This is basically only a review of the main campaign, as I haven't done all the side content and I'm not done with all the dlc, but still

I Don't Know Man
The game itself is fun don't get me wrong, but I have so many problems with the way it engages in anything that isn't gameplay
Speaking of gameplay, I think the game feel of this game is pretty much a perfect translation of the combat in the original game. Not having any hitscan and having so much spread really works towards capturing that feel of only having 40% hit rate at level 1, I genuinely do adore it
But that's just with the shooting. The RPG aspects? Severely undercooked in my opinion
I don't like how skills work when it comes to passing checks, in the world and in dialogue, I wouldn't call it lazy but I just don't think it really makes your build matter in any way
The only times I've felt like my skillset actually mattered outside of shooting was whenever the rare SPEECH check showed up or a SCIENCE check all the way near the ending

And speaking of lackluster dialogue, there is such a shortage of it all thorough the game. This is not me speaking about the main story because sure you do talk a lot, but in the overall world. You will basically never find someone to talk to on the wasteland or in 80% of the locations. They have unique NPCs but they're always hostile the moment they see you, and you only get to learn through them through flavor text. I found it grating and extremely underwhelming. Sure you can speak to NPCs on main towns but it's never really deep, just your basic interactions with a few exceptions.

The sidequests I've done were pretty good at least, definitely worth going through.

Now, about that main story. On paper I think it's fine, if maybe a bit tired. Not much of it is original, hell even the Enclave is pretty much the same as in FO2 with a little twist. But again, on paper, the things about project Purity and your father are Fine, just okay. Some aspects of it are super lazy and I wish were waaay more delved into. A personal grip of mine is how they handle Super Mutants, they're just there, they're enemies for you to kill. And that leads to my major issue with this game, the execution. This game sets you out to kill stuff, and then you kill stuff, maybe you talk but then they take away input from you and make you kill stuff. Many story beats are forced on you and have no other outcome, you shoot stuff all the way to the ending and then you're done. It's tiring, it fails at being an RPG, it ends up feeling like a shooter that wants to be deeper but ultimately fails. I might be a bit too harsh but the last few hours of the story really drained me of good will to it. And don't get me started on the run towards the ending area, just absolutely key jingling with no real substance to it. Just tiring
Most of the content on the map is the same. You find place, place has enemies, you shoot enemies and you loot place. Rinse and repeat.

It's a fun game, but it's just missing a lot of stuff and did a lot to make me either irritated or angry.


And now that I've gotten all the hate out of my system I'm probably going to 100% the map and do all the DLCs because what even is shame

"oh but the speed stages are too easy and badly designed and control poorly"

"oh but the shooting stages are slower than in sonic adventure 1"

"the treasure hunting stages are lackluster and underdeveloped in comparison to the other two kinds of missions at best, and overly convoluted and artificially difficult at worst"

you know, in my quest to 100% this game for the first time in my 22-year sonic adventure 2 career, i was worried i'd ruined the magic of the game for myself. mastering this game is grueling, man. it's one of the most tedious, difficult, and demanding collect-a-thons ever made, and after a certain point the cracks in the foundation of the basic game design begins to show as sonic adventure 2 begins to burst under the weight of its own ambition. there are only so many times you can handle playing the same set of missions over the same set of levels clearly not designed around them before you start to feel a little wearied, you feel me?

but i think my saving grace was the fact that i opted to gather all of the mission emblems before i actually completed the main story. after getting every A-rank from city escape all the way to final chase, i strapped right back in to the last story and let it enfold me. it's kind of funny how a lot of the things i cherished heavily at one point due to nostalgia vision and their impact on me lose their luster when i revisit them - sonic adventure 1 itself isn't immune to this, nor are other contemporary classics like half-life 2 or the original bioshock that were equally impactful on me - but nope, sonic adventure 2 still makes me feel like i'm standing on the fucking ceiling every time i strap in and let the main campaign take me. i mean, sure, the game is strongest as a 5-hour tour de force where it can showcase the strengths of its perfected gameplay loops without having to stretch them thin over a bevy of tasks not suited to them, and a few of the levels actively work against what the game's mission statement is... but what does any of that matter in the long run when sonic adventure 2 is simply the coolest game ever made?

by june 2001, the writing wasn't even on the wall anymore - the wall had actively been blown the fuck down by a monolithic black juggernaut sent by sony to wipe the floor with any and all competitors. the dreamcast had already been discontinued in march after a less-than-three-year lifespan, and with sega's transition into exclusively third-party software development the future of the company and its individual identity was cast into utmost obfuscation. it would be all too easy to just bow your head and duck out quietly here, but sonic team didn't seem content to just sit there and take it. if they were gonna sink, they must have planned on going down with the ship, because sonic adventure 2 is a masterclass in confidence - narratively and mechanically this is the best game that they ever made, and it knows it.

i think i could make an easy case for sonic adventure 2's complexity and depth if i compared it to devil may cry 3 (a game which has a lot of story and stylistic parallels to sonic adventure 2 as well... hmmmm): it's easy to waffle your way through each level and just keep going after you stumble, keeping a skill ceiling just low enough that you don't drown in the insane amount of shit going on... but part of the reason why sonic adventure 2 has such a reputation for its insane 100% status is because playing sonic adventure 2 well takes a lot of skill, practice, and willingness to learn. between the points system actively rewarding stylish gameplay and optimizing the living hell out of every second of your run, the fact that even one mess-up can potentially mean a restart, be it due to failing to maximize your point accumilation or (even worse) dying and starting with 0 points from whatever checkpoint you'd hit before that point. granted, many of the missions actively work against this design philosophy (especially since the same set of 5 missions is copy-and-pasted onto probably 95% of the stages, regardless of genre or level design), but when it hits? you get what you put into it. i've been eking away at sonic frontiers for the past sixth months or so, and it's perpetually perplexing to me that they apparently still don't know how to make sonic control well when they got it right twenty-three years ago. i'm starting to think we'll never get platforming levels like metal harbor or final chase ever again, or even the utterly deranged examples set by cosmic wall and mad space...

all right. sit the fuck down with your jututsu kaisens and your chainsaw mans and your my hero academias. bleach? one piece? dragon ball z? hell, fucking full metal alchemist (the indisputable GOAT in my opinion)? you all take notes too. this is the real shit, motherfuckers. REAL SHOUNEN. all killer, no filler. a series of picture-perfect Moments flawlessly interwoven together with just enough internal rhyme and reason to convince you to Go With It and not think about it too hard, all while having enough genuine substance and things to say for its children-and-teens audience to chew on. there's a reason that you hear people recite basically every cutscene in this game word for word during GDQ runs: everything from the iconic jungle clash between sonic and shadow to the mundane little moments like amy, knuckles and tails chilling on the side of the road just ooze style and personality, even when the story at hand is so boneheaded and numbskulled that you can't really get much out of it besides the raw adrenaline pumping through your veins. i even think the weird mo-cap on the anthro actors gives everything a lot of personality and charm, if only because this is the only time that sonic and co have felt like real people and genuine action heroes to me: it's little things like sonic assuming a cool guy fighting pose when he's about to square up with eggman, or the sheer cuntiness in rouge dangling above the eclipse cannon when introducing herself to eggman and shadow. sonic has always sort of had this reputation as being a silly scrimblo bimblo cartoon series, and it is that, but for one brilliant moment of clarity it commits to the bit and makes sonic actually as cool as he purports to be... and he's got enough swag that it actively rubs off on everyone and anything around him.

of course, this is maybe sonic the hedgehog's most controversial foray into genuine pathos... but i think everybody hams up the perceived "edginess" at the heart of the game without considering whether or not it's all in service of what the game ultimately has to say. sega knew that this would likely be their swan song, and the introspection and reflection littered throughout the script and reflection reflect that perfectly: sega was going out with a whimper after exploding onto the game scene with a bang, and the sort of questions the story poses reflects that perfectly. what happens when you're not who you thought you were, or when the people you define yourself by aren't who they thought you to be? the consistent anti-authoritarian throughline (sonic adventure 2 is an explicitly anti-police and anti-military game, and i'm not exaggerating even a little) reflects a willingness to distrust that which is portrayed as the unambiguous and untouchable good within our society. eggman's idolization of his grandfather is broken when he beholds dr. gerald's descent into wickedness, perhaps coming to understand his own lust for power and control as something less than the true tragic evil that now lives on through the blood in his veins. rouge's loyalty eventually yields not to her government benefactors or to her own selfish desires, but to her endearment to knuckles - an act which seems to even surprise herself by the end. hell, tails actually manages to make good on his "being independent from sonic" character arc from the previous game, considering that he breaks free from the mold of being a simple sidekick and is probably the single largest driving factor in the hero storyline from the moment sonic gets arrested for a second time.

last but most CERTAINLY not least, shadow the hedgehog's obfuscated memories and trauma-laden motivations all act to obscure and suppress the genuine kind heart and noble intentions he was born with and made for, perhaps being the embodiment of the game's study of and statements against the very concept of dualism. you would think that sonic's comparative lack of depth would make him stick out like a sore thumb here, but if anything i think this is the one and only example of that one-note characterization working to his favor: sonic simply is who he is, and his acceptance of his simple nature allows him to be who he is effortlessly without any kind of cognitive dissonance or baggage keeping him burdened to the past or anchored to laments about his present. he holds himself to no particular moral standard or self-image save for doing what he simply feels is appropriate at any given moment, his need for self-indulgence and going with his heart mercifully counter-balanced by the inherent purity of his character. shadow yields the title of "ultimate life form" to sonic not out of a recognition of his physical power or infalliability as a person, but because sonic's ideology is simply the way to be: unapologetically, violently, proudly yourself, unfettered to the artificial molds arbitrated your society, your past, or even your own everyday insecurities.

when i say sonic adventure 2 is one of the all-time top game narratives, i don't mean that it reaches the ideological potence of something like disco elysium or the inscrutable complexity of chrono cross, my personal favorite game narrative... i just mean that for the kind of thing it sets out to accomplish there's simply nothing better than it. crucially, to understand this the same logic applied to the main cast must be applied to sonic adventure 2 itself. yes, sonic the hedgehog is a silly series for silly children about silly cartoon animals... but if you look past that exterior and let go of all the pre-conceived notions you might have forged about what sonic apparently is, something special awaits you: the reality that sonic adventure 2, top to bottom, is one of the greatest games ever made.

"sonic had a rough transition into 3d"

cool, weird-ass game that proudly wears its status as sega flexing its shit on the previous gen right upon its sleeve. the monolithic status this game has in the fandom and the historical context of sonic as an entity is pretty interesting to me considering there really isn't that much to it - ten solid sonic levels and then little fragments that more or less exist to flaunt the possibilities of the dreamcast and what all sega was capable of at that point. i'm really endeared by games of this era that were chock full of weird side content and minigames just to show what the fresh hardware was capable of (final fantasy x also comes to mind), and sonic adventure is maybe nothing BUT that. combine that with its weird atmosphere and bizarre, campy writing and it fits right up there with the pantheon of Weird PSX JRPGs of '99.

speaking of writing - i was surprised on a playthrough how this game basically doesn't have a story so much as it has a bunch of isolated events that happen in proximity to one another in an arbitrary and sort of staggered fashion. sonic's story may be the main draw here in terms of gameplay (and clearly the star of the show in general; he's the only one of the stories you can't knock out in an hour tops) but it's also the story where pretty much nothing of note happens. honestly as cute as tails and amy's little mini-character-arcs are the only story worth writing home about here is gamma's, which i still find really poignant and thought-provoking even as an adult... something fatalistic and genuinely dark about this power-hour of pathos, even in comparison to the really dire places that sonic adventure 2's writings and greater themes go. honestly gamma's just the best part of the game in general, between his story, his variant of hot shelter easily being the best level in the game, and the boss fight against beta being one of the game's very best. kinda wish i cared for drakengard 3 at all because i would KILL for a version of his general plot pitch that's not written for children

can't help but feel like some of these little stories deserved a bit more time in the oven; gamma's shooting gameplay and knuckles' hunting were both eventually expanded upon in SA2 but i really like the "puzzle platformer where the female protagonist has to avoid a creepy stalker" idea with amy's gameplay and how tails' levels take sonic's ethos of playing as little of the level as possible to their natural extreme... such a shame their stories take about 11 minutes apiece to complete.

definitely not as polished, focused, effortless or full of finesse as sonic adventure 2, but honestly i don't think being less Good in one linear direction makes it Bad in the opposite linear direction either. sonic adventure is a strange, curious, funky little game, and it's lovely for it.

As someone who started with Like a Dragon 7, hearing from long-time fans that the series generally didn't focus on being all that interconnected despite having its overarching narrative blew my mind.
You're telling me they knocked it out of the park like this, in a way I've hardly ever seen before on essentially their first try? Holy shit dude. It's incredible.

Not only does it follow up on LaD7 incredibly well, by the time the protagonists split up and form their own parties, it manages to be such a fantastic love letter to Kiryu's entire journey as well.
And sure, this might seem like it doesn't mean much coming from someone who didn't witness any of it; but honestly, that's exactly what makes it so impressive for me.
Without feeling like an overblown or elongated trip down memory lane, it manages to make him reminisce about just about everything he's been through so damn well at such a critical point in his life that it left an impressively emotional impression despite me not having much knowledge of these events, because he's such a ridiculously charismatic character.
That blends into this game in many ways; even newly introduced characters have so much respect for his legacy that it shapes their entire story influence in ways you wouldn't expect, impressing you even further.
It making him this endearing for me already, I can't imagine how it'd be for long-time fans. Gotta be some of the most cathartic fanservice I've ever seen, and it's done so damn well.

Ichiban continues to be the absolute best aswell; the story starts off pretty slow and meticulously, focusing more on the two new party members, Tomizawa and Chitose; and the effect he has on them, much like with the original cast - is yet again colossal. He's the best, man. Nothing but good in his heart, and it makes you fall in love with him all over again.

The impact both of these characters have on the story is phenomenal, and this.. might just be the best implementation of dual protagonists I've ever seen? Genuinely can't think of any examples where it amazed me as much as this game did.
They're both so involved that it doesn't feel like either's ever left out, even when you're ping-ponging between two different parties. The stakes mean so much to both of them, and that's done so damn well. Really impressive stuff.
Much like LaD7 (and previous entries, I'm sure!), this game manages to balance the inherent goofiness this series love to have with an incredibly poignant and emotional story that I absolutely adore.

On a gameplay front, it's also a major improvement from it's predecessor - which is great to see. I didn't mind it's gameplay all that much, but it was definitely a little stiff and janky in some ways.
Adding movement during to turns to allow you to angle AoE attacks or group up with your party to get in range for buffs and healing is SUCH a welcome change. Not only that, it plays around with said movement options in a lot of fun ways - like adding combo attacks if you're close to teammates (both in bond levels and combat range), or back attacks that are guaranteed crits. It allows you to line up your abilities so much better, and gets you thinking what angle's best for your regular attacks too.
You can even knock back enemies towards allies and have them follow-up on it; so yeah, there's a lot to do with it and it adds so many layers to the combat as a whole. Makes for one of the most fun turn-based games I've ever played, honestly.

All that to say - this game is fucking incredible. Genuinely can't think of things that remotely bothered me during my playthrough, it's been such a blast.
As I mentioned, it is a bit on the slow side - but exploring Hawaii as the most endearingly goofy protagonist I've ever seen known as none other than Kasuga Ichiban more than makes up for that, so I didn't mind that at all myself.

I get the feeling there'll be plenty more Like a Dragon games in store for Ichiban even if Kiryu understandably bows out; and I'll be there for them no matter what. But man, I'm gonna be impressed if they ever manage to top this one for me.
It's such a fantastic story that implores you to live on, no matter how deplorable you think you or the world might be - because the only way you can change that is to keep going.
You'll always worry about things you can no longer change - you might regret them or be angry at yourself about them; that's life.
But as long as you keep going, life will always throw a few open doors your way.
And so I'll gladly do just that.

pretty solid as far as writing goes; characters are really charming and i think it's a neat little microcosm of what fallout as a series (that is to say, the proper trilogy of 1/2/NV) has always been trying to say. atmosphere is fantastic especially in the first half, they do a pretty impressive job of turning new vegas into a solid enough survival horror.

shit takes a harsh downturn once you get into the casino though; the puzzle-centric gameplay is really just one railroad after another of frustrating puzzles that aren't helped by the engine clearly not being predisposed towards that sort of gameplay... especially since one of the most clever ludonarrative tricks is so easily cheesed and bypassed