Pokémon Snap's concept is a genius idea that really takes advantage of the vast amount of different Pokémon that are featured in Pokémon Red. Blue, and Yellow. The concept of the game is to go out to a handful of different environments to get as many good photographs of the various Pokémon you'll find on each stage and bring them back to Professor Oak who will then judge the quality of the photos you give him. Not only is it a clever way in bringing Pokémon to the big screen, but also seeing how they live and interact with the world and other Pokémon around them.

The items that Professor Oak gives you not only help you get better photographs of the Pokémon but also require you to get creative in how you'll get the ability to get snapshots of certain Pokémon you otherwise wouldn't see or even how you'll unlock a few of the levels. The best examples I can think of are when you have to knock the Magikarp into the waterfall with your items to evolve it into Gyarados or when you have to use items on Squirtle & Mankey to unlock one of the levels. It makes the game a bit less linear while also adding a level of interactivity that allows the player to get a deeper sense of immersion while sightseeing in the Pokémon world.

I'm probably asking a bit too much given how much work it would take to animate all 151 Pokémon and the limitations of the system, but I think the game should have added all of Gen 1. It could have allowed for a few extra levels to be included in an already short game and it would satisfy those whose favorite didn't get featured. I know I would have loved to see Poliwhirl and a fully animated Mewtwo make an appearance in this.

When it comes to getting a deeper look at the world of Pokémon and in utilizing its unique concept, it delivers. It not only is a game I'm glad I played, but it also made me interested in playing its sequel which took way too long to come out. I hope that one features more of my favorites in it.

Kind of amazing how much AVGN just completely lied about this game.

Castlevania 64 has one hell of a negative reputation, but when you dig through the many arguments as to why it's bad, it basically settles at "camera bad, SOTN better". If being worse than Symphony of the Night is a qualifier for a game being a 0/10, then I'm afraid we're going to have to throw most of the games industry in the bin (probably for the best). Castlevania 64 and SOTN are completely incomparable beyond the very unsurprising fact that SOTN, which simply built on and overhauled the same style of game Konami had been making for over a decade by this point, was better than Castlevania 64...the second 3D game (to my knowledge) that Konami ever worked on.

While I think the hate for this game is absurdly overblown, it's certainly not a perfect package. The camera is certainly the biggest woe - even then, in a lot of circumstances the devs have decided to take the reigns and just have it point in the best direction for your platforming. Bosses sometimes have their own cameras too...other times, for some reason, they don't. I wish it were more consistent, but that's what rushed development gets you. Sometimes it'll get stuck on terrain which is annoying, but the biggest failure point is that it's hard to get the camera to point towards an enemy that is behind you. More on that little part later...

Gameplay is a standard early 3D action-platformer. You can run around freely, jump long distances, and attack. Attacking is a little clunky but generally responsive, and, as Reinhardt, really evokes the same vibe as the 2D games. Subweapons can be used with the yellow down-button (the N64 controller is just an absolute gremlin isn't it), but don't really have much difference between each other in the 2D space. Jumping is probably where the problems start - you have to remember to hold the jump button, because most platforming relies on your character grabbing the edge of the platform and pulling themselves up. You only hold on if you're holding the button - something people seem to take issue with? Hope you don't ever play Tomb Raider. The controls really aren't that bad; the camera is the main thing holding it back, but more than that - a failed jump usually means instant death, and that kicks you right back to the save point on the spot. Thus, any failures from platforming feel a lot more aggravating than they would in the 2D games, or other 3D platformers that leave room for failure in the form of losing health or checkpoints. Also, the right yellow button is for picking up things - this is vital to know as it's the only way you get subweapons and ammo, open doors, literally do anything in the game.

Progression has you go through several levels on the path to confront Dracula, as per usual. These levels are pretty interesting though, making good use of the third dimension for some neat gimmicks, such as shortcuts that tie areas together very neatly. Admittedly, these ideas run thin the further in you go, until the final third where the levels basically become normal Castlevania levels from a third-person perspective. Honestly, as much as I like the ways in which they experimented, the game was at its best when it was just being regular ol' Vania. There's a particularly infamous segment involving transporting an explosive that kills you if you get hit, or even so much as jump. I found that segment to be vastly easier than people made it out to be, moreso tedious if anything. Also, the solution is very easy, much easier than a certain Youtube personality made it out to be.

It's worth mentioning here that you get the choice between 2 characters. Reinhardt is the typical Castlevania protagonist, a macho man with a whip and the blood of the Belmonts. He can attack with the whip, or a sword if there are a horde of pesky bats to deal with. The whip is generally accurate, but run into the occasional collision detection issue with some bosses. I tried him out first, and honestly enjoyed the game a fair bit with him. The other character is a 12-year old girl called Carrie...and the reason I bumped down the score. She attacks with a magical homing projectile that somehow misses half the damn time. It can only hit enemies on camera, so if the camera is choosing not to show you an enemy, you don't get to hit them. That's frustrating enough, but they also have their own differing levels and bosses. Reinhardt's levels are pretty solid, while Carrie's are really cheap and annoying. The bosses are the reverse; Carrie's are the only bosses she fights that feel balanced for her moveset (well, them and the true ending's final boss) and Reinhardt's range from too hard to too easy. Having the two characters was neat, but Konami clearly struggled to balance the game for them both. Carrie has the far harder levels and fights, but then gets to just walk through Dracula like he's nothing. Probably the most badass 12 year old in videogaming, but not very fun to play.

Music has always been Castlevania's strong suit, and 64 delivers. Never going to forget how AVGN just told the bold faced lie "there is no fucking music". There's plenty of music, and it's awesome. Atmosphere is built really well, from the environmental cues, sound design, and best of all the music that veers more towards the soundtrack to a B-movie than it does the metal-albumness of SOTN. While generally striking its own path, a few classic tracks from Rondo of Blood get some solid remixes. Just a really great set of sombre tunes that compliment the aesthetic pretty well.

There's also a weird Day/Night Cycle thrown in, akin to Simon's Quest. Some events in the early game only happen at specific times, requiring an awful lot of waiting. Doors bearing sun and moon symbols also exist, which only open when at day or night respectively. These appear in the middle of the game, but honestly? I think the devs forgot about this gimmick entirely, as it's almost never relevant past those story segments. Only 2 constants throughout the game are affected; being bitten by a vampire can sometimes infect you with vampirism. If you fail to cure it by midnight (with an item easily dropped or bought), you succumb and get a game over. The other thing the cycle affects is the ending: if you fail to reach Dracula in approximately 14/15 days(?), you'll be stuck with the bad ending. You can use items called sun and moon cards to change the time of day to what you desire immediately, but overuse of them will quickly lead to a bad ending. Certainly an interesting idea, but once again undercooked.

I would genuinely argue that this game gets a lot of unnecessary shit when it makes the jump to 3D no more awkwardly than the likes of Sonic, despite Adventure being celebrated and this game being condemned. With some more time in the oven, it could've even been a stone-cold classic for the system. It also doesn't overstay its welcome - maybe it's even a little too short, I would've liked to see more of the areas such as the Clock Tower. That being said, I can only recommend it to N64 enthusiasts or big Castlevania fans who are open to playing games that aren't just the IGAvanias. Of course, you could also make the argument to play Legacy of Darkness instead, but that's still a very different game, and I'm interested to see exactly what changes it makes.

Absolutely phenomenal the Dreg Heap might just be my favorite area in any video game (visually at least). This is truly the best sendoff one of the best trilogies of all time could have gotten.

Man, I love Dark Souls 3.

Dark Souls DLC Ranked
https://www.backloggd.com/u/This_IS_Also_Bll/list/dark-souls-dlc-ranked/

Hi Fi Rush feels like the first season of a really solid action anime. The writing isn't always amazing, and you can tell where they had to skimp on budget, but the parts that are good are really, really good and keep you wanting more.

To get this out of the way: I love character action games, and I also love rhythm games. Unfortunately I'm pretty bad at both of them. Thankfully, Hi Fi Rush goes to great lengths to ease the player into the rhythm and combat mechanics so that it never feels overwhelming, and the difficulty on Normal felt pretty reasonable while also rewarding constant use of parries and tag assists. Honestly, character action games are all about getting into a rhythm to begin with, so once you get into a fight, following the beat feels shockingly natural.

I feel too many people underestimate the strength of an amazing soundtrack in a high energy action game, so I'm glad Tango decided to put that element at the forefront. While I will admit I don't fully share game director John Johanas' love of 2000s-era pop rock, it absolutely fits the fantastic cel-shaded pop-art aesthetic and the upbeat vibes of Chai's adventure.

The writing is a bit hit or miss for me. I get that they were trying to do the Scott Pilgrim thing where the main character goes from a cocky asshole to a considerate friend over the course of the story, but the game isn't really long enough to give that arc justice and the amount of trust the team puts in Chai by the end doesn't really feel earned. The humor is also very much in the Airplane! style of "throwing seven million jokes at the wall and seeing what sticks," which means a few gags got a chuckle out of me while a lot of them felt like they leaned a bit too hard into making meta jokes about the absurd nature of video games. Yes, I know hitting a big button to open a door doesn't really make sense, but also pointing that out isn't really funny to me?

Along those lines, the game's writing isn't subtle about the game being limited by budget, including an extended gag referencing another game that very famously had the same problem. While I think the team at Tango did a great job with the resources they had, I can't help but think how much could be expanded in a sequel. I would absolutely love to be able to fully control Peppermint, Macaron and [REDACTED FOR SPOILERS] to get a different spin on the rhythm combat. A bit more stage variety would be appreciated too - the outdoor sections are neat but a lot of the game's indoor factories feel pretty samey.

I realize a lot of people are already declaring HFR GOTY material, and while I wouldn't go that far, I can't deny that I'm impressed with Tango's first attempt at a character action game, and I really hope they build on the solid foundation they already have for a potentially incredible sequel.

The biggest surprise out of everything, beyond even the surprise announcement and release, is that I've now realized I actually really like That One Joy Formidable Song. You win this round, Johanas.

This was the first Guilty Gear I played, over a friend's house in his basement up way past our bedtime back when I was in elementary school with three other friends and I spent literally until right now at this very moment thinking that the game we played was some variation of Guilty Gear XX.

It wasn't XX. It was this. It was Guilty Gear Isuka the whole time.

It was fun.

I will never play it again.

So, after playing all of the mainline Yakuza titles prior to this in release order, I’ve finally arrived at Yakuza 0. I do like this game, but I don’t really get it like most others. People online and my friends had kept telling me about how good this game is, but I didn’t always see it. For a while during my playthrough, I was skeptical of all the praise Yakuza 0 had received, although now that I’ve reached the end, I understand it a lot better now.
Starting with the combat, I found myself enjoying it as it feels very arcadey and flows well. Heat actions did feel overly long at times, which isn’t a problem exclusive to this game, however it felt particularly annoying here. Overall, I didn’t have as much fun with Kiryu’s new styles as I did in Yakuza 5. For the record, I didn’t bother with any of the Legend styles. I thought the grinding for them was a bit too much. Majima is simply fantastic though, with a varied moveset that’s very fun to experiment with. As for the bosses, most of them were pretty solid, with only a few that were… just okay. Kuze especially was a fun boss to repeat. Like I said, I had a good time with the gameplay, but I definitely prefer Yakuza 5’s or even Yakuza 2’s.
Moving onto the story, it was great and serves well as a prequel without needing to retcon past stories for fanservice. The pacing in the beginning is a bit slow, though I can look past that since the rest of the story is so engaging. Each of the new characters are also al interesting in their own right. I really love Tachibana and Makoto’s roles in the narrative. Characters are killed off in a meaningful way, which similarly reminded me of Yakuza 1 in ways. And oh boy the finale. It’d be difficult for me to put my thoughts on it into words, so I’ll just say it’s done extremely well.
Looking at the presentation, it is insanely colorful and stylish, much like the previous entries. I was wholly surprised at how consistent it performs on PS4 due to this too. Yakuza 0 doesn’t have my favorite aesthetics in the series, especially compared to Yakuza 2 and 5, but damn is it amazing nonetheless. The music has prominent electronic and dubstep, with some great themes on top of it. Although I would still say it’s not as memorable as 1-3’s to me.
In summary, I really do owe this game a lot in the end, as it’s the entire reason I even got interested in this franchise in the first place. Yakuza 0’s popularity is what sparked my interest initially, and it’s led me to this point where I absolutely fell in love with the series as a whole. While I may not have appreciated this as much as others have, it was still a blast to play through. It’s an excellent Yakuza title all the way through. Next I tackle Yakuza Kiwami. And boy, do I have some things to say about that fucking remake.

It's February 1992. Here's how it works. In the 90s, you get two games a year - birthday, Christmas - and you don't have a Super Nintendo because it's expensive and your Mom doesn't think it looks any different from the NES. That game you got in December? Already done. Your birthday? Distant. It's a new game wasteland.

That is, unless you have a sibling. Siblings have birthdays. Sometimes they get a game on their birthday. Sometimes it's Barbie for the NES. It's a platformer. Cool. You like Barbie, you like platformers. So you wait for the party to end, you wait for your sister to play the game first because it's her birthday. This won't take long. She didn't even read the manual. The weird charm-based ammo and variable parabolic arcs thereof will make zero sense to her. She'll be done with it, leaving you to (not) your new video game.

Now, go play the first level of Barbie by Hi-Tech Expressions for the Nintendo Entertainment System.

Welcome back. What do you mean it sucks? Get out of my house. I'm telling my mom. We're not friends anymore, Lydia.

Objective 2.5/5, 11/10 in my heart, bless the extremely unnecessary precision platforming section.

I got the good ending

I... I'm broken. Omori, while not being a perfect game per say, is a masterpiece in storytelling. A story of grief, loss, depression, trauma, and regret. There's so many different moods expressed here, whether it's the humor and whimsy or the otherworld, or the depressive nature of the real world. Despite any regrets we may have, we always have people that we can rely on.

"Remember, no man is a failure who has friends."
- It's a Wonderful Life (1946)

My first experience with the original Super Mario Bros was back when I had that bootleg NES knockoff years ago. I had a blast playing it and a handful of other NES games, but even after emulating it and purchasing it on the 3ds virtual console, I never got around to completing it. In celebration of Mario day, I decided I would play through and finally beat the original version of the game that single-handedly saved the video game industry in 1985.

After nearly 40 years, does it still hold up? Overall yes, it's still very fun traversing through the game's levels but it isn't perfect. There are instances where you aren't in complete control of Mario's movement. Because of the slippery movement, it can lead to some cheap deaths that otherwise would likely not have occurred if you were playing one of the later Mario entries. Even the Super Mario All-Stars version that was released nearly 10 years after has the same issue. Regardless, it's still a timeless classic and a piece of video game history that shall not be forgotten.

Mega Man X2 is a great sequel to the already beloved predecessor. It implements what made the original X game so great in the first place while making a few tweaks, and additions that make it one of the greats in this beloved sub-series. After booting up the game and being greeted with a fantastic opening stage, I knew this game was going to rock me the same way the first game did

Let's start with the stuff that was implemented in the sequel. Weapon upgrades, heart and sub-tanks, and the armor upgrades are all still here and they are a blast collecting them the second time around. I want to list a few of my favorite upgrades in X2. The foot parts include an air dash, making it easier to reach platforms or walls that you've previously missed the first time around. I love what they did to the arm parts, which gives X the ability to fire a Double Charge. Using this is awesome; it looks good, it sounds good, and it feels good to use for decimating enemies in your path. Last but not least, and my absolute favorite is the Shoryuken (like from Street Fighter). I don't need to explain what this move does since most gaming fans know what it is, but it is a one-hit kill like with the Hadoken from the first game. Triggering the right command input that can take down bosses in one hit is oh-so-satisfying; although I wish we could've received this a little bit earlier in the game, since this you can only get this in the third stage of the fortress. The dash is now a permanent move rather than being exclusive to a body upgrade, which is a nice needed change because dashing around stages is one of the best things you can do in the first game

Alongside collecting the upgrades and heart and sub-tanks, X now has to collect three of Zero's body parts that are held by the X-Hunters. After you complete a certain amount of stages, they will start to appear and will change randomly once you completed or exited out a stage. Don't wait for too long, however, as they will start to disappear as you almost clear out the eight Mavericks. You can access these fights by finding specific rooms in each of the Mavericks' stages. Getting those parts only affects the ending, so it's not a big deal to some, but I recommend getting it since I like fighting each of the three X-Hunters and just whaling out my strong attacks (I.e. my Double Charge shot)

Another new thing they added in X2 is the Ride Chaser. Using this, X can drive at high speeds, decimating enemies with the little blaster at the front, and even go up ramps. It's so cool to use, which is why I hate how this was underutilized here. It only appears at one stage, and that is in Overdrive Ostrich's Stage, which is really lame

I don't think I need to go over the soundtrack in X2 because frankly, this is another banger in the Mega Man music department. The Opening Stage, Wheel Gator, Overdrive Ostrich, Magna Centipede, and the X-Hunter stages are my favorites to come out of this soundtrack

Overall, Mega Man X2 is a really good sequel. It takes what worked with the first X game and added a few new things that didn't detract from the experience. Great upgrades and bosses, and a banger soundtrack lead this to become of my favorites in the series so far. Now it's hard for me to decide to which one is better, since they're both great games that you should try; but for right now, I'm giving the slightest edge to X1