Ryukishi is a hack and a fraud, I can’t believe I spent 60+ hours on this nonsense of a VN just for it to tell me that life is worth living and trust my friends and not some deep methodical pretentious mumbo jumbo. I hate this game.
That being said I love this game. Ryukishi you madman, how did you do it. I started this all the way back in late July and I’ve consistently been hooked on where the story was going to go next. I really love the characters, the uncanny atmosphere, all that jazz. This review is mostly focused on the answer arcs of the series but the question arcs are undeniably just as important to the overall experience.
The contrast of Meakashi to its successors makes for a really damn engaging opener for the answer arcs. The complete brutality of it all while also forming one of the most morally gray characters so far makes for possibly my favorite chapter in the whole series. It can get unbearably brutal at points, but that just means that it is accomplishing its purpose. It’s a story of how the abused becomes the abuser, and the things people will do for love. It’s a story that shows the real horrors aren’t the demons or curses, it’s ourselves. Easily the most tragic chapter of the VN, and I have to admit I got a little emotional towards the end despite what terrible things our MC did along the way.
Tsumihoroboshi comparatively starts an upwards trajectory of hope after the extremely bleak first five chapters, Rena and Keiichi shine their brightest here, making for some of the most hype moments in the entire story, and ultimately the message that this chapter establishes is rather inspiring, it’s about breaking “fate”.
Minagoroshi is….. complicated. I always see the highest praise for this one but honestly I didn’t really get it? It does wrap up a lot of the remaining questions for the audience which is cool and all, but I found this chapter overall to be a bit of a slog for me to go through. Maybe it was burnout? Not sure. The bigger moments still really hit hard but in the end I still can’t put my finger on why I’m not too hot on this chapter. Still good though.
Matsuribayashi is the last main arc of the series, although I still have Rei to go through to properly cap things off. However, this is still a great finale on its own. A liiiiiitle drawn out, sure, but overall pretty earned? We get insight on the core perpetrator, one last section to gather all our clues together for one final showdown, and… a very good showdown at that! The actual ending itself was a tad underwhelming but maybe I’m an entitled ace attorney brat who wants flashier finales or something. Most of what happened I sort of predicted, which isn’t a bad thing, moreso me not imagining the story could organically end any other way, which isn’t a bad thing.
Woah woah woah, okay we’re not done here, because I still have some things to say before signing off. Despite what that star rating will tell you, I must say that Higurashi is NOT a flawless masterpiece!!!! Sorry Ryukishibros but I still got some choice words to say about this man and his stories. The fanservice sucks!!!! Nothing will ever excuse this and I just need to get this out of the way because it is EASILY the most frustrating thing about this VN and it makes me hesitate to call it near perfect. Also yadda yadda yadda the prose can be repetitive and annoying, it’s a dice roll on if you get a raw line or not etc etc etc. I’ve talked to people who consider Higurashi like, high art, and while I can respect their passion, this is far from the best story ever told. It’s just a really really good one that’s impressive, especially considering the context it was released in. Dunno, can’t look at the maid cafe scenes and be like “yooo this is flawless peak that no other writer can achieve!!!” If anything Higurashi is very derivative of works by other writers (the quirky tsukihime inspired visual novel!!!!), it’s a celebration of stories as a whole, while still being unique in it’s own right. Anyway I hope that didn’t come off as hate, because I genuinely love this game so much, it’s one of my favorite long term video game experiences ever, and I love being apart of this community (seriously WTC shitposting is funny af) but I do NOT think it is free from criticism, not even close.

And so my journey into the odd world of Visual Novels begins. Feel free to block me if I become a pretentious VN elitist because of it. There's so much to see, not just from 07th, but from KEY Visual Arts, Type Moon, Leaf, etc. Words cannot describe how excited I am to further dip my toes into the medium.

Do I recommend this? Well….. I suppose? The first chapter is free on steam so there really is nothing to lose trying this. There are poor aspects of the writing you’ll just have to bear with, moments that will make you go “Ryukishi what the fuck is wrong with you,” but I think if you can brute force those aspects, you have a wonderful story that has earned it’s place in the visual novel industry. I don’t care that the OG artwork is corny, I don’t care if the story gets silly, it’s HIGURASHI: WHEN THEY CRY. It's a genuinely passionately created piece of media. I eagerly await to try Ryukishi’s other works in the future, for When They Cry once more.

"Are you ready for the sexualising minors in your story lesson?"

Kazutaka Kodaka gulped.

Katsura Hashino nodded.

Nisio Isin blinked nervously.

"Yes, Gen Urobuchi" they said in unison.

While I wont be going into too much detail on any specific plot points, I'll be talking about the themes of the game in general, so be warned I suppose


"All is in the name of guiding humanity down the right path"

Over the past 6 months, I've been dedicating the majority of both my free time and what was supposed to be my non free time to going through Ryukishi's main (and most well known) franchise, that being the No Naku Koro Ni series (or, as it is more well known in the west: When They Cry).
From the quintessential VN classic that is Higurashi, to the somewhat flawed but still ultimately beautiful masterpiece that is Umineko, these games have been an hell of a ride to experience even with all the quirks that are oh so common with works written by this guy. And while I've been loving going through these, I've never felt like writing up something about them, mainly because of the feeling that I would never be able to do these games justice.
This time, however, it's kinda different.

Let's get the obvious jokes out of the way: Ciconia Phase 2 is never coming out; GouSotsu was trash; Umineko Gold is dead; what the fuck was 07th smoking when they came up with Beako; Ryukishi is an hack and a fraud so on and so forth.
That being said HOLY kerokero Ciconia Phase 1 is without a shadow of a doubt (at least in my eyes) the single best introductory arc of any WTC game EVER, and one of the best works by Ryukishi IN GENERAL (at least from what I've read, I'll read Higanbana and RGD eventually I swear).

When looking at the synopsis, it's clear from the get go how much the scope has expanded. A story of global conflict, conspiracy, and military action makes it a far cry from the series' old settings of a rural Japanese village and a small island turned catbox of infinite possibilities, and even if this isn't Ryukishi's first rodeo when it comes to alternative history/speculative fiction/whatever the fuck you wanna call it, just the sheer girth of this game's setting would make it seem like it would end in failure at first, but as the game progresses it's very clear that not only does Ryukishi have a really good grasp on competent worldbuilding, but he also does it while providing interesting discussions on the game's various themes.

Even if the game's writing comes with all the Ryukishi quirks you would expect, like repeating ideas ad nauseam or classic Ryukishi Bloat™, aside from the first half being admittedly a bit too much expository the writing is without a doubt excellent. While at times feeling somewhat preachy, the game discusses a lot of relevant stuff without feeling too much patronizing. From the game's setting you would probably expect the characters to repeat stuff like "errm war... bad!" over and over again, but instead Ryukishi just assumes that the reader is intelligent enough to already know that, and uses that time to discuss and explore surrounding ideas like radicalism, mob mentality, the nature of the military outside of war as a means of stability, as well as various other things. However, and probably most surprisingly, the game doesn't really discuss directly what its arguably the most prominent issue in this story, the nature of child soldiers, but while the game's character don't really discuss this at length (after all, in this society this is already not only normalized, but also needed, so it really wouldn't make sense for the characters to do that at lenght), the game instead uses its extended cast to explore this.

Ciconia's cast is... big. Really big. Even when only looking at the gauntlet knights, we're talking about 24 of them. And while of course not everyone has gotten their chance to shine in this phase, the ones that did get screen time are for the most part pretty fun! The main two squads that the game focus on in particular were very much highlights. Although seeing these kids goof off is fun and all, at the end the game is sure to remind you that at the end of the day, the situations they've been put in are not good in the slightest. Being the carriers of the most advanced form of weaponry in the game's world, the weight they carry is a lot, way too much for anyone to carry, let alone a child.

And as the game progresses, as it becomes more and more clear this is going to end in tragedy, as the cast discusses what it means to be a soldier, if they really have free will, or if they really are just pieces on a gameboard, to be discarded after they got no more use, the game reaches its climax, where their individuality gets stripped of them and they turn into what they're supposed to be... soldiers.

Without spoiling what actually happens, saying that the game's ending is great, would honestly be a severe understatement. The game shows you, at the start of every chapter, the Doomsday Clock. And as its hand reaches the end, you realize that what's about to happen is inevitable... And yet, that doesn't stop the ending from being absolutely tragic, with an incredible last chapter+epilogue combo that will leave you feeling betrayed, angry, confused, sad, and most importantly of all, craving more.

Early jokes aside, it really is worth pointing out that as of writing its been 4 years and a day since the release of Phase 1, and while this wait hasn't been exactly radio silent, with Ryukishi giving a couple of small updates here and there that basically boil down to "I'm still working on it guys!", the fact that he's probably busy with other projects like Silent Hill f means that we might still need to wait a while to see this story get continued.

But, to be honest, I'm willing to wait, because what I see here is something that, even if it hasn't reached the peaks of his previous works yet, absolutely has the potential to be Ryukishi's single best work yet. And hell isn't the notion that in order for a miracle to happen you need to believe in it one of the biggest messages in Higurashi? So I guess I'll believe in Phase 2.

However long it takes, I'll wait to be welcomed again to A3W, even if I have to wait 2 more years for it to come on a white horse.

I’ve been playing this game nonstop for two weeks, constantly thinking about how I want to get my thoughts out on this one. Radiant Dawn gets a fair amount of distaste these days because of what it does wrong, and it’s totally fair, but I can’t get myself to dislike this game even with the myriad of problems.
For every stupid thing RD does, it does three other things that are pure genius. The sheer scale of everything makes this the largest and most ambitious FE game to date, even outdoing Genealogy of the Holy War. There’s a huge amount of map variety, with objectives and units constantly changing to help tell the story. It’s far from being a boring FE game because the game never stops mixing things up every chapter or so. While it can be very hectic both in gameplay and story, I can’t help but admire what was done here. Every single map, even the ones I disliked, made me go “wow, that was a neat concept for a map and it feels unique compared to everything else so far!” The gameplay-story integration is also up there with the Jugdral titles, especially the finale of part 3 which is one of my favorite maps in the whole series. When in tandem with the fantastic Tellius mechanics such as shove/rescue and BEXP it also creates an immensely fun gameplay experience.
The story is mixed overall and i think PoR had a more solidly constructed narrative, but RD has a lot of interesting concepts and plot threads that are thrown around, and when combined with the ludonarrative aspects of the gameplay, makes it super engaging. There’s definitely a lot of “huh” moments closer to the end, though, and the final part is a really odd curveball after the very dense political drama the rest of the game was, but the themes it uses are probably the best use of said themes in the entire series.
I dunno man, I adore Radiant Dawn. There’s like 800 problems you could pick at with this game and I still wouldn’t give a shit. It’s the quintessential Fire Emblem game in my eyes, it has something for really any fan of the series. Maybe not the whole package will jive with someone, but I think you’ll get at least one section of the game that appeals to your tastes. Radiant Dawn is messy, ambitious, and maybe tries to bite off more than it can chew. But at the same time, I almost wouldn’t have it any other way.

My first review.

Right from the start you get a CGI intro showing the motivations of all 4 main characters; Agnes Oblige, a Vestal of Wind who sets out to save the world from darkness by awakening the 4 Crystals. Edea Lee, daughter of the grand marshal of Eternia who seeks out his approval by capturing the wind vestal and becoming a skilled soldier. Ringabel, a charmer who has no memory and seeks to recover it with the help of an intriguing future-telling journal. And lastly Tiz Arrior, a young shepherd who lost his family to a mysterious pillar of light that swallowed his village.
With that out of the way, onto the gameplay.

GAMEPLAY

The world of Bravely Default (also known as Luxendarc) is like most other RPGs; a large overworld map with settlements and dungeouns you can explore. This part of the game is relatively simple and mostly serves just to connect all the places into one vast world.
However the true meat and potatoes of the gameplay is the combat.
BD serves an interesting take on the traditional formula, in more ways than one.
First is the very name of the game, Brave and Default mechanics. Defaulting makes you defend during that turn, reducing damage taken and storing up BP. Brave lets you spend those Brave Points by allowing you to perform multiple actions in the same turn. For example if you used Default 2 times, you'll get 2 BP which you can use in the next turn by Braving 3 times and performing several different moves at once. Bear in mind however that you can go into negative BP, making you unable to perform any actions and essentialy making you a sitting duck so choose wisely on what actions you'll perform.

JOB SYSTEM

Next change is the job system. Throughout the game, you'll encounter bosses known as asterisk holders, powerful foes that have their own unique abilities. Once you defeat them, you'll obtain their asterisk and their job as well.
This'll get lenghty so buckle up.
When you equip a job, there are multiple things to know; every job has unique base values. For example Knight has good vitality, Monk has good strenght etc. Next is arms proficiency. This tells you how well you can wield weapons of that certain type. Black mages are good with rods, thieves are good with daggers etc.
Lastly you have the specialty. Every job has one and it's an innate ability you get when equipping a job. Arcanist has Absorb magic damage, Ninja has Dual Wielding etc.
Now while you can equip a certain job and just leave it that, you can also equip a side-job. This means that you can have 2 different commands ready to use at any time; and this is where the combat truly shines.
It allows for some wild experimentation, regardless of your stats and arms proficiency. I won't say much more because it's more fun and engaging to just try it for yourself.
Next up are support abilites; these are pretty much what the name implies. When you upgrade jobs, you'll get abilities that have an active effect, rather than using it as a command. When you start out, you can only equip the ones with a cost of 1 slot (don't worry though, you get more as you progress), and this is where a good chunk of the strategic value lies.
A lot of these abilities are simple stuff such as Magic Defense 20% up, Physical Attack 10% up etc. However you also have some interesting ones like Holy One; reduces physical attack but increases effectivness of recovery magic or Zero, increasing the power of magic if the last digit of your current MP value is zero and so on.
Last but not the least we have Bravely Second.
The name might be confusing at first but the mechanic itself is really simple. Let's say you're having a hard time with a certain boss that's kicking your ass and your party is at critical HP. Well simply press START and you can pause time! This essentialy lets you perform an action at any given time, even during a turn. Of course this kind of freedom isn't free ironically, because every action you perform costs SP or Sleep Points. Once you spend one SP, you can put your 3DS to sleep mode and after 8 hours you'll gain SP. However the best use of Bravely Second is with the special moves.

SPECIAL MOVES

Early on, Tiz will meet the king of Caldisla, a kingdom where his village Norende was. He will name him the chairman of Norende restoration efforts, and despite the boring sounding title, this also one of the keys to fully enjoy BD. You'll get access to shops that sell recovery items, new weapons and such. Most of these shops however are centered around these special moves. These are the most powerful commands in the game which can let you cheese bosses IF you have it all planned out. Firstly every Special Move is centered around a weapon type; Staves, Knuckles, Katanas etc. Each of these moves can be customized with 4 kinds of parts; one lets you inflict elemental damage to a foe like Water, Fire etc. 2nd part is a simple power boost, ranging from 10 to 50%. 3rd part lets you make the move extra effective against a family of monsters such as Aquatic, Beasts etc. The last part infuses the move with a status ailment like Poison, Blind etc.
This is just for one type of moves, the others are Recovery, Enfeebling and Support, but we'd be here all day if i was listing those.
Now why did i mention Bravely Second for these?
It's because during regular gameplay the max possible damage is capped at 9,999. However if you stop time, that cap is removed, allowing you to deal ridiculous damage all the way up to 100K. Of course you still have to plan carefully to reach that level.

WORLDBUILDING AND LORE
Given how large the world is, you'd expect a good amount of lore to flesh out the locations and make them feel connected; in that case I'm happy to say it does indeed deliver on that.
All of the cities feel unique and part of one world at the same time. As for the lore, not only is the world and characters rich in it, but it's also delivered in many ways, subtle and obvious.
It can be delivered via simple exposition during the main story, talking to citizens of the towns, completing side quests, listening to the party chat, examining points of interests or just good old ludo-narrative storytelling.
Oh right about the side quests-

SIDE QUESTS

Side quests, or sub-scenarios as the game calls it, are optional missions you can do to either get to know the characters more or better yet, to obtain new jobs. I highly recommend doing them all because all of them are either self-contained sub-plots with their own nifty scenarios or something connecting directly to the main story. Basically you'll get some kind of bonus to your playthrough either way.
However after a certain event things become a bit of a mixed bag.

!SPOILERS AHEAD!
After Agnes awakens the 4 crystals, the Holy Pillar appears and you set out into it. After an intense fight on the ship's deck, you find yourself back in the spot the game started out from. At first it's confusing as all hell, but after a while you find out you've in fact visited another of the many Luxendarcs that exist in this universe. Now what does this mean for side quests? Initally, nothing really cause the events still play out basically the same, except you have the upper hand in having the memories and knowledge of the last time, and I will admit it is fun seeing everyone be confused on how your party knows everything. However this cycle is repeated multiple times, this world loop as it's called, which did drag down the experience for a lot of the players, especially considering even the main bosses get reused. The reusal also makes them feel lesser due to them reusing the same strategy and barely noticeable scaling. So if you want to experience the game in the best way, my advice is to beat every side quest in the first world, and then ignore them the next 2 worlds. In the 2nd to last and last world they get much better, shorter but also much harder.

SOUNDTRACK

Oh man, time to talk about this OST. Being composed by REVO (or Linked Horizon if you will), it is nothing but phenomenal, bangers all the way through. I'm gonna list some of my favorite tracks just to get it out of the way. Serpent eating the ground, That person's name is, Silence of the forest, all 4 special move themes, Horizon of light and shadow, Wicked battle/flight etc.
I highly recommend trying these out for yourself, even without the context it's a guaranteed bop. The OST as a whole has plenty of variety in theming and instruments. For example Tiz, being a shepherd, has the flute as the main instrument while Ringabel, being a ladies man, has the harmonica and castanets as the main ones. The music also knows when to be energetic, calm, melancholic and intense exactly when it needs to be. Oh and remember the special moves I mentioned? The best part of those is that, when you use them, that character's theme starts playing and you get a certain buff that lasts as long as the song does. Not only do you get to jam out, but it also encourages you to think fast in order to use those buffs to the max. You can also interrupt a song with another one and combine those buffs if you really wanna finish off your enemy.

ACCESSABILITY AND QoL
This might seem like an odd thing to include next to something like gameplay, music and such, but I must talk about how player-friendly this game is.
Starting off simple, when equipping a new job, your arms proficiency changes as you may remember. This means it can be a slog to change equipment every time, but fear not for these features make it a simple task. Firstly there is Optimize, a command that automatically equips the best possible gear for that character, and secondly you have a Favorites tab which allows you to save the job sets you have created and further simplifying the chore of job changing and saving you precious time.
Next up we have QoL stuff for battles; there is the option to speed battles up 2 or 4 times or to pause them, Auto-battle, which repeats your action from the last turn (great for grinding), Encounter rate meter that allows you to walk around freely when you want to progress the story or make grinding last a lot shorter. And my favorite of them all, the option to use left and right on the D-pad for inputting commands (right for yes, left for no).

OVERALL THOUGHTS
Bravely Default was an enjoyable ride throughout all the 96 hours I put into it (well, maybe not every single hour) and a must-play for everyone who's into RPGs or just recently got into them (like me). Overall rating i'd say is 9.5/10. Excellent writing, great story, phenomenal OST, always engaging gameplay etc.

P.S I haven't talked much about the characters and plot because to be frank, I don't really think I'd do a good job retelling it, but just to be sure
Ringabel best boy :)

Technically cheated by playing this on GBC emulation and with a map but fuck do I care. Metroid II: Return of Samus still successfully scared the shit outta me.

A lot of what I have to say has been said already by the top dogs of Backloggd.com so I'll keep it straightforward. By far the best thing about Metroid II is the well-crafted, incredibly creepy atmosphere of SR388 that is backed by not just its uncanny sound design and music, but also its monotone, dull environmental design. An entire planet where everything looks just about the same with long, acid pool corridors and towering pits that blend together so well, the player barely knows where they are half the time, creating the illusion of entrapment. Metroids that are disturbing in design (except the Zeta Metroids which look more cool than creepy) which also emit some of the most haunting and chilling sounds when hit, almost as if it were a wail of pain as you mercilessly tear it to shreds with your missiles.

All of which culminates in a final act where immediately after a grueling gauntlet of 3 Omega Metroids with minimal resources, the environment suddenly shifts to a bone-chilling rollercoaster ride where the tension rises tenfold as the Metroid counter suddenly spikes, allowing a looming sense of dread to drip slowly into the player's mind as they struggle against the unexpected onslaught of Metroids. But when all is said and done, Samus, whose journey has been hallmarked and can essentially be written off as federation-mandated genocide, has a rare moment of compassion as it spares a singular, child Metroid as the terrifying shrieks of the final phase die out to be replaced with a melancholic, bittersweet tune that compared to everything the player has experienced beforehand, is relieving and somewhat... calming, yet does not completely brush off Samus' insufficiently justified actions of murder. It's a beautiful game.

But as much as it is a well designed game thematically, just like God of War, in practicality there are a lot of flaws present within Return of Samus.

Despite all its positives Metroid II still suffers from being a game of its era, with all its hardware limitations making modern game standard affairs like an overworld map absent. This also means that the game suffers from clunky controls and questionable design choices. Most notably the space jump, which is not only absurdly precise in its timing, but is also inconsistent in its activation because Samus will either jump without curling into a ball, or awkwardly jump straight upwards. This issue is further worsened by the aforementioned amount of tall pits, especially those in the late-game that mandate the usage of space jump to traverse; it also hurts the Omega Metroid fights substantially, not getting a Screw Attack jump when you want to consistently absolutely stinks.

The spider ball, meanwhile, as a crucial element for Metroid II's exploration is slow, clunky and just as inconsistent with its movement as the Space Jump, with most of my issues stemming from unresponsiveness when I attempt to scale the various pillars needed to unlock extra item expansions.

Finally, there's the... interesting design choice regarding Samus' hit detection. While from a design standpoint, Samus' large sprite enhances the sensation of entrapment within SR388, it also has the unfortunate side effect of making her more prone to getting hit by attacks. And for whatever reason, instead of being granted i-frames for a brief moment after getting hit, Samus instead rebounds in an awkward angle that more often than not results her in getting hit... sometimes even by the same enemy. Yes, you have a recovery jump after getting hit, and sometimes the optimal choice is to intentionally take damage to reach higher ground, but in most cases, especially Metroid boss fights, it becomes a major inconvenience.

Oh, and the plasma beam is fucking useless with its tiny hitbox.

All of these issues combined are sufficient that despite my best efforts to appraise the overall package of Metroid II: Return of Samus as a thematically rich work of art like most have, I am constantly taken out of the atmosphere by one small problem or another that sours the experience. This leads to Metroid II feeling more like a flawed game that happened to accidentally struck upon a stroke of genius. Yes, video games can be works of art, but I suppose the main takeaway here is that despite that being the case, video games are meant to be... viewed as video games to most people, including myself.

And that saddens me somewhat.

Final score: 8/10
Focus: The flaws that claw at Metroid II: Return of Samus' achievement as an artform.

It should come to no one's surprise that Metroid Fusion, a game where Samus Aran fights a horde of parasitical organisms, conveys the themes of symbiosis spectacularly.

Parasitism is often defined as a symbiotic relationship where one party benefits, while the other is harmed. This theme is ever-present throughout the entire game, with the most obvious example being Samus' X infection that nearly costs her life.

But then there's the more subtle instances of parasitism - and one of them is the very game itself. It's been discussed to death how Metroid Fusion swings its unprecedented linear level design to its favour, by rivalling Metroid II's atmosphere, albeit to a larger extreme. Without her Varia Suit Samus takes higher damage from hits, and yet it is those same monsters that produce the parasites that she requires to restore her health. Samus benefits, the monsters are harmed. Parasitism. This sense of vulnerability is akin to the feeling of not knowing when a Metroid is going to show up the last time you were here - but this time, it's far, far worse. The enemies are much more hostile and threatening, and the linear design ends up dragging you through these sub-stations against your will. For the first time in Metroid, the true narrative of the game isn't that the monsters are stuck with you, moreso the inverse -

You're stuck with the monsters. And there's no escape until you get the job done.

Speaking of the job, Federation constantly jostles and orders Samus around the BSL station, leaving Samus to risk her life constantly while they sit back and collect data for their own selfish gains. Federation benefits, Samus is harmed. Parasitism. The Federation are also incredibly stingy with their map distribution, with most sub-sections having almost half the map hidden away for one to explore. And yet, this works in the favour of Metroid Fusion, because it ends up compensating for the linear level design by providing the player with much more secrets to discover within the levels.

All of these instances of parasitism also incidentally results in an unforeseen consequence - the loss of Samus' freedom and agency. For the most part. This is pretty self-explanatory, with Samus no longer having the license to roam a planet at free will and pick up hidden items whenever she wants to. There is only one chartered course from start to finish, and if Samus breaks order by any means, the superior authorities that bind her tighten the rope.

However, there is one thing that shines through within the bleak themes of parasitism - Samus' compassion. That same compassion that made her spare the Metroid hatchling's life, which ended up being the main reason she lives to experience the events of Fusion. Samus survives, and its because she helped that Metroid survive. That same compassion also made her spare the endangered animals in the habitation deck, despite them not being the human survivors she was tasked with searching for. And it's those animals that end up saving Samus' life when she's facing the brink of death. Samus survives once more, and the animals are saved, too. Both of these acts of kindness fall under this specific term:

Mutualism. The symbiotic relationship in which both parties benefit from one another.

By the end of the game, Samus is practically back to her prime (pun intended), and while in some cases this might be a cop-out in comparison to the bleak, horror-esque atmosphere the game had fostered before that, it feels more than justified. That's because when Samus sends BLS Station on a crash course with SR388, she regains her agency, doing the right thing and finally going against Federation orders to annihilate the X parasite. By doing so, she finally breaks away from the absurdly unfair odds stacked against her by both the station and the authorities.

Freedom at last.

Final score: 9.5/10
Focus: How Metroid Fusion explores the themes of parasitism... and mutualism.
Theme: Symbiotic relationships.

GENTLEMEN, START YOUR ENGINES
For the past few months I’ve been obsessing over this game, while not actually sitting down to play through it. Not too long after I had dipped into Ridge Racer Type 4 I became interested in other racing games, and eventually learned about Daytona USA. An iconic arcade racer that- immediately took my interest. The aesthetics, soundtrack, and arcadey nature made me raise an eyebrow. I wanted to try this.
But only now have I actually gone through every track in the original game, after playing the first two levels on and off for about two months. Some of that is due to Daytona’s skill curve. I wouldn’t call it as easy to pick up and play as Ridge Racer. The way drifting works is significantly more difficult to pick up on, and overall this game has more emphasis on needing to learn all of its mechanical intricacies to play properly. That being said, you can still do okay-ish enough by knowing only the basics, even on automatic transmission.
Gameplay wasn’t the main factor for my interest in the game, though. I was much more curious about everything else. Daytona USA is absolutely seeping with SEGA’s energy from the 90’s. Bright blue skies loom over you, as head bopping tunes, some of Sega Sound Team’s pure finest, play in the background. Takenobu Mitsuyoshi’s fantastic vocals for every track elevated the score, and with the Saturn version, made his voice fully realized in the realm of CD quality audio. The soundtrack is mainly comprised of three songs, The King of Speed, Let’s Go Away, and Sky High, all of which are FANTASTIC. Both the arcade and Saturn versions of these tunes are some of my favorites in video games period, reminding me of similar Sega soundtracks like Sonic R and Sonic CD. Just music that is riding with both energy, creativity, and depth.
The 1994 Saturn port of the game isn’t well regarded, and while for good reason too, it’s still very solid. The technical aspects of the game are a bit annoying, such as the drop from 60fps to 20fps, and the limited draw distance being- very apparent. It still plays great, though, and it also introduces the arranged soundtrack. I think considering the crunch development cycle of the Saturn version in order for it to release on launch, alongside the limitations of Saturn hardware compared to Sega’s technical beast that is the Model 2, it’s a lot better than it could’ve been. Nowadays, if you have a PS3 or Xbox, you can just play a modern port of the arcade version for about ten bucks, which isn’t a bad price. There still is merit to trying older versions of the game, but if you had to pick one version… it’s probably that. I still adored the Saturn version, with it’s cute little limitations, shadows and other visual effects simply being a very obvious dithering effect, and overall comfiness. It is worse than the arcade version, but it still offers that core Daytona experience.
Little side tangent, can I just say that the box art for both of the Daytona USA ports on Saturn in Japan look fantastic? The 1994 one is oozing with color, while the Circuit Edition one has this amazing evening sky. The NTSC-U box arts by comparison are… fine, but a little generic.
Daytona USA is a special game to me. It’s not my favorite racing game (I still think RRT4 is), but it’s a game that reminds me of why I loved Sega in the 90’s and 2000’s, especially with those bright blue Sega skies. I don’t know if I’ll ever fully be able to explain what this game’s aesthetics mean to me, but it makes me happy and I guess that’s all that really matters. Please play this, if you can, it’s less than 30 minutes long if you play all the tracks, and it is really fun.

To say that I am actually insane about this franchise is an understatement. When I heard about this game being added to NSO I actually finished the whole thing in 3 days after it dropped because I was having so much fun. At the time of this review I still haven't started Hector mode, only finished Eliwood mode.
I do have to admit my opinion on this game has gone down quite a bit since my original playthrough, but there's still a lot I have to like about it. The characters are still great, (most of) the maps are fun, and it's as speedy to play as ever. The game also just looks fantastic on a switch screen, especially with the "classic" filter you can toggle. The pure fun of replay value from a Fire Emblem game was showcased for me here, as this time I decided to train Rebecca, a low tier unit, into one of my strongest characters who was capable of killing MULTIPLE endgame bosses, it was actually so fun. She literally even outpaced Louise, it was SO hilarious.
FE7 is still a fun time, even if weaker than many of the other games in the series I've played. If you have NSO I find really no reason to not at least try this. Even if you DON'T have NSO, GBA emulation is so accessible on so many devices that it's really no problem in getting to try it yourself. It's beginner friendly, its fun, and it's a bit overhated these days despite of what it does so great.

I’ve felt a bit hesitant about writing this review. To say that Persona discussion on this site, especially regarding 4 and 5 is toxic would be a massive understatement, it’s almost absurd. But at the same time, I wanted to write a few things about this long journey I’ve gone through.
Inaba is one of my favorite settings in a video game, the small town vibes with the fog and the friendly nature around you gives Persona 4 a distinct feel from all the other games which usually take place in bigger city areas. There’s a certain mood about the culture of Inaba that’s been imposed by the older folk there, while it's slowly being taken over by commercialization and such. The once peaceful town has now become flowed with a sense of unease because of the murders, but that laid back feel is still ever so present.
Of course the inhabitants of the town add to what makes Inaba so homely, and Persona 4’s main cast is a major contribution. While Persona 3 had a group of people teamed together who always felt at odds with each other for different reasons, 4 puts more focus on a tightly knit group of friends. A major complaint about this is that it makes the relationships between our characters feel rather shallow if there’s no real conflict, and while I understand that criticism, there’s something so nice about all these goobers just.. being friends, y’know? There’s also the protagonist’s found family, the Dojimas. Nanako is a pretty well written child character all things considered, and I think her strained relationship with her father is one of the best pieces of the game narratively. I found it the most interesting part of the story, mostly.
But on the topic of writing, Persona 4 is… pretty rough. I think when 4 hits its high points, it soars, but those lows… are really damn low. There’s a lot of “anime”isms with 4’s content, not helped by the many added scenes in Golden that pile up the anime factor. As someone who has an unnatural tolerance for shitty anime writing, I was able to push through some of it, but scenarios like the school festival (aside from teddie wearing you know what) is just flat out hot fucking garbage. Like actually abhorrent. Some handling of 4’s themes are lame or poorly done, and the excessive homophobia in the first 1/3rd of the game is extremely awkward even for 2008 standards… I’m really conflicted here, I dunno. On a more positive note, there’s a lot of character arcs and interactions that really touched my sensitive ND brain, and I’m sure most people wouldn’t care for those great moments, but it meant a lot to me at least.
I’m not really good at talking about JRPG gameplay, but what I will say is the combat is pretty solid, dungeons not as much. I think both 3 and 4 made me realize I’m just not a fan of the whole RNG floors gimmick.
That’s mostly what I wanted to say about Persona 4 Golden. I plan on revisiting this game through the (much better) original version on PS2, but it’ll be a while, especially when I still have Persona 2, 5, and 3 FES/Reload to cover. I’m really glad I played this game. Persona 4, flaws and all, is still a great experience. It might not be your thing, but it mostly was mine. And I’m happy for that.
Great Vegetables/10

As of recent times I've been on a bit of a Konami binge, playing a handful of Castlevania games, checking out Twinbee for the first time, and lastly giving a proper revisit to a very special title in their vast library known as Tokimeki Memorial. This was a game in a genre I overall don't really approve of or have much interest in, but upon learning about it's infamous "difficulty" and hidden game mechanics I felt enticed to try this out.
As an endless checkerboard pattern scrolls down the edges of the screen as the in game months pass by, with countless failures, frustrations, and dates, I felt engaged by Tokimeki Memorial the entire time. Tokimeki is a game that does not play around. It is not some cookie cutter male power fantasy dating sim that makes you some Chad hero who every girl in the world likes, no. It's a game that isn't afraid to punch you down for being a bad friend or partner to the girls, or point out your own problems with not attending your studies, exercise, or overexerting yourself. You have to earn the friendships with these characters, you need to plan things out, always prepare for the unexpected, and do your best! The gameplay loop is super satisfying to pull off, which made me come back wanting for more.
Now of course the most important part of any game in this genre of course, are the characters. I liked them! I didn't get to see all of them, but they're fun and I struggled to dislike one. The game puts much emphasis on Shiori Fujisaki, who for all intensive purposes is the character the game obviously wants you to go after, but I'd save to disagree honestly? I think Shiori is a better character as just a friend to the protagonist, someone there for him at the right time, but maybe I'm thinking too much into it. Regardless, she's still a fun character like the rest.
The presentation is comfy and endearing. The music has this very nostalgic feel to it that made them a fun listen in game. Alot of the characters sprites have that 90s VN jank to them, but they're still colorful and charming for the time. Also all the girls are absolutely dripped out in some way, especially Yuko lol. 90s fashion in fictional media never fails to wow me I guess.
Tokimeki Memorial is a trial and error filled game with repetitive writing and gameplay, but it makes those special moments feel even more unique. I couldn't really get myself to dislike this game. It's a fun subversion of the otherwise anti-game genre that is the dating sim, that is super engaging especially towards it's latter half with the "bomb" system. I can't really recommend this to the average player, but it's worth checking out if you want to play an oddly popular little series in Konami's catalog. Because flaws and all, when I got to that ending under the tree of legends, it was an immensely satisfying feeling to see the curtain close on this archaic but earnest title in gaming history.

I adore Thracia 776. Never in my life have I been so positively passionate about such a frustrating, punishing, but mechanically complex and rewarding video game than this one. Each chapter was some form of struggle, but I eventually would understand how everything worked, and after executing long thought out strategies for several chapters, I had done it. I had beaten one of the most infamous Fire Emblem games ever made. I have a lot of things to say, and I probably won’t be able to word them all out here, but please read the rest if you can.
Chances are if you’ve been a fan of Fire Emblem for a decent time, you’ve more than likely heard of the infamous Thracia 776, a sidequel to 1996’s Genealogy Of The Holy War. The game’s reputation has been so widespread, however, very few people have seemed to actually play it. It’s very easy to be intimidated by Thracia because of what you may have heard online, but the truth is, the game really isn’t that unfair as fans online make it out to be. Not to say the game doesn’t have its moments, or that it’s an easy game (believe me, it most certainly is NOT) but Shouzo Kaga and his team put their best efforts to create a very tough, but totally learnable game that would reward players who can wrap their head around its mechanics.
I think what will doom you most about going into Thracia is trying to approach it like most other Fire Emblem games, because this entry is almost a polar opposite in some regards. An oversimplification of Fire Emblem gameplay is “position all the blue guys to kill the red guys until they’re all gone and then seize the throne”, which is honestly mostly true, and I’m not saying it’s a bad thing. It’s just that this one is less about the combat of Fire Emblem and focused on pure strategy.
A good example I think is Thracia’s emphasis on staves. Without a doubt, this is the Fire Emblem with THE most heavy stave usage in the series, with entries like The Binding Blade getting sort of close. The amount of warp and rescue staves you’re gonna be finding while also dealing with is crazy, and you’re going to want to train up your staff users as much as possible. A pretty frowned upon strategy in Fire Emblem games is the act of “warp skipping”, which is effectively warping a strong player unit to immediately kill the boss then sending your lord over to seize the throne. It’s viewed as “cheap”, and while I can understand that sentiment, it fits the tone of Thracia 776 like a glove. Absolutely EVERYTHING is stacked against you in the enemies’ favor if you try and approach each chapter like a normal Fire Emblem game, chances are the struggle will be unreal. The appeal of warp skipping and other “cheap” tactics is what makes the game so damn fun. Seeing how you can easily clear a chapter by outsmarting enemies with the tools given to you is never not going to be satisfying. Like as one instance, chapter 22 has the probably the hardest boss in the game, but if you’re a creative player there’s plenty of ways that you can cheese him. Maybe cast sleep on him, which permanently renders him useless for the rest of the chapter (since status ailments last forever until a chapter is over). Or if you think even HARDER you can steal a berserk staff from another boss, then use it on the other guy which will make him more than likely kill every single unit on the right side of the map, which I’ve seen in action through YouTube clips and it’s amazing. There’s huge potential that players who invest enough time into the game can tap into, and it is absolutely fascinating.
Tonally the game is literally perfect. The constant reinforcements and extremely tight chapter design makes Thracia a game about how it feels to be the underdogs of a war, but ultimately still shine through with enough wit and perseverance. I’d be lying if I said that I wasn’t so heavily touched by the narrative, as it can be so bleak and depressing, and yet there’s always that feint light of hope that kept me going. The further I got, the more it felt that I was seeing the light at the end of this long, long tunnel. Actively seizing the throne in the final chapter was like a thousand tons being thrown off my shoulders at once, the feeling was absolutely AMAZING.
Story wise I’m not sure if I like this one more than Genealogy, but what I AM sure of is that Leif is my favorite Fire Emblem protagonist. It’s not even a contest. If anything, Leif feels like a reflection of the average player. He’s young and inexperienced, and he loses many battles, but he NEVER gives up. Even after all he’s suffered, he has something to live for, and grows as a person. He grows with the player. I’ve seen arguments online that Leif is a weak lord, but that’s just flat out not true, both narratively and gameplay wise. He’s no Seliph in terms of sheer power, but he has good growths and his light brand is a really handy weapon especially early game. But once again, I think that ties back to the core problem….
Thracia 776 is misunderstood. Horribly. Now, I’m not saying that if you dislike the game, your opinion is invalid, or that you got “filtered” or whatever. I’m more so talking about the regurgitated opinions I hear about this game online that convinces me that most of these people have never even played the game. The constant reminder of the same few points such as “did you know staves can miss?” or “the status effects are terrible”. Now I will admit that some aspects of Thracia’s design can be unfair, mainly fog of war chapters with enemy staves or ambush spawns, that is absolutely not fair. But conversely, about 90% of the game’s unique quirks either don’t matter that much or are just actively great mechanics.. Like I never see anyone mention the genius of the capture system, or being able to trade items multiple times in a turn, or in the case of things like status ailments, can use them in YOUR favor. Or how about how basically every single unit in this game is viable and has valid usage? You can’t say that about really any other FE game. What I’m getting at is that the same misconceptions that Thracia being “too unfair” are more than likely from people who never even experienced the game firsthand.
And I completely understand that is the thing. I’m not faulting ANYONE for saying things like that, because I doubt it has any harmful intention. I was scared of playing the game myself, and look where I am now! I took the time to understand, analyze, and absorb myself in it, and now it’s something I consider an all time classic. Is Thracia a game for everyone? No, absolutely not. It will test you in a lot of ways. Your good items will break, some units may die, you’ll have to reset a lot, failure is inevitable. But the best part is, these hardships were made to be overcome. Just like Leif, you must press on, and never give up to prove your worth. I implore you give this a shot, especially if you love Fire Emblem, or unique SNES games, or Tactical games, or just good ass video games as a whole. Maybe you won’t like it, or maybe you will. But I think if I could do it, then hey, maybe so can you.