A tale of a lone man trying to solve a mysterious terror attack in a land of absolute paradise. Sumio Mondo is stuck in this perpetual timeloop, but inches ever so closer to answers as these days go by. Figure out what the heck is going on (and probably still not understand) in Flower, Sun, and Rain!
Directed and mainly written by Suda51, the narrative and how it's presented is extremely alluring, and just about all of the characters have this oddball charm and quirkiness to them, and in a way that doesn't feel out-of-place at all. If any game of Suda's is inspired by David Lynch's work, it's this one. I also can't help but adore the setting itself, I love how obsessed game devs were with shores and beaches in the early 2000s, it can't get more cozy than games like this! Much of the dialogue is as hilarious as it is unique, I adore all the characters involved.
The gameplay itself is extremely minimal, as it mainly revolves around solving "puzzles" which are all numeric, and the answers are laid in a digital guide you have. If it's not stated where the answer can be found, it's up to you to solve it through context clues.
The graphical fidelity is dwarfed through this DS demake, but it still presents itself very well, and the interpreters--thankfully--did not mess with the script too much, despite how much it harks back to Suda's previous game that was only released in Japan at the time.
I expect a proper remaster of the PS2 title soon, it's something Suda51 has been very vocal about for the past few years.
Directed and mainly written by Suda51, the narrative and how it's presented is extremely alluring, and just about all of the characters have this oddball charm and quirkiness to them, and in a way that doesn't feel out-of-place at all. If any game of Suda's is inspired by David Lynch's work, it's this one. I also can't help but adore the setting itself, I love how obsessed game devs were with shores and beaches in the early 2000s, it can't get more cozy than games like this! Much of the dialogue is as hilarious as it is unique, I adore all the characters involved.
The gameplay itself is extremely minimal, as it mainly revolves around solving "puzzles" which are all numeric, and the answers are laid in a digital guide you have. If it's not stated where the answer can be found, it's up to you to solve it through context clues.
The graphical fidelity is dwarfed through this DS demake, but it still presents itself very well, and the interpreters--thankfully--did not mess with the script too much, despite how much it harks back to Suda's previous game that was only released in Japan at the time.
I expect a proper remaster of the PS2 title soon, it's something Suda51 has been very vocal about for the past few years.
1995
Probably the first instance of a video game portraying an analog about how an artist wants to fuck the things they draw.
I remember the first time I played Comix Zone. I was at a cousin's place for the weekend, and they had a Genesis with a mess of games. I thought the cartridge art on it looked cool, and popped it in.
I spent about 5-6 hours dying and replaying over and over again, until I eventually learned so much of its mechanics, secrets, and challenges. I managed to beat it, even attaining the "good" ending. As the credits rolled, I simply went "that stunk." And simply moved on. It's weird how much we dealt with crap when we were kids.
I occasionally revisit the game, only to be reminded that it's a clunky 2D brawler full of inconsistencies and irritating design. I respect the presentation, to a degree, I think the comic book style is pretty well done. Sound effects are nice and punchy too, as a Genesis game should be. I just don't see why it's revered as much as it is, as I don't find it fun to play at all.
I remember the first time I played Comix Zone. I was at a cousin's place for the weekend, and they had a Genesis with a mess of games. I thought the cartridge art on it looked cool, and popped it in.
I spent about 5-6 hours dying and replaying over and over again, until I eventually learned so much of its mechanics, secrets, and challenges. I managed to beat it, even attaining the "good" ending. As the credits rolled, I simply went "that stunk." And simply moved on. It's weird how much we dealt with crap when we were kids.
I occasionally revisit the game, only to be reminded that it's a clunky 2D brawler full of inconsistencies and irritating design. I respect the presentation, to a degree, I think the comic book style is pretty well done. Sound effects are nice and punchy too, as a Genesis game should be. I just don't see why it's revered as much as it is, as I don't find it fun to play at all.
2011
You get to shoot cops.
1997
Twice the action, twice the guns, twice the arcade cabinet size, and TWICE THE PLAYERS! Time Crisis II might be one of the most literal translations when Namco gave this crew the objective "make the second Time Crisis game" as it evolved its gameplay and expanded the horizon in order to make the game big enough for two players (I bet selling those gigantic cabinets to arcades and movie theaters gave Namco a nice chunk of change too).
There's something I inherently adore about the "lone wolf" setting the original Time Crisis had, something the mainline games would never return to. So I can't help but love the original game just a tad bit more. Still, this game is awesome and feels a bit more fair with how they design the enemy attacks, giving you a decent warning to react in order to avoid getting hurt! Time Crisis II is an appropriate step-up from the original experience in the ways that really matter the most.
There's something I inherently adore about the "lone wolf" setting the original Time Crisis had, something the mainline games would never return to. So I can't help but love the original game just a tad bit more. Still, this game is awesome and feels a bit more fair with how they design the enemy attacks, giving you a decent warning to react in order to avoid getting hurt! Time Crisis II is an appropriate step-up from the original experience in the ways that really matter the most.
2004
A game that's so incredibly unique, beats to its own rhythm, and is so damn fun along the way, it's impossible to hate! Unless you're Tommy Talarico, AKA: an asshole.
Katamari Damacy is so lovingly bizarre, and it expresses that in every way possible. From the visuals, to the music, to the sound effects, to the writing, and even the controls were unlike anything seen before this! And yet, it all flows so damn well. Conceptualized by Keita Takahashi, the crew behind this game provided something that it's so off-the-walls and strange, yet it spoke to so many people back then. That includes myself, that loved showing it to anyone and everyone I can back in the day.
The fact that so many people adored this game must be why Namco pushed this series so hard for years. Either way, the experience remains the best on the Playstation 2. The recent remake is a suitable experience as well, though.
Katamari Damacy is so lovingly bizarre, and it expresses that in every way possible. From the visuals, to the music, to the sound effects, to the writing, and even the controls were unlike anything seen before this! And yet, it all flows so damn well. Conceptualized by Keita Takahashi, the crew behind this game provided something that it's so off-the-walls and strange, yet it spoke to so many people back then. That includes myself, that loved showing it to anyone and everyone I can back in the day.
The fact that so many people adored this game must be why Namco pushed this series so hard for years. Either way, the experience remains the best on the Playstation 2. The recent remake is a suitable experience as well, though.
1996
A successor in every way, Twisted Metal 2 improves upon the 1995 foundation in every way! Smoother controls, more characters, and bigger stages to demolish your vehicular foes!
This is what many consider the peak of the franchise! I don't necessarily agree, but it's nice seeing a game so cherished, despite not being the best-looking game on the console, or even the smoothest. Controlling the vehicles can still be a bit cumbersome at times, and the enemy AI can be simply unrelenting (and I'm pretty sure their weapon count is meaningless whenever they decide they don't want you to win). Still, it can be a fun throwback to play, especially with a friend! The stories themselves are presented nicely, the motion comic animation was serviceable (and a pretty new style, if I'm not mistaken) and the twists we see in each driver's fate was a delight the first time around!
This is what many consider the peak of the franchise! I don't necessarily agree, but it's nice seeing a game so cherished, despite not being the best-looking game on the console, or even the smoothest. Controlling the vehicles can still be a bit cumbersome at times, and the enemy AI can be simply unrelenting (and I'm pretty sure their weapon count is meaningless whenever they decide they don't want you to win). Still, it can be a fun throwback to play, especially with a friend! The stories themselves are presented nicely, the motion comic animation was serviceable (and a pretty new style, if I'm not mistaken) and the twists we see in each driver's fate was a delight the first time around!
2019
I was never really that big a fan of Hideo Kojima, but I definitely respected the pieces he directed to a degree. I've enjoyed the mainline Metal Gear Solid games, and I can't pretend I wasn't impressed by P.T, which is a great horror experience that respects video games as a medium in various ways. I think for the world of horror, he's got some interesting ideas. So hearing about this sci-fi horror piece, I was immediately curious, regardless of what kind of game it would end up being . . . I also remember this being the last game I was able to pre-order before Amazon ended the "20% off prime members" deal for all new and upcoming games, so I got it at launch for a good discount!
Anyway, this entire game--as far as I can tell--was a product of him trying to find his own footing once again after being ousted by Konami, who he worked within for multiple decades. And while I can imagine it took a toll on him as a creator, and already enjoyed his pieces, I was fairly disappointed in The Phantom Pain. Without going into immense detail, a lot of my problems with that game come from what was written and presented. In other words, things that have nothing to do with the game being short-sighted or meddled during production. Things that were completely Kojima's responsibility.
With that, I limited my expectations as Death Stranding got closer to release. And unlike most folks, the gameplay reveals didn't turn me off at all, it only made me more interested. The idea that a creative force is using millions of dollars from some fatcat company's wallet to make what is essentially a "hiking simulator" was really intriguing to me. And even if it didn't, I thought the sci-fi horror aspect would lend itself well enough to make it worthwhile.
Anyway, Death Stranding is something that sticks out for me, mainly because something detrimental happened to me literally the day the game launched. I won't go into detail on what exactly that was, but I was in a really deep state of depression, deeper than I've ever known before it. The feeling of absolute betrayal from someone I thought I could trust sent me to a really dark place where my mind basically went completely blank for a couple months. All while getting kicked out of my living quarters. Shit sucked!
Where people got sick of "doing nothing but walking" in this high-profile adventure game, the absolute monotony was something that spoke to me very well at the time, as my brain was merely at a complete standstill. Of course, even this game's atmosphere and arranged soundtrack got a deep reaction out of me. The vibe and even lyrics to "Asylum For the Feeling" struck a nerve once that played in a specific mission, and nearly caused me to break down. As corny as it sounds, I couldn't help but relate to the helplessness and sorrow being depicted in the song at that moment.
I guess what I'm saying is a lot of this game hit me at the perfect moment. My brain and heart was in a certain state where I cherished the time I was able to spend exploring the challenging terrain and helping with roadbuilding in order to make this server (I assume that's how it worked) better for everyone in the evenings, as I mindlessly shoveled away at my office job during the day. I like to think the raging emotions and feeling of helplessness Kojima was likely feeling at the time was the main drive to make a game like this.
So in the end, I really appreciate the gameplay and atmosphere, which are the highlights. I just wish I liked the story more. If that wasn't the weakest aspect to this game, it would get an easy 5 stars from me.
Anyway, this entire game--as far as I can tell--was a product of him trying to find his own footing once again after being ousted by Konami, who he worked within for multiple decades. And while I can imagine it took a toll on him as a creator, and already enjoyed his pieces, I was fairly disappointed in The Phantom Pain. Without going into immense detail, a lot of my problems with that game come from what was written and presented. In other words, things that have nothing to do with the game being short-sighted or meddled during production. Things that were completely Kojima's responsibility.
With that, I limited my expectations as Death Stranding got closer to release. And unlike most folks, the gameplay reveals didn't turn me off at all, it only made me more interested. The idea that a creative force is using millions of dollars from some fatcat company's wallet to make what is essentially a "hiking simulator" was really intriguing to me. And even if it didn't, I thought the sci-fi horror aspect would lend itself well enough to make it worthwhile.
Anyway, Death Stranding is something that sticks out for me, mainly because something detrimental happened to me literally the day the game launched. I won't go into detail on what exactly that was, but I was in a really deep state of depression, deeper than I've ever known before it. The feeling of absolute betrayal from someone I thought I could trust sent me to a really dark place where my mind basically went completely blank for a couple months. All while getting kicked out of my living quarters. Shit sucked!
Where people got sick of "doing nothing but walking" in this high-profile adventure game, the absolute monotony was something that spoke to me very well at the time, as my brain was merely at a complete standstill. Of course, even this game's atmosphere and arranged soundtrack got a deep reaction out of me. The vibe and even lyrics to "Asylum For the Feeling" struck a nerve once that played in a specific mission, and nearly caused me to break down. As corny as it sounds, I couldn't help but relate to the helplessness and sorrow being depicted in the song at that moment.
I guess what I'm saying is a lot of this game hit me at the perfect moment. My brain and heart was in a certain state where I cherished the time I was able to spend exploring the challenging terrain and helping with roadbuilding in order to make this server (I assume that's how it worked) better for everyone in the evenings, as I mindlessly shoveled away at my office job during the day. I like to think the raging emotions and feeling of helplessness Kojima was likely feeling at the time was the main drive to make a game like this.
So in the end, I really appreciate the gameplay and atmosphere, which are the highlights. I just wish I liked the story more. If that wasn't the weakest aspect to this game, it would get an easy 5 stars from me.
1986
What do you get when you have what is probably the greatest and easiest concept of a solid arcade game--giant monsters smashing buildings and eating people--and give it to Midway "let's make sure it eats quarters" Games? Rampage.
Besides the unfair design, I think the technology wasn't quite there to realize more of its potential as an arcade action game. It's far too slow and the visuals leave much to be desired outside of the monster's faces, which are well-detailed and articulated.
Besides the unfair design, I think the technology wasn't quite there to realize more of its potential as an arcade action game. It's far too slow and the visuals leave much to be desired outside of the monster's faces, which are well-detailed and articulated.
What is a Konami arcade beat-em-up if it wasn't full of unfair mechanics and a very VERY passive understanding of the source material? The Simpsons arcade game is enjoyable at times for its punchy sound-effects and goofy presentation drizzled with references/homages to the original show (they mostly only had the 1st season to work with).
As a beat-em-up, though, it's not that great, as it's egregious how much they make sure the enemies can suck lives/quarters out of you.
PS3/360 versions are cool, though. They included the Japanese versions, which was actually a little more helpful for the player as it included more items for you to use.
As a beat-em-up, though, it's not that great, as it's egregious how much they make sure the enemies can suck lives/quarters out of you.
PS3/360 versions are cool, though. They included the Japanese versions, which was actually a little more helpful for the player as it included more items for you to use.
1995
An arcade rail-shooter that's probably only as popular and significant as it is because it was the absolute cheapest rail shooter cabinet ever. Area 51 functions well, from all the times I've played it, but none of its design or action is that compelling. It feels a little too much like a quarter-muncher at time, and there's no indication when you'll take damage, which feels the most random.
The live-action characters have a bit of charm, but not much. The alien designs certainly scream 90s as hell, but otherwise I think there's good reason this doesn't hold a candle to the absolute classics in rail-shooters that were being output by Namco and SEGA.
The live-action characters have a bit of charm, but not much. The alien designs certainly scream 90s as hell, but otherwise I think there's good reason this doesn't hold a candle to the absolute classics in rail-shooters that were being output by Namco and SEGA.
2019
I don't know what's funnier, getting 7 other friends to have a mindless brawl in these goofy-ass venues, or thinking about the fact that there's 0% wrestling in this game.
If the overtly-intense racing of F-Zero X was too much for your blood pressure, Maximum Velocity is more of a sequel to the SNES title than anything else.
Returning for the Gameboy Advance's 16-bit presentation are the flat roads and mode 7-esque 3D style. I can't help but be a sucker for the insanely fast, eye-ball ripping gameplay of F-Zero X and GX, so this doesn't particularly spring me. Still, for a launch title on GBA back in 2001, it was a neat little piece to have on the go.
Returning for the Gameboy Advance's 16-bit presentation are the flat roads and mode 7-esque 3D style. I can't help but be a sucker for the insanely fast, eye-ball ripping gameplay of F-Zero X and GX, so this doesn't particularly spring me. Still, for a launch title on GBA back in 2001, it was a neat little piece to have on the go.
1990
The first video game I actually recall playing. My nostalgic bias towers over anything that can be considered a flaw, as I thought this game was incredible back then, and still love to go back to it now.
While my childhood self enjoyed the platforming fun and crazy challenges ahead, my adult self loves figuring out exploits, most especially with the cape-flying mechanics. AKA the greatest thing designed in any game ever.
Between the unique soundtrack, dazzling visuals, and fantastically designed stages, it's hard to say what I love the most about Super Mario World.
While my childhood self enjoyed the platforming fun and crazy challenges ahead, my adult self loves figuring out exploits, most especially with the cape-flying mechanics. AKA the greatest thing designed in any game ever.
Between the unique soundtrack, dazzling visuals, and fantastically designed stages, it's hard to say what I love the most about Super Mario World.
From what I understand, this entire package was originally to be sold as a single game, but there were troubles with its development, and SEGA saw a solution where the developers didn't have to make sacrifices, and they could essentially sell the game for twice the regular price.
Regardless how much of this was for the sake of helping out the developers or just plain ol' corporate greed, I've only ever played "S3&K" in its complete package. And . . . it's amazing! Such a huge assortment of levels, fantastic music, fun to play from beginning to end, challenging as hell (at least when I was a kid), and I loved the very light story between Sonic and Knuckles while pursuing the dastardly Eggman!
The only thing that sort of turns me off is the updated art style. Everything looked softer and more cartooney, whereas I adored Sonic 1 and 2's sharper nature. Otherwise, this is a jam-packed experience that set a precedence of what a Sonic game should be!
Regardless how much of this was for the sake of helping out the developers or just plain ol' corporate greed, I've only ever played "S3&K" in its complete package. And . . . it's amazing! Such a huge assortment of levels, fantastic music, fun to play from beginning to end, challenging as hell (at least when I was a kid), and I loved the very light story between Sonic and Knuckles while pursuing the dastardly Eggman!
The only thing that sort of turns me off is the updated art style. Everything looked softer and more cartooney, whereas I adored Sonic 1 and 2's sharper nature. Otherwise, this is a jam-packed experience that set a precedence of what a Sonic game should be!
1999
A competitive [REDACTED] in the style of sumo rules! Super Smash Bros. was EVERYTHING to me when I was 8 goddamn years old. I never experienced a crossover of such proportions (12 characters and I only liked about 7 of them). This was a brilliant swan song to the Nintendo 64 that probably didn't know it would start a monumental movement of BO brawlers for decades to come!
The gameplay is simplistic, but extremely satisfying. The sound effects are especially remarkable, and something the sequels never really captured after this. It's hard to explain, but I just love the audio feedback to nearly everything in this game, especially the heavy attacks that launch away the opponents! It's nice looking back at this franchise's humble beginnings.
While not being too aware of the entire cast at the time, I was absolutely floored the first time I unlocked Captain Falcon, being one of the few that knew who he was before this game. He's been my main ever since.
The gameplay is simplistic, but extremely satisfying. The sound effects are especially remarkable, and something the sequels never really captured after this. It's hard to explain, but I just love the audio feedback to nearly everything in this game, especially the heavy attacks that launch away the opponents! It's nice looking back at this franchise's humble beginnings.
While not being too aware of the entire cast at the time, I was absolutely floored the first time I unlocked Captain Falcon, being one of the few that knew who he was before this game. He's been my main ever since.