As the world's very first 1st-person kindness simulator, Doug Huggem had a tremendous challenge; to create a game world that was as engaging to be nice in, as it truly is fun in real life to help your fellow man. I am pleased to say Mega64 (with the help of Get Bonus) was able to achieve this goal.

From the very beginning Doug Huggem wastes no time giving control to the player, to get right to the meat of the action: charity and empathy. You will meet many needy and sad people on your adventure as you clean up the streets (literally). The only negative is that Doug Huggem seems to be on a time limit, meaning that the rampage of positivity and caring has to come to an end eventually. But that simply means that the game is endlessly replayable. And why wouldn't you want to play it again?

In a world of shooters, gore, blood, Xbox Live, cursing, and Adult Swim, Doug Huggem stands (with Jesus) as a force of good, and a hero that kids can finally look up to! 10/10

[Review code provided by Christ Rose And Paid (in Blood) Games]

A decent game from a studio that has put out stinker after stinker. Even so, with this probably being the game of theirs that has the best moments in it, it also has some of the worst. Of course the themes of the game are handled badly! David Cage is barely even human. He doesn't understand what makes a good story good. And of course Kara's entire plot is just an excuse to have his favorite "pretty woman in peril" trope. I've seen it all before.

What I did not expect was the genuinely awesome buddy cop between Android and Human. Connor and Hank are great, and their scenes together feel the most believable and human of any of them. And from what I understand, that is almost all attributed to Clancy Brown and Bryan Dechart's improvisation during filming these scenes. And apparently they had to fight tooth and nail to keep those little moments in the game because of David Cage who did not understand why they would do such improvisation. Ridiculous french man tries to self sabotage his own game.

It's one of those games that you play it, you have a good time, and then the next day you start to think about it and it all falls apart. If the game was all Connor and Hank? Possible 10/10. But with the Madison Paige 2.0 bot having one of the worst story moments I've ever seen, and Jesus bot Marcus as the leader of the robot civil rights movement, Detroit disappears SO FAR up David Cage's ass and miles away from anything that was initially likeable about it.

That Star Wars game is gonna SUUUUUUUCK.

Without fail, my experience has been that games made by Good-Feel are very charming, occasionally very fun, and at times a little boring to play. Princess Peach: Showtime! is no different.

I think to some extent, the demo and press previews incorrectly pitched this game as a one-button action game for babies. Having playing through it over the course of 6-7 hours, I'm surprised to say the vibe is more like Luigi's Mansion 2-3 than anything else.

Like other Good-Feel games, levels are 15 minutes long and have a bunch of collectibles -- some frustratingly missable -- but like newer Luigi's Mansion the levels themselves have little themed stories/vignettes attached to them. The difficulty/action gameplay feel almost in service of the adventure-y elements rather than necessarily being the point of Showtime.

This is totally fine of course, and it's not like there's nothing to the gameplay either. Peach has 10 costumes to use through levels themed to each (3 levels per costume) and although it's a one-button action game, the different themes mix up the gameplay well. Ninja Peach has stealth gameplay, Mighty Peach (Hero Peach?) has some shmup sections, Swordfighter Peach has some basic parry/dodge mechanics, Baker Peach (or whatever she's called) has baking minigames, and so on.

I enjoyed this aspect a lot, though all costumes are not created equal. The Kung-Fu, Ninja, and Hero levels sat at the top of the pile, and the Baker/Detective ones were really dull I thought (they had no action gameplay to speak of). Everything else sat somewhere in-between. This created an odd pacing to the whole thing where I would be bored, then entertained, then bored again.

On the positive side, the boss fights are fantastic and feel like some of the better fights you'd see in a GameCube/Wii-era platformer.

Peach is a good Nintendo protagonist and I hope they do more games with her. But aforementioned elements and others (it's pretty short for a full-priced game, gets fairly framey at times, and doesn't have much to do after you beat it) paint a portrait of a game that has high highs and low lows. Good-Feel at its most Good-Feel!

Fantastic game. It's a hallmark of video game design, incredibly satisfying to explore and uncover all of its labyrinthian secrets. Even though it's not really scary anymore, the game still delivers a tense experience through its mechanics of scarce ammo and health items. Death is always just around the corner.

I especially like the setting, first traversing through a destroyed city infested with zombies, walking past debris and raging fires before finally arriving at the infamous police station. You'll travel through more varied environments before reaching the game's satisfying conclusion.
It feels more grounded than the first Resident Evil with it's Rube Goldberg-machine like mansion and it's quirky death puzzles.

It's a short game that warrants multiple playthroughs to get the most out of it. Well worth the time and effort.

hellnight is such an intriguing game - its scarce distribution in the west coupled by the fact that absolutely no one knows who the developers of this game are makes me feel like i'm unearthing some ancient relic that's been sealed away for decades. seriously though, how does a huge company like konami publish a game everywhere except the two major countries that this game would have done way more well in, the us and the uk? did they think it was too weird for them? if so, why even publish it in the first place? there's way too much mystery surrounding this game and its development, and this along with the entire dev team just disappearing from the face of the earth piqued my interest in this game immediately.

hellnight's gameplay is very barebones, but this is its biggest strength since it helps to build its incredibly tense atmosphere. first person dungeon crawler navigating a labyrinth, coupled with the low draw distance and wonderful sound design adds to the fear factor a ton. it always feels like there's something waiting to jumpscare you beyond the black void ahead, and while this can happen unintentionally with npcs lurking around, there are no real threats other than the "hybrid" monster (that evolves every single floor, creepy) who's growls and snarls you can hear from a mile away - if anything, it's predictable when he arrives because he always makes noises when you're around him. the sound design is masterful though, any miniscule noise made in the environment, coupled by the eerie ambience gives the game so much charm . i genuinely dreaded my time playing this because the monster was so fast late in the game (even if its AI is simple) but the setting was really what kept me playing.

the tokyo mesh is one of the most interesting and terrifying settings for a horror game - a gigantic underground complex built during world war 2 that was meant to shelter the entire population in fear of a nuclear strike, but was immediately abandoned following the surrender of japan - the devs struck gold with this, but i just wish they would have built on its backstory a little bit more in-game, maybe through extra characters hiding throughout the mesh under the impression that the war is still going on, who would have provided us with some lore about the making of the place. it's great, but hellnight just decides to drop it in the latter half of the game by teleporting you into some freaky cultish otherworld - i don't mind it, but the mesh was a lot more interesting, and the game becomes way less interesting from that point on. the story (and the main cast by extension) is unfortunately where i think the game falls flat. these characters don't really have a lot of moments going for them to really shine (apart from some flashbacks near the ending, but it's too late at that point) and your interaction with them is minimal - usually only giving you a few sentences saying your objective or what their current thoughts are, but nothing too interesting. they do tie into the gameplay a bit though - the first companion, naomi, is a completely helpless schoolgirl who can't really do anything but run away with you from the monster. if you let her die and find another companion to take on with you later on, they all have the firearms necessary to stun the hybrid and buy you some time if he's too close to you. i beat the game with naomi initially and i really don't think it's possible without save scumming given how rarely you're given the option to save your progress (which is absolutely vital in the latter half of the game)i think this is supposed to make the endings worse for each companion you let die, but i can't really tell.
i'll keep the story stuff short, but it starts off pretty nicely. you desperately searching for a way out, with mysterious people like razzo, and the holy cult is some very cool stuff at first. but once you get down to the hive and find all the lovecraftian type demons i just wasn't very interested. it is cool, but it's complete total whiplash when they start doing some "you are the chosen one" shit along with the hybrid, who's now a god to this cult, acting like the player is connected to him, it's all very sudden and ditching the mesh feels like wasted potential. the endings really soured the game for me though - they are not worth it at all for how basic it is. even after watching the rest, they're all the exact same, with some slight variations. a fucking you're winner screen from big rigs would have been more satisfying than any of these.

although its plot isn't very well-thought out, this game is still a vibe and one i'd highly recommend. the atmosphere is so so fucking heavy, especially when the hybrid chases you - like i said before its very simple but that's what makes it so terrifying. i still want to know about the behind the scenes of this game though, how everyone working on this went under the radar entirely doesn't sit right with me :(

After hearing the news that the 3DS/Wii U's online services were shutting down, the first thing that popped in my head was replaying this game's online one last time.

Back in 2015, I remember seeing the trailer for this game and thinking it looked really cool. I never played an online shooter in my life, but this one actually interested me with its colorful art style and interesting concept. The day of release, I ask my dad if he could pick the game up on his way from work and when he came home, not only did he have the game..he had an Inkling Boy amiibo as well. That basically kickstarted my Amiibo addiction around that time but that's a story for another time. Anyways, I ended up enjoying Splatoon a ton. I remember the day after I got it, I had a relatives party to go to and I could only think about playing this game. This game consumed my whole summer, I loved it so much. Playing every Splatfest, seeing every update as they roll out, I was hooked for a couple months. Part of that is because I had no school of course, because once September arrived I didn't play this game nearly as much as before. Still, May-August 2015 was the summer of Splatoon and I'll never forget it.

Anyways, time to actually review the game lol. I think the most striking aspect is just how stylish this game is. From the different outfits you can wear, to the more experimental soundtrack, to the unique art styles that appear in the sunken scrolls. I've seen people compare this game to Jet Set Radio cuz of it's sort of counter culture type attitude and ofc its stylishness and appeal to the younger demographic and I can totally see it. It can be really influential playing this as a young lad, and it certainly worked for me.

Speaking of the music, I've seen some individuals on this site specifically call it bad and I just don't see it. Sure, it's not everyone's cup of tea but the OST is really well done honestly. Splattack! is of course a classic and Ink Me Up brings me right back to participating in Splatfests all day. Those are my two favorites but the whole OST is great. I think Splatoon 2 is great and all and probably the objectively better game, but if there's anything I prefer more in 1, its the soundtrack.

The meat and potatoes of this game however is it's online matches. This game doesn't have as much content or modes as 2 (and god it was pretty barebones at launch I'll admit that) but it's still a ton of fun to play a match or two. I was able to play a couple turf war and ranked matches and they were still fun. I remember raging so hard whenever I would lose on ranked matches, I had issues lol. Still, I wish Urchin Underpass and Saltspray Rig were in future games, I miss em lol. Sadly couldn't play them during this last play session but I remember they were some of my favorites.

I did also replay the campaign, and it's still fun as it was back then. Sure, it's no octo expansion and probably worse than 2's, but I always enjoyed it personally. I don't know if it's weird to say but I kinda get Mario Galaxy vibes from it. Just going from section to section using the launchpads and seeing the really cool backgrounds in each level. Always got that vibe. It does get a bit formulaic having every 5th and 6th level be the same level type, however overall, I really enjoyed the single player. At least you can still play that even with the online off.

This game may have been a bit obsolete in the eyes of a lot of people once 2 and eventually 3 came out. However, 2 I never got into nearly as much so my memories of 1 really outshine it. It's not perfect but this game will always hold a special place in my heart and is one of the first things I think of when the year 2015 is brought up. Rest In Piece Splatoon 1 online and the 3DS/Wii U online in general, I loved you dearly.

Heeho weewo, it's-a Fortnite time! Me asf when I'm told we have soulless crossovers at the function. Hol on I'm dropping the Pit Fortnite log history bcuz shit goes uga bunga: I played for like, a month, july 2018 to have some fun with big friends of mine with wallets nearly as big. Then Unreal Engine 5 edition dripped circa recently idk, and that prompted to see what's poppin'. Hm, either much falsehood or I dont realize how much changed. A classic case of Mandela effect amongst PS3 fans "b-b-but the remaster looks the same!!" yes it does, but maybe you just haven't realised it didnt look as good looking back! It's a coin of the toss! Ahem ahem.

So, about the real noticeable changes, are a whole new map (it be rotating) and different core movement. Also more immersion when you gargle on Walter White's liquid blue meth. Hnnnh I love the obvious bots roaming around that a non-specific noob can kill! She's so crazy!! 🤪 No more are the days of tipping off the bus drivers and dropping on Tilted Towers then dropping in Tilted Towers to a suspiciously wealthy in construction materials mf. Same vibes as dropping on a villa and getting jumped by NPCs. Aint that some shit. Thankfully I had a teammate protecting me. Inshallah thank you I would not know of the new mechanics without a wonderful guide (and a great shot).

Before I knew it wouldn't be hard to find my footing, I went on the map creator and tested out a...well, test map. Wait no first I had to see a trailer and then it gave me a starter pack and then that. I havent touched Festival or anything aside from unranked really and I find it odd how they force me to check out lego skins when I'm browsing the shop, wallet thrown outside the window to make sure I dont act before I think. All of it was overthinking, I was a floss boy, she was a Legussy girl.