonist Renee's animations are smooth and combat for the most part is fun with a variety of weapons, accessories and magic to choose from.
Yes the game could have done with tightening up a little bit where I think they got a little overzealous but overall it's a fun little game.
+ Beautiful art design.
+ I liked the soft haunting melodies of the OST.
+ Combat is fast and fluid with some good options.
+ I just like exploring in Metroidvanias...
- Level's are a little too large.
- Story could be tightened up more, it wants both a lot of dialogue yet mysterious lore and doesn't quite work for either.
From a Metoidvania point of view it's kind of weak in a lot of ways though. The game is absolutely massive with about 20 locations to explore over the course of the adventure. Some of these locations are almost the size of other games of the genres entire maps and it took me over 30 hours to initially finish it off. The level design is expansive with various secrets to find with more skills and abilities unlocked as you would expect but backtracking is a nightmare and fast travelling uses a consumable item which just seemingly discourages it early on. The mid game I found it difficult to know exactly where to go and there is a weird difficulty spike due to the multiple directions which took a while to smooth out. The story equally feels it lacks cohesion. It's very dialogue, character and plot heavy but at the same time wants to be mysterious and lore intense like Dark Souls / Hollow Knight yet instead just leaves a lot of questions like it was never really finished. Playing the extra mode unlocked after several endings as a side story does answer some of it, as does the true ending but there are still many aspects of the plot that feel very incomplete or unsatisfying.
So why a 7/10 if you are luke warm on the level design and story Fallen? I hear you ask in confusion. It's simply because despite that, I had a lot of fun with it. The locations are varied and the artwork is really stunning throughout, the soundtrack is beautiful and sometimes haunting. The protagonist Renee's animations are smooth and combat for the most part is fun with a variety of weapons, accessories and magic to choose from.
Yes the game could have done with tightening up a little bit where I think they got a little overzealous but overall it's a fun little game.
+ Beautiful art design.
+ I liked the soft haunting melodies of the OST.
+ Combat is fast and fluid with some good options.
+ I just like exploring in Metroidvanias...
- Level's are a little too large.
- Story could be tightened up more, it wants both a lot of dialogue yet mysterious lore and doesn't quite work for either.
This review contains spoilers
EDIT: Slight change to Eden character description. 💖💖💖
It might be pretentious of me to call Rebirth the perfect game. Keyword, might.
But uhhh, it's time for what the entirety of ZeusDeeGoose has been building up to. From shitposts to seemingly endless reviews, here is the review to end all reviews. The K.O. punch, the Industry Baby, here IS…
The Binding of Isaac Rebirth is my favorite game of all time. Bar none. I’ve always pushed the game as amazing, but never really put pen to paper on why it’s so incredible. I’ve known about Rebirth since around 2015, where it was finally put on the 3DS eShop. It looked so... interesting. The cover art had captured my attention like no other. The crying child, the monsters, the... tentacles? It perplexed me in no way any other game has done before, but it was love at first sight. So I immediately clicked on it. I wanted to experience what this game had to offer, and I was ready to buy a New 3DS just to experience it. Before getting cock-blocked by the parental controls, but whatever. 8 years later, New 3DS in tow, nearing the end of the 3DS eShop as a whole (rest in peace), I played Rebirth on the good old New 3DS, and I really did like it, and then I rebought the game (alongside the original), and all of the DLC for both versions, and I was almost instantly hooked for a year straight. Needless to say, I love The Binding of Isaac as a whole. If you know me, I’ve praised The Binding of Isaac to kingdom come, using it as a point of reference for the bar of quality most games should strive for, especially indie games. Any person I meet? Play The Binding of Isaac. Any game recommendations? The Binding of Isaac. I was talking to a security guard at Washington DC, and asked him if he had played any games, and he said he plays Battlefield, and I roughly responded with “PLAY THE BINDING OF ISAAC!”, taking hyper fixations to the next level. And, of course, on that trip I brought my New 3DS to Washington DC, JUST to play The Binding of Isaac, although I dabbled in Mario Kart 7 with some friends. Any time we were on the bus, I’d pop open my 3DS just to play it. I’m pretty sure my friends got tired of the buh-duh... duh-duh-duh-duhduhduh each time I started a new run, but we all enjoyed the trip. I almost beat the entire game on that trip, but unfortunately couldn’t kill Mega Satan in time. Awwwww. But on the night I got home I killed him. It was 3AM in the morning, but I fucking did it.
But, enough about the DC trip, what about the game itself? If you’re not familiar with Rebirth or the original, fear not, as coming into Isaac Rebirth, I had no idea what roguelikes even played like, other than the fact that they were randomized, but also featured permanent death. It was a bit… overwhelming to me? Losing all of my progress didn't seem all that fun to me, as I had played Minecraft previously and found its dropping inventory to be discouraging, and thought Isaac Rebirth would be the same. But, needless to say, my opinion changed pretty quickly on Rebirth, and roguelikes as a whole. Some of my favorite video games are roguelikes, but without my prior exposure to Rebirth, I don't think I would've been as receptive to the genre. And why is that, you may ask? I’m going to explain almost everything that makes the game a masterpiece of a roguelike like no other (sorry, Rogue), DLC by DLC, in-depth, zeusdeegoose style! I’ll also be covering the smaller games in the series, like the original, and the spinoff, The Legend of Bum-bo. I’ve never played Four Souls before, so that’ll be excluded from this short series.
The order will be as follows: Rebirth, Afterbirth, Afterbirth Plus, The Legend of Bum-bo, 2011, Wrath of the Lamb, and finally, Repentance.
The order may seem off to some, considering how Repentance is last in line, but it’s for good reason, trust me. You geese will be eating well tonight! (i'm so sorry)
I’m also spoiling the game rotten, because if you haven’t played the game yet, I strongly suggest going in completely and utterly blind. That’s how I did it, and I feel like having a wiki beside me would’ve ruined a lot of the fun. That’s what I do when going into almost any roguelike, but it matters most here since that’s a majority of the game; discovery. Discovering what each item does, all of the synergies it has, and the context in between each item. It’s a fun process that adds a lot of mystery and suspense to even the littlest of item pickups, and I cannot help but feel it’s too easily lost for newer players. EID is cool and all, but I think I’d recommend saving it, at least until the post-game. It’s your game, and the only stipulation for mods is lacking achievements until you kill Mom, but I still think the game is better experienced without EID for the first time, as finding what each item does is satisfying in it of itself. But if you do use EID, I won’t stop you from enjoying the game as you please. But, with all of that being said, it’s time to explore the Basement, and find the treasure trove that is this review! This is my full, 100%, complete review of The Binding of Isaac Rebirth! Presented proudly by ZeusDeeGoose (& co.).
Content warning for The Binding of Isaac's story contents: Brief mentions of Suicide and Self-harm, Heavy references towards Abuse and Religious discussion
I usually never cover the stories of games in any of my reviews, and usually it’s because they don’t have any impact on the overall score. Not to say that I don’t care for them, but The Binding of Isaac perfectly intertwines gameplay and story, like no other game I’ve seen. It’s like FNAF if it actually had good storytelling!!! Half kidding, but with that being said, like FNAF, The Binding of Isaac is a heavily disconnected narrative, open to various interpretations and ideas. Almost every item connects to the story in every way, and little hints are given throughout each subsequent run victory, and each unlock to paint a grim, yet realistic storyline, despite the less-than-realistic gameplay within the game itself. What I also enjoy about the storytelling is that each release of a major expansion added to the story in a meaningful way, but also stands on their own as cohesive stories. The later endings in some of the future DLCs are a little too blatant for my tastes, but we’ll get to that later.
If you’ve heard anything about The Binding of Isaac, you’ve absolutely heard about the story in some way, shape or form. Not only for how batshit it is initially, but how depressing it eventually gets. The gist of what the game tells you is that “isaac mom watch bible bwoadcasts on tv and went a little nuts thanks to a voice from above and wants to re-enact the binding of isaac but isaac jumps into a trapdoor”, but eventually transforms into “Isaac commits suicide by suffocating in a Chest because he simply couldn’t take it anymore. The End.” The reason why is because the initial story is from Isaac’s perspective, but as he slowly dies, he eventually has to face reality, and what happens after he dies, as he feels as if he’s a sinner. There is no “good ending”. Isaac will always die, no matter what. And that's what I really liked about it. Not every story needs a happy ending (and especially in a story that discusses child abuse and beliefs being used as a false justification for said abuse). But I don’t think that the point of the game’s story is that religion is necessarily bad. It’s that using religion as something to punish someone is immoral, nor should we shame those who chose to not partake in religion, and rather unfortunately, that fact is frequently ignored in our world. This game helped me be more comfortable about my own religious beliefs. As someone who has struggled over their religion as of recent, I felt so validated by Isaac’s struggles. Although I wouldn’t consider myself an atheist, I’m still struggling with who or what I believe in, or if I should even believe in any entity at all. Whilst the game never gives an answer as to if you should believe in religion, it did contribute to my thoughts of religion. I really like how Edmund McMillen never shies away from controversial topics, because I’ve never seen any game that covers religion in depth like The Binding of Isaac. The entire game’s environment reflects the grim nature of the game, not shying away from the disturbing and occasionally haunting themes of the entire game. Each area feels dishearteningly oppressive, with blood and other bodily fluids of all kinds being used to add to the environment. It’s a grotesque game, but remember that this is from the perspective of a 5 year old. That’s why the items are unidentified, being discoveries of a relatively young child in a world that’s too big for him. That’s why he believes that his mother is re-enacting the story of The Binding of Isaac, because he’s using his imagination to create false parallels between himself and the Bible. That’s why there’s a relatively low brow humor bar, spirals of shit and all. That’s why he fights himself. Due to a misunderstanding of religion, he hates what he sees in himself. Once again, as a kid who was exposed to religion constantly, I was always concerned about sinning, even the most mild sins. However, I would come to realize, that according to the Bible, your sins are forgiven easily. This is perspective that Isaac lacks; an intentional flaw in his character, and makes him fear himself. This entire misunderstanding leads to the death of him. That’s fucked up. Every element of the game, from the characters representing Isaac’s own thoughts about himself, to the items painting the picture of abuse and neglect. It’s a solid story overall, with unprecedented storytelling, with eye opening themes and a nearly flawless execution in storytelling, a story told like no other, and interpretations out the wazoo. Hell, I’ll contribute a theory right now; Range up items are often represented with more sexual items, representing libido. But as many people know, religion tends to disfavor sexual activity outside of marriage. And as the Range ups are among the worst items in the entire game, it represents this very fact. Or how the entirety of the game is a conflict of Isaac’s own personality, due to the billions of possible individual runs? BOOM, MatPat is shaking in his boots right now. Regardless, despite my several hundred hours, I'm not some lore master, I'm just here to shoot tears and have fun. I know someone who is, though! Listen, I would absolutely love to analyze the entirety of the game’s many items, hints, and even more, but that could be potentially hours of pure content, and I don’t have the time for that. I mean, this is a game, right? Of course the story couldn’t be THAT good, right? What matters more is the gameplay!
Content Warning over.
As I’ve said previously, The Binding of Isaac integrates story and gameplay almost perfectly. You traverse through randomly generated dungeons that slowly increase in difficulty, increasing in size and becoming harder as you descend down The Basement. Although the “game” is incredibly short, the threat of permanently losing all of your items looms over your head throughout the run. Each run is about 30 minutes long, meaning that dying and retrying isn’t so punishing when it happens. This one of those roguelikes that masters the “one more run” mentality that lots of roguelikes similarly embody. The game is forgiving, but If you fuck up one too many times, there’s no permanent progression loss. Each run helps contribute even the littlest of help to future runs, but more on that later down.
The controls of the game are incredibly simple, as you move with the Left Stick and shoot in 4 directions with the Right Stick (or buttons if you prefer), making the game very simple to pick up and play, and the controls themselves feel incredibly fluid and fun. As I had mentioned previously, the aesthetics of the game are incredibly strong, with the game sporting solid pixel art, supported with great visual effects, and profound sound design. The music is pretty catchy to me, and it immerses me into the run. I also like the “layers” of the tracks, which play whenever you’re locked into combat. Bosses get even more intense, with the foreboding sound effect before battle, as well as incredibly intense boss tracks. Crusade, Matricide, Ventricide, Infantcide, Ascension, I mean, jesus. Talk about a good soundtrack, guys! On your journey through The Basement, you’ll encounter items on the way down, which are what keep The Binding of Isaac so fresh and replayable. In Rebirth, there are about 300+ items to collect, all of which have different effects and abilities. Some items are triggered manually by the player, with the triggers, but a majority of items are passive, all of which give random effects and abilities. Even with the large amount of items, you’ll eventually see all of them, so what keeps the gameplay fresh and exciting for hours to come? THE SYNERGIES.
One of the defining aspect of The Binding of Isaac is it’s large focus on synergies. Almost every item has at least one notable synergy, all of which add to the replay value of the game. Not only does this ensure that the game has a consistent difficulty curve by making synergies easier to find than oxygen, but also adds a sense of individuality to each run. With the amount of items, unique interactions in between those items, and the individual room layouts, Rebirth almost feels endless to me, and this would only be improved in later releases, with more content in general. To see Isaac grow in each run, gaining a different sense of personality each run, to see him take on gods and monsters, even himself at times, makes Rebirth a joy to come back to each and every time I start a new run.
A common point of criticism with Rebirth is that it apparently takes “no skill” to win? Yeah, obviously. I find the “no skill” argument to be largely irrelevant, as yes, the game does have various items, some of which are a cut above the rest, but calling it “luck based” is a complete misunderstanding of the game’s design as a whole. In fact, I’d say Rebirth is TOO easy, but more on that later. And I can prove it, too. Not only is the ratio of bad, good, and great items extremely fair and consistent, not feeling too powerful nor weak in terms of strength, by avoiding red heart damage on a floor, they can guarantee a “deal”, primarily of which will be a Devil deal, housing some of the most powerful items within the game, in exchange for their own health. Deals are an incredibly consistent way of obtaining good items, but it requires YOU, yes, YOU, to man up and actually be good at the game. It’s Risk Vs Reward done at it’s finest; do you want that cool-ass Brimstone laser? Well, you’re going to have to survive with less HP than usual in order to keep it, and that’s just one example. If you don’t like losing your HP, you could risk getting collectively shunned by the entire community and go for deals with the Angel. These are deals which are completely free, but require you to skip taking any deals with the Devil, and they only have one item to choose from. A lot of people claim that Angel deals are unviable, but I think they’re kind of missing the point, as not risking your HP gets you the worse items. Personally, I do think Angels, while a neat idea, are still outclassed by Devil deals. But, I’m not starting another Angels VS Devils debate. Lord knows how many there’s been. But back to the main point, if you’re still struggling with the game, you can always try to unlock some new characters, many of which will benefit you compared to base Isaac, who starts with nothing until a certain point. By all accounts, the game is on your side. It’s just up to you to keep up with the game’s difficulty, which is already pretty low to begin with, but more on that later. Yes, I know I’m saying that a lot, but Rebirth is fucking huge, okay? Yes, the game is random. But you have to grab the randomness by the balls and use it to your advantage, whilst also not being too sloppy on your part to win. Like Spelunky, you have to experiment and actually think to win consistently. Victory is not guaranteed for your first couple of runs, but if you really dig deep and try everything, maybe pick up that item that you don’t know anything about, only then can you truly succeed.
But not only do you have to embrace the randomness of the game in order to win, but the game itself changes as you play, quite literally. Remember when I said that each run contributes to your future runs? Well, it’s time to talk about SECRETS. Secrets are the bread and butter of The Binding of Isaac, bestowing new stuff into almost any run. From items, to bosses, and even new floors. To go back to the story for a bit, your first end goal is to kill Mom. For your average player, this could take a fair amount of tries, as the player learns the game and adapts to the environment, combined with Mom being a pretty difficult boss for a newcomer. Mom can be quite unpredictable, with her constantly spawning enemies, while the infamous foot stomps easily catch you off guard. It serves as a skill check for the following part of the game; once you kill Mom for the first time, you get the fake-out ending, with Isaac defeating Mom, but she comes back soon after. One curious player may check out the menu and realize that there’s over 16 different endings. This starts quite possibly the longest gameplay arc of the game; The Womb. In this cursed crimson floor, you always take a full heart of damage (without The Wafer of course), and the enemies are much more dastardly than before, with a greater variety and number of them than previously, as well as less items being present than before. This shows off the progressive difficulty of the game, both in a hypothetical and literal sense, as several secrets are tied to difficulty, like the alternate floors for the first 3 floors, an increase in champions (harder versions of enemies, denoted with a specific color), and also an increase in “curses”, which are bestowed upon the current floor at random.
They try to force you to approach a floor differently, making it more difficult, to slightly mixed results. Most of these are just kind of annoying, including a no map mode, invisible HP mode, randomly teleporting to new rooms, darkness, and being unable to see items picked up. The only one that’s not annoying is the XL floors, which also skips an additional floor and gives you two item rooms. I think the main thing curses suffer from is that they lack Risk vs Reward. Take Spelunky for example, which have a similar mechanic dubbed “level feelings”. They do make the floor harder, but usually add some sort of benefit to counterbalance it. Take the darkness idea again. Yes, it makes the level darker, but you can collect fireflies for additional cash. This could easily work with Isaac, too. Putting out fires gives a higher chance for pickups, OR better quality of the pickups in general. Maybe a no Map floor gives less rooms, and a no HP floor gives more hearts. Darkness could give you an extra item, and a random teleport room has a chance of creating a new room entirely. There are so many ideas I have with curses, but it kind of sucks that they haven’t been touched at all since Rebirth’s release. As it stands, curses are an interesting idea, but they quickly become more irritating as time goes on. Not a dealbreaker by any means, but it’s a big nitpick that I have with Rebirth. On the note of nitpicks, I will also draw attention to the Challenges of the game. The in-game challenges, like curses, feel underdeveloped. Far too many of them give overpowered item combos, then ask you to simply survive. They never really feel “challenging” to the player; even Purist, which I can assume is intended to be the hardest challenge based on its underlining in the menu, is incredibly easy, even though it takes away all of the treasure rooms and shops.People who say Isaac is luck based are fuming at the mouth right now. Very little of these are even “challenging” in some way, really the only arguably difficult one is Suicide King, which has you shooting explosive tears which home back in on you, but that’s really it. And that bit about the Challenges somewhat applies to the game as a whole, as even though I believe the game forces you to get good at it, it snowballs in your favor far too easily. I may be biased with my several hundred hours of The Binding of Isaac across 4 different versions, but I’d figure I’d bring it up as it’s frequently mentioned when reflecting on Rebirth, especially now that we have Repentance. Even when your runs aren't absolutely broken, Rebirth will still be pretty easy to beat. Once again, a nitpick, one that doesn't really hold much relevance to me. I'm up for a challenge, and all that (peep my favorite games), but an easy game is usually fine to me. Aaaand, with all of that, I can say that Rebirth is essentially a perfect game (to me, at least). I'm serious, I only have 3 nitpicks with this game, all of which are pretty minor. A slightly annoying, but not detrimental game mechanic in runs, a harmless side mode that still has all of the great qualities of the main game, and a difficulty level, which doesn't really affect me. Sooooo... can I go back to talking about how good this game is?
After killing Mom’s Heart 11 times, you can access the Cathedral or Sheol, but if you’re really good at the game, avoiding Red Heart damage on Womb 2 at any kill count almost always guarantees you a deal with the Angel or Devil, which allows you to go to the Cathedral or Sheol respectively, allowing already experienced players to skip major chunks of the game. Is this a well thought out game or what? Really, what else is there to nitpick? In these areas, you have to fight either Isaac, or Satan, and do it 5 times to access each respective final chapter; The Chest or The Dark Room. However, while you’re in the process of killing all of these bosses over and over again, you may come across a hole in the wall when killing Mom. This giant room holds 4 free items, but you can walk out... if you dare. But... it can’t be that easy, right? I’ll take the best item, just to be caref- why is there boss music? This is the infamous Boss rush, an onslaught of 15 sets of 2 bosses each, and it can either be the best or worst thing ever. Boss Rush is fucking intense, even with a good run. While you have a lot of leeway, Boss Rush often leaves you scraping for more HP, doubly so if you’re playing as a character who depends on low HP. It’s a difficult, yet rewarding mode to blast through each run, with you needing to give it your all to win. Once again, RISK VS REWARD. I can’t stress this enough. Boss Rush is pretty fun, but once it’s finally over, you get another item and yet another secret to mark your victory.
The final floors of Rebirth, The Chest and The Dark Room are essentially a victory lap, with each individual chest giving you a different item for the final battle, between... Isaac but dead??? Or The Lamb. Each path sports wholly unique fights and enemy patterns, making it feel like both are different enough from each other. Dead Isaac is probably my least favorite of the two; the fight ends before it can really get good; hell, I’d even say Isaac is harder in some cases. But The Lamb is a fair bit better than its blue brethren. He has a larger amount of HP, and he actually throws out ipecac shots, which explode. And then, his head and body splits at 50% HP, with the head gaining a few more tricky attacks than before. And the music in each fight is fucking INTENSE. Ascension is my favorite track in the game, bar none. It’s so ridiculously epic, like holy shit. It really feels like you’re overcoming the great dread within you. There’s so much damn BASS. It truly feels like the final battle. The Fallen Angel is a little worse than Ascension, but I still like it. It just gets a little too repetitive for my liking, that’s all. But it still feels pretty awesome. I know I already gassed up the Rebirth soundtrack to kingdom come, but holy FUCK it’s genuinely incredible. It knows when to rock out, how to be somber, and how to convey Isaac’s thoughts. It’s great. Diptera Sonata always feels like you’re on the edge of what your next run may have, Sodden Hollow is really fucking groovy, Abyss feels just like the title, and Viscera... Well, disregarding that, THE CELLAR! That awesome rock tune will never fail to be an earworm. Crusade makes every single Dingle look like fucking Sans. And The Calm makes you reflect on your past floor, what to do, where to go next. I could go ON AND ON about how good this game is, you have no IDEA. And you thought we were done? HELL NO! Once you beat either Dead Isaac or The Lamb once, something... interesting happens.
The game ominously states that the Angels “are waiting”? Well, I think you all know what that means. It’s time to go back into the Basement for one last time! Give Satan the middle finger, and head into the arms of Christ? And what happens? Uhhhh... The angels aren’t doing anything. Walking into them doesn’t do anything. What about a bomb?
The famous last words of zeusdeegoose. Rest in Peace, 2023-2024
Bombing the Angel Statue initiates a boss battle with an Angel, which REALLY caught me off guard. But after defeating the Angel, you get... Key Piece 1? Okay, so then you have to get another Key Piece by bombing another Angel, and then make your way down to Chapter 6, for the final time. A massive golden door appears, and after collecting all 4 items in the room, feel free to head in. And then... for REAL this time... you can fight Mega Satan, god, I am tired.
It’s not a bad fight; far from it, in fact. It kind of reminds me of shmup arcade games, in a way. It’s a massive arena, and Mega Satan is at the forefront of it all. He spawns hundreds of bullets, while you keep shooting him. And in his second phase, his skull appears (Terraria reference), spewing flames at you. But once his skull cracks ONCE AND FOR ALL, with potentially over a HUNDRED runs done by the player already, you think you’re done, right? Well, kind of. This is the end of all of Rebirth’s campaign, but 100%ing is a different story. You have 6 completion marks you have on each respective character, which are, as follows: Mom’s Heart, Boss Rush, Isaac, Satan, Dead Isaac, and The Lamb. And you need to do all of that on all 10 characters in Hard Mode, which predictably makes the game harder. So you can realistically expect to do that in 2-3 runs. I’d complain about the monotony of this, but like I said, Rebirth already encourages replayability to the fullest degree, so it’s actually really fun. Quickly, to save my fingers from carpal tunnel, the characters in Rebirth are solid, having their own strengths and weaknesses. Isaac is the basic bitch, Cain is lucky and does a little more damage, Maggy is the skill issue character, Judas is the glass cannon, Eve is the self-damaging character, ??? is the intentionally bad, but still fun character, Samson is the skill issue character, Lazarus is the skill issue character, Azazel is the best character in the game, and Eden is the genderfluid one (kind of like me). Yes, the game could use a lot less characters based on self damage, and the characters are a LITTLE too similar to base Isaac for comfort, but everything else about them is fundamentally solid. So after doing all of that, which will probably take you a good week or so, boom. All unlocks for every character. Are you still done? Hell no! You still have to do all 20 challenges, a majority of which are free and are already probably done at this point, so yeah. Easy. And after ALL of that, are you still done? NO. You have to fill the Donation Machine all the way up to 999 coins, or you can use a glitch to do it. Are you STILL done? HELLLLLLLLLLL NO, GIRL. Do all of this miscellaneous bullshit, like playing the slot machine. Are you still done? Have you explored every nook and cranny for the Plat- NO YOU FUCKING BUFFOON. You have to touch every item, which isn’t too hard on it’s own, as you’ll probably do all of this during your trip to Platinum God. But... after all of that, you finally set down your controller (or keyboard, if you’re one of those people?) satisfyingly, knowing that one of the greatest games of all time has been officially 100%ed. You are a Platinum God, friend! Welcome to the club, drinks are in the fridge. But... you feel... odd. Your achievements say that there’s still roughly a dozen to go. Could there be something... you’re... missing?
WAIT. You remember how I talked about the game’s numerous secrets? Well, take that literally, because there's a secret SO complex, that it's nearly impossible to figure out on your own. In fact, it was so secret that it had to be datamined exactly 109 hours after Rebirth released. What’s the secret, you may ask? If Isaac dies in a Sacrifice Room with The Missing Poster, it will show a piece of a torn-off paper, revealing itself to be the next secret to the puzzle, that being Isaac’s Last Will (the death screen which states where you are and what you were killed by). If, in sequential order, Isaac gets killed by a Mulliboom in The Basement, Magdalene kills herself with her own bombs in The Caves, Judas is killed by Mom, and Azazel is killed by Satan, a new character is unlocked, which is the bane of my and many other Rebirth players’ existence.
THE MOTHERFUCKING LOST. The Lost is by far one of the WORST characters in any roguelikes history, more specifically the REBIRTH incarnation and the Rebirth version ALONE. He only has 2 benefits. One; he starts with flight, which is always great, and he can get free deals with the Devil no matter what, which is always pretty cool. So what's the tradeoff? YOU HAVE NO FUCKING WAY TO PROTECT YOURSELF AGAINST ANY DAMAGE. NONE, NADA. Get hit once due to a bad dodge? Eat SHIT, go back all the way to the FUCKING BASEMENT, NERD. I mean, shit! Talk about punishing design, one that's not ultimately suited for this game. Sure, The Lost is an intentionally bad character, but ??? (the other “challenge” character), gave the player lenience when it came to their mistakes, but it also forced you to rethink your entire strategy. Devil Deals are much riskier with ??? as a result of your lack of red heart containers, and you have to take less damage in general as well if you want any chance of survival. The Lost feels like ramming your head into a wall until you see pretty stars and pass out. And yes, you could argue that The Lost can get Holy Mantle, or Dead Cat for an easier time. But that’s quite literally luck based, and isn’t fun. I got all of his marks in Rebirth ONCE on the 3DS. And quite frankly, I’m not interested in doing it ever again. The only silver lining is that you never need to play as him, unless you’re doing 100%, and you also don’t have to fight Mega Satan as him for 100% because he’s not a mark. But disregarding all of that, FUCK The Lost, and thank god for Afterbirth making him actually fun to play as. But this is Rebirth, so yeah. Fuck that guy. You have to do ALL of his marks in Hard Mode, but what do you get for all of your troubles? One of the best items in the game, GODHEAD. The TRUE mark of mastery. Although I think The Lost is a fundamentally flawed character, I won’t say that powering through and finally unlocking Godhead, alongside all of these other cool items isn’t satisfying. Now, after all of that, you can actually rest easy... until you check out Edmund’s Tumblr to find out there’s a new DLC get fucked LMFAOOOOOOOOOOOOOOOOOO
Disregarding The Lost and the like, I believe Isaac Rebirth is one of the greatest video games ever crafted, with very little flaws overall. I do have my gripes with it, of course, like any game, but at the end of the day, it’s still one of the greatest roguelikes to be released to date. Even games like Dead Cells and lots of non-traditional roguelikes have their roots within The Binding of Isaac. The Binding of Isaac has become less of a game, and more of a starting platform for aspiring creators and artists (including me, peep this). I could barely find a flaw in Rebirth's gameplay that isn't just a nitpick. It's a fundamentally sound game, with almost endless replayability. And did I even mention how fucking addictive Rebirth is? Seriously, even after 700 hours across numerous platforms in the span of a year, I still play Rebirth to this day. It's a game I'll probably never get tired of popping it in and starting a new descent into the Basement. And when I get my hands on the Switch release, oh man. But, what's next for Isaac? Well, what happens after Birth? A postpartum!
“A birth in full bloom / Endless basement drenched in gore / Stuck in the nightmare...” - “A Rebirth” by zeusdeegoose, Written on 4/22/24
It might be pretentious of me to call Rebirth the perfect game. Keyword, might.
But uhhh, it's time for what the entirety of ZeusDeeGoose has been building up to. From shitposts to seemingly endless reviews, here is the review to end all reviews. The K.O. punch, the Industry Baby, here IS…
The Binding of Isaac Rebirth is my favorite game of all time. Bar none. I’ve always pushed the game as amazing, but never really put pen to paper on why it’s so incredible. I’ve known about Rebirth since around 2015, where it was finally put on the 3DS eShop. It looked so... interesting. The cover art had captured my attention like no other. The crying child, the monsters, the... tentacles? It perplexed me in no way any other game has done before, but it was love at first sight. So I immediately clicked on it. I wanted to experience what this game had to offer, and I was ready to buy a New 3DS just to experience it. Before getting cock-blocked by the parental controls, but whatever. 8 years later, New 3DS in tow, nearing the end of the 3DS eShop as a whole (rest in peace), I played Rebirth on the good old New 3DS, and I really did like it, and then I rebought the game (alongside the original), and all of the DLC for both versions, and I was almost instantly hooked for a year straight. Needless to say, I love The Binding of Isaac as a whole. If you know me, I’ve praised The Binding of Isaac to kingdom come, using it as a point of reference for the bar of quality most games should strive for, especially indie games. Any person I meet? Play The Binding of Isaac. Any game recommendations? The Binding of Isaac. I was talking to a security guard at Washington DC, and asked him if he had played any games, and he said he plays Battlefield, and I roughly responded with “PLAY THE BINDING OF ISAAC!”, taking hyper fixations to the next level. And, of course, on that trip I brought my New 3DS to Washington DC, JUST to play The Binding of Isaac, although I dabbled in Mario Kart 7 with some friends. Any time we were on the bus, I’d pop open my 3DS just to play it. I’m pretty sure my friends got tired of the buh-duh... duh-duh-duh-duhduhduh each time I started a new run, but we all enjoyed the trip. I almost beat the entire game on that trip, but unfortunately couldn’t kill Mega Satan in time. Awwwww. But on the night I got home I killed him. It was 3AM in the morning, but I fucking did it.
But, enough about the DC trip, what about the game itself? If you’re not familiar with Rebirth or the original, fear not, as coming into Isaac Rebirth, I had no idea what roguelikes even played like, other than the fact that they were randomized, but also featured permanent death. It was a bit… overwhelming to me? Losing all of my progress didn't seem all that fun to me, as I had played Minecraft previously and found its dropping inventory to be discouraging, and thought Isaac Rebirth would be the same. But, needless to say, my opinion changed pretty quickly on Rebirth, and roguelikes as a whole. Some of my favorite video games are roguelikes, but without my prior exposure to Rebirth, I don't think I would've been as receptive to the genre. And why is that, you may ask? I’m going to explain almost everything that makes the game a masterpiece of a roguelike like no other (sorry, Rogue), DLC by DLC, in-depth, zeusdeegoose style! I’ll also be covering the smaller games in the series, like the original, and the spinoff, The Legend of Bum-bo. I’ve never played Four Souls before, so that’ll be excluded from this short series.
The order will be as follows: Rebirth, Afterbirth, Afterbirth Plus, The Legend of Bum-bo, 2011, Wrath of the Lamb, and finally, Repentance.
The order may seem off to some, considering how Repentance is last in line, but it’s for good reason, trust me. You geese will be eating well tonight! (i'm so sorry)
I’m also spoiling the game rotten, because if you haven’t played the game yet, I strongly suggest going in completely and utterly blind. That’s how I did it, and I feel like having a wiki beside me would’ve ruined a lot of the fun. That’s what I do when going into almost any roguelike, but it matters most here since that’s a majority of the game; discovery. Discovering what each item does, all of the synergies it has, and the context in between each item. It’s a fun process that adds a lot of mystery and suspense to even the littlest of item pickups, and I cannot help but feel it’s too easily lost for newer players. EID is cool and all, but I think I’d recommend saving it, at least until the post-game. It’s your game, and the only stipulation for mods is lacking achievements until you kill Mom, but I still think the game is better experienced without EID for the first time, as finding what each item does is satisfying in it of itself. But if you do use EID, I won’t stop you from enjoying the game as you please. But, with all of that being said, it’s time to explore the Basement, and find the treasure trove that is this review! This is my full, 100%, complete review of The Binding of Isaac Rebirth! Presented proudly by ZeusDeeGoose (& co.).
Content warning for The Binding of Isaac's story contents: Brief mentions of Suicide and Self-harm, Heavy references towards Abuse and Religious discussion
I usually never cover the stories of games in any of my reviews, and usually it’s because they don’t have any impact on the overall score. Not to say that I don’t care for them, but The Binding of Isaac perfectly intertwines gameplay and story, like no other game I’ve seen. It’s like FNAF if it actually had good storytelling!!! Half kidding, but with that being said, like FNAF, The Binding of Isaac is a heavily disconnected narrative, open to various interpretations and ideas. Almost every item connects to the story in every way, and little hints are given throughout each subsequent run victory, and each unlock to paint a grim, yet realistic storyline, despite the less-than-realistic gameplay within the game itself. What I also enjoy about the storytelling is that each release of a major expansion added to the story in a meaningful way, but also stands on their own as cohesive stories. The later endings in some of the future DLCs are a little too blatant for my tastes, but we’ll get to that later.
If you’ve heard anything about The Binding of Isaac, you’ve absolutely heard about the story in some way, shape or form. Not only for how batshit it is initially, but how depressing it eventually gets. The gist of what the game tells you is that “isaac mom watch bible bwoadcasts on tv and went a little nuts thanks to a voice from above and wants to re-enact the binding of isaac but isaac jumps into a trapdoor”, but eventually transforms into “Isaac commits suicide by suffocating in a Chest because he simply couldn’t take it anymore. The End.” The reason why is because the initial story is from Isaac’s perspective, but as he slowly dies, he eventually has to face reality, and what happens after he dies, as he feels as if he’s a sinner. There is no “good ending”. Isaac will always die, no matter what. And that's what I really liked about it. Not every story needs a happy ending (and especially in a story that discusses child abuse and beliefs being used as a false justification for said abuse). But I don’t think that the point of the game’s story is that religion is necessarily bad. It’s that using religion as something to punish someone is immoral, nor should we shame those who chose to not partake in religion, and rather unfortunately, that fact is frequently ignored in our world. This game helped me be more comfortable about my own religious beliefs. As someone who has struggled over their religion as of recent, I felt so validated by Isaac’s struggles. Although I wouldn’t consider myself an atheist, I’m still struggling with who or what I believe in, or if I should even believe in any entity at all. Whilst the game never gives an answer as to if you should believe in religion, it did contribute to my thoughts of religion. I really like how Edmund McMillen never shies away from controversial topics, because I’ve never seen any game that covers religion in depth like The Binding of Isaac. The entire game’s environment reflects the grim nature of the game, not shying away from the disturbing and occasionally haunting themes of the entire game. Each area feels dishearteningly oppressive, with blood and other bodily fluids of all kinds being used to add to the environment. It’s a grotesque game, but remember that this is from the perspective of a 5 year old. That’s why the items are unidentified, being discoveries of a relatively young child in a world that’s too big for him. That’s why he believes that his mother is re-enacting the story of The Binding of Isaac, because he’s using his imagination to create false parallels between himself and the Bible. That’s why there’s a relatively low brow humor bar, spirals of shit and all. That’s why he fights himself. Due to a misunderstanding of religion, he hates what he sees in himself. Once again, as a kid who was exposed to religion constantly, I was always concerned about sinning, even the most mild sins. However, I would come to realize, that according to the Bible, your sins are forgiven easily. This is perspective that Isaac lacks; an intentional flaw in his character, and makes him fear himself. This entire misunderstanding leads to the death of him. That’s fucked up. Every element of the game, from the characters representing Isaac’s own thoughts about himself, to the items painting the picture of abuse and neglect. It’s a solid story overall, with unprecedented storytelling, with eye opening themes and a nearly flawless execution in storytelling, a story told like no other, and interpretations out the wazoo. Hell, I’ll contribute a theory right now; Range up items are often represented with more sexual items, representing libido. But as many people know, religion tends to disfavor sexual activity outside of marriage. And as the Range ups are among the worst items in the entire game, it represents this very fact. Or how the entirety of the game is a conflict of Isaac’s own personality, due to the billions of possible individual runs? BOOM, MatPat is shaking in his boots right now. Regardless, despite my several hundred hours, I'm not some lore master, I'm just here to shoot tears and have fun. I know someone who is, though! Listen, I would absolutely love to analyze the entirety of the game’s many items, hints, and even more, but that could be potentially hours of pure content, and I don’t have the time for that. I mean, this is a game, right? Of course the story couldn’t be THAT good, right? What matters more is the gameplay!
Content Warning over.
As I’ve said previously, The Binding of Isaac integrates story and gameplay almost perfectly. You traverse through randomly generated dungeons that slowly increase in difficulty, increasing in size and becoming harder as you descend down The Basement. Although the “game” is incredibly short, the threat of permanently losing all of your items looms over your head throughout the run. Each run is about 30 minutes long, meaning that dying and retrying isn’t so punishing when it happens. This one of those roguelikes that masters the “one more run” mentality that lots of roguelikes similarly embody. The game is forgiving, but If you fuck up one too many times, there’s no permanent progression loss. Each run helps contribute even the littlest of help to future runs, but more on that later down.
The controls of the game are incredibly simple, as you move with the Left Stick and shoot in 4 directions with the Right Stick (or buttons if you prefer), making the game very simple to pick up and play, and the controls themselves feel incredibly fluid and fun. As I had mentioned previously, the aesthetics of the game are incredibly strong, with the game sporting solid pixel art, supported with great visual effects, and profound sound design. The music is pretty catchy to me, and it immerses me into the run. I also like the “layers” of the tracks, which play whenever you’re locked into combat. Bosses get even more intense, with the foreboding sound effect before battle, as well as incredibly intense boss tracks. Crusade, Matricide, Ventricide, Infantcide, Ascension, I mean, jesus. Talk about a good soundtrack, guys! On your journey through The Basement, you’ll encounter items on the way down, which are what keep The Binding of Isaac so fresh and replayable. In Rebirth, there are about 300+ items to collect, all of which have different effects and abilities. Some items are triggered manually by the player, with the triggers, but a majority of items are passive, all of which give random effects and abilities. Even with the large amount of items, you’ll eventually see all of them, so what keeps the gameplay fresh and exciting for hours to come? THE SYNERGIES.
One of the defining aspect of The Binding of Isaac is it’s large focus on synergies. Almost every item has at least one notable synergy, all of which add to the replay value of the game. Not only does this ensure that the game has a consistent difficulty curve by making synergies easier to find than oxygen, but also adds a sense of individuality to each run. With the amount of items, unique interactions in between those items, and the individual room layouts, Rebirth almost feels endless to me, and this would only be improved in later releases, with more content in general. To see Isaac grow in each run, gaining a different sense of personality each run, to see him take on gods and monsters, even himself at times, makes Rebirth a joy to come back to each and every time I start a new run.
A common point of criticism with Rebirth is that it apparently takes “no skill” to win? Yeah, obviously. I find the “no skill” argument to be largely irrelevant, as yes, the game does have various items, some of which are a cut above the rest, but calling it “luck based” is a complete misunderstanding of the game’s design as a whole. In fact, I’d say Rebirth is TOO easy, but more on that later. And I can prove it, too. Not only is the ratio of bad, good, and great items extremely fair and consistent, not feeling too powerful nor weak in terms of strength, by avoiding red heart damage on a floor, they can guarantee a “deal”, primarily of which will be a Devil deal, housing some of the most powerful items within the game, in exchange for their own health. Deals are an incredibly consistent way of obtaining good items, but it requires YOU, yes, YOU, to man up and actually be good at the game. It’s Risk Vs Reward done at it’s finest; do you want that cool-ass Brimstone laser? Well, you’re going to have to survive with less HP than usual in order to keep it, and that’s just one example. If you don’t like losing your HP, you could risk getting collectively shunned by the entire community and go for deals with the Angel. These are deals which are completely free, but require you to skip taking any deals with the Devil, and they only have one item to choose from. A lot of people claim that Angel deals are unviable, but I think they’re kind of missing the point, as not risking your HP gets you the worse items. Personally, I do think Angels, while a neat idea, are still outclassed by Devil deals. But, I’m not starting another Angels VS Devils debate. Lord knows how many there’s been. But back to the main point, if you’re still struggling with the game, you can always try to unlock some new characters, many of which will benefit you compared to base Isaac, who starts with nothing until a certain point. By all accounts, the game is on your side. It’s just up to you to keep up with the game’s difficulty, which is already pretty low to begin with, but more on that later. Yes, I know I’m saying that a lot, but Rebirth is fucking huge, okay? Yes, the game is random. But you have to grab the randomness by the balls and use it to your advantage, whilst also not being too sloppy on your part to win. Like Spelunky, you have to experiment and actually think to win consistently. Victory is not guaranteed for your first couple of runs, but if you really dig deep and try everything, maybe pick up that item that you don’t know anything about, only then can you truly succeed.
But not only do you have to embrace the randomness of the game in order to win, but the game itself changes as you play, quite literally. Remember when I said that each run contributes to your future runs? Well, it’s time to talk about SECRETS. Secrets are the bread and butter of The Binding of Isaac, bestowing new stuff into almost any run. From items, to bosses, and even new floors. To go back to the story for a bit, your first end goal is to kill Mom. For your average player, this could take a fair amount of tries, as the player learns the game and adapts to the environment, combined with Mom being a pretty difficult boss for a newcomer. Mom can be quite unpredictable, with her constantly spawning enemies, while the infamous foot stomps easily catch you off guard. It serves as a skill check for the following part of the game; once you kill Mom for the first time, you get the fake-out ending, with Isaac defeating Mom, but she comes back soon after. One curious player may check out the menu and realize that there’s over 16 different endings. This starts quite possibly the longest gameplay arc of the game; The Womb. In this cursed crimson floor, you always take a full heart of damage (without The Wafer of course), and the enemies are much more dastardly than before, with a greater variety and number of them than previously, as well as less items being present than before. This shows off the progressive difficulty of the game, both in a hypothetical and literal sense, as several secrets are tied to difficulty, like the alternate floors for the first 3 floors, an increase in champions (harder versions of enemies, denoted with a specific color), and also an increase in “curses”, which are bestowed upon the current floor at random.
They try to force you to approach a floor differently, making it more difficult, to slightly mixed results. Most of these are just kind of annoying, including a no map mode, invisible HP mode, randomly teleporting to new rooms, darkness, and being unable to see items picked up. The only one that’s not annoying is the XL floors, which also skips an additional floor and gives you two item rooms. I think the main thing curses suffer from is that they lack Risk vs Reward. Take Spelunky for example, which have a similar mechanic dubbed “level feelings”. They do make the floor harder, but usually add some sort of benefit to counterbalance it. Take the darkness idea again. Yes, it makes the level darker, but you can collect fireflies for additional cash. This could easily work with Isaac, too. Putting out fires gives a higher chance for pickups, OR better quality of the pickups in general. Maybe a no Map floor gives less rooms, and a no HP floor gives more hearts. Darkness could give you an extra item, and a random teleport room has a chance of creating a new room entirely. There are so many ideas I have with curses, but it kind of sucks that they haven’t been touched at all since Rebirth’s release. As it stands, curses are an interesting idea, but they quickly become more irritating as time goes on. Not a dealbreaker by any means, but it’s a big nitpick that I have with Rebirth. On the note of nitpicks, I will also draw attention to the Challenges of the game. The in-game challenges, like curses, feel underdeveloped. Far too many of them give overpowered item combos, then ask you to simply survive. They never really feel “challenging” to the player; even Purist, which I can assume is intended to be the hardest challenge based on its underlining in the menu, is incredibly easy, even though it takes away all of the treasure rooms and shops.
After killing Mom’s Heart 11 times, you can access the Cathedral or Sheol, but if you’re really good at the game, avoiding Red Heart damage on Womb 2 at any kill count almost always guarantees you a deal with the Angel or Devil, which allows you to go to the Cathedral or Sheol respectively, allowing already experienced players to skip major chunks of the game. Is this a well thought out game or what? Really, what else is there to nitpick? In these areas, you have to fight either Isaac, or Satan, and do it 5 times to access each respective final chapter; The Chest or The Dark Room. However, while you’re in the process of killing all of these bosses over and over again, you may come across a hole in the wall when killing Mom. This giant room holds 4 free items, but you can walk out... if you dare. But... it can’t be that easy, right? I’ll take the best item, just to be caref- why is there boss music? This is the infamous Boss rush, an onslaught of 15 sets of 2 bosses each, and it can either be the best or worst thing ever. Boss Rush is fucking intense, even with a good run. While you have a lot of leeway, Boss Rush often leaves you scraping for more HP, doubly so if you’re playing as a character who depends on low HP. It’s a difficult, yet rewarding mode to blast through each run, with you needing to give it your all to win. Once again, RISK VS REWARD. I can’t stress this enough. Boss Rush is pretty fun, but once it’s finally over, you get another item and yet another secret to mark your victory.
The final floors of Rebirth, The Chest and The Dark Room are essentially a victory lap, with each individual chest giving you a different item for the final battle, between... Isaac but dead??? Or The Lamb. Each path sports wholly unique fights and enemy patterns, making it feel like both are different enough from each other. Dead Isaac is probably my least favorite of the two; the fight ends before it can really get good; hell, I’d even say Isaac is harder in some cases. But The Lamb is a fair bit better than its blue brethren. He has a larger amount of HP, and he actually throws out ipecac shots, which explode. And then, his head and body splits at 50% HP, with the head gaining a few more tricky attacks than before. And the music in each fight is fucking INTENSE. Ascension is my favorite track in the game, bar none. It’s so ridiculously epic, like holy shit. It really feels like you’re overcoming the great dread within you. There’s so much damn BASS. It truly feels like the final battle. The Fallen Angel is a little worse than Ascension, but I still like it. It just gets a little too repetitive for my liking, that’s all. But it still feels pretty awesome. I know I already gassed up the Rebirth soundtrack to kingdom come, but holy FUCK it’s genuinely incredible. It knows when to rock out, how to be somber, and how to convey Isaac’s thoughts. It’s great. Diptera Sonata always feels like you’re on the edge of what your next run may have, Sodden Hollow is really fucking groovy, Abyss feels just like the title, and Viscera... Well, disregarding that, THE CELLAR! That awesome rock tune will never fail to be an earworm. Crusade makes every single Dingle look like fucking Sans. And The Calm makes you reflect on your past floor, what to do, where to go next. I could go ON AND ON about how good this game is, you have no IDEA. And you thought we were done? HELL NO! Once you beat either Dead Isaac or The Lamb once, something... interesting happens.
The game ominously states that the Angels “are waiting”? Well, I think you all know what that means. It’s time to go back into the Basement for one last time! Give Satan the middle finger, and head into the arms of Christ? And what happens? Uhhhh... The angels aren’t doing anything. Walking into them doesn’t do anything. What about a bomb?
The famous last words of zeusdeegoose. Rest in Peace, 2023-2024
Bombing the Angel Statue initiates a boss battle with an Angel, which REALLY caught me off guard. But after defeating the Angel, you get... Key Piece 1? Okay, so then you have to get another Key Piece by bombing another Angel, and then make your way down to Chapter 6, for the final time. A massive golden door appears, and after collecting all 4 items in the room, feel free to head in. And then... for REAL this time... you can fight Mega Satan, god, I am tired.
It’s not a bad fight; far from it, in fact. It kind of reminds me of shmup arcade games, in a way. It’s a massive arena, and Mega Satan is at the forefront of it all. He spawns hundreds of bullets, while you keep shooting him. And in his second phase, his skull appears (Terraria reference), spewing flames at you. But once his skull cracks ONCE AND FOR ALL, with potentially over a HUNDRED runs done by the player already, you think you’re done, right? Well, kind of. This is the end of all of Rebirth’s campaign, but 100%ing is a different story. You have 6 completion marks you have on each respective character, which are, as follows: Mom’s Heart, Boss Rush, Isaac, Satan, Dead Isaac, and The Lamb. And you need to do all of that on all 10 characters in Hard Mode, which predictably makes the game harder. So you can realistically expect to do that in 2-3 runs. I’d complain about the monotony of this, but like I said, Rebirth already encourages replayability to the fullest degree, so it’s actually really fun. Quickly, to save my fingers from carpal tunnel, the characters in Rebirth are solid, having their own strengths and weaknesses. Isaac is the basic bitch, Cain is lucky and does a little more damage, Maggy is the skill issue character, Judas is the glass cannon, Eve is the self-damaging character, ??? is the intentionally bad, but still fun character, Samson is the skill issue character, Lazarus is the skill issue character, Azazel is the best character in the game, and Eden is the genderfluid one (kind of like me). Yes, the game could use a lot less characters based on self damage, and the characters are a LITTLE too similar to base Isaac for comfort, but everything else about them is fundamentally solid. So after doing all of that, which will probably take you a good week or so, boom. All unlocks for every character. Are you still done? Hell no! You still have to do all 20 challenges, a majority of which are free and are already probably done at this point, so yeah. Easy. And after ALL of that, are you still done? NO. You have to fill the Donation Machine all the way up to 999 coins, or you can use a glitch to do it. Are you STILL done? HELLLLLLLLLLL NO, GIRL. Do all of this miscellaneous bullshit, like playing the slot machine. Are you still done? Have you explored every nook and cranny for the Plat- NO YOU FUCKING BUFFOON. You have to touch every item, which isn’t too hard on it’s own, as you’ll probably do all of this during your trip to Platinum God. But... after all of that, you finally set down your controller (or keyboard, if you’re one of those people?) satisfyingly, knowing that one of the greatest games of all time has been officially 100%ed. You are a Platinum God, friend! Welcome to the club, drinks are in the fridge. But... you feel... odd. Your achievements say that there’s still roughly a dozen to go. Could there be something... you’re... missing?
WAIT. You remember how I talked about the game’s numerous secrets? Well, take that literally, because there's a secret SO complex, that it's nearly impossible to figure out on your own. In fact, it was so secret that it had to be datamined exactly 109 hours after Rebirth released. What’s the secret, you may ask? If Isaac dies in a Sacrifice Room with The Missing Poster, it will show a piece of a torn-off paper, revealing itself to be the next secret to the puzzle, that being Isaac’s Last Will (the death screen which states where you are and what you were killed by). If, in sequential order, Isaac gets killed by a Mulliboom in The Basement, Magdalene kills herself with her own bombs in The Caves, Judas is killed by Mom, and Azazel is killed by Satan, a new character is unlocked, which is the bane of my and many other Rebirth players’ existence.
THE MOTHERFUCKING LOST. The Lost is by far one of the WORST characters in any roguelikes history, more specifically the REBIRTH incarnation and the Rebirth version ALONE. He only has 2 benefits. One; he starts with flight, which is always great, and he can get free deals with the Devil no matter what, which is always pretty cool. So what's the tradeoff? YOU HAVE NO FUCKING WAY TO PROTECT YOURSELF AGAINST ANY DAMAGE. NONE, NADA. Get hit once due to a bad dodge? Eat SHIT, go back all the way to the FUCKING BASEMENT, NERD. I mean, shit! Talk about punishing design, one that's not ultimately suited for this game. Sure, The Lost is an intentionally bad character, but ??? (the other “challenge” character), gave the player lenience when it came to their mistakes, but it also forced you to rethink your entire strategy. Devil Deals are much riskier with ??? as a result of your lack of red heart containers, and you have to take less damage in general as well if you want any chance of survival. The Lost feels like ramming your head into a wall until you see pretty stars and pass out. And yes, you could argue that The Lost can get Holy Mantle, or Dead Cat for an easier time. But that’s quite literally luck based, and isn’t fun. I got all of his marks in Rebirth ONCE on the 3DS. And quite frankly, I’m not interested in doing it ever again. The only silver lining is that you never need to play as him, unless you’re doing 100%, and you also don’t have to fight Mega Satan as him for 100% because he’s not a mark. But disregarding all of that, FUCK The Lost, and thank god for Afterbirth making him actually fun to play as. But this is Rebirth, so yeah. Fuck that guy. You have to do ALL of his marks in Hard Mode, but what do you get for all of your troubles? One of the best items in the game, GODHEAD. The TRUE mark of mastery. Although I think The Lost is a fundamentally flawed character, I won’t say that powering through and finally unlocking Godhead, alongside all of these other cool items isn’t satisfying. Now, after all of that, you can actually rest easy... until you check out Edmund’s Tumblr to find out there’s a new DLC get fucked LMFAOOOOOOOOOOOOOOOOOO
Disregarding The Lost and the like, I believe Isaac Rebirth is one of the greatest video games ever crafted, with very little flaws overall. I do have my gripes with it, of course, like any game, but at the end of the day, it’s still one of the greatest roguelikes to be released to date. Even games like Dead Cells and lots of non-traditional roguelikes have their roots within The Binding of Isaac. The Binding of Isaac has become less of a game, and more of a starting platform for aspiring creators and artists (including me, peep this). I could barely find a flaw in Rebirth's gameplay that isn't just a nitpick. It's a fundamentally sound game, with almost endless replayability. And did I even mention how fucking addictive Rebirth is? Seriously, even after 700 hours across numerous platforms in the span of a year, I still play Rebirth to this day. It's a game I'll probably never get tired of popping it in and starting a new descent into the Basement. And when I get my hands on the Switch release, oh man. But, what's next for Isaac? Well, what happens after Birth? A postpartum!
“A birth in full bloom / Endless basement drenched in gore / Stuck in the nightmare...” - “A Rebirth” by zeusdeegoose, Written on 4/22/24
Throughout my many years of playing games from Sega’s lineup of consoles, the one console that I have little to zero experience with whatsoever would be the Sega Saturn. I have played some games from the system, such as Nights Into Dreams and maaaaaaaaaaaaybe Sonic R, even though I’m not sure if that’s a real game, but aside from those two, I have had zero experience with any Sega Saturn exclusive games whatsoever. It is a shame too, considering that from what I have seen, it looks like there are a lot of quality games for the system, ones that probably don’t reach the same quality as many other games of the era, but enough to where anyone who owned the system could definitely get their money’s worth from a nice selection of titles to choose from. So, I figured it is about time that I dip my toes further into the pool that is the Sega Saturn library, starting with a game that was a launch title for the system for us Americans, Clockwork Knight.
I have never played this game or it’s sequel before, but I have known about them for quite a while, seeing them being played on some YouTube channels that I have been subscribed to over the years. It looked charming enough with its toy-themed setting, and it did look short enough to where I could get through it in one afternoon, so I figured “Why the hell not?”, and I did blaze through it in that same afternoon, finding a charming and fun game that… doesn’t really do that much. It is a solid platformer all throughout for the most part, and it does the job that it is supposed to do, but there are definitely plenty of other titles that were out around this time that could do what this game did a whole lot better.
The story is fairly standard for a game like this, where in a seemingly average household at midnight, all of the toys in the house are brought to life by the voice of lovely Clockwork Fairy Princess Chelsea, and everybody goes about their merry way as a result, but suddenly, she is kidnapped by an unknown and mysterious force, so it is up to Sir Tongara de Pepperoucha III, or just Pepper, to set out on a journey to rescue her and stop her vile kidnapper, which is all presented in a charming, yet understandably terrifying, intro cutscene, which does give the story much more charm despite how generic it is. The graphics are pretty good, using pre-rendered sprites for the characters and enemies like Donkey Kong Country, and mixing them together with 3D polygonal environments, all of which blend together pretty well, despite it obviously looking dated, the music is pretty good, having plenty of enjoyable tunes to listen to throughout your journey, and the gameplay/control is pretty standard for a 2D platformer, but it all works out pretty well, and you can get a handle on things with no problem whatsoever.
The game is a 2D action platformer, where you take control of Pepper, go through four different worlds, each with two levels and a boss, all themed around different toys and other objects and places you would find in an average house, go through many different platforming challenges while taking out plenty of enemies using your trusty keyblade weapon (wait a minute…), gather plenty of different coins, health upgrades and pickups, and extra lives to give you an advantage for what comes up ahead later down the road, and take on several boss fights that range from being piss easy to mildly annoying, all for the purpose of saving the one girl who is responsible for your entire existence. It’s the same song and dance you have seen time and time again, with very little to make it stand out amongst other titles, but again, it does manage to still be fun for the time it lasts, and its simplicity does help make it more appealing for those like myself who were looking for something to play from the console as an introduction.
Given that this was a launch title for the Sega Saturn (for us Americans, anyway), it is important for the game to not only be fun, but to also show off some of the things that the system was capable of, and while it doesn’t push the system to its limits, it does a good job at showing some of the things it can do. There are plenty of different cutscenes throughout the game, showing the characters animated with a CG style, and while nowadays these cutscenes look terrifying just from the toy designs alone, I imagine this must’ve looked really impressive back in the day. Not only that, but once again, the pre-rendered sprites for the characters and enemies mesh together really well with the 3D environments, and the main gameplay style is familiar enough for those who owned plenty of other well-known titles for the Sega Genesis, being able to bring them into this new generation smoothly without anything too crazy or intimidating getting in the way.
With all that being said though, from the lens of a modern-day player like myself, there isn’t much else the game has going for it other then that. It is a very basic platformer, where ya run, ya jump, ya grab the shiny objects, ya save the girl, ya drill these guys in the ass with your keyblade, we all know how it goes. It manages to do everything right, and it feels good to play, but at the same time, it doesn’t go out of its way to really shake things up or do anything crazy, which leads it to being somewhat generic as a result. Not to mention, the game is REALLY short, only having eight main levels and five bosses, all of which can be beaten fairly quickly if you know what you are doing, which is definitely a letdown. If only there was maybe one or two more worlds with more fleshed out mechanics, as well as possibly adding one or two more levels to the already existing worlds, then maybe this would feel like a complete package, but as it stands, it does feel like it ends too quickly once you beat the final boss, leaving you wanting a little more.
Overall, despite how basic and short the game is, Clockwork Knight manages to not only do a good job at being a launch title for the Sega Saturn, but also for being just an all around enjoyable platformer, full of plenty of platforming challenges for those that are fans of the genre, an impressive visual style and graphics for the time, and having a sense of charm to it that does make it much more appealing as a result. I would definitely recommend it for those who are looking for something to play on the system, or for those who are just fans of 90s platformers in general, because while this isn’t the meatiest one of the bunch, it should provide a good amount of fun and leaves you satisfied by the end of it all. Although, speaking of which, it does kinda suck that it ends on a cliffhanger of all things, which really paints a picture of what they are trying to do. “Aw, you wanna know what happens to Chelsea? Well, you can certainly find out, for a small $60 fee, thank you very much…”
Game #570
I have never played this game or it’s sequel before, but I have known about them for quite a while, seeing them being played on some YouTube channels that I have been subscribed to over the years. It looked charming enough with its toy-themed setting, and it did look short enough to where I could get through it in one afternoon, so I figured “Why the hell not?”, and I did blaze through it in that same afternoon, finding a charming and fun game that… doesn’t really do that much. It is a solid platformer all throughout for the most part, and it does the job that it is supposed to do, but there are definitely plenty of other titles that were out around this time that could do what this game did a whole lot better.
The story is fairly standard for a game like this, where in a seemingly average household at midnight, all of the toys in the house are brought to life by the voice of lovely Clockwork Fairy Princess Chelsea, and everybody goes about their merry way as a result, but suddenly, she is kidnapped by an unknown and mysterious force, so it is up to Sir Tongara de Pepperoucha III, or just Pepper, to set out on a journey to rescue her and stop her vile kidnapper, which is all presented in a charming, yet understandably terrifying, intro cutscene, which does give the story much more charm despite how generic it is. The graphics are pretty good, using pre-rendered sprites for the characters and enemies like Donkey Kong Country, and mixing them together with 3D polygonal environments, all of which blend together pretty well, despite it obviously looking dated, the music is pretty good, having plenty of enjoyable tunes to listen to throughout your journey, and the gameplay/control is pretty standard for a 2D platformer, but it all works out pretty well, and you can get a handle on things with no problem whatsoever.
The game is a 2D action platformer, where you take control of Pepper, go through four different worlds, each with two levels and a boss, all themed around different toys and other objects and places you would find in an average house, go through many different platforming challenges while taking out plenty of enemies using your trusty keyblade weapon (wait a minute…), gather plenty of different coins, health upgrades and pickups, and extra lives to give you an advantage for what comes up ahead later down the road, and take on several boss fights that range from being piss easy to mildly annoying, all for the purpose of saving the one girl who is responsible for your entire existence. It’s the same song and dance you have seen time and time again, with very little to make it stand out amongst other titles, but again, it does manage to still be fun for the time it lasts, and its simplicity does help make it more appealing for those like myself who were looking for something to play from the console as an introduction.
Given that this was a launch title for the Sega Saturn (for us Americans, anyway), it is important for the game to not only be fun, but to also show off some of the things that the system was capable of, and while it doesn’t push the system to its limits, it does a good job at showing some of the things it can do. There are plenty of different cutscenes throughout the game, showing the characters animated with a CG style, and while nowadays these cutscenes look terrifying just from the toy designs alone, I imagine this must’ve looked really impressive back in the day. Not only that, but once again, the pre-rendered sprites for the characters and enemies mesh together really well with the 3D environments, and the main gameplay style is familiar enough for those who owned plenty of other well-known titles for the Sega Genesis, being able to bring them into this new generation smoothly without anything too crazy or intimidating getting in the way.
With all that being said though, from the lens of a modern-day player like myself, there isn’t much else the game has going for it other then that. It is a very basic platformer, where ya run, ya jump, ya grab the shiny objects, ya save the girl, ya drill these guys in the ass with your keyblade, we all know how it goes. It manages to do everything right, and it feels good to play, but at the same time, it doesn’t go out of its way to really shake things up or do anything crazy, which leads it to being somewhat generic as a result. Not to mention, the game is REALLY short, only having eight main levels and five bosses, all of which can be beaten fairly quickly if you know what you are doing, which is definitely a letdown. If only there was maybe one or two more worlds with more fleshed out mechanics, as well as possibly adding one or two more levels to the already existing worlds, then maybe this would feel like a complete package, but as it stands, it does feel like it ends too quickly once you beat the final boss, leaving you wanting a little more.
Overall, despite how basic and short the game is, Clockwork Knight manages to not only do a good job at being a launch title for the Sega Saturn, but also for being just an all around enjoyable platformer, full of plenty of platforming challenges for those that are fans of the genre, an impressive visual style and graphics for the time, and having a sense of charm to it that does make it much more appealing as a result. I would definitely recommend it for those who are looking for something to play on the system, or for those who are just fans of 90s platformers in general, because while this isn’t the meatiest one of the bunch, it should provide a good amount of fun and leaves you satisfied by the end of it all. Although, speaking of which, it does kinda suck that it ends on a cliffhanger of all things, which really paints a picture of what they are trying to do. “Aw, you wanna know what happens to Chelsea? Well, you can certainly find out, for a small $60 fee, thank you very much…”
Game #570
As I stated in my Kazooie review, I replayed the game two times back in September of 2023. With Kazooie, that doesn't seem too crazy because it's about half the length of Tooie. However, I also replayed this game twice as well. And with it being twice as long, or maybe even longer for some people, as Kazooie? Seems a bit nuts right? Well, I really went Banjo crazy that month because after beating both games once, I couldn't stop thinking about them which led to me replaying them again right away. The thing is, that whole time I couldn't stop thinking about playing them again...I was thinking about Tooie pretty much. I don't know what happened to me because I went from thinking this game was just decent and definitely worse than Kazooie, to thinking it was amazing and super addicting and better than Kazooie overall. After replaying both games yet again, do I still think this? Probably, tho it's a bit complicated.
If you played Kazooie prior, the first thing you'll notice with Tooie is just how much Banjo and Kazooie's moveset has improved. The roll attack lasts longer, is more mobile and has a nice visual of Kazooie shielding Banjo. The normal attack you perform by standing still, which before was a simple claw move by Banjo, is now replaced by a more effective stationary rat-a-tat rap. The swimming is now WAY better naturally and doesn't require you to hold the R button for it to be good. In fact I don't think the R button does anything when swimming lol. You can now flip-flap directly out of a talon trot. When you do a beak buster, you can now move forward while you're doing rather than staying in place. This change can actually lead to some exploits you can perform too which is rad. These along with some non move-set changes like how whenever you speed up the text it makes the characters talk faster and doesn't pitch up their voices (which was an issue I had forgot to mention in Kazooie), the camera is slower but smoother to use and is overall an improvement, Banjo's backpack animates now when he walks and something about it is incredibly satisfying to me idk why, and the biggest thing is now notes don't get reset when you die (for a reason I'll get into later). All of these improvements drastically enhance the basic gameplay and I honestly miss a ton of these whenever I go back to Kazooie.
That's all fine and dandy, but how about new moves? Well, Tooie's got you covered because it's got like double the amount of moves in Kazooie. The biggest addition is the split-up mechanic. Now you can play as Banjo and Kazooie separately which makes for some clever puzzles. Each singular character gets their own specific moves and while Kazooie's are generally really fun, Banjo's are mostly situational. Kazooie's consist of moves that aren't as context-specific like the ability to glide on her own, her own backflip that's better than the normal one, and the ability to hatch eggs which gets used quite a bit. Banjo's however, besides the first one that lets him pick up and move objects which can lead to some fun puzzles, aren't used that much. He has an ability that let's him recover HP which is nice but only gets used a couple times overall and isn't as helpful as you think because lives aren't an issue anymore. I actually forgot to say they don't exist anymore and it's actually better to die sometimes because it respawns you at the last split-ip bad/beginning of the world which can work in your favor. But anyways, his other two abilities which let him go in dangerous liquids and the other let's him go in his backpack like a burlap sack to cross dangerous obstacles, just aren't used much and are incredibly situational. They all feel pretty samey too unlike Kazooie's, so overall I'd say Kazooie had the better new moves overall. This isn't even getting into all the new moves they both got together. There's 4 new egg types: Fire, Grenade, Ice and Clockwork. All have various uses and are fun additions. There are two new shoes, the claw clamber boots and the springy step shoes. The springy step shoes feel a little derivative because of the jump pads but they're still cool. The claw clamber boots however let you walk on designated parts of walls and it's awesome. There's the bill drill which is also kind of situational but is super satisfying to use. You can now fire eggs in first-person, which can be a little tricky at first with the N64 joystick but is also fun. Because of this, the game also added egg shooting in the air and water when going in first-person mode. The first-person shooting also leads into this FPS mode where you use Kazooie as a gun, certainly riding on the success of Goldeneye, and they can be super fun as well. All of these additions, plus the split-up stuff just really add to their whole move set and makes traversing through worlds a ton of fun.
Speaking of the worlds in this game, they're overall a lot bigger than Kazooie's. The first couple are kinda comparable in size to the first game's but by the time you get to Terrydactyland, they become just massive in size. You'd think this would be super annoying compared to Kazooie, but the game added warp pads that can warp you all over the level. These are the reason I never found the game tedious, if the game didn't have them or if they were awful like DK 64's warps, then the game would be way worse than it is. Anyways, the world's are much bigger in size and there's a lot more things you can do in each world. Though, overall there are less collectables because notes are now in bundles of 5 and 20. So overall the game has less of a focus on tons of collectables like the notes and more of a focus on the jiggys themselves. Jiggy's require way more steps than they did in Kazooie and this turns a lot of people off of the game. A bit understandable but the game is clearly trying to be more of a slower paced adventure platformer rather than Kazooie's brisk pace. I like both approaches but when it comes to Tooie's unique world themes like a run-down amusement park, a dinosaur world and a combined fire and ice world, I definitely prefer just how creative Tooie gets.
I mentioned how Jiggy's take longer to get because more steps are involved, and that's partly because of Mumbo Jumbo and Humba Wumba. In this game, Humba is the one that transforms you and Mumbo is actually a playable character. It greatly depends on the world but overall, I think this is a fun change. Mumbo has a very basic moveset compared to BK but his whole deal is using his magic on specific Mumbo pads. This is incredibly situational ofc and depending on the world it can be a bit tedious, but it can also lead to some interesting puzzles where you have to switch back and forth between BK and Mumbo. Same thing with Humba, sometimes you actually have to switch between Mumbo and then the Humba transformation. Mostly in the later levels do they make these portions kinda puzzling. In terms of everything new they added, this is probably the weakest addition just because it can lead to some tedium, I'll admit that, however I personally never had much of an issue with it tho I also have the whole game memorized at this point so take that as you will.
Besides all that, one of my absolute favorite additions was the fact a lot of the world's are interconnected. Early on, you'll help this mayan cat character out in recovering this idol. Well, you obtain it from this caveman in a weird looking cave and bring it back to him. That's strange though, you're in a world called Mayahem Temple and you just saw a caveman. What gives? Well it turns out, you just entered Terrydactyland when you did that, the aformentioned dinosaur world. This happens a lot in this game where you'll briefly cross over from one world into another or even unlock paths to directly travel between each one. The most memorable one is where you have to feed a different tribe of (good) cavemen this time, and to do so, you unlock a shortcut between Terrydactyland and WitchyWorld. You pick up some burgers from this one character, use the claw clamber boots you get from Grunty Industries and walk along the wall to feed them. All these working parts and interconnectivity just make the world feel alive and I love it.
I mentioned how you had to get the claw clamber boots from Grunty Industries, which is world 6, and use them for a jiggy in Terrydactyland which is world 5. Banjo Kazooie did this exact same thing only once, where you had to backtrack with an ability from another world. Tooie does this way more often and because of that and the interconnectivity of the world, it kind of feels like a 3D metroidvania at points which is awesome. Anyways, people seem to have an issue with backtracking in this game and I don't get it. The more complex jiggy's I understand, but the backtracking is not required as there's enough jiggy's in the game for you to beat the final boss. And even then, there really aren't that many backtracking jiggy's in general. Maybe like 12 or 13 of the 90 jiggy's require backtracking I think? Either way I think that complaint is majorly overblown and is not an issue at all to me, again the Mumbo and Humba stuff I can understand but backtracking to old levels with future abilities? Never even crossed my mind as an issue.
Something else this game added was a boss for every world and they're all really fun. Some are better than others, Lord Woo Fak Fak for example is probably the worst, but I really like how almost every single one of them are large in scope. They really feel menacing even if some of them are pathetically easy.
The game is also way funnier and a lot more cynical in general which I dig. Kazooie was both of these things as well but Tooie cranks it up to the max. The game literally starts off with Bottles dying and Kazooie going "well, he wasnt the most popular character anyways". The game is just full of this tongue-in cheese cynicism. The cast of side characters is not only WAY larger, they're more distinct and memorable just because the dialogue is so much better. There's literally an immigration joke when BK have to help some actual aliens, it's amazing. I think this, plus the interconnected worlds and more unique world themes, are THE main things I like over Kazooie. That plus the improved move set ofc.
The OST is again wondeful just like the first game, but instead of being upbeat, catchy tunes..Grant went for a more atmospheric darker ost this time around. Because worlds are much larger and take more time to beat, I think this change is for the better since the music track won't get old at all. Some of my favorite songs were Grunty Industries, Weldar's Theme and Mr Patch's Theme.
Yes I know two of those are from Grunty Industries. I honestly don't get the hate at all for that world. Something like Terrydactyland I can get, even if I still like it, because it's a massive world with empty space in a lot of it. However, Grunty Industries is a complex, zelda dungeon-like world and it's amazingly designed. I guess if you went into Tooie expecting it to just be like Kazooie, you'd hate it however it's very fun to explore and again super well-designed. It's not even that easy to get lost imo, it's a multi-layered world with distinct set-pieces rather than a super large open world. Sorry for the rant, I just don't get Grunty Industries hate lol. Something I did end up feeling a tiny bit sour on this time around was Hailfire Peaks. I still really like that world, and think the theming is awesome. However the fire side is a little too big for its bridges I will admit and the lag gets really bad sometimes there. The game can get laggy throughout portions of the game, which is only a thing on the N64 version, but there especially it's pretty bad.
One more thing before I mention the endgame and close out the review, is Canary Mary. Canary Mary has methods that make her very doable but she's still easily the worst part of the game and the only part I straight up dislike and dread doing. Her first button mashing races in Glittergulch Mine are perfectly fine. Her races in Cloud CuckooLand tho are insane. If you aren't doing the pause trick, idk how it's humenaly possible to win without using a turbo controller or something. The 2nd race isn't as bad because you can stay near her until the very end and then button mash to hell to pass her right before she can catch up. These races are easily doable with the right methods but the fact you have to do them this way, it just stinks man. But luckily this is only for 100% and only a tiny portion of the actual game so it's not the worst thing in the world.
I talked about a lot of improvements this game has over Kazooie. If there's one thing Kazooie destroys Tooie on however, it's the quiz section and final boss. Gone is the charming board game aesthetic of Kazooie, now you have a typical game show-esque quiz game where you have to answer enough questions to beat Grunty's sisters. It's not bad but it pales in comparison to Kazooie's version as it's less charming and even has less question types. Yeah, I won't miss the Gruntilda specific questions but no sound/music quizzes? That's kinda lame. Again, it's not bad and is only disappointing when compared to Kazooie. The final boss is also not nearly as good as Kazooie's. Is the Hag 1 harder? Most definitely but it's not as memorable as the Gruntilda fight from Kazooie and isn't as fun. It's a solid fight overall but compared to Kazooie's, just a bit lackluster.
So do I like Tooie more than Kazooie? In many ways, hell yes. It improves on many things like the duo's moveset, the writing is way funnier and the interconnectivity between worlds felt like a logical step to take after Kazooie. It may have the weaker end boss and quiz show, it's definitely and easier game to replay/100% and the Canary Mary rematch race is the worst thing between both games, however I'm still feeling like I may like this just slightly more than Kazooie just because of how ambitious and fun it is. It's kinda like Mario Galaxy 1 and 2 where each game has is own strengths over the other and it's just hard to choose what's better. Either way, it's still a 10/10 like the first game and one of my favorite games ever now. Easily in my top 3 N64 games, alongside the first game and Majora's Mask of course. Either way, if you see people saying you shouldn't play this game after you've beaten Kazooie. Don't listen to them, give this a try and you might fall become infatuated with it like I have.
This Banjo double feature was fun but I reckon it's time to play some Kirby again. Stay tuned for a Dreamland 2 review coming soon!
If you played Kazooie prior, the first thing you'll notice with Tooie is just how much Banjo and Kazooie's moveset has improved. The roll attack lasts longer, is more mobile and has a nice visual of Kazooie shielding Banjo. The normal attack you perform by standing still, which before was a simple claw move by Banjo, is now replaced by a more effective stationary rat-a-tat rap. The swimming is now WAY better naturally and doesn't require you to hold the R button for it to be good. In fact I don't think the R button does anything when swimming lol. You can now flip-flap directly out of a talon trot. When you do a beak buster, you can now move forward while you're doing rather than staying in place. This change can actually lead to some exploits you can perform too which is rad. These along with some non move-set changes like how whenever you speed up the text it makes the characters talk faster and doesn't pitch up their voices (which was an issue I had forgot to mention in Kazooie), the camera is slower but smoother to use and is overall an improvement, Banjo's backpack animates now when he walks and something about it is incredibly satisfying to me idk why, and the biggest thing is now notes don't get reset when you die (for a reason I'll get into later). All of these improvements drastically enhance the basic gameplay and I honestly miss a ton of these whenever I go back to Kazooie.
That's all fine and dandy, but how about new moves? Well, Tooie's got you covered because it's got like double the amount of moves in Kazooie. The biggest addition is the split-up mechanic. Now you can play as Banjo and Kazooie separately which makes for some clever puzzles. Each singular character gets their own specific moves and while Kazooie's are generally really fun, Banjo's are mostly situational. Kazooie's consist of moves that aren't as context-specific like the ability to glide on her own, her own backflip that's better than the normal one, and the ability to hatch eggs which gets used quite a bit. Banjo's however, besides the first one that lets him pick up and move objects which can lead to some fun puzzles, aren't used that much. He has an ability that let's him recover HP which is nice but only gets used a couple times overall and isn't as helpful as you think because lives aren't an issue anymore. I actually forgot to say they don't exist anymore and it's actually better to die sometimes because it respawns you at the last split-ip bad/beginning of the world which can work in your favor. But anyways, his other two abilities which let him go in dangerous liquids and the other let's him go in his backpack like a burlap sack to cross dangerous obstacles, just aren't used much and are incredibly situational. They all feel pretty samey too unlike Kazooie's, so overall I'd say Kazooie had the better new moves overall. This isn't even getting into all the new moves they both got together. There's 4 new egg types: Fire, Grenade, Ice and Clockwork. All have various uses and are fun additions. There are two new shoes, the claw clamber boots and the springy step shoes. The springy step shoes feel a little derivative because of the jump pads but they're still cool. The claw clamber boots however let you walk on designated parts of walls and it's awesome. There's the bill drill which is also kind of situational but is super satisfying to use. You can now fire eggs in first-person, which can be a little tricky at first with the N64 joystick but is also fun. Because of this, the game also added egg shooting in the air and water when going in first-person mode. The first-person shooting also leads into this FPS mode where you use Kazooie as a gun, certainly riding on the success of Goldeneye, and they can be super fun as well. All of these additions, plus the split-up stuff just really add to their whole move set and makes traversing through worlds a ton of fun.
Speaking of the worlds in this game, they're overall a lot bigger than Kazooie's. The first couple are kinda comparable in size to the first game's but by the time you get to Terrydactyland, they become just massive in size. You'd think this would be super annoying compared to Kazooie, but the game added warp pads that can warp you all over the level. These are the reason I never found the game tedious, if the game didn't have them or if they were awful like DK 64's warps, then the game would be way worse than it is. Anyways, the world's are much bigger in size and there's a lot more things you can do in each world. Though, overall there are less collectables because notes are now in bundles of 5 and 20. So overall the game has less of a focus on tons of collectables like the notes and more of a focus on the jiggys themselves. Jiggy's require way more steps than they did in Kazooie and this turns a lot of people off of the game. A bit understandable but the game is clearly trying to be more of a slower paced adventure platformer rather than Kazooie's brisk pace. I like both approaches but when it comes to Tooie's unique world themes like a run-down amusement park, a dinosaur world and a combined fire and ice world, I definitely prefer just how creative Tooie gets.
I mentioned how Jiggy's take longer to get because more steps are involved, and that's partly because of Mumbo Jumbo and Humba Wumba. In this game, Humba is the one that transforms you and Mumbo is actually a playable character. It greatly depends on the world but overall, I think this is a fun change. Mumbo has a very basic moveset compared to BK but his whole deal is using his magic on specific Mumbo pads. This is incredibly situational ofc and depending on the world it can be a bit tedious, but it can also lead to some interesting puzzles where you have to switch back and forth between BK and Mumbo. Same thing with Humba, sometimes you actually have to switch between Mumbo and then the Humba transformation. Mostly in the later levels do they make these portions kinda puzzling. In terms of everything new they added, this is probably the weakest addition just because it can lead to some tedium, I'll admit that, however I personally never had much of an issue with it tho I also have the whole game memorized at this point so take that as you will.
Besides all that, one of my absolute favorite additions was the fact a lot of the world's are interconnected. Early on, you'll help this mayan cat character out in recovering this idol. Well, you obtain it from this caveman in a weird looking cave and bring it back to him. That's strange though, you're in a world called Mayahem Temple and you just saw a caveman. What gives? Well it turns out, you just entered Terrydactyland when you did that, the aformentioned dinosaur world. This happens a lot in this game where you'll briefly cross over from one world into another or even unlock paths to directly travel between each one. The most memorable one is where you have to feed a different tribe of (good) cavemen this time, and to do so, you unlock a shortcut between Terrydactyland and WitchyWorld. You pick up some burgers from this one character, use the claw clamber boots you get from Grunty Industries and walk along the wall to feed them. All these working parts and interconnectivity just make the world feel alive and I love it.
I mentioned how you had to get the claw clamber boots from Grunty Industries, which is world 6, and use them for a jiggy in Terrydactyland which is world 5. Banjo Kazooie did this exact same thing only once, where you had to backtrack with an ability from another world. Tooie does this way more often and because of that and the interconnectivity of the world, it kind of feels like a 3D metroidvania at points which is awesome. Anyways, people seem to have an issue with backtracking in this game and I don't get it. The more complex jiggy's I understand, but the backtracking is not required as there's enough jiggy's in the game for you to beat the final boss. And even then, there really aren't that many backtracking jiggy's in general. Maybe like 12 or 13 of the 90 jiggy's require backtracking I think? Either way I think that complaint is majorly overblown and is not an issue at all to me, again the Mumbo and Humba stuff I can understand but backtracking to old levels with future abilities? Never even crossed my mind as an issue.
Something else this game added was a boss for every world and they're all really fun. Some are better than others, Lord Woo Fak Fak for example is probably the worst, but I really like how almost every single one of them are large in scope. They really feel menacing even if some of them are pathetically easy.
The game is also way funnier and a lot more cynical in general which I dig. Kazooie was both of these things as well but Tooie cranks it up to the max. The game literally starts off with Bottles dying and Kazooie going "well, he wasnt the most popular character anyways". The game is just full of this tongue-in cheese cynicism. The cast of side characters is not only WAY larger, they're more distinct and memorable just because the dialogue is so much better. There's literally an immigration joke when BK have to help some actual aliens, it's amazing. I think this, plus the interconnected worlds and more unique world themes, are THE main things I like over Kazooie. That plus the improved move set ofc.
The OST is again wondeful just like the first game, but instead of being upbeat, catchy tunes..Grant went for a more atmospheric darker ost this time around. Because worlds are much larger and take more time to beat, I think this change is for the better since the music track won't get old at all. Some of my favorite songs were Grunty Industries, Weldar's Theme and Mr Patch's Theme.
Yes I know two of those are from Grunty Industries. I honestly don't get the hate at all for that world. Something like Terrydactyland I can get, even if I still like it, because it's a massive world with empty space in a lot of it. However, Grunty Industries is a complex, zelda dungeon-like world and it's amazingly designed. I guess if you went into Tooie expecting it to just be like Kazooie, you'd hate it however it's very fun to explore and again super well-designed. It's not even that easy to get lost imo, it's a multi-layered world with distinct set-pieces rather than a super large open world. Sorry for the rant, I just don't get Grunty Industries hate lol. Something I did end up feeling a tiny bit sour on this time around was Hailfire Peaks. I still really like that world, and think the theming is awesome. However the fire side is a little too big for its bridges I will admit and the lag gets really bad sometimes there. The game can get laggy throughout portions of the game, which is only a thing on the N64 version, but there especially it's pretty bad.
One more thing before I mention the endgame and close out the review, is Canary Mary. Canary Mary has methods that make her very doable but she's still easily the worst part of the game and the only part I straight up dislike and dread doing. Her first button mashing races in Glittergulch Mine are perfectly fine. Her races in Cloud CuckooLand tho are insane. If you aren't doing the pause trick, idk how it's humenaly possible to win without using a turbo controller or something. The 2nd race isn't as bad because you can stay near her until the very end and then button mash to hell to pass her right before she can catch up. These races are easily doable with the right methods but the fact you have to do them this way, it just stinks man. But luckily this is only for 100% and only a tiny portion of the actual game so it's not the worst thing in the world.
I talked about a lot of improvements this game has over Kazooie. If there's one thing Kazooie destroys Tooie on however, it's the quiz section and final boss. Gone is the charming board game aesthetic of Kazooie, now you have a typical game show-esque quiz game where you have to answer enough questions to beat Grunty's sisters. It's not bad but it pales in comparison to Kazooie's version as it's less charming and even has less question types. Yeah, I won't miss the Gruntilda specific questions but no sound/music quizzes? That's kinda lame. Again, it's not bad and is only disappointing when compared to Kazooie. The final boss is also not nearly as good as Kazooie's. Is the Hag 1 harder? Most definitely but it's not as memorable as the Gruntilda fight from Kazooie and isn't as fun. It's a solid fight overall but compared to Kazooie's, just a bit lackluster.
So do I like Tooie more than Kazooie? In many ways, hell yes. It improves on many things like the duo's moveset, the writing is way funnier and the interconnectivity between worlds felt like a logical step to take after Kazooie. It may have the weaker end boss and quiz show, it's definitely and easier game to replay/100% and the Canary Mary rematch race is the worst thing between both games, however I'm still feeling like I may like this just slightly more than Kazooie just because of how ambitious and fun it is. It's kinda like Mario Galaxy 1 and 2 where each game has is own strengths over the other and it's just hard to choose what's better. Either way, it's still a 10/10 like the first game and one of my favorite games ever now. Easily in my top 3 N64 games, alongside the first game and Majora's Mask of course. Either way, if you see people saying you shouldn't play this game after you've beaten Kazooie. Don't listen to them, give this a try and you might fall become infatuated with it like I have.
This Banjo double feature was fun but I reckon it's time to play some Kirby again. Stay tuned for a Dreamland 2 review coming soon!
This game has a lot of potential, but I feel like the initial concept works against it. It’s a bit more mean-spirited, where you kind of hope something horrible happens to everyone and it actually needs to in order to progress. It’s a concept that unfortunately rips away all of the scariness and hilarity that most people would probably be looking for. Aside from a well-timed spawn, there’s nothing to be afraid of. Unlike the other game that this one will be compared to until the end of time, there’s no chance of organic comedy coming from your friends who are avoiding danger rather than looking for it. The point here is to hope that something kills everyone and that the camera man isn’t dicking around somewhere else while it’s happening.
I played the game for about 2 hours and feel like I’ve already experienced everything it has to offer. The upgrades it sells you are mostly cosmetic and the amount of views you get per video seem completely arbitrary. You’ll have some rounds of gameplay where everyone dies in the first 5 seconds, leaving you with 60% of film left and others where barely anything happens at all. The environments don’t really give you that much to play with and there’s no reason to wander off because there’s only one camera. Every day ends with an awkward movie experience where everyone sits around looking at the unedited footage and maybe sometimes you’ll hear a light chuckle under someone’s breath. It’s nice that they offered it for free, but I probably won’t go back to this one until it gets some major updates.
I played the game for about 2 hours and feel like I’ve already experienced everything it has to offer. The upgrades it sells you are mostly cosmetic and the amount of views you get per video seem completely arbitrary. You’ll have some rounds of gameplay where everyone dies in the first 5 seconds, leaving you with 60% of film left and others where barely anything happens at all. The environments don’t really give you that much to play with and there’s no reason to wander off because there’s only one camera. Every day ends with an awkward movie experience where everyone sits around looking at the unedited footage and maybe sometimes you’ll hear a light chuckle under someone’s breath. It’s nice that they offered it for free, but I probably won’t go back to this one until it gets some major updates.
Within the first 5 seconds of freedom this game gave me, I immediately picked up the kitchen knife and used it in probably the worst way possible. The game didn’t stop me and it also didn't seem to care, and neither did I. But that was probably the worst way possible to start this game, because as it dragged on for hours the main thought in my head was, “We were cooking on the first route” which should have ended the game. Instead I was trapped in a torture chamber of nonsensical solutions and horrible dialogue delivery, with an ending that wasn’t even interesting enough to be worth the painful drawl. The image of Daisy Ridley’s weird polygonal feet are scarred into my brain forever.
While I find the trial and error bit of gameplay to be rather neat, it’s done in such an excruciatingly painful way here. Every do-over lacks the ability to skip the cinematics so you’ll feel your body rapidly age with every scene you’re forced to watch on repeat. The lack of options your character gets to work with are frustrating and unrealistic. The characters shamble around like zombies and there’s zero way to speed up the process to get back to a later segment in the timeline aside from some line skips. I guess had they implemented such a silly concept then the game would quite literally be 12 minutes long. Instead, you sit through hours of trying out the smallest changes, only to awkwardly miss-click something and have to redo the whole process again. With every make-out session your wife assaults you with unprompted at the beginning of every loop, the more reptilian I felt while playing this game. How icky it made me feel while I slowly became an iguana.
You’d think a game that allows you to stab the shit out of your wife in the first five seconds would have literally anything to say about violence or impatience or domestic abuse or literally anything? Maybe it’d point a finger at me and go, “You’re part of the problem!!” and question my immediate conclusion to stretch the game's choices to it’s most inhumane limits. Nope. It meant nothing, like it was just something cool you could do for the sake of it. Violence is actually the only way to siphon any useful information from any of the characters, in fact the peaceful communicative solutions don’t even open up until after you’ve murdered so it’s not like it’s not encouraged. But, it literally doesn’t acknowledge this as something awful nor does it affect your character in any real way. The game does not care, so why should you? Allowing me to start the game with the ability to do this really set itself up for failure. It never challenged my thought process, so I just simply progressed with not giving a shit. It's almost like game interactivity has a way of affecting the player if it's implemented in a meaningful way instead of just existing for "artistic" shock value.
At the end of the day, does it even matter? I went through all this effort just to land on a conclusion that I said out loud as a joke. When the twist happened and that joke ended up being the reality, oh fuck off. This is it. It’s just a game that let me murder my wife in the first 5 seconds of it and nothing else. Riveting stuff, guys.
How they got James McAvoy, Willem Dafoe, and Daisy Ridley involved in this is insanely hilarious. They sound like they’re phoning it in the whole time, like they don’t even believe in this game’s bullshit themselves. It’s artistic, I’ll give it that. But, am I buying it? No. I ate chocolate mousse while a man screamed at my wife and hogtied her to the floor right in front of me. Neat.
While I find the trial and error bit of gameplay to be rather neat, it’s done in such an excruciatingly painful way here. Every do-over lacks the ability to skip the cinematics so you’ll feel your body rapidly age with every scene you’re forced to watch on repeat. The lack of options your character gets to work with are frustrating and unrealistic. The characters shamble around like zombies and there’s zero way to speed up the process to get back to a later segment in the timeline aside from some line skips. I guess had they implemented such a silly concept then the game would quite literally be 12 minutes long. Instead, you sit through hours of trying out the smallest changes, only to awkwardly miss-click something and have to redo the whole process again. With every make-out session your wife assaults you with unprompted at the beginning of every loop, the more reptilian I felt while playing this game. How icky it made me feel while I slowly became an iguana.
You’d think a game that allows you to stab the shit out of your wife in the first five seconds would have literally anything to say about violence or impatience or domestic abuse or literally anything? Maybe it’d point a finger at me and go, “You’re part of the problem!!” and question my immediate conclusion to stretch the game's choices to it’s most inhumane limits. Nope. It meant nothing, like it was just something cool you could do for the sake of it. Violence is actually the only way to siphon any useful information from any of the characters, in fact the peaceful communicative solutions don’t even open up until after you’ve murdered so it’s not like it’s not encouraged. But, it literally doesn’t acknowledge this as something awful nor does it affect your character in any real way. The game does not care, so why should you? Allowing me to start the game with the ability to do this really set itself up for failure. It never challenged my thought process, so I just simply progressed with not giving a shit. It's almost like game interactivity has a way of affecting the player if it's implemented in a meaningful way instead of just existing for "artistic" shock value.
At the end of the day, does it even matter? I went through all this effort just to land on a conclusion that I said out loud as a joke. When the twist happened and that joke ended up being the reality, oh fuck off. This is it. It’s just a game that let me murder my wife in the first 5 seconds of it and nothing else. Riveting stuff, guys.
How they got James McAvoy, Willem Dafoe, and Daisy Ridley involved in this is insanely hilarious. They sound like they’re phoning it in the whole time, like they don’t even believe in this game’s bullshit themselves. It’s artistic, I’ll give it that. But, am I buying it? No. I ate chocolate mousse while a man screamed at my wife and hogtied her to the floor right in front of me. Neat.
The Devil May Cry format, set up as a rhythm game - and while its not uncommon for the game to fail you for QTEs, the real magic lies in how Hi Fi ties every aspect of the game to the beat. Encouraging (instead of strictly requiring) rhythm promotes a groove within players, a sense that with every action they take they are jamming along with the game - achieving a potent and unbelievably addictive sense of flow when synchronized.
Frankly, I think Hi Fi’s aesthetic would otherwise be a liability for me. Garish color palettes, generic and undiverse enemy design, even the music selection is not my favorite. The supreme, engrossing nature of the combat puts me on a wavelength that elevates every other aspect of the game, I can forgive significant holes in the character writing because I am actually, literally vibing. Any mission thats mostly a gauntlet of enemies is a great time - the opposite of how I usually feel about the genre.
Frankly, I think Hi Fi’s aesthetic would otherwise be a liability for me. Garish color palettes, generic and undiverse enemy design, even the music selection is not my favorite. The supreme, engrossing nature of the combat puts me on a wavelength that elevates every other aspect of the game, I can forgive significant holes in the character writing because I am actually, literally vibing. Any mission thats mostly a gauntlet of enemies is a great time - the opposite of how I usually feel about the genre.
Balatro is a game that caught my eye and immediately knew I had to play it. I’ve been a big fan of many rogue-likes in the past like The Binding of Isaac, and Enter The Gungeon, Though with Balatro, the idea of playing poker hands to score chips with a ton of different jokers that provide different effects, along with some deck building and alterations to essentially rig yourself for success seemed extremely appealing to me due to my history with poker. After around fifty hours with the game, I think it’s an interesting experience, let’s get into it.
Balatro was immediately very addicting and had a great sense of style with the CRT filter, the amazing music creating this laid back atmosphere, and generally nice visuals with pop and flair that never made it boring to look at. You play poker hands to score a certain amount of chips per blind, with eight innings in a given run, winning a run allows you to keep your build going in “Endless Mode” which I never personally delved too much into, but was fun to limit test my decks from time to time. It’s easy enough to understand quickly as well, play poker hands, augment your cards, buy stuff in the shop, find jokers to help make your deck or specific hands better as the chip demand increases per blind. It’s an incredibly simple premise with a lot of satisfaction seeing the numbers go up and watching everything work in tandem like a symphony. It’s no doubt this was fully why I was so enamored by Balatro and found myself playing for several hours at a time. Getting a good build going has that same knowledge requirement and experimentation as the aforementioned rogue-likes, so in this regard, Balatro hits it out of the park, while somehow being more approachable and simple comparatively as well.
It wouldn’t be Balatro without those trusty jokers though. There’s one-hundred and fifty of them in total, each providing a different benefit or effect that will change how you’re playing, and what you build towards. While not every Joker will be unlocked from the start, unlocking them is just as fun as using them I’d say, with a plethora of different unlock conditions for each of them. Others may require you to cater a run specifically to unlock them, but that’s hardly asking much considering their benefit for you in future runs once unlocked. While most jokers will offer you added multiplier and chips to help you clear ante’s, others are a bit more exotic in what they do. For example, “Even Stevens” is a joker that only adds multiplier to cards that are evenly numbered, to the much more niche jokers like “cloud nine” that will provide you a dollar per nine you have in your deck, which could influence you to add/create more nine’s to keep that economy engine going, which may have you running four or five-of-a-kind later on. This sort of snowball effect with jokers is very entertaining and practical for endgame scaling, it all works together very well, not every Joker can be a winner, and some Jokers you’d do well to help you early on, but abandon later due to their poor scaling. With that said, every Joker is a treat to not only look at, but figure out what it does and if you can include it in your build or not, that constant experimentation is what will keep this game alive far past its relevance. It doesn’t even end there as Jokers also have certain rarities that will augment the Joker to provide further benefits, such as additional chips, multiplier, or even an extra Joker slot, which can make taking certain niche Jokers far more viable and interesting.
If Balatro’s core gameplay is losing its luster, playing a new deck is always a good way to spice things up. Initially, Balatro will set you up with the Red Deck, which gives you one extra discard which is decent for a starting deck, but certainly not my first choice. Thankfully unlocking decks is relatively simple, and you’ll quickly have a decent selection you can pick from. The Blue Deck grants you an extra hand every round, arguably more valuable than the Red Deck’s extra discard. Yellow Deck starts you out with ten dollars, allowing you to potentially augment your deck and claim some powerful jokers early. While the first few decks grant you early advantages you can attain in any run, later decks will start changing the fundamental building blocks of the deck itself, as well as mechanics. From the tattered Abandoned Deck that has no face cards, to the appealing checkered deck that only has the spade and heart suits within its library. Every deck emphasizes a certain kind of play, adapting and recognizing them is half the fun, but are varied enough to keep the game fresh and interesting each and every time you make this decision before starting a new run. While the requirements to unlock later decks can be a bit demanding, they no doubt further change how you’ll perceive the game, as well as making specific setups, jokers, and cards far more valuable than they normally would be.
Difficulty in rogue-likes is a delicate balance of luck and skill, Balatro I think mostly sticks the landing here, with a few caveats. Balatro has multiple difficulties you can test your poker-playing skills against after you win a run with a specific deck. Each won run will unlock a new “Stake” which makes the game a bit more limited. From increasing the amount of chips to win per blind, to reducing your money-making, Balatro is rather creative and smart with how it limits the player without drastically altering the core gameplay. I think most of the difficulties here are very pleasant and force you to adapt to them without being frustrating or feeling unfair, which is very important to stress. It becomes even more important when you consider the fact every restriction each stake presents will continue to be applied to every stake afterward, making those last few stakes have a lot you need to keep in mind and strategize around. Let me be perfectly blunt here: Balatro stays incredibly consistent until you reach the Orange Stake. Originally, Orange Stake would begin to increase the price of booster packs incrementally each ante you cleared, by ante eight, the price of booster packs become ludicrous and not worth it. This made specific strategies entirely useless since there was not even a guarantee a useful card would be inside the myriad of different pack options the game presents to you. This further reduced valid strategies and would force players down the route of utilizing high card and pair builds since those hands were the most reliable to play. Without packs, rigging the deck in your favor basically became near-impossible and deeply frustrating. The ratio of luck and skill becomes heavily skewed in Orange Stake, which certainly did not leave me impressed, rather a lot of the flaws in Balatro became far more noticeable to me unfortunately. The reliance on luck to get a good run going was just far too inconsistent to me, and skill was rarely rewarded as much by this point, it certainly was… harrowing.
Gold stake was an even worse offender since it reduced your maximum hand size by one, making certain hands like flush and straight infinitely harder to pull off. All of this served to shatter any balance between luck and skill tremendously, and is by far the worst part of Balatro, or I should say was. Balatro has since been updated, making both Orange and Gold Stake have entirely new gimmicks that don’t fully fix the problem, but are ultimately much better for the game. Orange stake now adds “perishable” jokers which will lose their abilities after five rounds of use. There is a thirty percent chance of any Joker having this perishable sticker, so while it still involves some luck to not get every Joker with this sticker, allowing the pack avenue to stay open can allow for far more strategies and certain hand types to remain viable, which is a very significant improvement. Gold stake has had a similar change with “rentable” Jokers, these Jokers initially only cost one dollar in the store, but at the end of every round, they will charge you three. Not only does this once again not remove the luck factor, but it essentially prioritizes having a good economy or way to make money early, but still far better than what Gold Stake was before. Even with these changes, I think Balatro truly shines at its best on the easiest difficulty: White Stake, and when you’re simply able to have fun and enjoy the game without these restrictions. While the higher difficulties deserve their time in the sun, I don’t think they’re fully necessary to have a complete experience, but if you’re looking for a challenge, you’ll certainly get one!
Balatro does explore other avenues for challenge though, much like its contemporaries. Challenges that alter the rules of the game and force you to adapt to them are always a welcome addition to any rogue-like, and Balatro does a great job here. There are twenty challenges to sink your teeth into, and while they can’t all be winners, the few I had the pleasure of playing, I really enjoyed. Omelet was a particularly fun one, and the first challenge among the list where you will earn no money from any source except selling off cards, and you start with five “Egg Jokers” that increase in value every round. The idea is to sell them off only when you see something you absolutely want or need for your build, which I really liked, it made money far more valuable and really made you weigh your options rather than just burning money whenever you had it in the normal rules. This is just one example, but the challenges here felt very thought-out and valid to have in the game, while some of them can be a bit difficult to grasp or succeed in, it wouldn’t be a challenge if it wasn’t so.
I want to address a bit of controversy about Balatro in how it simulates gambling. The creator himself has denied this design philosophy, but admits the game does have risk/reward elements like any other Rogue-like would. I’ll be the first to admit Balatro became incredibly enticing and hard to put down for me personally, but The Binding of Isaac and Enter The Gungeon were even more so, with five-hundred and eighty hours, and over one-hundred hours respectively, Balatro barely cracked fifty. This is not to say these games are to be avoided or also replicate “gambling” but I do want to say these games are indeed very addicting, but for Balatro I also do not think it’s anywhere close to gambling, at least not any closer than a game like Vampire Survivors which was equally criticized for “replicating” something akin to a slot machine. While I don’t want to delve too deeply into this topic, just know upfront the game should not be affiliated with the negative contexts of gambling, but is certainly fun and hard to pull away from, but so are many other games, especially Rogue-likes.
Some closing thoughts on Balatro as a whole. I think the game is rather remarkable to say the least, while I think certain hand types like flush have far more supporting jokers than something like straight, the general balance and freedom to build whatever deck you want is very satisfying and is really refreshing to play if you’ve been stuck playing basic poker so long. Rigging the odds in your favor by improving your cards, copying them, or outright destroying them are all simple yet effective and provide enough decision weighing to make it very engaging each and every single time. I think the game hits the right difficulty mostly, orange and gold stake to me rely a bit too much on luck even after the changes to find them too compelling or fun, but I’d be doing a huge injustice to say it wasn’t damn satisfying to complete those stakes, much like going all-in when you’re sitting on four-of-a-kind in real poker. Jokers by themselves will define how you play and what you can build towards, but aren’t always so paramount to not experiment with what you can do in any given run, and most have general use to maintain that freedom of expression within deck building that is very much welcome, but also has room for oddly specific Jokers that can turn a simple run into a God run in just a few seconds. At first Balatro dug its hooks deep into me, though overtime it weakened its grip and has comfortably landed somewhere for me as a remarkable game, but not a masterpiece I once thought when doing my first handful of runs. Regardless, I enjoyed my time with Balatro and will be happy to boot it up for a few games every now and again, but certainly not grinding it like I once was. Thank you all for reading this shorter review on Balatro, I’ll see you all in the next one.
Balatro was immediately very addicting and had a great sense of style with the CRT filter, the amazing music creating this laid back atmosphere, and generally nice visuals with pop and flair that never made it boring to look at. You play poker hands to score a certain amount of chips per blind, with eight innings in a given run, winning a run allows you to keep your build going in “Endless Mode” which I never personally delved too much into, but was fun to limit test my decks from time to time. It’s easy enough to understand quickly as well, play poker hands, augment your cards, buy stuff in the shop, find jokers to help make your deck or specific hands better as the chip demand increases per blind. It’s an incredibly simple premise with a lot of satisfaction seeing the numbers go up and watching everything work in tandem like a symphony. It’s no doubt this was fully why I was so enamored by Balatro and found myself playing for several hours at a time. Getting a good build going has that same knowledge requirement and experimentation as the aforementioned rogue-likes, so in this regard, Balatro hits it out of the park, while somehow being more approachable and simple comparatively as well.
It wouldn’t be Balatro without those trusty jokers though. There’s one-hundred and fifty of them in total, each providing a different benefit or effect that will change how you’re playing, and what you build towards. While not every Joker will be unlocked from the start, unlocking them is just as fun as using them I’d say, with a plethora of different unlock conditions for each of them. Others may require you to cater a run specifically to unlock them, but that’s hardly asking much considering their benefit for you in future runs once unlocked. While most jokers will offer you added multiplier and chips to help you clear ante’s, others are a bit more exotic in what they do. For example, “Even Stevens” is a joker that only adds multiplier to cards that are evenly numbered, to the much more niche jokers like “cloud nine” that will provide you a dollar per nine you have in your deck, which could influence you to add/create more nine’s to keep that economy engine going, which may have you running four or five-of-a-kind later on. This sort of snowball effect with jokers is very entertaining and practical for endgame scaling, it all works together very well, not every Joker can be a winner, and some Jokers you’d do well to help you early on, but abandon later due to their poor scaling. With that said, every Joker is a treat to not only look at, but figure out what it does and if you can include it in your build or not, that constant experimentation is what will keep this game alive far past its relevance. It doesn’t even end there as Jokers also have certain rarities that will augment the Joker to provide further benefits, such as additional chips, multiplier, or even an extra Joker slot, which can make taking certain niche Jokers far more viable and interesting.
If Balatro’s core gameplay is losing its luster, playing a new deck is always a good way to spice things up. Initially, Balatro will set you up with the Red Deck, which gives you one extra discard which is decent for a starting deck, but certainly not my first choice. Thankfully unlocking decks is relatively simple, and you’ll quickly have a decent selection you can pick from. The Blue Deck grants you an extra hand every round, arguably more valuable than the Red Deck’s extra discard. Yellow Deck starts you out with ten dollars, allowing you to potentially augment your deck and claim some powerful jokers early. While the first few decks grant you early advantages you can attain in any run, later decks will start changing the fundamental building blocks of the deck itself, as well as mechanics. From the tattered Abandoned Deck that has no face cards, to the appealing checkered deck that only has the spade and heart suits within its library. Every deck emphasizes a certain kind of play, adapting and recognizing them is half the fun, but are varied enough to keep the game fresh and interesting each and every time you make this decision before starting a new run. While the requirements to unlock later decks can be a bit demanding, they no doubt further change how you’ll perceive the game, as well as making specific setups, jokers, and cards far more valuable than they normally would be.
Difficulty in rogue-likes is a delicate balance of luck and skill, Balatro I think mostly sticks the landing here, with a few caveats. Balatro has multiple difficulties you can test your poker-playing skills against after you win a run with a specific deck. Each won run will unlock a new “Stake” which makes the game a bit more limited. From increasing the amount of chips to win per blind, to reducing your money-making, Balatro is rather creative and smart with how it limits the player without drastically altering the core gameplay. I think most of the difficulties here are very pleasant and force you to adapt to them without being frustrating or feeling unfair, which is very important to stress. It becomes even more important when you consider the fact every restriction each stake presents will continue to be applied to every stake afterward, making those last few stakes have a lot you need to keep in mind and strategize around. Let me be perfectly blunt here: Balatro stays incredibly consistent until you reach the Orange Stake. Originally, Orange Stake would begin to increase the price of booster packs incrementally each ante you cleared, by ante eight, the price of booster packs become ludicrous and not worth it. This made specific strategies entirely useless since there was not even a guarantee a useful card would be inside the myriad of different pack options the game presents to you. This further reduced valid strategies and would force players down the route of utilizing high card and pair builds since those hands were the most reliable to play. Without packs, rigging the deck in your favor basically became near-impossible and deeply frustrating. The ratio of luck and skill becomes heavily skewed in Orange Stake, which certainly did not leave me impressed, rather a lot of the flaws in Balatro became far more noticeable to me unfortunately. The reliance on luck to get a good run going was just far too inconsistent to me, and skill was rarely rewarded as much by this point, it certainly was… harrowing.
Gold stake was an even worse offender since it reduced your maximum hand size by one, making certain hands like flush and straight infinitely harder to pull off. All of this served to shatter any balance between luck and skill tremendously, and is by far the worst part of Balatro, or I should say was. Balatro has since been updated, making both Orange and Gold Stake have entirely new gimmicks that don’t fully fix the problem, but are ultimately much better for the game. Orange stake now adds “perishable” jokers which will lose their abilities after five rounds of use. There is a thirty percent chance of any Joker having this perishable sticker, so while it still involves some luck to not get every Joker with this sticker, allowing the pack avenue to stay open can allow for far more strategies and certain hand types to remain viable, which is a very significant improvement. Gold stake has had a similar change with “rentable” Jokers, these Jokers initially only cost one dollar in the store, but at the end of every round, they will charge you three. Not only does this once again not remove the luck factor, but it essentially prioritizes having a good economy or way to make money early, but still far better than what Gold Stake was before. Even with these changes, I think Balatro truly shines at its best on the easiest difficulty: White Stake, and when you’re simply able to have fun and enjoy the game without these restrictions. While the higher difficulties deserve their time in the sun, I don’t think they’re fully necessary to have a complete experience, but if you’re looking for a challenge, you’ll certainly get one!
Balatro does explore other avenues for challenge though, much like its contemporaries. Challenges that alter the rules of the game and force you to adapt to them are always a welcome addition to any rogue-like, and Balatro does a great job here. There are twenty challenges to sink your teeth into, and while they can’t all be winners, the few I had the pleasure of playing, I really enjoyed. Omelet was a particularly fun one, and the first challenge among the list where you will earn no money from any source except selling off cards, and you start with five “Egg Jokers” that increase in value every round. The idea is to sell them off only when you see something you absolutely want or need for your build, which I really liked, it made money far more valuable and really made you weigh your options rather than just burning money whenever you had it in the normal rules. This is just one example, but the challenges here felt very thought-out and valid to have in the game, while some of them can be a bit difficult to grasp or succeed in, it wouldn’t be a challenge if it wasn’t so.
I want to address a bit of controversy about Balatro in how it simulates gambling. The creator himself has denied this design philosophy, but admits the game does have risk/reward elements like any other Rogue-like would. I’ll be the first to admit Balatro became incredibly enticing and hard to put down for me personally, but The Binding of Isaac and Enter The Gungeon were even more so, with five-hundred and eighty hours, and over one-hundred hours respectively, Balatro barely cracked fifty. This is not to say these games are to be avoided or also replicate “gambling” but I do want to say these games are indeed very addicting, but for Balatro I also do not think it’s anywhere close to gambling, at least not any closer than a game like Vampire Survivors which was equally criticized for “replicating” something akin to a slot machine. While I don’t want to delve too deeply into this topic, just know upfront the game should not be affiliated with the negative contexts of gambling, but is certainly fun and hard to pull away from, but so are many other games, especially Rogue-likes.
Some closing thoughts on Balatro as a whole. I think the game is rather remarkable to say the least, while I think certain hand types like flush have far more supporting jokers than something like straight, the general balance and freedom to build whatever deck you want is very satisfying and is really refreshing to play if you’ve been stuck playing basic poker so long. Rigging the odds in your favor by improving your cards, copying them, or outright destroying them are all simple yet effective and provide enough decision weighing to make it very engaging each and every single time. I think the game hits the right difficulty mostly, orange and gold stake to me rely a bit too much on luck even after the changes to find them too compelling or fun, but I’d be doing a huge injustice to say it wasn’t damn satisfying to complete those stakes, much like going all-in when you’re sitting on four-of-a-kind in real poker. Jokers by themselves will define how you play and what you can build towards, but aren’t always so paramount to not experiment with what you can do in any given run, and most have general use to maintain that freedom of expression within deck building that is very much welcome, but also has room for oddly specific Jokers that can turn a simple run into a God run in just a few seconds. At first Balatro dug its hooks deep into me, though overtime it weakened its grip and has comfortably landed somewhere for me as a remarkable game, but not a masterpiece I once thought when doing my first handful of runs. Regardless, I enjoyed my time with Balatro and will be happy to boot it up for a few games every now and again, but certainly not grinding it like I once was. Thank you all for reading this shorter review on Balatro, I’ll see you all in the next one.
Unpacking is an interesting idea. It's essentially fairly freeform puzzle game of 8 levels unpacking boxes of someone moving into different houses. It follows an unnamed woman's life through her first room as a girl, through college house sharing and relationships to a middle aged adult.
The game makes use of environmental story telling to push what is happening along, moving in with their first partner, the lack of space or compatibility etc. Without meeting or hearing about this woman you can piece together the events of her life and interests. It's a really neat idea and I liked seeing the small changes to belongings from location to location or items she has taken with her through most of her life. It does wear out it's welcome after a little bit though as I don't feel it gets quite clever enough with it's items to progress that story as it could. There are only so many piles of the same books and socks I can unbox and put on shelves or in draws without feeling like the idea ran stale. There are also some sections where the simple music just stopped leaving an odd silence as I decided where to put the yoga mat under the bed again in the next bedroom.
Still I really appreciate what a neat idea and unique game this is. I would have preferred more interactive items, close up's of photos to show things our nameless protagonist had done, new hobbies or even problems in her life to flesh it out more. What I really took from this though is if someone unpacked my things for me if I moved house what sort of person would they think I am? So much of what we own, decide to keep and how we keep them at home speaks so much about us as people. For that alone I am grateful to this short and cute little game.
+ Interesting use of environmental story telling.
+ Unique game idea.
+ Nice pixel art style.
- Runs out of steam a bit in the last couple of levels.
The game makes use of environmental story telling to push what is happening along, moving in with their first partner, the lack of space or compatibility etc. Without meeting or hearing about this woman you can piece together the events of her life and interests. It's a really neat idea and I liked seeing the small changes to belongings from location to location or items she has taken with her through most of her life. It does wear out it's welcome after a little bit though as I don't feel it gets quite clever enough with it's items to progress that story as it could. There are only so many piles of the same books and socks I can unbox and put on shelves or in draws without feeling like the idea ran stale. There are also some sections where the simple music just stopped leaving an odd silence as I decided where to put the yoga mat under the bed again in the next bedroom.
Still I really appreciate what a neat idea and unique game this is. I would have preferred more interactive items, close up's of photos to show things our nameless protagonist had done, new hobbies or even problems in her life to flesh it out more. What I really took from this though is if someone unpacked my things for me if I moved house what sort of person would they think I am? So much of what we own, decide to keep and how we keep them at home speaks so much about us as people. For that alone I am grateful to this short and cute little game.
+ Interesting use of environmental story telling.
+ Unique game idea.
+ Nice pixel art style.
- Runs out of steam a bit in the last couple of levels.
oh thats my weenie.
that my weenie becoming very big.
that my weenie becoming very big.
I have no clue if this is still the last bastion of our culture war or if it’s too woke now so I’m giving it a 5/10 to average those two possibilities out
Got around to playing this game the right way and I’m glad that I did. Disregard my first review as either a solo-player's point of view or just simply the insane ramblings of a madman. We’re KeyWeing as God intended now.
This game is playable in solo mode for sure, but it’s like asking your brain to work at a level it cannot simply comprehend. With co-op you get free range of your keyboard and a buddy that will share 50% of the backbreaking work with you. How else do you people think you get your mail? Not by people, but through the blood, sweat, and tears from the most overworked, underpaid, armless birds. At least they get the benefit of informal dress codes. Please excuse my dripless friend, he’s just not quite at my level yet.
There are 4 main level designs that vary in obstacles as the game progresses which is just enough variety that keeps the game extremely fun throughout its entire playtime, which is decently lengthened. It’s enough to get through in one session and can be stretched by rechallenging the levels for better rewards, hidden items, etc. There are bonus levels with different gameplay mechanics as well and they net you more tickets for your gold mine of Kiwi cosmetics.
I think what works the best for KeyWe is how there isn’t any Overcooked! or PlateUp levels of vitriol. All three are great games with similar co-op mechanics, but there’s equal opportunity for both players to actively help in each scenario here. You can’t really impede on the other or kill your friend, which makes it a real breath of fresh air. In fact, the only thing that impeded anything were the slight moments of online desync, but it wasn’t a big issue. I found establishing a level of communication and having to shout “1, 2, 3!” before simultaneously finishing a puzzle to be rather charming. We are considering speedrunning the game now, that's how Earth shattering it was for us.
The difficulties fluctuate without ramping up to impossible degrees. While it’s a relatively easy game overall, the later levels have a fitting stress factor for the hidden masochist inside of you. The final stretch is one big, satisfying gauntlet of all of the skills you've acquired throughout. It’s not that the levels are super difficult, they’re just stressful with really well-executed shit inducing anxious music to go with them. You're a professional at this point, but the music is making you second guess yourself. The OST is actually fantastic and I’d post examples but I can’t find it ANYWHERE!!! All I have is this old trailer to work with, but it uses one of the best songs in my opinion. Classic example of the composer giving it their all, even if it’s for a short goober game about bird mailmen. Never stop.
Anyways, play KeyWe. It’s ridiculously fun.
This game is playable in solo mode for sure, but it’s like asking your brain to work at a level it cannot simply comprehend. With co-op you get free range of your keyboard and a buddy that will share 50% of the backbreaking work with you. How else do you people think you get your mail? Not by people, but through the blood, sweat, and tears from the most overworked, underpaid, armless birds. At least they get the benefit of informal dress codes. Please excuse my dripless friend, he’s just not quite at my level yet.
There are 4 main level designs that vary in obstacles as the game progresses which is just enough variety that keeps the game extremely fun throughout its entire playtime, which is decently lengthened. It’s enough to get through in one session and can be stretched by rechallenging the levels for better rewards, hidden items, etc. There are bonus levels with different gameplay mechanics as well and they net you more tickets for your gold mine of Kiwi cosmetics.
I think what works the best for KeyWe is how there isn’t any Overcooked! or PlateUp levels of vitriol. All three are great games with similar co-op mechanics, but there’s equal opportunity for both players to actively help in each scenario here. You can’t really impede on the other or kill your friend, which makes it a real breath of fresh air. In fact, the only thing that impeded anything were the slight moments of online desync, but it wasn’t a big issue. I found establishing a level of communication and having to shout “1, 2, 3!” before simultaneously finishing a puzzle to be rather charming. We are considering speedrunning the game now, that's how Earth shattering it was for us.
The difficulties fluctuate without ramping up to impossible degrees. While it’s a relatively easy game overall, the later levels have a fitting stress factor for the hidden masochist inside of you. The final stretch is one big, satisfying gauntlet of all of the skills you've acquired throughout. It’s not that the levels are super difficult, they’re just stressful with really well-executed shit inducing anxious music to go with them. You're a professional at this point, but the music is making you second guess yourself. The OST is actually fantastic and I’d post examples but I can’t find it ANYWHERE!!! All I have is this old trailer to work with, but it uses one of the best songs in my opinion. Classic example of the composer giving it their all, even if it’s for a short goober game about bird mailmen. Never stop.
Anyways, play KeyWe. It’s ridiculously fun.
All games are products of their time, even ones which "bucked trends" or "were ahead of their time" are only so in comparison with their contemporaries. RE5 is interesting historically because it definitely screams 7th gen : the color grading pejoratively described as the "piss filter" of brown environments assaulted with bloom, the co-op multiplayer focus of the days where such things were starting to become mainstream in the console market, the mowing down of hundreds of racist caricatures by a buff white guy, the fact that Albert Wesker's tailor discovered normal maps and is really excited to absolutely plaster them on his jacket etc.
Its hard to avoid noticing the main two things which jump at you when playing re5, namely that its RE4 but not as good and more racist. Asset reuse is fine, honestly, even mechanics recycled from re4 arent unwelcome but its the rehashing of re4 set pieces whilst doing them worse that lets re5 down. Similarly, the ingenious inventory management mechanic of the RE4 attache case : equal parts survival horror resource management and tetris space allocation is replaced by a dull 3×3 grid whose ultimate depth involves exchanging shit to your ai partner to reload a weapon before exchanging it right back.
The multiplayer aspect makes re5 have kind of an absurd difficulty curve based on your luck in finding partners. Some sections with the Ai partner were a bit patience testing, given their passive nature and limited commands, but then Id get randomly paired up with a god on their fifth playthrough who'd hand me 300 bullets for the machine gun and absolutely tear mfers up with endgame weapons. Very funny to me as well, how certain doors and weights and stuff require the cooperation of chris and sheva because of course its too heavy for a guy whos built like a brick shithouse, he needs help from a small framed spinning instructor to move it.
That being said, its got its bright moments and thankfully the multiplayer aspect made the use of QTEs for custcenes impossible so it does have that over RE4. In all honesty, its not an AWFUL game gameplay wise. There are a few levels which are quite striking visually, namely the temple areas and the faster arcadey nature of it all makes it not better but different to the pace of RE4. The implementation of a cover system and gun wielding zombies is as stupid and unwelcome as you'd expect, and the smoking gun for me that the island in RE4 is not only the worst part of that game but an incredibly ill omen of things to come for the franchise.
I suppose I should mention the elephant in the room : the game is set in "Africa". Not very specific where in Africa except the locals speak French so theres about 20 countries that could apply to. The spectre of the war on terror looms large as the intro depicts an american leading a counter terrorism operation and soon we see Akihiko from Persona 3 doing an arab accent get executed by frenzied locals riled up by a preacher. And sure, like in re4 the reason for it all is a parasitic infestation but the visual language of the game borrows a lot from contemporary wars that its hard to miss. There are heroic black characters like Sheva and her captain buddy but they seem there more as a pre emptive defense at criticism.
Admittedly, considering the state of AAA games at the time, RE5 is not THAT much more racist that the other shooters about doing imperialism in thr global south; that is until you get to the chapter where the enemies are all black people wearing grass skirts and chucking spears at you. And im sorry but zombie or no zombie, that sequence made me surprised to find out that Rudyard Kipling's ghost didnt have a writing credit in the game.
Smarter and more personally invested people than me have already talked about this aspect so I won't go much deeper into it except to say that its an odd obsession with studios who thrive on schlock and silliness to try to delve into more serious or thorny subjects that they are not equipped to handle.
Its hard to avoid noticing the main two things which jump at you when playing re5, namely that its RE4 but not as good and more racist. Asset reuse is fine, honestly, even mechanics recycled from re4 arent unwelcome but its the rehashing of re4 set pieces whilst doing them worse that lets re5 down. Similarly, the ingenious inventory management mechanic of the RE4 attache case : equal parts survival horror resource management and tetris space allocation is replaced by a dull 3×3 grid whose ultimate depth involves exchanging shit to your ai partner to reload a weapon before exchanging it right back.
The multiplayer aspect makes re5 have kind of an absurd difficulty curve based on your luck in finding partners. Some sections with the Ai partner were a bit patience testing, given their passive nature and limited commands, but then Id get randomly paired up with a god on their fifth playthrough who'd hand me 300 bullets for the machine gun and absolutely tear mfers up with endgame weapons. Very funny to me as well, how certain doors and weights and stuff require the cooperation of chris and sheva because of course its too heavy for a guy whos built like a brick shithouse, he needs help from a small framed spinning instructor to move it.
That being said, its got its bright moments and thankfully the multiplayer aspect made the use of QTEs for custcenes impossible so it does have that over RE4. In all honesty, its not an AWFUL game gameplay wise. There are a few levels which are quite striking visually, namely the temple areas and the faster arcadey nature of it all makes it not better but different to the pace of RE4. The implementation of a cover system and gun wielding zombies is as stupid and unwelcome as you'd expect, and the smoking gun for me that the island in RE4 is not only the worst part of that game but an incredibly ill omen of things to come for the franchise.
I suppose I should mention the elephant in the room : the game is set in "Africa". Not very specific where in Africa except the locals speak French so theres about 20 countries that could apply to. The spectre of the war on terror looms large as the intro depicts an american leading a counter terrorism operation and soon we see Akihiko from Persona 3 doing an arab accent get executed by frenzied locals riled up by a preacher. And sure, like in re4 the reason for it all is a parasitic infestation but the visual language of the game borrows a lot from contemporary wars that its hard to miss. There are heroic black characters like Sheva and her captain buddy but they seem there more as a pre emptive defense at criticism.
Admittedly, considering the state of AAA games at the time, RE5 is not THAT much more racist that the other shooters about doing imperialism in thr global south; that is until you get to the chapter where the enemies are all black people wearing grass skirts and chucking spears at you. And im sorry but zombie or no zombie, that sequence made me surprised to find out that Rudyard Kipling's ghost didnt have a writing credit in the game.
Smarter and more personally invested people than me have already talked about this aspect so I won't go much deeper into it except to say that its an odd obsession with studios who thrive on schlock and silliness to try to delve into more serious or thorny subjects that they are not equipped to handle.
It's fine.
When folks decry Super for being a blasphemous take on the tried-and-true formula of Classicvania with it's eight-directional whipping, they're absolutely justified in their thought. It takes away the strategical element that made us love the thinking person's aspect behind the careful movement. An entire sub-system becomes a complete afterthought, with them only being convenient at hyper-specific instances rather than something that was there to truly compliment our whipping prowess to help with entire courses and encounters. Taking a death becomes less threatening as losing a sub-weapon essentially turns into a very minor slap on the wrist at worst, as an empty sub-weapon box may as well had been what it felt like the entire time we had been playing.
It's an ordeal that can't be simply ignored in a self-imposed challenge like the charged mega buster in every NES era Mega Man past the third game, and you're left with Simon being able to skillfully twirl his whip better than any other Belmont before or after him. Perhaps Simon was always meant to be presented as the most headstrong and bullish of the family? Characterization through mechanics? It remains to be seen if that was the intent, or if it was supposed to be an "evolution". An evolution that no doubt would've made this entry an even bigger target of contempt, especially if the stage design would continue to fail to compliment the new system beyond smattering a few bats flying down from odd angles, and if we could still easily thwart Axe Armors from below the floor they're standing on. Luckily for all of us however, this would be the only time such a new take would be used, and instead of being a deplorable turning point for the series, it is in fact unique and now it's own experience.
A retelling of the original that shows Simon's entire journey from beyond Devil's Castle, braving the horrors that crept from the onset of the horrid manifestation of Dracula's power within what was once a peaceful forest accompanied by strings of a violin within a purple and grey console. A walk through the caves with beautiful woodwind arrangements, and mesmerizing illusions brought upon by the seventh mode conjured by unknown forces presumably under the control of the dark lord himself. The approach to familiar scenery from the beginning of our original story of the legendary quest partnered by intimidating percussion for nightmares to come. We make our way through the retold portions of Simon's tale, and upon completion hear echoes of our past one last time before we must move on to beginnings of a new generation. The slow haunting keys of an organ cue the entry of Dracula to the main stage. Simon's Theme of which signaled the entrance of the hero at the very start, returns once again at the final moment the Count is nearing his defeat to build the audience's tension to the epic conclusion of the adventure. The orchestra plays to the agonizing death of the villain, and rings in daylight's victory over the darkness.
The fabled saga, retold and reimagined with added flare of chilling drama and suspense. Not to replace the original, but to remember it through a more cinematic lens. Forever immortal.
When folks decry Super for being a blasphemous take on the tried-and-true formula of Classicvania with it's eight-directional whipping, they're absolutely justified in their thought. It takes away the strategical element that made us love the thinking person's aspect behind the careful movement. An entire sub-system becomes a complete afterthought, with them only being convenient at hyper-specific instances rather than something that was there to truly compliment our whipping prowess to help with entire courses and encounters. Taking a death becomes less threatening as losing a sub-weapon essentially turns into a very minor slap on the wrist at worst, as an empty sub-weapon box may as well had been what it felt like the entire time we had been playing.
It's an ordeal that can't be simply ignored in a self-imposed challenge like the charged mega buster in every NES era Mega Man past the third game, and you're left with Simon being able to skillfully twirl his whip better than any other Belmont before or after him. Perhaps Simon was always meant to be presented as the most headstrong and bullish of the family? Characterization through mechanics? It remains to be seen if that was the intent, or if it was supposed to be an "evolution". An evolution that no doubt would've made this entry an even bigger target of contempt, especially if the stage design would continue to fail to compliment the new system beyond smattering a few bats flying down from odd angles, and if we could still easily thwart Axe Armors from below the floor they're standing on. Luckily for all of us however, this would be the only time such a new take would be used, and instead of being a deplorable turning point for the series, it is in fact unique and now it's own experience.
A retelling of the original that shows Simon's entire journey from beyond Devil's Castle, braving the horrors that crept from the onset of the horrid manifestation of Dracula's power within what was once a peaceful forest accompanied by strings of a violin within a purple and grey console. A walk through the caves with beautiful woodwind arrangements, and mesmerizing illusions brought upon by the seventh mode conjured by unknown forces presumably under the control of the dark lord himself. The approach to familiar scenery from the beginning of our original story of the legendary quest partnered by intimidating percussion for nightmares to come. We make our way through the retold portions of Simon's tale, and upon completion hear echoes of our past one last time before we must move on to beginnings of a new generation. The slow haunting keys of an organ cue the entry of Dracula to the main stage. Simon's Theme of which signaled the entrance of the hero at the very start, returns once again at the final moment the Count is nearing his defeat to build the audience's tension to the epic conclusion of the adventure. The orchestra plays to the agonizing death of the villain, and rings in daylight's victory over the darkness.
The fabled saga, retold and reimagined with added flare of chilling drama and suspense. Not to replace the original, but to remember it through a more cinematic lens. Forever immortal.
Veredito: O fliperama ideal para quem gosta de dirigir.
Outrun é EXATAMENTE como eu imagino a tara por dirigir. Não sou aficcionado pelo assunto (sei nem diferenciar um Palio de um Clio, falo logo), meu negócio é transporte público e bicicleta/skate, mas gostei bastante de Outrun, mesmo não sendo o público-alvo. Ele passa exatamente a sensação que, imagino, os aficcionados por carros tenham numa rodovia livre, ainda mais nos anos 1980 que é quando ele lançou: velocidade, uma garota bonita do lado, vento batendo no cabelo, passando por várias paisagens diferentes e com aquela sensação de liberdade.
Na verdade, gostei tanto que adoraria que tivesse uma máquina de Outrun perto de casa, porque ele é um EXCELENTE jogo de fliperama. O espírito arcade está em todo canto, e é muito bem feitinho: a vontade de quebrar recordes, de competir com os amigos por um espaço no quadro de pontos, a sensação de "cheguei QUASE lá, na próxima eu consigo!" a cada derrota. É sério, fico tristão desses fliperamas BONS PRA CACETE não existirem mais por aí só porque são velhos. Não é um jogo de corrida como estamos acostumados, você não tem que correr contra ninguém. Só contra o relógio. Consiga chegar a tempo nos 5 checkpoints do jogo, em qualquer caminho que você escolher, e você zera.
Acredite, é mais difícil do que parece. Mas nunca é injusto.
Outrun é EXATAMENTE como eu imagino a tara por dirigir. Não sou aficcionado pelo assunto (sei nem diferenciar um Palio de um Clio, falo logo), meu negócio é transporte público e bicicleta/skate, mas gostei bastante de Outrun, mesmo não sendo o público-alvo. Ele passa exatamente a sensação que, imagino, os aficcionados por carros tenham numa rodovia livre, ainda mais nos anos 1980 que é quando ele lançou: velocidade, uma garota bonita do lado, vento batendo no cabelo, passando por várias paisagens diferentes e com aquela sensação de liberdade.
Na verdade, gostei tanto que adoraria que tivesse uma máquina de Outrun perto de casa, porque ele é um EXCELENTE jogo de fliperama. O espírito arcade está em todo canto, e é muito bem feitinho: a vontade de quebrar recordes, de competir com os amigos por um espaço no quadro de pontos, a sensação de "cheguei QUASE lá, na próxima eu consigo!" a cada derrota. É sério, fico tristão desses fliperamas BONS PRA CACETE não existirem mais por aí só porque são velhos. Não é um jogo de corrida como estamos acostumados, você não tem que correr contra ninguém. Só contra o relógio. Consiga chegar a tempo nos 5 checkpoints do jogo, em qualquer caminho que você escolher, e você zera.
Acredite, é mais difícil do que parece. Mas nunca é injusto.
one of the most positive games i have ever played. it's all about the beauty in the simpler things in life, and i absolutely love it. i love the writing, i love the world, it's really great.
List of mods I used available on my pastebin post here. I should also note that “Mastered” in my case means getting all the achievements, leaving out a handful of Thieves Den Awards that become active or otherwise easier to nab in NG+.
For an RPG I heavily played well over a month, fresh and pampered from revisiting Persona 3 in its original and remade form prior, as well as the hot button topic it’s become over the years, you'd expect I'd have a lot to say about Persona 5 Royal. Well... I don't, really. All I can think about in my sleep deprived state is how my 200+ hour venture - and that's generously ignoring inflated idle times Steam's counter acclimates - is how woefully underwhelming the package was save for a few bright spots, and how dispassionately apathetic I became after finally finishing and scouring out for the light.
It’s funny I mentioned my time investment a bit off the heels of a discord within FF7 Rebirth’s activities and planning, cause it should be mentioned (and emphasized) that it’s actually pretty easy to focus and fine-tune your palette into whatever it is you desire. No one except yourself, and perhaps foolish pride, is forcing you to do all of those activities after all, unless they’re particularly easy to nab off the beaten path. That is, of course, neglecting the key component: the focal point where all points are stitched and huddled around, an area P5R constantly falters over. Already saw a flashback sequence? Fret not, you’re gonna be subjugated to it not 10 minutes after. Got a good grasp of the ongoings of the story, be it by themes or event details? Alright, but you’re gonna have to bear the condescending attitude as you watch the character(s) exposit these things anyway. Grew a form of investment over a beat and how it unfolds before and during the main show? Slow your roll there bucko, you haven’t heard about the overly unnecessary and outright damaging undercurrent that ruins it! Sure, it sounds like hyperbole, and as you go along many of these detriments are either quelled or nulled, but it doesn’t change the fact that they’re present, nor does it alleviate their weight of bloat and the meekish presentation of what are honestly some pretty simple themes. The fact it took my entire first session of play to get to the initial true Free Time event on the 18th, whereas P3 - both versions, might I add - give me that freedom within just a few short hours and P4 just about half of this, is appalling.
The writing woes extend to the Phantom Thieves themselves, which I suppose isn’t a Hot Take or anything since there’s been a bit of a debate surrounding them over the years. To dispel some common points, I don’t believe the notion that they are “centered” around Joker - on the contrary, not only is this running along the recurring theme of “kinship through displacement”, there’s already a bit of an established line between Ann and Ryuji, Futaba and Sojiro, and, though faint and dubious, Makoto and Haru. As a group, there’s a rather believable sense of friendship and camaraderie developed and finalized throughout the course of the story amidst the hustle and bustle of urban civilization, which is a bit of a surprise since I was pessimistically expecting the opposite. What did come true, unfortunately, is the lack of individualism and the expression that's delivered from it. The handling of Ann and Haru are criticized enough that I don’t think I can add anything to the former’s blobby mold of an archetype and hypocritical implementation of her supposed freedom of self-expression, and the latter’s seed of growth taken away due to the already mentioned bloat plaguing the game; same with Ryuji and how his (great) Social Link about reliance on others and strength through teamwork is routinely undermined by him being treated as a joke within the main cutscenes. Futaba is ostensibly headcanoned as one under the Autism umbrella, and while the intent is competently delivered and well-handled, the amount of #GAMER allusions are poor and clumsily handled, leading to a bumpy state of her psyche. Yusuke, who’s SL arc revolves around the dichotomy of man and their drive of passion within the hobbyist and professional mindset, is often treated as The Quirky Oddball One of the group with superficial understanding as to what art is since they did this like, twice before I guess and believed third time is truly the charm, which is also why they made Morgana have the same arc as Teddie and Aigis but without any of the things that made those two compelling. Of the group, Makoto is the one with the fewest weights holding her down; her arc is straightforward, explored to its fullest in her SL with little downplay within the narrative, and her importance in the group is always front and center. Her straight-edge nature can be too plain at times, granted, as are her connecting points regarding resolve and resolution, but compared to everyone else? It’s way easier to swallow. To reiterate, however, my main issue isn’t with the characters themselves, honestly I only truly despise Morgana and his obnoxious (albeit small in intensity) demeanor - it’s just kind of hard to truly feel connected with the group when the game seems to treat them more so as dolls for amusement than actual people, something even P4 never fully succumbed to during its outing.
I kind of wish I had more to say, really, cause it’s not as if I totally hate P5R or anything. There’s some good bits in here, like the full exploration of escapism as a theme finally being done here thanks to the “Royal” part of the game desperately giving the endgame a sense of closure, some of the non-essential confidants like Hifumi, Mishima, Chihaya and Yoshida being great to explore despite the drawbacks, and the superbosses being a fair bit of fun to go over. But, like, I’m not really sure what more I can add unfortunately. I’d sort of just be repeating common talking points and, compounded by the fact I’m facing burnout from both writing and my aforementioned time allocation, it just feels fruitless to go over? Like I don’t want to be the umpteenth mouthpiece going over how ridiculously easy this game is even excluding Merciless’ baffling(ly hilarious) modifiers pertaining to player favor and the constricted dungeon design making it so that ambushes are a rare, if ever present, occurrence one can face, cause everyone already discussed that. Did you know that, even in the original team, there were some Etrian Odyssey battle planners? Really makes me wonder how the hell it ended up so milquetoast in engagement, dungeon layout, and the us v them nature of gameplay routing when EO1’s first two stratums already had more going on. It’s also why I’m hardpressed to mention my adoration with Third Semester, cause I can’t quite word it in a way that isn’t already brought up by the people, what with Maruki, Akechi, and Kasumi being the ethos, pathos, and logos of Joker’s - and by principle, Yuki and Narukami’s - Wild Card slot and the reflection they face should his life be altered ever so slightly. I dunno man, it’s like… expansion aside, this is the RPG that got a lot of people into the genre now? The Atlus mega-hit? I’m a lot cooler on the problems than others seem to be, and I wouldn’t cynically berate others over this cause that’s stupid and rude, but it does leave me scratching my head and wondering what else I had missed in my long, long journey as an urbanite Fool.
For an RPG I heavily played well over a month, fresh and pampered from revisiting Persona 3 in its original and remade form prior, as well as the hot button topic it’s become over the years, you'd expect I'd have a lot to say about Persona 5 Royal. Well... I don't, really. All I can think about in my sleep deprived state is how my 200+ hour venture - and that's generously ignoring inflated idle times Steam's counter acclimates - is how woefully underwhelming the package was save for a few bright spots, and how dispassionately apathetic I became after finally finishing and scouring out for the light.
It’s funny I mentioned my time investment a bit off the heels of a discord within FF7 Rebirth’s activities and planning, cause it should be mentioned (and emphasized) that it’s actually pretty easy to focus and fine-tune your palette into whatever it is you desire. No one except yourself, and perhaps foolish pride, is forcing you to do all of those activities after all, unless they’re particularly easy to nab off the beaten path. That is, of course, neglecting the key component: the focal point where all points are stitched and huddled around, an area P5R constantly falters over. Already saw a flashback sequence? Fret not, you’re gonna be subjugated to it not 10 minutes after. Got a good grasp of the ongoings of the story, be it by themes or event details? Alright, but you’re gonna have to bear the condescending attitude as you watch the character(s) exposit these things anyway. Grew a form of investment over a beat and how it unfolds before and during the main show? Slow your roll there bucko, you haven’t heard about the overly unnecessary and outright damaging undercurrent that ruins it! Sure, it sounds like hyperbole, and as you go along many of these detriments are either quelled or nulled, but it doesn’t change the fact that they’re present, nor does it alleviate their weight of bloat and the meekish presentation of what are honestly some pretty simple themes. The fact it took my entire first session of play to get to the initial true Free Time event on the 18th, whereas P3 - both versions, might I add - give me that freedom within just a few short hours and P4 just about half of this, is appalling.
The writing woes extend to the Phantom Thieves themselves, which I suppose isn’t a Hot Take or anything since there’s been a bit of a debate surrounding them over the years. To dispel some common points, I don’t believe the notion that they are “centered” around Joker - on the contrary, not only is this running along the recurring theme of “kinship through displacement”, there’s already a bit of an established line between Ann and Ryuji, Futaba and Sojiro, and, though faint and dubious, Makoto and Haru. As a group, there’s a rather believable sense of friendship and camaraderie developed and finalized throughout the course of the story amidst the hustle and bustle of urban civilization, which is a bit of a surprise since I was pessimistically expecting the opposite. What did come true, unfortunately, is the lack of individualism and the expression that's delivered from it. The handling of Ann and Haru are criticized enough that I don’t think I can add anything to the former’s blobby mold of an archetype and hypocritical implementation of her supposed freedom of self-expression, and the latter’s seed of growth taken away due to the already mentioned bloat plaguing the game; same with Ryuji and how his (great) Social Link about reliance on others and strength through teamwork is routinely undermined by him being treated as a joke within the main cutscenes. Futaba is ostensibly headcanoned as one under the Autism umbrella, and while the intent is competently delivered and well-handled, the amount of #GAMER allusions are poor and clumsily handled, leading to a bumpy state of her psyche. Yusuke, who’s SL arc revolves around the dichotomy of man and their drive of passion within the hobbyist and professional mindset, is often treated as The Quirky Oddball One of the group with superficial understanding as to what art is since they did this like, twice before I guess and believed third time is truly the charm, which is also why they made Morgana have the same arc as Teddie and Aigis but without any of the things that made those two compelling. Of the group, Makoto is the one with the fewest weights holding her down; her arc is straightforward, explored to its fullest in her SL with little downplay within the narrative, and her importance in the group is always front and center. Her straight-edge nature can be too plain at times, granted, as are her connecting points regarding resolve and resolution, but compared to everyone else? It’s way easier to swallow. To reiterate, however, my main issue isn’t with the characters themselves, honestly I only truly despise Morgana and his obnoxious (albeit small in intensity) demeanor - it’s just kind of hard to truly feel connected with the group when the game seems to treat them more so as dolls for amusement than actual people, something even P4 never fully succumbed to during its outing.
I kind of wish I had more to say, really, cause it’s not as if I totally hate P5R or anything. There’s some good bits in here, like the full exploration of escapism as a theme finally being done here thanks to the “Royal” part of the game desperately giving the endgame a sense of closure, some of the non-essential confidants like Hifumi, Mishima, Chihaya and Yoshida being great to explore despite the drawbacks, and the superbosses being a fair bit of fun to go over. But, like, I’m not really sure what more I can add unfortunately. I’d sort of just be repeating common talking points and, compounded by the fact I’m facing burnout from both writing and my aforementioned time allocation, it just feels fruitless to go over? Like I don’t want to be the umpteenth mouthpiece going over how ridiculously easy this game is even excluding Merciless’ baffling(ly hilarious) modifiers pertaining to player favor and the constricted dungeon design making it so that ambushes are a rare, if ever present, occurrence one can face, cause everyone already discussed that. Did you know that, even in the original team, there were some Etrian Odyssey battle planners? Really makes me wonder how the hell it ended up so milquetoast in engagement, dungeon layout, and the us v them nature of gameplay routing when EO1’s first two stratums already had more going on. It’s also why I’m hardpressed to mention my adoration with Third Semester, cause I can’t quite word it in a way that isn’t already brought up by the people, what with Maruki, Akechi, and Kasumi being the ethos, pathos, and logos of Joker’s - and by principle, Yuki and Narukami’s - Wild Card slot and the reflection they face should his life be altered ever so slightly. I dunno man, it’s like… expansion aside, this is the RPG that got a lot of people into the genre now? The Atlus mega-hit? I’m a lot cooler on the problems than others seem to be, and I wouldn’t cynically berate others over this cause that’s stupid and rude, but it does leave me scratching my head and wondering what else I had missed in my long, long journey as an urbanite Fool.
One of the more under-appreciated mascots of the 16-bit era. Rocket Knight Adventures feels like it was crafted with love, being one of the best looking games on the Sega Genesis.
An action platformer with a rocket boost mechanic, the game feels like Donkey Kong Country with the ability to shoot out of a blast barrel at will. Absolutely satisfying gameplay and Konami knocked it out of the park on their first try.
Difficulty is hard but fair. If you play with unlimited continues, the challenge level is somewhere around the challenge of a souls game, maybe a little easier. Bosses are easily the best part of the game.
I remember being super impressed by all the setpieces in this game, and now having finished the game, the setpieces absolutely do not slow down until the credits roll. Quite impressive again for a Genesis tile. Pls bring this boy back Konami.
An action platformer with a rocket boost mechanic, the game feels like Donkey Kong Country with the ability to shoot out of a blast barrel at will. Absolutely satisfying gameplay and Konami knocked it out of the park on their first try.
Difficulty is hard but fair. If you play with unlimited continues, the challenge level is somewhere around the challenge of a souls game, maybe a little easier. Bosses are easily the best part of the game.
I remember being super impressed by all the setpieces in this game, and now having finished the game, the setpieces absolutely do not slow down until the credits roll. Quite impressive again for a Genesis tile. Pls bring this boy back Konami.