Giloplayz
2010
This game is just as good as the first; I see them as the same game despite this one's drastically more optimistic tone. Green Stars do admittedly suck, but I just do not care because they are optional, and the rest of this game is utterly spectacular. I'd even go as far as to say the majority of levels often surpass the original in gameplay.
These levels are so much worse than the first game.
Still, slightly better source code for modding so there is that.
Still, slightly better source code for modding so there is that.
I am so fucking close to beating this asshole of a game, even with save states. And you know what, it's pretty damn good. I don't even have any nostalgia for this and I still like it. I've never liked Zelda 1 for one straightforward reason; it controls like dog shit. Yes, it is influential and inspired perhaps the most critically acclaimed series in the industry. But personally, if it does not feel satisfying to perform basic functions (moving, turning, attacking, the god-awful shield) then I am going to struggle to care. This game, however, for all its many, many faults, controls superbly! The combat and progression system are so compelling for an NES title that I feel a real drive to get through its hilariously impossible moments. I agree with some of the cryptic parts being bullshit, but I actually managed to find most of them without a guide. I feel if you go into it knowing a few tips (do a victory lap of temples for the last level-ups, write down cryptic hints and be overly thorough, search every fucking tile) rather than outright using a guide, you CAN really enjoy this.
Currently still stuck on the approach to the final temple. Will update this when I have finally completed this wacky piece of shit that I love for some reason.
Currently still stuck on the approach to the final temple. Will update this when I have finally completed this wacky piece of shit that I love for some reason.
2019
Similarly to Pikmin 3, this game does so, so much with its music that is indicative of the entire art forms potential for dynamic and diegetic composition. So much I couldn't begin to explain it all.
I would rather keep this simple and say a short hike is something you can only experience once, for better or for worse. You will get a hell of a lot out of that first playthrough but remember it will end...
So make the absolute most of it. Short as it may be, it is quite breath-taking the journey.
I would rather keep this simple and say a short hike is something you can only experience once, for better or for worse. You will get a hell of a lot out of that first playthrough but remember it will end...
So make the absolute most of it. Short as it may be, it is quite breath-taking the journey.
1993
I could run this on a pregnancy test if I wanted to.
I'd rather run it on Switch with split-screen multiplayer though. Or GZ Doom with the absolute rabbit hole of incredible WADs. There is very little I can say that has not already been said. If I do ever commit myself to modding this game, I will give it the full 5 stars it deserves.
Jon Romero is not Satan, he is God.
I'd rather run it on Switch with split-screen multiplayer though. Or GZ Doom with the absolute rabbit hole of incredible WADs. There is very little I can say that has not already been said. If I do ever commit myself to modding this game, I will give it the full 5 stars it deserves.
Jon Romero is not Satan, he is God.
2016
Fuck I wish I did not introduce this game to my now ex girlfriend it just brings back shit memories. Kinda ruined one of my all time favourites...
Still gets 5 stars, not fair to mark it down for my own personal bullshit.
Still gets 5 stars, not fair to mark it down for my own personal bullshit.
1993
Sonic CD is not a well-designed game. It is cryptic, confusing and Wacky Workbench can go fuck itself. This is what I thought to myself on my first playthrough.
However, I find this game so incredibly endearing like no other entry in the franchise. As a result, I have found myself coming back time and time again, working around the bullshit to revel in 2 specific aspects of the game that are undeniably brilliant.
The first is it's soundtrack. Having a past/present/Gfuture/Bfuture of a stage is not only an incredible concept visually, but also a composer's dream. As if that weren't enough, SEGA of America heard it and thought "we can do better than that." It's still disputed if they actually did (the boss theme haunts my dreams) but having two entirely distinct and inspired soundtracks in any game is never a bad thing.
The Soundtrack is a big part of the other thing that gives this game its gravitational pull, its psychedelic atmosphere. Some do not enjoy the flashing lights and vibrant patterns/colours of it's alliteratively named stages, which sound more like intense cerebral notions rather than geographical locations. I for one can tell they were on something when they made this game, and I want their dealers number.
Not a good game, but it was never really trying to be one.
However, I find this game so incredibly endearing like no other entry in the franchise. As a result, I have found myself coming back time and time again, working around the bullshit to revel in 2 specific aspects of the game that are undeniably brilliant.
The first is it's soundtrack. Having a past/present/Gfuture/Bfuture of a stage is not only an incredible concept visually, but also a composer's dream. As if that weren't enough, SEGA of America heard it and thought "we can do better than that." It's still disputed if they actually did (the boss theme haunts my dreams) but having two entirely distinct and inspired soundtracks in any game is never a bad thing.
The Soundtrack is a big part of the other thing that gives this game its gravitational pull, its psychedelic atmosphere. Some do not enjoy the flashing lights and vibrant patterns/colours of it's alliteratively named stages, which sound more like intense cerebral notions rather than geographical locations. I for one can tell they were on something when they made this game, and I want their dealers number.
Not a good game, but it was never really trying to be one.
2006
If Doom and SA1 made sweet, passionate love to each other, this would be the result. The controls certainly take some getting used to so the first playthrough can be a bit frustrating. But eventually, they will start to click and once they do you'll discover an incredibly speedy 3D platformer with gallons of love and care seeping out at every seam.
When it's actually finished (please don't be a silk song situation) this will be on par with Mania. And the best part: IT'S FREE!
When it's actually finished (please don't be a silk song situation) this will be on par with Mania. And the best part: IT'S FREE!
2021
This review contains spoilers
The first chapter of this was perhaps too optimistic and lacked the freedom to pursue some darker secrets as its predecessor did.
Chapter 2 alone however, is straight up just as good as Undertale while standing firmly on its own from it with its new and unique setting. There is a little less freedom once again but this is entirely acceptable when that is precisely the point. I have always felt Toby Fox is a composer/storyteller first and a game designer second and certain compositions here surpass some of my all time favourites from Undertale (Attack of the Killer Queen, BIG SHOT and A CYBERS WORLD are some new favourites). The "villain" consistently made me laugh and smile throughout, I never really wanted to stop her as evil as she came across and I was very glad to realise she had decent morals after all, if initially misguided. Susie and Ralsei continue to develop which is very pleasing to see.
What elevates this above chapter 1 and even Undertale is exemplified in one character: Spamton. The whole computerised world of chapter 2 is stunningly inspired but within its darkest corners is something so deeply unsettling it upsets me to even recount now. Your first meeting is quite cutely charming with a hint of something mysteriously sinister beneath. Continuing his glitchy rabbit hole of a quest becomes increasingly lonelier and even more ominous as it progresses, culminating in a location and backstory that leaves me asking so many questions to this day. His fight is of course excellent from a gameplay and music perspective, I particularly love the distortion Undertale motifs in its conclusion and barely audible speech samples, but I feel unsatisfied in defeating him. Spamton was never really in control of himself... so who was pulling the strings? This also induces what I assume to be a panic attack in Kris afterwards. Until this point, our protagonist was typically under the players control and presented absolutely no emotion other than the confusing ending of chapter 1. This moment could mean one of two things: Kris is reflecting the players feelings following a deeply unnerving victory, or perhaps Kris demonstrates more humanity than initially presented and is afflicted with its darker cerebral aspects such as anxiety.
I'll admit, I personally prefer this chapter to Undertale, short as it is. If chapter 3 is somehow as good or better, whenever that may be then I am already 100% certain this will surpass Undertale entirely. And again, thank you for not ruining this one for me internet.
Chapter 2 alone however, is straight up just as good as Undertale while standing firmly on its own from it with its new and unique setting. There is a little less freedom once again but this is entirely acceptable when that is precisely the point. I have always felt Toby Fox is a composer/storyteller first and a game designer second and certain compositions here surpass some of my all time favourites from Undertale (Attack of the Killer Queen, BIG SHOT and A CYBERS WORLD are some new favourites). The "villain" consistently made me laugh and smile throughout, I never really wanted to stop her as evil as she came across and I was very glad to realise she had decent morals after all, if initially misguided. Susie and Ralsei continue to develop which is very pleasing to see.
What elevates this above chapter 1 and even Undertale is exemplified in one character: Spamton. The whole computerised world of chapter 2 is stunningly inspired but within its darkest corners is something so deeply unsettling it upsets me to even recount now. Your first meeting is quite cutely charming with a hint of something mysteriously sinister beneath. Continuing his glitchy rabbit hole of a quest becomes increasingly lonelier and even more ominous as it progresses, culminating in a location and backstory that leaves me asking so many questions to this day. His fight is of course excellent from a gameplay and music perspective, I particularly love the distortion Undertale motifs in its conclusion and barely audible speech samples, but I feel unsatisfied in defeating him. Spamton was never really in control of himself... so who was pulling the strings? This also induces what I assume to be a panic attack in Kris afterwards. Until this point, our protagonist was typically under the players control and presented absolutely no emotion other than the confusing ending of chapter 1. This moment could mean one of two things: Kris is reflecting the players feelings following a deeply unnerving victory, or perhaps Kris demonstrates more humanity than initially presented and is afflicted with its darker cerebral aspects such as anxiety.
I'll admit, I personally prefer this chapter to Undertale, short as it is. If chapter 3 is somehow as good or better, whenever that may be then I am already 100% certain this will surpass Undertale entirely. And again, thank you for not ruining this one for me internet.
1992
Now THIS is more like it! Chemical Plant is one of the single best zones of any sonic game; they absolutely nail the pure speed and adrenaline that comes with it. The other stages are a little bit hit or miss but overall I enjoy them all for playing very differently to each other.
My only criticism would be that boss fights, particularly the final zone, are not particularly enjoyable. Sonic has struggled with these as early as his first appearance and while I like that some of these have very quick ways to beat them, none are particularly interesting. The final egg robot is a pain in the ass as every time you die you have to fight mecha sonic AGAIN! And I died a lot because of his tiny hit box.
Other than that, they nailed the blue blur on their 2nd attempt. Good job.
My only criticism would be that boss fights, particularly the final zone, are not particularly enjoyable. Sonic has struggled with these as early as his first appearance and while I like that some of these have very quick ways to beat them, none are particularly interesting. The final egg robot is a pain in the ass as every time you die you have to fight mecha sonic AGAIN! And I died a lot because of his tiny hit box.
Other than that, they nailed the blue blur on their 2nd attempt. Good job.
For a game originally released on essentially a calculator, it's incredible. Best controlling top-down Zelda I have played. Dungeons all play well and make you think a lot about some puzzles. But aside from gameplay, this story, similarly to Majora, presents a surprising metaphor of waking up from your dream state, as hard as that may be. Dreams can be idyllic and terrifying, but they must end and reality must be returned to. As depressing as it is, there is hope to be found in reality as well, and your dream will live on in your memory.
Thank fuck the controls are fixed from Zelda 1. Establishes the formula we all know and love. Dungeons (while they do all have the same music, probably for memory reasons) all play very differently from each other, providing a sense of uniqueness that would grow along with the series. The overworld is well designed and I love the soundtrack. There are quite a few individual moments I dislike; dungeon 3 is pretty bad, Ganon's tower is a bit too hard and unforgiving for me, there's some cryptic bullshit to obtain a lot of crucial items and while definitely controls better than Zelda 1, it could still be a little better overall. Still, great sign of things to come.
If this game is not for you, I understand. It is a very story and cutscene-heavy game and is typically only adored by people who played it as a child so as to ignore this fault. I expected to find more faults in my recent replay. But no. Instead, in the slew of recent mediocre mainline titles, this holds up as one of the most emotionally successful games in Nintendo's library. I wish not to spoil anything other than that the final chapter made me cry countlessly as a child and even more so as an adult now understanding even more of its themes.
Again, if you prefer the main entries, I get it. Their gameplay is generally more expansive and, of course, some may not enjoy the roguelike elements. But anyone who grew up with the game will understand exactly what I mean when I say it is far, far more than some Pokémon spin-off game. It is a heart-wrenching masterpiece of storytelling.
Again, if you prefer the main entries, I get it. Their gameplay is generally more expansive and, of course, some may not enjoy the roguelike elements. But anyone who grew up with the game will understand exactly what I mean when I say it is far, far more than some Pokémon spin-off game. It is a heart-wrenching masterpiece of storytelling.
1991
You sure have a long way to go, Sonic. Gaslights you into thinking it'll be a good game with the first level. It is not.
Definitely does not have the story of its predecessor. In some places it makes up for this, I absolutely love the dungeons so far and overall they are actually an improvement. The whole island section is now one of my favourite moments in any Zelda game for how tight and thoughtfully challenging it is. I enjoy the RPG aspects included for more variety as well. Definitely coming back to this but I do find it harder to engage with as while I like its puzzles, I dislike being stuck in the overworld because of some random person I need to talk to in some meaningless location.