I was going to give it 4 stars but the final song that served as the slideshow was so fucking good and so full of charm I just needed to give it five stars.
A labor of love, this game must be the most well made CRPG I have played. Almost everything I found boring or weird about Wasteland 2 is gone, replaced with pure charm and well tought mechanics. Not once did I think "that doesn't make sense" or "that quest is so boring". The story might not have blown my mind but it's incredibly well tought with lots and lots of layers of complexity and freedom of choice. A must play for CRPG lovers, if you ask me.

Although others came before it, DOOM is THE father of first person shooters. In fact, it spawned so many knock-offs that the entire genre was originally - and aptly - coined ‘DOOM clones’. Franchises like Call of Duty would never have reached the same heights without this 1993 sensation setting the stage.
Yet DOOM goes far beyond being an opening act.
Often imitated, never duplicated. There’s a reason every shooter after this one borrowed so heavily from it; its team created a near-perfect FPS right out of the gate. The gameplay requires a certain amount of skill and strategy, without being frustrating or overly-intricate. The controls are tight, responsive, and simple. Everything is thought out and balanced. That’s not to mention the beautifully grotesque packaging. It’s so easy to get swept up in DOOM’s depths and lose a few hours to blowing out monster brains.


SHORT REVIEW

Visuals: 5/5
Sound: 4.5/5
Gameplay: 5/5
Worldbuilding: 4.5/5
Replayability: 4.5/5
Overall game score: 4.5/5 [4.7/5]


IN-DEPTH REVIEW

Visuals:
DOOM’s retro graphics stay impressive to this day, for so many reasons.
An important part of its memorable style is the interesting combination of 2D sprites and 3D environments. It’s strange to consider that this presentation was simply a technical limitation at the time - I think it could still be utilized once in a while nowadays. It would surely stand out in the modern market, at least.
This 2D/3D approach also allowed for much better-looking enemy sprites than what would've been possible otherwise. The monsters have so much detail put into their designs and art, down to the exceptional shading and lighting Their death animations are especially great, too, with each being satisfyingly gory.
On the other side of the fence, of course, are the 3D environments. These are much more rudimentary than the sprites in terms of detail, but they’re still amazing in their own ways. As you travel from man-made areas filled with technology, to the gruesome, disturbing bowels of Hell, your surroundings progress with you. The variety of distinct textures, the color palettes, and the exquisite level design make each area feel like a brand new experience.
Speaking of color… this is definitely my favorite part of DOOM’s art direction. The bold and captivating usage is a large step away from the bleak palettes typical of both FPS and horror titles. That’s not to say that bleak palettes are always a bad thing - Fallout 3, New Vegas, and Silent Hill 2 are perfect examples of games that wear it wonderfully. But the approach taken by DOOM is commendable for different reasons. There are some truly macabre and unsettling environments - with imagery to match - that still incorporate colors beyond gray and brown. There are bright reds and blues, greens, oranges and yellows. Honestly, more designers should take notes on this.
For the HUD, the devs took what was originally made for Wolfenstein 3D and drastically improved upon it in every way. The gray chosen here is drastically easier to read than the original bright blue. The layout is much more organized. The red lettering pops nicely. All the information you need is easy to read, even amidst combat. While it does take up a large portion of the screen, I think that this lends to a nostalgic arcade feel.
Overall, 5/5.

Sound:
DOOM’s soundtrack is stellar. It boasts an excellent mixture of blood-bumping, metal-inspired hits, and eerie, slow melodies. You may not expect such clashing styles to work well together, but they do with ease.
The two bounce off of each other constantly to keep things fresh. Half of the time, you're being injected with the pure adrenaline needed to fight through hundreds of monsters. Then, one level later, the tone flips. The slow music treats you like prey, cornered and cautious. To get through Hell, you must overcome the terror it induces. And even though the reused tracks can get slightly repetitive, the tracks are good enough to distract from it.
Many of the sound effects are iconic in their own right, too. The Baron of Hell’s terrifying screech, Pinky’s lion-like roar, the Cyberdemon’s heavy footsteps, and the satisfying gunshots; so many of these will be burned into my mind forever. The distinct and clear sound design improves DOOM's gameplay tenfold - as well as making it all-the-more creepy.
Overall, 4.5/5.

Gameplay:
I don’t think I need to tell anyone this... but holy shit, this game is just pure, unadulterated fun.
When I first booted DOOM up, I struggled with the horizontal-only aiming. It’s a far cry from the pinpoint accuracy required by most modern day FPS games, but I found myself enjoying it a lot once I’d adjusted. It removes a great deal of the potential frustration caused by shooters, making it easier to relax and have fun. This is another unique facet of DOOM that stands the test of time.
Wandering through the levels, it’s easy to see how thoughtfully designed they are. Their pacing is spectacular. They’re never too sprawling OR too tiny. You very rarely get lost, with many rooms and corridors looping back to one another and always pointing you in the right direction. There’s tons of secret areas to find, some even requiring a little puzzle solving. Combine all of that with the great (finite!) enemy placement, well-timed ambushes, and plenty of items to aid on your journey, and every level is damn near perfect.
But a large part of what makes DOOM so entertaining is your protagonist's ridiculous arsenal. There’s not one weak gun (aside from the low-damage starting pistol); nothing is totally outclassed by anything else. Best of all is the perfect balance between them; most of them can be used at any point, but each have specific scenarios where they shine. The plasma gun and chain gun are good against long range enemies. The rocket launcher is ideal in open spaces with big groups. The shotgun will blast brains out at close range. The chainsaw is all but useless against multiple enemies, but it's great for conserving ammo when you can safely use it. And then there is, of course, the BFG; one of the most iconic video game weapons of all time, and a real sight to behold once you learn how to control it.
To me, the only weaknesses in the gameplay are the powerups. Invisibility and berserk mode are remotely useless, leaving invincibility as the only one that means much. I hope that this is improved upon in the sequels; it’s a cool idea that deserves a bit more shine.
Aside from that one minor flaw, all of the good is made even better because of simple, responsive, and tight controls. I’ve played this game with both a controller and a mouse/keyboard, and found both acceptable.
So, there’s really no wrong way to go about DOOM. Everything about it is just so wonderfully accessible, well thought-out, and ludicrously fun.
Overall, 5/5.

Worldbuilding:
DOOM's environments are stunning for their age. There are a ton of interesting details, such as the red skies, distant mountains, and corpses displayed in increasingly unsettling ways.
Things will only become more disturbing and monster-infested as you trek on. You begin your journey on Phobos, the first moon of Mars; the structures here are man-made and technology-focused. But as you descend into Hell, creepy imagery, more natural structures, and an influx of demons reflect your progression perfectly.
There’s some cool lore behind the game, too. Doomguy is surprisingly interesting; after assaulting a military superior that called for the murder of civilians, he is sent to guard Phobos. Here, a corporation is experimenting with inter-dimensional travel. Something goes wrong and monsters storm the teleportation devices, taking over the stations and bringing every human down. All except Doomguy. Now he has to try to make it out alive and stop the onslaught.
Between each episode, you are given a blurb of text that advances the story. These are actually pretty well-written; they do a great job of remaining short, while still being humorous and over-the-top.
It’s a simple narrative, but the mix of sci-fi and horror leave you with something much more creative than many FPS premises. What they lost in complexity they made up for with a focused, funny, and action-packed vision.
Overall, 4.5/5.

Replayability:
DOOM is nearly infinitely replayable to me. The variety in levels, the numerous secrets, and the fantastic pacing make it a joy to come back to again and again. That's not even mentioning the mod community that is STILL thriving to this day!
While it’s not the most complex, everything DOOM does is pretty much perfect. It provides an insanely good experience that I can’t get out of my head. It’s one of the best games for playing in short bursts to relax; maybe you won’t stick to it for hours at a time, but you’ll surely be picking it up again the next day.
Overall, 4.5/5.

Overall Game Score: 4.5/5. The presentation is bold and colorful. The gameplay is accessible, but endlessly fun. The levels and their pacing are thoughtful and smart. DOOM deserves every single bit of praise it gets. This game not only birthed a genre, but nearly perfected it right out of the gate. It’s an amazing entry point into first person shooters.
The only bad thing about DOOM is that it ends. Thankfully, I have a lot of sequels to look forward to playing.

Wow.
It's been years since a new game has gripped me like Yakuza 0 did; rarely anymore do I fall in love with one in every way. But Y0 is something incredibly, undeniably special.
It's debated amongst fans of the series whether 0 is a valid point of entry for newcomers. As one of those newcomers, I have to say that I found it to be a perfect starting place. 0 absolutely hooked me.
It has a spectacular story shown through beautiful cutscenes. It's told against one of the best, most gorgeous settings in video game history. It's built on wonderful characters and gut-punching voice acting. And that's not to mention the incredible depth in the gameplay, both combat-wise and within the world. There's so many things to love about Y0 that it's difficult to feel like I can fit all of it into a single review. But I'm up for the challenge.


SHORT REVIEW

Visuals: 5.5/5
Sound: 5.5/5
Story: 5.5/5
Gameplay: 5/5
Worldbuilding: 5.5/5
Achievements (Does not count toward overall score.): 4/5
Overall Score: 5/5 [5.4/5]


IN-DEPTH REVIEW

Visuals:
In an industry where every new product is striving to be as hyper-realistic as possible, Y0 may not be at the very top of that particular list. It's six years old at this point, after all. But hyper-realism isn't the most important thing in games - in fact, I think it's far from it. Y0 DOES manage to look realistic, while also having a distinct visual style in its slightly exaggerated character design.
Kiryu has a wider build and a young face set in a permanent grimace. You can tell that, despite his outward toughness, he's not yet consumed by the violence surrounding him. He's relatively innocent compared to many other members of the cast.
Majima is slimmer and sports a neat ponytail and an expensive black suit, but also an eyepatch and a grizzled face. He looks exactly like what he is - a man who's (temporarily) left behind a violent, dark life to join the world of the rich and extravagant.
Wei Han Lee is an intimidating, hulking brute with full tattoo sleeves. He's initially presented as - and made to look like - a dangerous man. But while he does have a dark past, and isn't above doing bad things, he's also protective, loyal, and fatherly toward Makoto. I appreciate this role flip, and his look plays a pivotal role in its effectiveness.
As you can see, each and every member of the main cast are visually distinct. There’s so much love and thought put into each of them. Their badass tattoos, their (often colorful and/or patterned) suits, their unique faces and hairstyles. I could honestly go on and on. Even the casts for the side stories are purposefully made, so that their charm and goofiness shine through.
And the world has a ridiculous level of attention to detail, too. Sotenbori and Kamurocho are filled with trash, cars, NPCs, posters, and unique storefronts. The two cities feel completely alive and are endlessly fun to explore - not only because of how much there is to do, but how much there is to LOOK at, too. I was constantly noticing new things while running through the streets.
Finally, these thought-out design aspects culminate in gorgeous cutscenes. Every time one came on, I gave it my full, undivided attention. To start with, the lighting and camera positions are so well-directed that it genuinely feels like a movie. There are some truly film-quality shots. But just as important are the emotive expressions and animations that bring the characters to life. They move (and talk) like real people, much more so than the majority of video game characters. Even when the focus is over-the-top violence (such as the awesome heat actions and QTEs), it feels realistic in regards to the movement, which always remains smooth and perfectly choreographed.
Overall, 5.5/5.

Sound:
Speaking of, the voice acting in Y0 is next level - which plays just as big a role in making the characters authentic. The language barrier poses no issue, because the performances will assuredly capture anyone who listens, whether they speak Japanese or not. I doubt this game would have made me cry so many times if it weren’t for the work of the VAs.
The soundtrack rules, too. Electric guitar, drums, and electronic influences combine into fun, energetic, and memorable music that easily gets you into the Yakuza spirit. Not only are the combat tracks notably good, but the songs for the karaoke and disco minigames are such pure joy to listen to. Just like everything else in Y0, the soundtrack perfectly balances its serious and silly tones.
Even the smaller details, such as the sound effects, are given attention. Starting a new substory, pausing, scrolling through the menu - it all sticks out in my mind, because of the sounds accompanying them. Y0 is so good at being memorable in these tiny ways that most games might neglect.
Overall, 5.5/5.

Story:
I wholeheartedly believe that Y0 has one of the most compelling stories ever told in a video game. It’s not absolutely perfect - namely, side characters and b plots that don’t feel quite important enough - but the brilliant writing and carefully woven narrative make up for any flaws tenfold. The action of the crime underworld and the emotional storytelling of the cast are perfectly interweaved; not only is there never a dull moment, but there are many that are forever ingrained in my mind because of how powerful they are.
Really, anything you could ask for, Y0 delivers. There’s nonstop violence and exciting twists to keep you engaged. There are beautiful character interactions and interesting motivations to keep you emotionally invested. There are even a plethora of lighthearted, wacky substories for when you need a break from the heaviness of the main plot.
But while everything else is amazing in its own right, it’s really the characters that tie it all together. You might expect a cast largely made up of Yakuza to be one-note, but that’s far from the case here. Many of them do share some penchant for violence and crime, but they all go about it in their own ways; each one is so unique in their convictions and personality.
[SPOILERS] Not only that, but most of them go through truly astounding arcs, many of which head in completely unexpected directions. I’ve already discussed Wei Han Lee, one of my favorite characters. I love his clashing personality. On the one hand, he’s willing to murder a random, innocent girl to solve a problem - on the other hand, that ‘problem’ is protecting another innocent girl whom he’s taken a paternal role for (not to mention that he looks out for other vulnerable women who need help.) So, instead of discussing him in-depth any further, let’s take that ‘someone’ as an example instead. Makoto Makimura.
[SPOILERS STILL] If I’m being honest, I was not fond of Makoto at first. On top of being the single female member of the main cast, she’s initially presented as a textbook damsel in distress. However, while she does remain reliant on others for most of the story, she eventually becomes determined to gain her independence - and successfully does so. Not only does she have a great arc, but she is very sympathetic and strongly written. She became someone I could personally relate to; her sort of trauma is not one readily touched on in most games, at least not so directly. I think it was handled in a surprisingly heartfelt manner, too. By the end of the game, she was one of my favorites, despite any prior hesitation towards her. [SPOILER ENDING]
And while characters such as Wei Han Lee and Makoto Makimura are already great, it’s the interactions between the cast that make them fully realized. Unlikely friendships and alliances, heated rivalries and deep-rooted hatred, people showing care for each other in their world which is haunted by pain and misery. It’s beautiful.
[SPOILERS] A perfect illustration of what I mean is Majima and Makoto. They’re amazing on their own, but it’s their relationship that completely draws you in. Despite how different they are in personality, they’re stark reflections of each other. Both were tortured to the point of becoming visually impaired. Both lost brothers they cared for deeply. Both form a strong reliance on the other. The way their relationship evolves - and the buildup to a truly heart-wrenching series of final interactions - is undoubtedly one of the best parts of the game. [SPOILER ENDING]
But - as I’ve mentioned - whenever you do need a break from all of that, Y0 consistently provides. You are often given the opportunity to instead focus on the light, often downright hilarious, substories. You can have a chicken manage your real estate firm. You can make friends with the horniest man alive. You can pretend to be a movie producer. You can protect Michael Jackson from zombies. There are so many wacky adventures for you to partake in. It ensures that there’s never any downtime in Y0, even when you’re just messing around.
Particularly great, in the case of the side content, are the cabaret club and real estate plotlines. They stand well on their own, with a charming and goofy cast that tell heartfelt little stories. The insanity and humor of these bring a much-needed balance to the main plot.
Ultimately, it would be a disservice to say that I’ve covered everything that makes Y0’s story so breathtaking. There’s so much nuance and emotion in every aspect of it. Maybe it’s not perfect on a beat-for-beat level, but it’s perfect in nearly every other way. As such, it would be a crime for me to reward anything lower than a 5 here.
Overall, 5.5/5.

Gameplay:
This is where I struggle to speak definitively, since I’m not huge on the brawler genre; not because I don’t see the appeal, but because I’m honestly just not very good at it. Y0 made an honest attempt to get thoughtful gameplay out of me, but at the end of the day, I still struggled to do little more than button mash. Of course, this was entirely a fault of my own, so it doesn’t mean the combat isn’t good. I just don’t know enough to say how good it REALLY is.
What I will say, though, is that I did find it to be fun. There’s a variety of different techniques for both characters, with radically different fighting styles that you can switch between on a whim. Each one has its own strengths and weaknesses - none of them feel totally outclassed by the others. And there’s tons of possible combos to execute, all of which are visually exciting, too. That’s not to mention the plethora of cool new abilities to unlock through the money system.
Speaking of, while this type of ‘leveling up’ through money might not be for everyone, I personally love it. It adds a lot more value to the cash than simply buying items or playing minigames. It also feels much more in-tune with the tone and style of the game, as opposed to something more traditional.
But I think my favorite part of the combat is the heat action system. Each one is a cinematic little slice of violence that never gets old. Their existence makes the fights ten times more entertaining in my book.
Not only that, but this is one of the few games where I actually LOVE the QTEs. Even if you fail one, you still get to watch a cool little cinematic instead of auto-losing. They’re just as cool as the heat actions.
Both of these features are a testament to how amazing the animations in Y0 are, too; they’re so smooth and perfectly executed, demanding your attention each time they’re on-screen. It’s a perfect combination of fun visuals and engaging mechanics.
Of course, the combat is only half the gameplay. Sitting on the other side of the fence are the minigames and substories.
Giving a blanket opinion for those proves just as difficult, though. Since there’s such a ridiculous amount of quality content, I can’t rightly hold the few bad things against the game too much. And unless you’re a lunatic who tries to 100% the completion list (like me), you can easily ignore almost anything you don’t like. The karaoke, the disco, the real estate agency and cabaret club, the circuit racing, the arcades, the mahjong, the hilarious substories... all of this had me coming back for more. Maybe there is an occasional cat fight club or batting cage that aren’t up to par, but the bad is far outweighed by the good.
At the end of the day, there’s an endless amount of fun content to sift through here; I doubt you wouldn’t find at least a few things you enjoy, no matter who you are.
Overall, 5/5.

Worldbuilding:
The settings and lore of Y0 are absolutely enthralling. As I’ve already discussed, Kamurocho and Sotenbori are packed to the brim with tiny details that bring them to life, to the point that they both genuinely feel like real places. On top of that, they’re fleshed out even further by the side content and the unique characters created for it. Around every corner is a possibility of running into a new substory or minigame.
And the depth within the main plot gives an incredibly rich history to the Yakuza clans. The factions and hierarchies, and how they interact with each other, are made important early on. The character’s backstories and the way they tie together are just as important, too. But it’s honestly not surprising that things like this are so well-thought-out in Y0, given how old the Yakuza series is. As I briefly mentioned, I do think there are characters and subplots within the main plot that don’t feel important enough. But, on the flip side, their existence makes the world feel even bigger. Having the story remain TOO self-contained would have been just as harmful, if not more.
At the end of the day, the visuals, the story, the characters, and the writing add up to some truly wonderful worldbuilding in Y0. It’s just one of an infinite amount of things that the game executes pretty much flawlessly.
Overall, 5.5/5.

Extra Category - Achievements:
It’s an insane choice to attempt mastering, but I found it still fun minus a few frustrating minigames. It’s rewarding to whittle away at the cities and learn them inside and out!
Overall, 4/5.

Overall Game Score: 5/5. There are so few games that I believe are 99% perfect; Yakuza 0 has joined those few. It’s an action-packed and thrilling experience from beginning to end, one that I’d recommend to anyone who enjoys RPGs. The beautifully crafted world and story, the gorgeous cutscenes, the vibrant characters, the entertaining side content, the grandiose presentation - everything here adds up to something really, truly special. Every time this game wanted to tell me something, I listened. I hope that many more people choose to listen to it too. Please give Yakuza 0 your time.

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PORTAL 1 REVIEW
Note: I give spoiler warnings for spoilers.

Portal is a testament to the benefits of rewarding creativity and taking risks in media. It’s not something we often see AAA studios do anymore, especially not in the fashion that Valve did here. A neat little project created by indie students became a wildly successful, full-fledged title released by one of the most recognizable companies in the industry - all because Valve was willing to bet on something they saw potential in. It gave us a game that left a lasting cultural impact on our community, and that still holds up nearly 14 years later. 
On its own, Portal is already a 4-5 star experience - but it also led to a sequel that improved upon the original in nearly every way. Portal 2 is undoubtedly one of the GOATs, spearheading the series from 'great' to 'untouchable'. I doubt we’ll ever see such a unique and impressive duology again, at least not for a very long time, and not on the scale of something like Portal.


SHORT REVIEW

Visuals: 4.5/5
Sound: 5.5/5
Story: 4.5/5
Gameplay: 4.5/5
Worldbuilding: 3.5/5
Achievements (Does not count toward overall score.): 4/5
Overall game score: 4.5/5


IN-DEPTH REVIEW

Visuals:
The visual design here is simple, but that simplicity is memorable in its own way. The white walls and largely empty rooms make the puzzles slicker; everything is clearly and concisely communicated. The blue/orange portals pop, too, leaving you with a VERY memorable visual. There’s a reason this color scheme is one of the most popular parts of the game.
[SPOILERS FOR THE REST OF THIS SECTION]
That initial plainness also makes the last act of the story stand out more; everything you’ve gotten used to is turned on its head when you’re shown the inner workings of Aperture. When Chell leaps from the artificially bright, hospital-like rooms that the scientists have created, into the deep, dark underbelly of Aperture, it is perfectly reflected in the visual shift. The messy, dark corridors are in stark contrast to everything before it. You feel like you’re not supposed to be there, because you’re not. There’s grime, rust, wires, and pipes. There’s unused test chambers and secret observation rooms.  It gives you a newfound sense of freedom - freedom which is matched in the gameplay, too, as the training wheels come off and you must figure out puzzles with little direction. You have escaped a rat’s maze, and you’re running under the furniture towards freedom.
Yet you find yourself trapped once again, this time in GLADoS’ chamber. This area is unique in its own right, with its impossibly tall ceiling and rounded, gray walls. It is the complete opposite of the cramped, square, white chambers.
Most stunning in design, though, is GLADoS herself. A giant mess of metal and parts hanging from the ceiling, she is totally unlike anything else in the game - while also reflecting both sides of it perfectly. Her sleek, stark white casing matches the ‘shell’ of the lab, or what is supposed to be seen. The black structure connecting her to the ceiling, coupled with the messy, dangling wires, are reminiscent of what lay underneath. Like the test chambers she runs, GLADoS is an Aperture creation… and just like them, there’s something going on with her that is not what it is made to look like. [SPOILER ENDING]
Overall, 4.5/5.

Sound:
Similarly to the visuals, the sound design in Portal is left rather simplistic. There’s not much of a soundtrack; instead, you spend most of your time accompanied only by GLADoS’ voice, as well as the sounds of the chambers (which, like the visuals, contribute to the clarity of the puzzles.) It makes for a perfect atmosphere, and allows GLADoS' character to stand out even more. This is a rare exception where I actually prefer a game having little music - I think any more of it would have taken away from these things. 
And, of course, it goes without saying that GLADoS’ delivery is always perfect. Sometimes she's robotic. Sometimes she's eerily human. Sometimes, she's both at once. 
[SPOILERS FOR THE REST OF THIS SECTION]
There is just a fantastic progression for her character that only exists because of the perfect VA work. At the beginning of the game and throughout the experiment, she simply comes off like part of Aperture's setup. She seems to only be there to guide you and provide machine-like encouragement, while delivering hilarious quips in an oft-monotone voice to keep you entertained. But this, too, is turned on its head when you escape. It's as if she rapidly gains emotion. Distress and anger ooze from her as she searches for you. The robotic monotony of before now seems like it was that of a bored employee, rather than a machine lacking autonomy of its own.
And this emotionally-charged version of GLADoS evolves once again when you destroy her morality core. She loses that personality she so quickly began to show, replacing it with a much more sinister, sadistic, and calm version instead. That moment is forever ingrained in my mind because of the delivery , from the ‘whoa’s, to the evil laugh, to the ‘good news.’ 
To this day, it's incredibly impressive how Ellen McLain managed to capture three different versions of a non-human character, all while maintaining perfect comedic delivery. That's not to mention that she brings to life one of the best and most memorable songs from a video game ever. I severely doubt that Portal would have been as widely praised and beloved if it weren't for Ellen's contributions.
Overall, 5.5/5.

Story:
While the core plot is pretty basic, what it evolves into - and what is going on underneath - keep it interesting. [SPOILERS] You are bound to run into at least one Rattmann room naturally, and just that one will make it apparent that Aperture is more than it presents itself as. [SPOILER ENDING] A lot of the exact details are left vague or unexplained, and anything you DO learn is either shown visually or given through GLADoS’ superb dialogue. I think that this simplicity works really well for such a short experience. There's no clunky exposition or an overload of needless information; you are given the basics, and the aforementioned visual storytelling and dialogue deliver the rest.
[SPOILERS] As an example, I just adore the setup of the escape. It's the easiest kind of plotline to grasp - you're trapped somewhere, and you need to get out. But in Portal, it feels like you're pushing the boundaries of the game itself. The visuals, the voice acting, the writing, and the pacing really push this idea that you're doing something you're not supposed to once you’re out of GLADoS’ reach. It's like a less on-the-nose Stanley Parable. [SPOILER ENDING]
And the writing itself is just amazing. Portal still holds up 14 years later; it’s an amazing feat, especially since it has been meme’d into oblivion. GLADoS throws quippy, deadpan one-liners at you constantly. It ends up helping the pacing a lot, as it keeps you engaged throughout the entirety of the playtime. She’s entertaining enough to carry the game all on her own - but thankfully, she doesn’t have to, because the gameplay delivers as well.
Overall, 4.5/5.

Gameplay:
There aren’t many puzzle games I’ve played that I feel manage to be as engaging as Portal. The core idea of the gameplay - and its execution - are not only completely unique, but also insanely impressive and fun. The premise may SEEM complicated on paper, but the levels almost always stay fair; a few of the later ones do have a pretty sharp difficulty curve, but the strong sense of accomplishment at the end of each chamber makes it worth it.
More importantly than that, though, is that the devs did a fantastic job of meticulously constructing the progression to teach players each new mechanic in memorable and fun ways. Everything here is purposeful, down to the skips they’ve allowed to be left in. Nothing is ever rushed in design, and YOU never feel too rushed either. You are given time to fully grasp each new mechanic that’s thrown at you - which makes those last few ridiculously difficult levels feel all the more satisfying.
[SPOILERS] And then the training wheels come off during the escape. You’re left to your own devices, navigating through completely different environments with very little guidance. It really showcases how much the game has taught you in just a few hours, as it trusts the player to get through this part without hand-holding. [SPOILER ENDING]
I really gained a deeper understanding of the effort put into the gameplay from replaying with the dev commentary. I highly recommend everyone do so, because I walked away with a new appreciation for not only Portal itself, but game development in general. For example, they do a great job of discussing how they utilize ‘timed puzzles’ (the auto-closing doors.) Puzzles without any sort of timed aspect have room to be more complex, because there isn’t any pressure. As a result, they tend to be much more dramatic in scope. But the timed ones give a sense of urgency - while they may be easier on you mentally, they challenge your ability to actually execute the solution. I love that they included both approaches.
In the end, I do think some of the puzzles in Portal are weaker than others, but I can’t help but appreciate each of them for the effort; there’s a fantastic amount of care to make the gameplay clear and concise. There’s thought and love put into each level. And the mechanics themselves are so ridiculously fun and satisfying - especially the momentum puzzles - that I can’t help but adore the gameplay, even if it’s not always perfect.
Overall, 4.5/5.

Worldbuilding:
The worldbuilding is the weakest aspect of Portal, but it's still good in it's own way. I feel the game slightly suffers in this aspect because of the simple, clean settings that are built around the gameplay - but, to be fair, I also think this was the right choice to make. Still, a bit more could have been done to flesh out the lore. But the eerie emptiness of the lab, and the mystery surrounding your situation, do add a thick atmosphere that helps a lot. 
[SPOILERS] Generally, the main pieces of worldbuilding we do see are the Rattmann dens. These break the usual visual style of the test chambers to show you the cluttered, messy guts of the lab, even before you escape; it gives a clear sense early on that something is terribly wrong (if you find them.) All the dens are pretty similar, but there are little details in them that make them interesting the first one or two times. [SPOILER ENDING]
There's not much else to be said here, honestly. It's not spectacular, but the vagueness can be gotten away with when nearly everything else in the game is perfect. The mysteriousness of Aperture carries it well enough.
Overall, 3.5/5.

Extra Category - Achievements:
There are a few cool achievements that make replays interesting by limiting what you are allowed to do with the mechanics. I think this is a really, really great thing for achievements to do. I had fun 100%ing it.
Overall, 4/5.

Overall game score: 4.5/5. There’s so much to love and appreciate about Portal. It feels like a ‘handmade’ experience - while it’s not the most CONVENTIONALLY impressive in some ways, it makes up for it with its endless charm and unique approaches to every aspect of game design. It’s amazing that we got this game at all; it’s one that undoubtedly deserves the praise it gets, even all these years later. An experience that’s only a few hours long and keeps you hooked the entire way through, Portal is worth coming back to again and again. If you still haven’t played it by now, I highly recommend giving it your time.

Definitely a title to play if you love the work of Platinum Games.
The story itself is pretty decent that could go well with a sequel but not many people really play Platinum Games for their story, it's the gameplay they're after.

This has by far been the most creative character action they've made, involving the use of managing two players at the same time. While it may seem "clunky" at first, like other Platinum titles it does take some practice to be able to smooth out the combat and figure out your footing in movement. Though due to the creative part of the combat in Astral Chain, I wouldn't exactly recommend this to be a person's first Platinum title or character action game if they want an enjoyable experience.
As usual, the combat itself will be completely open by the end. Depending on how used to the combat you are, allows for some very satisfying combos. There is a steep learning curve right at the end of the game that follows through with the post-game missions, but is very gratifying when you've reached that level.

The performance itself on the switch is pretty ok. I don't mind the fact that it's a 30FPS character action game, but it would definitely look great at 60FPS. Unfortunately due to Nintendo now owning the IP, a port to other consoles giving it 60FPS is really low, though it may be possible on the Switch Pro. Visually it looks amazing, one of the reasons it caught my eye was how similar the aesthetic is to Xenoblade Chronicles X.

Make no mistake, despite the low score I actually had a great time with the original Yakuza! However, it's also not hard for me to admit the game does kinda suck.

For context, I recently played through Yakuza 0 and absolutely fell in love with it, so I've decided to do a sort of marathon of the series. A friend of mine gifted me a PS2 copy of this along with Yakuza 2 for my birthday. If you're reading this bro, thanks again, man! Sorry if you may not agree with everything I'm about to say though.

I kinda pity those who started with either Zero or Kiwami and didn't like the combat from there, because ho boy, they really don't understand how far the series has come. Combat in this game is kind of a clunker. Kiryu is noticeably slow in this game in both turn-speed and frame-data. When you attack in this game, he will commit to swinging his fists in that direction, but the enemies you encounter are very slow too, so I can't say the game isn't designed around Kiryu's slow moveset. However, the main problem is that Kiryu doesn't have a hard lock-on like in other action games. He has to rely on a soft lock-on that doesn't give an indicator to when it activates and isn't very intelligent, as it will often break mid-combo. Combine that with the uncontrollable camera in battles, battles will often look like drunken fisticuffs where Kiryu clumsily whiffs his fists 40 degrees away from someone right up in his face. This becomes a problem when in the later half of the game you fight crowds of people with bats, swords, or god forbid guns and you get wobbled around in hit stun because your big kick didn't combo properly. Combat is still relatively easy though. Most of the problems Kiryu faces can be solved by hitting square 4x > triangle and it will eat their guards and knock them down most of the time, where you can walk up to them and hit triangle for a heat execution move. This was my end-all-be-all strategy for about 90% of the encounters in the game, which isn't exactly very engaging. By around the halfway point of the game, I would actively try to avoid walking into encounters in Kamurocho (which by the way, the encounter rate is comically high in this game, like Final Fantasy IV bad.) because they weren't exactly pounding my pulses anymore.

Speaking of walking around in Kamurocho, I was surprised to see just how hard they nailed the atmosphere in this game. The streets of Kamurocho are often dark and littered with trash, only brought to life by the illumination of neon signs and dim street lights, and the bustling crowds of noisy people. The fixed camera angles while walking around also make the city seem daunting, as the camera angles often pan above Kiryu to make the city seem larger than he is. It's absolutely fascinating stuff, and you combine that with the side quests you can find while talking to NPCs on the streets (which unfortunately most of them are fetch quests, with a scant few being memorable side stories) you really get the feel Kamurocho is a living, breathing metropolitan, crime-ridden, red-light district.

As for the story, it feels like a great proof of concept. I was surprised to see how briskly paced it all was, baring one chapter which mostly felt like filler. Maybe a little too brisk. I feel the cast of characters introduced here the devs haven't decided what to exactly do with yet, so they end off coming off more like prototypes for the larger narrative than real explored characters yet. One of the few characters that actually do get some scenes of character development outside of Kiryu and Haruka, Detective Date, gets his scenes in the aformeantioned filler chapter. It doesn't tie into the main story at all, but it was also nice to see a side character with his own struggles with the themes of family in this game.

Unfortunately, that may also be because this game has a quite frankly hilarious dub. I miss when Sega was the kings of shitty awkward dubbing, and this game offers plenty of lines that made me burst out laughing. It's still unfortunate because the actual good performances in this game like Mark Hamill as Goro Majima still have to wrestle with the horrid sound mixing. The dub does kinda ruin the mood of some scenes that were genuinely cool, there are still a lot of hype moments in this game that unfortunately get bogged down by bad voice direction or bad sound mixing. Let me share some of my favorite iconically bad lines:

"I did feel the urge to hit some balls today... I suppose yours will have to do"
"Go! Kill this arrogant mo-ther-fuck-er!"
"Women: "Are you fucking [R slur]?" Kiryu: I'm not as stupid as you."

I know this whole review seems kinda negative so far, but I was being genuine when I said I actually still had a great time with Yakuza despite all these flaws. Perhaps it was the brisk flow of the story, the atmosphere, and the discovery of all the little side content within the streets of Kamurocho is that kept me engaged throughout this experience the most. It's rare to see a game attempt to experiment with a bunch of ideas and still come out with something unlike anything back in the day.

The entire experience actually reminded me a lot of when I played Demon's Souls last year. Both games were born from internal company failure and both directors set out to create a new ambitious idea to lay the groundwork of a now iconic series, rising their studios to fame. Both games do feel a tad clunky and maybe less-fleshed out than they should be, but both games still feature experimental mechanics and atmosphere unlike anything else from their respective series. It's special to play a game like that, but I would argue Demon's is a more polished game overall, which is why I've played through that game three times as of writing this.

I'm not sure when I'll return to Yakuza 1, because while I did have my fun with it, I can also see this as a hard game to come back to if the other games deliver as much as people say they do. Yakuza is a beautiful messy blueprint and I'm ready to see how they'll iron out these kinks of this pretty solid game in its sequels.