I played this Zelda for the first time in 2022, and while obviously a profound, foundational title for gaming, it seems borderline IMPOSSIBLE to properly progress without a step by step walkthrough. The map is littered with random walls and bushes that need to be burned or destroyed to find dungeon entrances or crucial items, and dungeons, while extremely familiar for a Zelda title, are just as obtuse to navigate.

I respect the hell out of this game for expanding the medium’s scope and approach to game design, but its not a Zelda I’d recommend to those looking to play an entry in the series for the first time.

If I had to sum up this game in one word, it would be joy. Everything about Odyssey is a joy to be apart of. Cappy is such a good addition from a gameplay perspective that it is hard to imagine playing the next 3D Mario without the hat-throwing mechanic. Not only are all the captured enemies fun to play as, but the hat-throwing itself adds so much in terms of mobility. The worlds are so beautiful and so well designed that I wanted to just explore them for hours, long after the Odyssey requirement to move on was met. Bowser’s Castle had me in awe simply due to its style. The nostalgia fanservice is on a level I never expected Nintendo to implement with stuff like the 2D segments and the costumes. I had a feeling Odyssey would be good, but I could not imagine that I would put nearly 60 hours into 100%ing it. As of this writing, Odyssey is hands down my favourite Mario game.

While I still think that Chapter 1 offers a really good first impression, Deltarune: Chapter 2 is really where the game starts to come into it's own so to speak.

The story leaves pretty much right off from where Chapter 1 left off. Once again, the characters are really strong - Susie and Ralsei are still both as enjoyable and entertaining as ever (side note, but I like the little detail of how Susie's hair no longer covers her eyes like they did in the first game, sort of symbolizing her being somewhat more mellowed out following her character development in the first chapter), and in addition Noelle and Berdly, who were more background characters in the first chapter, play a much bigger role in the story and have their own character arcs.

In my Chapter 1 review, I mentioned how Ralsei was my favorite character in Chapter 1, but not my favorite character in Deltarune as a whole - as that would be Noelle. This chapter really expands upon her character and frankly she ends up feeling the most relatable to me in a lot of ways - largely based off her shy personality and tendency to keep her feelings to herself. Plus, I really like how this game further explores her relationship/crush on Susie, which helps further provide a glimpse into Susie's "softer" side particularly in the ferris wheel scene.

There's also the Queen, who ends up being an extremely entertaining and memorable villain with a good amount of funny lines that still adhereto the Undertale and Chapter 1 quirkiness and who's goals are born from incompetence and lack of insight rather than any sort of malice - stopping her plan immediately after hearing Ralsei's story about "The Roaring" towards the end of the game. Basically, she doesn't understand the consequences of her plan and why it would be a problem, which is an interesting approach to an antagonist that actually manages to fall in line with Undertale's concept of morality somewhat.

There's also some more worldbuilding and lore at play with introduction of a second Dark World that further fleshes out how the different "Dark Worlds" work, why Darkners from one world are unable to stay in another, and the whole problem that arises from the growing imbalance of the Dark Worlds - elements that all well explored here.

I really gotta say too that I love the themes of the "Cyber" World. The art style and setting take a lot after late 90's/2000's style internet, and as a kid during the 2000's to early 2010's it really made me nostalgic for that time period. Plus it pretty much stays consistent to that theme pretty well between elements like the Poppup enemies, Spamton, and just the overall aesthetic.

The core gameplay is pretty much more or less the same as the first chapter with it's use of a more "traditional" RPG system with Undertale's elements of ACTing, sparing and the bullet hell combat system. There are some additions though - Ralsei and Susie get the ability to ACT through their "Magic" menu at one point in the game (explained through in-game context), Noelle briefly joins your party while Susie and Ralsei go on a different path, and there's of course a bunch of new enemies that fit with the Cyber World aesthetic.

One big thing to note though is that I stated in the first Chapter that while the ending may slightly change depending on your actions, it mostly turns out the same, which for me did somewhat decrease the "replay value" compared to Undertale in my opinion.

But while Chapter 2 does have the same "ending" regardless of your actions, there's the addition of the "Snowgrave" route which drastically changes the events of the game in the middle. The way to activate it is a bit more cryptic than with the Pacifist or Genocide routes in Undertale, but it is nice having that available. Although, without spoiling it, I will say that the Snowgrave "route" is a bit... disturbing, to say the least. It actually further explores Undertale's morality system, by not just placing significance on the player's actions through the "main" playable character, but also displaying the consequence of placing the player's actions on another character, and how they respond to that. It's weird, slightly off-putting, but does offer some expansion on that concept.

And being another Toby Fox game, the soundtrack still really goes hard. Obviously many of the tracks from Chapter 1 still carry over, but with the new "Dark World" there's also some new tracks in here too - my favorites being "Welcome to the City," "A CYBER'S WORLD", and "Attack of the Killer Queen."

It goes without saying this once again, Toby Fox has basically outdone himself, with this chapter further building upon Deltarune Chapter 1's core gameplay while managing to keep things refreshing, and I'm definitely excited to see more in the future. I still pretty much stand by everything I said about how I feel about Undertale vs Chapter 1 in my Chapter 1 review, although I would definitely say this chapter comes even closer.

(also berdly's a simp)

Certainly the biggest surprise of the 2018 was Deltarune Ch. 1. A new project from Undertale’s Toby Fox, Deltarune most notably features a new party system for battles and more detailed graphics. It’s got all the writing and music I’ve come to expect and love from Toby, a new cast of characters, and a promising story. Deltarune isn’t finished yet and it will be a long time before we see its conclusion, but Chapter 1 is an incredible start. I'll never forget the morning I woke up and saw that it was available.

Wanted: Dead is an exceptional game that takes bold risks with its design, creating a PS2-themed funhouse hall of mirrors that is both audacious and captivating. This game embodies the true essence of what a game should be- free to explore, experiment and embrace creativity.

Every decision seems intentionally made to either confound or elate, and it doesn't walk that line; it backflips on it.

Why am I watching Stefanie Jootsen spend 15 minutes teaching me how to make Lasagna? Why is there only one song in this fully fleshed-out karaoke mini-game?

Why does the ramen noodle-eating mini-game run forever until you decide to press start and quit? Why does the game have to state that the Gunsmith reeks of cat piss? Why did Maserati allow the developers to use the 1992 Shamal as the game's police cruiser?

It's unabashedly what it sets out to be, and there is beauty in that brazen confidence.

Once you understand the intricacies of guard canceling and how to correctly utilize the games firearms, the combat evolves into a dynamic interplay of visceral melee and third-person shooting.

There is "jank," but the jank serves as an intentional obstacle, adding an off-kilter layer to the combat. This distinctive blend contributes to the game's overall uniqueness.

Wanted: Dead touches on things like fascist police states, the military-industrial complex, the predatory nature of the healthcare industry, and neocolonialism, but only in passing. It all feels deliberately unfocused and, coupled with the mixed-media presentation, it results in a surreal, addictively confounding, fever-dreamlike experience.

Conversely, it has a deliberate focus on emulating the essence of a 6th-generation AA title and it adeptly accomplishes that particular aesthetic and feel.

There's truly nothing else on the market today like Wanted: Dead. While this game may not resonate with a broad audience, for the niche group it targets, it will hit like heroin.