After being severely disappointed that I am presently unable to achievement whore in the System Shock remake due to technical difficulties, I decided to revisit the original, albeit with the un-enhanced control scheme this time. Oh boy, this is uh ... kinda not that fun. Especially on Combat 3. [Future Nilichi here: Skill Issue.]
Playing System Shock blind for the first time has a lot of value as a pure exploration and "pay-attention-to-every-piece-of-text" game. However now that I know where everything is, all that I'm left with for this 3,2,3,3 run is a lot of aggravation at obnoxious highly damaging and sometimes respawning hitscan enemies. I now see why this game only became a cult hit, it is actually physically painful to play in its unaltered DOS form. [FYI I actually had to reduce DOSBOX CPU cycle usage down to 40%, otherwise Shodan was invincible since her attack logic runs on a frame dependent timer.]

Anyway this has been a wonderful refresher on how Immersive Sim design principles can be implemented outside of an ARPG context. Believe it or not there are multiple solutions to many of the roadblocks ahead. I realized after I spent far too long on the first mastermind-wire-puzzle that I could have just used my sprinting velocity off of some ramped geometry to clear a pit. Though what I find more interesting is how ammunition management and player movement are handled. Your avatar can lean, crouch, and go prone. Which you're expected to make use of to minimize your hitbox to RNG your way through encounters. Firearms often accept multiple different types of ammunition, and loading is handled by physically moving the mouse around. You're still just clicking buttons in a UI, but this small change leads to a much greater sense of physicality for your actions.
Grenades, finnicky as they are, effectively require you to reach into your inventory and then manually toss them one at a time.
While System Shock doesn't have as many obviously abuseable player abilities that facilitate a higher degree of emergent problem solving as in its descendants, the base philosophy of providing the player with a toolset to forge their own path forwards is very much present here. The simulationist and immersion focused mindset that guided LGS are clear in how players are expected to piece together their objectives from scattered audio logs, loose pieces of paper, and the occasional email beamed into their cranium. Dropped items persist throughout level transitions and corpses linger. Actually come to think of it, with the way resource management is handled along with the pacing of combat, this is a Survival Horror game from before Survival Horror was called Survival Horror.

My main issues really are how clumsy it can feel to actually use the QWERTASDFGZXCVB movement bindings to direct the Hacker. Yes that is actually what they're using by default instead of WASD or ESDF. It's an extension of SZXC, with keys for turning, leaning, angling, and recentering the main view, along with height-stance control, all arranged to be within reach of the left hand. Honestly if I could look up and down with the mouse wheel it probably wouldn't even be that bad. I think you can actually rebind the keys in dosbox, but I'm here to suffer.

Second main issue, which is shared with Enhanced Edition, is how this is yet another game with an inverse difficulty curve ... kinda. The regeneration bays, they're unlockable vita chambers. Or rather vita chambers and all "checkpoints-that-respawn-you-with-all-defeated-and-damaged-enemies-persisting" descend from System Shock regen bays. Anyway this allows for the developers to expect you to deal with some incredibly dickish hitscan ambushes. I must have played SSEE on combat level 2 for my first run, because holy shit this is brutal. The Reactor is especially obnoxious. I can see how to trivialize it in hindsight by grabbing equipment around the station in a certain order, but there's a real chance that first time players will have an awful time down there. Now, I think this design is kinda interesting when you're trying to beat the 7hr time limit, and first time players can experience the novelty of being able to explore more of the station after bruteforcing the encounters with the regen bays online. However for people that already know the general layout of the game very well, I've found it rapidly devolves into frustrating tedium. There's also some weird hitbox jank that's a lot more noticeable to me now. Melee seems to be affected by how you angle your view, which is ... weird.

About audio in this version of System Shock; unless I'm mistaken, there have been less abrasive tones than in the Enhanced Edition. Something that really stands out to me with the mixing is that large mechanical doors and moving platforms feel too loud. I think the DOS version of the soundtrack sounds slightly nicer than in enhanced edition by default for some reason, but I'm not sure. The adaptive score can be rather harsh depending on how the MIDI messages are being interpreted but here they've been quite nice.

Anyway this game is fundamentally really cool and should be played by all hardcore PC addicts, but esoteric UX prevents making a general recommendation.

We don't talk about the autobomb maze.

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The 1.2 update is a fucking disgrace. Nightdive delayed the release of the update by several months to coincide with some console bullshit, and it turns out the PC version of 1.2 wasn't even fit to be shipped as evidenced by the fact that the game is now even buggier than before. They stated this update was done MONTHS ago. I guess all those months weren't long enough to do any QA.
All previous saves are now broken. Dropping the default melee pipe can allegedly crash the game. HUD opacity is broken. Key rebinding access is still only partially provided. All GOG achievements are broken. Access to the builds required to revert to a previous version in GOG Galaxy has been REMOVED for some unknowable reason. Cutscene subtitles disregard user configuration. And to top it all off I've heard that the revamped Shodan fight which was terrible at release is now somehow even worse. I wouldn't be surprised if the random crashes that drove me to give up my last 3,3,3,3 run are still in the game.
Great fucking work Nightdive. Both Steam and GOG forums are full of threads complaining about bugs.
- - - - -
I want to love the remake but it's riddled with so many small irritations, both technical and tonal, and coupled with Nightdive's scummy behavior in the years leading up to the release that my view of the project is repeatedly soured. The remake is so frustratingly close to being excellent.
- - -
Yeah the new Shodan fight is fucking terrible.
Bugs I ran into in this playthrough:
Vaporize All hotkey vaporizes scrap.
Z-fighting on elevators during transitions.
Enemy giblets frequently display graphical errors.
HUD Opacity cannot be configured.
Cutscene subtitles cannot be disabled.
Map markers cannot be placed.
Camera map icons sometimes persist on the minimap after camera destruction.
Damage sound effect from getting hit by a plant mutant's attack persisted until I reloaded from the title screen.
The Executive level railgun disappeared as I picked it up. The interstitial animation played out, but there was no visible model of the weapon. The railgun was nowhere to be found thereafter. Eventually I was able to acquire one of the later instances of a railgun, but this still isn't something that should have happened.

Improvements:
The level 7 trap finally kills the player after all this time.
That's it. That's the only improvement after a year.
You know what, since all achievements are currently bugged, I'm not even going to suffer through the 1.2 Shodan fight. They had a year to implement a healthbar and post boss monologue autosave. Yet somehow failed to realize how crucial such features are. For reference, the current 1.2 final boss is a long enemy gauntlet where you only have access to one shitty weapon at a time and cannot see your healthbar. There are no checkpoints. There are no health pickups. It is long. It is boring. I'm not willing to waste any more of my time on this shit that is somehow worse than the 1994 Shodan encounter. I'm marking this as done.

hell yeah.



or, alternatively:

i've always had an admiration for kusoge. when i was 12 and i played spelunker, something unearthed in me. a realization that, games don't need to have smooth controls to be fun. games don't even need to be fun to be fun. games don't even need to be good to be good.
i don't remember if i was 12 or 13 when i decided that, somehow, hong kong '97 was my favorite game of all time. i had not played it at that point but all of its parts combined formed a very compelling case for it in my head. the mind-numblingly repetitive song, the backgrounds, the politics. it was a bad game that didn't take itself seriously but at the same time did with its political theme that was by no means Metal Gear Solid levels of complex but even so, somewhat noble for the time.

the idea gets across very easily. capitalism vs. socialism. coca cola vs. deng xiaoping and, you, supposedly jackie chan but with a sprite that resembles much more a normal chinese citizen, vs. an army of "ugly fuckin' reds", who much more resemble normal chinese businessmen.

the game leaves a lot up to your interpretation due to its lack of context. just because a point isn't directly told to you, doesn't mean it isn't there, and just because the creators didn't think of it, doesn't mean it can't be real.

the song that plays repeatedly, I Love Beijing Tianamen is the most obvious political jab here. it literally sounds like endoctrination, and it might as well be somewhere. i like the song though! i don't mind its endless repetiton as someone who defends and enjoys reptition in music fiercely. it has a vibe.

gameplay-wise, the only difficult thing is honestly getting insta-killed and booted back to the title screen, which can be easily routed around with save states. but no one really cares about the gameplay in HK97 because sure, that's what makes it a kusoge, but that's not what it makes it HK97.

HK97 is as much of an art game as it is a shitty game. and, maybe there are art games that try to be deep and fail miserably, but the funny thing is that HK97 doesn't really try to be deep but ends up being somehow. and sure, kusoge are a form of art in and of themselves, but this is different. it's not "the art of kusoge", it's "the art kusoge".

This is in contention for the biggest improvement for a sequel ever in my book, and if anything deserved the glow up it was Blasphemous. The first game drew me in with its extraordinarily detailed pixel art representing a world filled with some of the coolest boss designs I could imagine. The problem is that the actual game was pretty much the barest bones metroidvania I've ever played, it just had nothing interesting going on mechanically. I wanted a sequel with some meat on its bones to back up its face, and Blasphemous II is exactly that.

From the first couple hours discovering the altarpiece system, the new platforming options, and the 3 weapons with distinct abilities in and out of combat, I was floored by just how much it was improved in every regard. Plus, they nailed having a satisfying parry, which is pretty much exactly what I'm looking for in a melee action game, so I was hooked from there. Not only are the mechanics greatly improved, but the level design is as well. Every new option in your toolkit is used in traversal, and never in a way that feels perfunctory. Everything works together to put you into that platforming flow state that perfectly compliments the deliberate action of the combat.

Really just an all around great game that stands toe to toe with some of the best in its genre, and is making me want to try out more sequels to games that I didn't fuck with, but had cool ideas. I really just want more iterative sequels like this in general, that build on the foundation laid down in such a perfect way, to make you really appreciate the stuff that was already good even more.

my hungry ass could NOT seek power 😂

itchio games you get in a bundle whenever some awful world event happens are where you're gonna see some of your purest, most distilled examples of solo indie devs doing whatever the fuck they want. water's fine is a great example of this - a simple, hour-long game with an extremely basic concept that's easy to completely break but has the fun aesthetics and wacky bullshit to back it up.

really, there isn't a whole lot to this one. stack paper until you get unlimited bombs then fuck everything up - just like real life. but with how simple it is, the sudden tonal shift at the end REALLY caught me off guard (in a good way, of course ). i played a few games from the same creator a few years back, and the aesthetic her games have is really something special - this one's no different.

while it's not complex and easy as shit, it does exactly what it sets out to do without overstaying its welcome and i can appreciate that. good game

The best Metroidvania I've played that's not either namesake of the genre (I count Bloodstained as a Castlevania) Lost Crown manages to nail pretty much everything about getting the genre down right. The combat flows so well and as someone who usually doesn't like parrying in games the parry window was forgiving enough where I actually enjoyed doing it (Not to mention that you’re not forced to use it to actually beat bosses; this game and how great it is really me reminded me of how much I hated Metroid Dread). The movement and platforming is fast, responsive, and smooth. Moving around the world feels great and there’s enough well-placed warps where backtracking never feels like a problem. Exploration is rewarding with useful upgrades and items to discover and collect. The moves you gain also feel good too and have all that growing power and variety a quality Metroidvania should have. The game also manages to make you feel powerful as you progress through the game but still demands a good engagement with the mechanics on Normal, i.e. bosses are a great mix of requiring you to know how to play but never feeling like a slog. The main antagonist especially, who is clearly Vergil, Judgement Cut and all, is a great example of this. I’m also real glad that the only thing this game cribbed from Dark Souls was the estus flask system because man I am really sick of so many indie Metroidvanias shoehorning in Souls mechanics when they don’t really work all that well with the genre; I liked Hollow Knight in spite of that, but Lost Crown doesn’t have that problem at all. A few of the side-missions are a pain in the ass though so I didn’t bother with them, but overall I did most of them and they were real fun. Ubisoft Montpellier really proving they’re like the only part of Ubi making fantastic passion projects like this instead off AAA slop anymore. Lost Crown definitely going to be one of the must play games of this year and it’s already one of my favorites.

Ok, listen. As an adult lesbian, I was genuinely excited when I heard about this VN, mainly because the Yuri genre tends to be saturated with innocent and wholesome schoolgirl fluff, and honestly, I'm just tired of it. I was thrilled to see someone finally tackling the relatively unexplored realm of Yuri omegaverse. Unlike the hugely popular BL omegaverse genre, larger-scale Yuri omegaverse projects are practically non-existent.

But the VN left me with mixed feelings - it was both disappointing and great at the same time. The pacing was breakneck, rushing to introduce players to its vision of an omegaverse setting, which felt pretty basic compared to other omegaverse works. It seemed like ideas were thrown around and plot points were set up, only to either remain unresolved or fall flat upon execution. Despite this, the writing was still very enjoyable and refreshing.

However, the biggest letdown was the VN's length. It was incredibly short, much shorter than their previous games. I finished it in about 1.5h, leaving me feeling like the game ended just as it was getting started. Which is frustrating, because I really liked the relationship between the two leads.

Overall, it's a great Yuri VN with excellent artwork and character design that tries to stand out from generic schoolgirl-themed ones, but is soured by its short length.