1216 reviews liked by J__R


Despite how much marketing this game seemed to have such as sponsored streams by people who aren't even in the anime space, a demo, and so many ads (unless I was targeted because I frequent the DBZ side of the internet), and this being a full multimedia event with an anime, this was probably the hardest time I've ever had finding a game on release day and not because I think the game is flying off the shelves. Amazon had the order delayed to the following Monday, I couldn't find a copy and any video game carrying department store like Wal Mart or Target within a 45 minute drive and even fuckin pawngamestop didn't have copies but Stellar Blade apparently is in abundance. I ended up double dipping and grabbing a digital copy (praise be to whatever god allowed this game to be only 20GB) while the amazon order got situated because goddamn it, I was looking forward to this. I think this is one of those underproduced copy situations but it gave me time to read the manga before getting into this.

Akira Toriyama's work was one of my main gateways into anime back in the day, with DBZ's ocean dub because I'm that fucking old. His artstyle is something I will always enjoy its why I played games like Chrono Trigger and Dragon Quest that to this day I think is such a standout in the genre. I'm glad another of his works is getting adapted in game form. I think his artstyle translated well in game, especially in terms of the bots (the machines you use throughout the game). That man really loved drawing vehicles and machines and it shows, especially since Sand Land's inception was because he just wanted to draw an old man with a tank which grew into something he never intended it to. Yes some characters I could see the "building blocks" and traits shared from his other work (I will always see Mr. Satan when I see that long square jaw) but his creature designs are also in full effect with giant cats with sabre teeth, dinosaurs with weird tails and prominent back and head spines, large toothed Pteranodons etc, they stand out even if the designs in game get re-used quite a bit with as much as a pallet swap and maybe one slight addition like a head piece to differentiate unless its a boss. There was also a design that was outright used in OG Dragon Ball that I was happy to see. There isn't as much to say about the style of the environments other than they look good and accurately reflect what they're named, Sand Land is very much a land of sand but I am grateful that it is not the only type of scenery available all throughout the game.

The story of the first half of the game mostly follows the manga, two demons venture out with an old man in a tank to find water, but some parts have had their order changed or elongated and there were brand new things added to what I assume more organically bridge into the second half which is entirely new. As I said in the intro, I read the manga but I did not watch the anime which I'm sure this new stuff is covered there. One of the notable new things added to the first half is the new party member, Ann. Originally it was just Rao, Beelzebub (who you play as) and Thief but she joins as the resident gearhead and a more organic style reason why the characters can get more bots because the manga was ONLY the tank. Well that is technically not true. Rao had a car but in the manga when it gets ruined it doesn't get fixed unlike in the game. I did enjoy the main group and think Ann was a great addition, though I can't say they aren't predictable as characters. Aside from a couple of the villains, the ones you spend the most of the time fighting against, I can't say I share the same feelings towards. They are just as basic, not that its a bad thing but it leads to some disengaging of interest in the narrative when I can predict every single plot beat introduced in the post manga content. I'm not saying I was expecting some Yoko Taro or Kojima level narrative and Sand land's is by no means bad, it just didn't do enough to make the predictability engaging. What you think is going to happen after reading the synopsis, is more than likely what will happen. The voice acting is hit or miss with I think Rao having the worst of it which is bad because he is one of the main characters with more of the important lines. I feel like they were going for the "battle hardened, tired old man has seen some shit" route but he is mostly so monotone it comes off as disinterested and doesn't match the character's emotion that is portrayed by the model's animations a lot of the time. Most other named characters were either good or fine but outside of the actual cutscenes, the stilted line reading that is common in this style of game makes even VA's like Kira Buckland (Ann's VA) unable to reach the levels we know they can. The dialogue that occurred during traversal also repeated a lot, and I mean A LOT. The dialogue updates after story beats but I heard the same line of dialogue three times on average when exploring ruins or doing story based dungeons. Its not as if they're allergic to dead air because there's plenty of times without it but other times they talk like its some first party sony game giving you a hint every 10 seconds. "We could get up here, if we had a bot that could jump" Beelzebub says as I am JUMPING IN THE JUMP BOT. This happens every time. I was also surprised that I enjoyed the music. Make no mistake you get plenty of "Desert Music" but the tracks that play specifically in the dungeons and towns at night were pretty beautiful.

So how's the gameplay then? Does it carry it if the narrative is as standard as I say? Depends. Do you like driving around? Because you will be doing A LOT of that. I would say 75% of the game was me driving a bot across the maps and doing various activities. There's grotto's to explore, hills to jump up (the game calls them hills but they're more like tall rock formations), field bosses to fight, bases to raid where some are stealth based and others are combat, ruins to explore and radio towers to fix, bounties and races. Those radio towers are not something you have to climb don't worry, and their requirement to fix might as well be non existent with how little you need and how plentiful those resources are as never once did I have to take a leave and come back to fix it and yes it does populate the map with undiscovered activities in the area. The grottos are just these small single room caves that have chests or ore deposits, maybe an enemy or two inside and sometimes need rocks destroyed to access. The hills are these tall rock formations that usually have a group of enemies you should defeat before jumping to the top and getting the treasure or ore deposits. Treasure chests have either materials or parts for the bots in them with the latter being in the large variant of chests. Ruins are generally larger than the grottos and sometimes have multiple entrances. Going through them you'll run into enemies, platforming challenges, and destructible rocks while you look for chests and ore deposits where both tend to be exclusive materials which in my case was assorted coins and old variants of metals. Unless I was just being blind, which is possible, the ruins always seemed to just...end. There wasn't really a noticeable "end point" or even a boss outside of specific mission based circumstances. It made them feel pretty limp, I'll be honest. The field bosses are differently designed but larger versions of the dinosaurs, panthers and crocs who's movesets aren't much different from their grunt counterparts. The human bosses are strictly from missions and have a lot more going for them than their animal counterparts or underlings. They are not just palette swaps with basic gear on their bots like what you find in the field, they have unique or specific optional parts for their bots to make the fights a bit more interesting such as emp mines, large missile packs or a grapple that then shoves 4 drills in you for massive damage.

If you aren't doing those then your time is spent driving around in whatever bot of your choice (until you need to swap for a specific feature one has), grabbing materials so you can upgrade your bots, finding fast travel points, shooting enemies and doing side quests whose contents aren't all that engaging outside of what worldbuilding they do and what they reward. The traversal gets a lot better once you get the first "traversal oriented bot" as early on it is pretty brutal with how slow the tank is even with boost. It was a good design choice to have the boost feature of bots be infinite outside of combat but I'd be lying if I said traversal didn't wear on me when those objectives where nowhere near the fast travel points. There is also a water mechanic. NO WAIT ITS NOT WHAT YOU THINK! It is not for thirst, its actually a heal and if your water bottle is full then its a revive should you die outside of your bot. A bot reaching 0 hp is game over though, no matter how many others you have on your person. The water can be refilled at the various water tanks around the map which is one of your discoverable fast travel point options. There were not many frame drops that I ran into while playing either. I only ever saw them when destroying rocks that blocked grottos, though this game does to the "low framerate mobs when far away" thing which never really bothered me to be honest.

Speaking of side quests, I won't call it a meta game but there's this hub you get early on called Spino. This town starts out with nothing, but as you do side quests they usually end with you telling someone "Hey, this town need people. Why don't you come on down?". This gets the town to grow and become more developed, get more facilities and upgrade said facilities so you can in turn upgrade your bots and just give people with nowhere to go a nice place to live in this harsh sandy land. It reminds me of building up colony 9 in Xenoblade Chronicles. Most side quests leading to "Come to Brazil Spino!" however is part of the reason why they aren't so engaging, the other being their standard side quests gameplay of "get this thing" or "find this person" or "kill this dinosaur" which is also not very captivating. I was doing them for what I got out it not because it was more game to play. You also gain access to a customizable room that you can decorate with furnishings you either buy, craft or find and can even put your bots in them which can also be expanded in size. I am not someone who really cares about interior design so I didn't spend much time on it and can't tell you if its good or bad. If you played Yakuza 8, its similar to the room you have on Dondoko Island.

Combat is generally pretty simple but it also tests your threat assessment abilities and if you've been keeping your bots of choice up to snuff. Generally though it boils down to driving around the encounter and taking shots at the enemy bots and using secondary weapons to pick off the foot soldiers as well as shooting down their missiles. You also need to suspend your disbelief because this game does the whole "The MCs don't kill, everyone they ever fought survived being shot by a tank cannon at point blank range and/or survived their bot exploding into a ball of fire". I'll give the game this though, you see the foot soldier enemies either have the dizzy stars or run away after to take down their hp fully (animals seems to actually die though, fuck their lives I guess) but I call bullshit on the ones in the bots. This also makes the times when the game talks about death to hit a lot more than it should which took me aback each time. Story based boss fights are different story as they have their phases the go in and out of and as you would expect, require a bit more actual ability to lead your shots than an normal encounter as they can be very mobile because yes this game asks that as well as having bullet drop for things like the tank cannon. There is also out of bot combat and Beelzebub is no slouch in that regard. He has his light and heavy attacks which as you should expect and the latter can be charged. Pressing heavy after a light will change the combo ender plus he can do ariel combos and the previous combo rules apply. My favorite was the 5 hit with the heavy ender which makes Beelzebub do that Chun Li super move, Tenshokyaku. Not only that, he can dodge cancel attacks even in the air. I LOVE DODGE CANCELING! Him along with the party have abilities they can use with Beelzebub having a meter and his party having cooldowns but otherwise your party will be fighting on their own. Rao has some moves for an old man, I gotta say.

I've brought up bots a lot so I'll get into them now. There are many different bots although there is some overlap between their unique function and those that overlap seem to have one lean more towards combat and the other traversal. If I wasn't doing every side quest as they appeared they would have been gotten in a reasonable flow. The tank is well, a tank. It is slow but has a lot of health, does fantastic damage with its main cannon and will be your bread and butter more than likely though my personal favorite is the Battle Armor and its goofy style punches. Other bots are made to jump high, traverse over unsolid ground, move items or just be a fast traversal bot among other things but can be used in battle with no issues. That doesn't sound like a lot sure but coupled with the overlap, you're coming up close to 20 different bots you can build and upgrade. Yes this does mean this is a game where you're better off engaging in every encounter if you can as not all materials can be found, some must be crafted with what you have on your person (or I guess demon). I am not someone who upgrades anything and everything, only what I use, so I never had an issue with not having materials unless they physically were not obtainable yet at that point in the game. It seems to be the game's way of limiting your power, though it feels like anything that is under your level scales to you (everything in the first Sand Land map was level 18 like I was when I went back for cleanup) while things that were set above stay that way until you out level them (I ran into level 20's when I wanted to go to a previously unexplored map section when I was level 15).

Even with knowing going in that the bots were a large part of the game, I was still surprised with just how much you could do with the upgrading and customization. Each bot has a different amount of parts they can equip and each individual part can be upgraded but using the tank as an example you can change and upgrade the primary and secondary weapons, body, suspension, engine, option (bonus feature, in the tanks case something like extra armor) and then 2 chip slots for bonuses. Each one of these will change the visuals for that part of the tank, not all are unique but there's several different looks you will see. Not only will they change physically, and stats wise, which should be a given, but after a certain point in the game you can customize the paint on your bots and depending on your bot you can have a lot of things to paint as some weapons have multiple color sections you can adjust. There are also several slots for decals with rotation and size options and you can adjust the metallic and glossy finishes on each individual parts. I gave my tank the angry face with sharp teeth look, some Pteranodon emblems and made it black and white. This does cost paint to do each time so its not free, and you can unlock more colors by doing some side quests. I did not see any way to transmog parts so those of you weirdos who put aesthetics above stats will need to either deal with being underpowered, hope you find a stronger version of that part you like or upgrade that part with materials.

This was honestly a type of game that on paper I should not have enjoyed as I am pretty staunch in my stance of "traversal is generally the worst part of large map/open world games". Until the first traversal style bot is build, going around the map was a chore and I recommend not trying to do too much exploring until you get one. Combat while simple is still engaging enough due to the customizable builds of the bots and ability to make them your own with colors and decals, along with out of bot combat being fun as well. The activities could use more variety to them with more worthwhile rewards other than materials 99% of the time but at least fast travel points are plentiful once discovered. The story is by the numbers at every turn and even with enjoying the main cast, it was really Toriyama's art that did the lifting for me which is how I felt after reading the manga. I don't know why this game was giving me such a hard time to track down but I think it was worth the effort. Rest In Peace, Akira Toriyama. I'm glad more of your work is finally getting attention.

Wow, what an incredible game this is. Devil May Cry 3 is a super complex, satisfying, challenging, and overwhelmingly great experience. Capcom nailed literally everything in this game. The story, characters, combat, music, enemies, level design, everything. They perfectly walked the line between being badass but also being self-aware and not edgy. The cutscenes and story in this game are awesome, I loved all of it. Dante, Virgil, Lady, and Arkham are super well-written and have such cool character arcs. The cutscenes are also incredibly well done.

The combat is so wonderful and addicting, that I kept wanting to learn more and more on how to get better. There are so many options available, including all the guns, weapons, and styles, all of these mechanics work well and give you so much control over how you want to play, while giving so much variety in the gameplay. It's perfect. Not only that but there's so much depth in this game combat that I'm pretty sure veterans who've played this game for years still haven't found everything. It's simply that good.

DMC3 also has great replayability, with bloody palace for practice, getting better at the combat, and of course, getting to play as Virgil. I have no doubt in my mind I will be coming back to this game all the time.

Anyway, it goes without saying that DMC3 is one of the greatest games of all time, absolutely blowing its predecessors out of the water times 1000. Also being a sequel to DMC2, which is one of the worst games ever made, kinda makes this the best sequel ever made, considering how much it really improved, and this being one of the best games ever. Anyway, DMC3 is a perfect 10/10 and I can't imagine many people really disagree.


This review contains spoilers

Daymare 1998, a survival horror game developed by the indie italian game studio Invader Studios. This is a game that I’ve had a decent bit of history with, a game that came out years ago but had even more years in the oven. It originally started as a fan made Resident Evil 2 remake, something that made me excited back in the day. I’ve always been a fan of survival horror, even if I sucked at it completely due to its mechanics, and the idea that someone was remaking RE2 in the third person had me a bit excited. Back then and even now, I tend to dwell into the indie scene of unknown and rising star video games, videos often made by Youtubers who have only a couple hundred to a couple of thousand subscribers. I’m not sure how I saw this, but I saw footage of this remake and got excited. However a little bit after that, the mod was shut down and everything surrounding it seemed to be wiped.

I don’t really know what had happened, but I figured it was a case of copyright infringement. All I remember was that the Resident Evil 2 remake rumors had popped off, and having followed Invader Studios for a bit I had learned of a Kickstarter campaign that I contributed to, whose link I’ll post down below. In this campaign, I had learned that Capcom had invited the group to their offices to show off their work on the actual RE2 Remake while also imploring them to cancel their remake and use their work to create their own property. This was the result of that, with the support of numerous gaming industry veterans like Kazuhiro Aoyama (the director of Resident Evil 3 OG and now Production Associate), Satoshi Nikai (a Code Veronica enemy designer now working as an enemy designer for Daymare) and Kenichi Iwao (a writer on Resident Evil OG as well as the director of Parasite Eve 2) among others. Features potentially promised for this game on the website revealed a fixed camera system, a telephone book with names of backers next to save points, special outfits and more. However the Kickstarter failed meaning not a lot of it (as far as I’m aware), didn’t make the cut. I had gotten the 14 dollar “Life Was Cheaper 1998” tier, which included a credit, a special outfit and a digital copy.

Since it failed however, they kept working on it to the point where it actually got teased and released in September 2019 for Windows and console ports for Playstation 4 and Xbox One in April of next year. However, I didn’t really pick it up and play it when it came out. Surprisingly, I had forgotten about it and had just moved on, only remembering it when someone brought it up here and there. It sat in my wishlist for a while, until eventually GOG came out and gave it for free to people for a short period of time. I removed it from Steam for that reason and sort of bided my time. However, this year I had a goal: beat one game for each console/platform that I own. By the time of writing this review, the only ones I haven’t done were Shadowman for N64 (which I’m working on), and trying to find a Gamecube game to play; that and having been streaming games for a friend and having failed to have fixed/played The Suffering on GOG (because the port fucking sucks), I decided to give this game a spin. I played around 10 hours of the game, and here is how I felt playing it.

The plot opens to a group of masked special forces flying to a secret base named Aegis Laboratory. This group is a part of an organization named H.A.D.E.S. (or Hexacore Advanced Division for Extraction and Search), a private military section in the Hexacore Biotechnology Corporation. What is their mission? Why to rescue samples of biological weapons named “Castor” and “Pollux” from their lab whilst also eliminating all traces of Hexacore involvement. Right off the bat I like this idea, I love the old survival horror games but sometimes I want to play the evil bastard and right off the bat it gets the vibe right. This is the first chapter, and you play as HADES member Liev, a real douchebag of a soldier who doesn’t hesitate in killing all witnesses and following through with his corporate overlord’s wishes, or so it seems. While here if you pick up and read certain documents, you also learn of the origins of these viruses. It goes that it was originally founded or created during World War 2, specifically by the Japanese military as a weapon (named “Shujin”) against the United States. However, the dawn of the war had led to the Japanese losing, and as a last ditch effort by the Emperor led to a group of soldiers grabbing the virus and committing themselves to spreading it across U.S. soil, hoping to wipe them out in revenge. However, something went awry and the submarine carrying the virus crashed off the coast. Eventually, Jellyfish got into the sub and experienced enhanced healing properties before the biological agent spread into a nearby fishing town. Having heard of a strange outbreak, Hexacore (or the military) sectioned it off and a cover-up was ensued, and experiments were done in a Hexacore/U.S. Military collaboration to create…drum roll please…super soldiers!! However the result was obviously the zombies, and though it was explained in a way that was actually really interesting and unique to me (through these super soldiers needing to feed on human hormones in order to survive), the wiki doesn’t have much in the way of information on this to really help other than “This was a biological weapon”.

Regardless, Liev does his job diligently and manages to acquire the viruses as well as finding out certain bits of information. The outbreak at this lab originally happened not because of an accident, but that an outside party named “K” had bought out one of the researchers to sabotage the entire facility and steal the Castor samples in exchange for money. Of course with this in mind, Liev assassinates the technician who told him this and escapes with everything, including the sample of Pollux and the chemical canisters containing the “Castor” gas. However, things don’t go well on the ride back. See, Liev’s characteristics are that he’s a really convincing douchebag, and through a series of camera angles and long winded threats, a fight breaks out on the helicopter and someone ends up shot. What we see is Liev holding the pilot and squad leader, Sandman, hostage and a dead body right next to him. The implication is that Liev has decided to betray the company, and that the vial of Pollux was smashed into Sandman’s face. Liev goes off on a long tangent about Sandman and his hatred and it’s hinted that this tension was going on for a while due to mentions of “Groom Lake”. Sandman gets shot repeatedly, the co-pilot Raven gets thrown by Liev from the helicopter, Castor gets dropped onto the streets below and the helicopter proceeds to crash. Their location to head back to was Keen Sight, a town firmly under the grasp of their employers Hexacore. Liev survives the helicopter crash and crawls out of the water to find that the town of Keen Sight, Idaho has already been overwhelmed by the Castor gas, of which he fights through. Having escaped into a warehouse, Liev proceeds to call up HQ to presumably frame Sandman for bungling the mission (you’ll see why I say presumably).

The second chapter revolves around forest ranger Samuel Walker, who is taking a shift guarding one of the many towers in the Vermillion Forest. However, the helicopter flying overhead of his tower makes his medication fall off the tower and down below into the forest. Sam proceeds to contact his wife Sarah to let her know what had happened, and after an argument of sorts goes to sleep. However, waking up everything goes wrong literally as well as mentally. See, Sam has a condition called “Daymare Syndrome” (which will be explained later), where he experiences hallucinations (in a reddish hue of course) and migraines amongst many other symptoms. Having made it back home after realizing his replacement didn’t wake him up, he goes to greet his wife in his cabin in the woods only to find her without an arm and a mutated and very much angry Major Sandman choking her to death. Sandman knocks Sam out of a window and escapes, and having taken off after hearing Liev contacting HQ through their D.I.D. device (their radio/inventory management device), Sam resolves to take down the bastard that killed his wife. Why did Sandman kill Sam’s wife? My guess was that Pollux made him bloodthirsty for the chemicals inside of her blood but there are other things that lead into this, and other theories I read were that she was actually a zombie and that Sandman put her out of her misery. Regardless, things don’t look good as Sandman stole his car and after overhearing that he’s going to a nearby hospital (where Liev escaped to call for a helicopter), Sam goes after him through the forest (after comically telling his dead wife to stay put, even though she’s dead Sam where the hell is she going to go?) and onto a cable car sending him to the city. Having gotten there, Sam witnesses Sandman murder Liev after Liev’s big mouth leads to his downfall, as well as having his arm chewed off and fed upon. Both Sam and Sandman escape into the hospital; however Sandman has been captured by a doctor in a facility having drugged Sandman and uses Sam for favors. In exchange for revenge on Sandman, the doctor sends Sam on numerous errands throughout the hospital, mostly destroying evidence on Hexacore’s experiments on the town of Keen Sight. Sam discovers that he’s been a part of these experiments in the hospital, having been born and raised in Keen Sight and that the company is responsible for Sam’s Daymare syndrome, named the “Truman Project”. Throughout the games there have been hints to all sorts of experiments from water supply tampering to mentions of an MKUltra successor named MKNaomi. They’re both experiments in real life from our fabulous government, and in all honesty they’re fascinating to read up on so if you don’t know about them then read up. Regardless I like how the real life conspiracies tie up into the game’s plot, it definitely gives a bit of a 90s atmosphere to it.

In fact, before moving on with the plot, I want to mention how this game is a series of nonstop references to 90s culture. The first survivor that you kill as Liev in Chapter 1 is a black guy named Al Powell, a reference to Die Hard. You’ll find numerous X-Files “I Want to Believe” posters everywhere. Posters parodying and referencing movies from Tremors to Die Hard will pop up everywhere in town, and certain files will reveal names like C. Ryback (a reference to Steven Segal’s character in Under Siege). Numerous advertisements show a parody of Windows 98 named…Doors 98? I don’t know, it’s a strange thing but regardless the whole game is a whole fucking tribute to that era, though as much as I respect a good homage or two I do feel like at some point it does get a bit stale. It’s a whole pastiche that while I can’t always explain it properly due to the fact that the wiki isn’t updated properly and going in game and re-reading everything would be time consuming and painful, it makes for a unique sort of vibe. Regardless however, Sam gets back to the doctor only to learn that the doctor is dead and that Sandman escaped out of the hospital. Sam resolves to kill Sandman yet again and walks off.

Chapter 3 starts as Raven, who surprisingly survived his fall and landed straight into Keen Sight ...into Invader Studios’s office building and no radio signal. That’s right, another meta reference of sorts. Regardless, Raven’s wondering what the hell is going on and fights through Keen Sight and the numerous undead with the goal of making his way to the crash sight to find out if Major Sandman died while also cursing Liev. He makes his way through the town and even through the sewers (yay, a sewer level…), where he learns that a lot of the people who disappeared investigating Hexacore ended up dissolved in acid barrels and dumped in the sewers mafia-style. Regardless, he makes his way through and eventually finds the remains of the helicopter, which alas he learns that Sandman is in fact, not dead. However, he does fight off two boss creatures named Castor Hades. It’s later learned throughout the game through documents and later exposition that Castor Hades is a special strain that infects members of the HADES division only, due to the fact that members of the division mess about with H-Additives (a special booster of sorts) and that genetically tampers with them enough to make them extremely resilient. After the fight, Raven fights his way to the nearby Keen Sight Dam in order to make contact with Sandman, which he does and they agree to meet up there and get a helicopter to make their way out of there.

Chapter 4 consists of Sam overhearing their conversation on his D.I.D. (which he stole off of Liev’s corpse) and fighting to make his way over to the Dam. Honestly that’s literally it as the final two chapters are also the shortest, but you do learn that Hexacore had a system for cutting Keen Sight off from the rest of civilization, as well as working with the government to suppress evidence as well as take down all the undead by force which didn’t work out for anyone involved. The final chapter however contains the most revelations even if it is short. Raven can discover an email from Sarah Carmichael, Sam’s wife, that reveals that she was heavily involved in Hexacore experiments as well as the fact that she was potentially planning on exposing one of her closest friend’s acts of potential terrorism to the Hexacore HR department. However this is only a draft, and she didn’t go through with it. The name of this friend isn’t revealed however, and Raven makes his way through the labs where he’s ambushed by a mutated tentacle creature who I can only describe as this game’s B.O.W. (Resident Evil’s version of a special creature intent to kill you). After a boss battle involving trapping this creature in a cage of electricity, it’s revealed that this creature is a mutated Liev and he’s very intent on not dying. Raven meets up with Dr. Mason in the room above, where Mason reveals that in certain individuals that Castor and Pollux flourished together into a new abomination entirely. Raven makes his way to nearby elevators as Mason starts a self destruction process, but runs into mutated Liev and nearly dies making his way to the elevator. A final boss battle against mutated Liev leads to Sandman brutalizing his old nemesis offscreen before being injected by Raven with something called “Golden Fleece”, an antiviral agent that I forget where Raven picked it up from. Regardless, they’re both okay until Sam arrives and holds them both by gunpoint. Sam demands retribution for his dead wife while also suffering hallucinations from her, while Sandman tries to explain that he was friends with his wife and tells him to “fight off the hallucination”. The tense encounter leads to everyone holding each other hostage and a bullet going off before a fade to black.

That is until the final epilogue, where a mysterious man goes over the plot entirely in chess terms. What I forgot to mention was that in between the chapters that this mysterious man is hinted at playing everyone from the beginning to start this incident as a plan to destroy Hexacore from the very beginning. The identity isn’t revealed, however several things are. One of those things is that Sandman was the traitor and that he originally started the shootout on the helicopter by shooting the other guy before Liev hit him in the face. See Liev was a bastard but he was actually following orders, and I actually liked this little misdirection as you’d never really think that Sandman was the one who planned to do everything due to Liev’s behavior. Whether others think that’s a good twist? Who knows, but I enjoyed it so I guess I can’t complain. Another reveal is that Sandman became the traitor because his daughter was dying from a deadly disease, and that his employers at Hexacore wouldn’t pay for the experimental treatment. However, “K” (aka Kuronusu Enterprises) promised that they would help save his daughter’s life and from then on, Sandman worked under them secretly. However, having developed a friendship with Sarah, he warns her to leave Keen Sight with her husband and escape the outbreak that’s going to happen. Another piece of evidence that pops up is a recording from Sarah to her husband, who reveals that while she was truly in love with him, that she was placed in charge of Sam as his handler to report back all the data of the Daymare experiments to the company and that they’ve been experimenting on everyone since the 40s and that hundreds of people have this disease. Finally, there’s Sarah’s I.D. as well as a bunch of diary entries that reveal that she was a willing participant in refining the Truman Project. She also fell for both Sam and Sandman at the same time but chose to focus on Sam after he proposed to her, and that Sandman’s daughter seemed to have died and having thought to have given up on his plan and caring for her friend, she didn’t sell him out to HR. However, after this man (named “The Cleaner” on the Wiki) wipes out all the evidence and permanently framing Hexacore for the tragedy, a little girl appears in a liquid container behind the computer showing that Sandman’s daughter is actually still alive.

I like the plot here a lot, the 90s conspiracy collaboration between the pharmaceutical companies and the government, pretty much everything I do like. There are some plot holes, like if Sandman’s daughter supposedly died then why did he continue with his plan anyways? That could’ve been a result of him willingly giving them over to Kuronusu but who knows. I love the origin being a Japanese bio-weapon that they don’t explain at all, and the fact that Keen Sight is under the complete control of the company. It all makes for a fascinating lore, one of which I’m interested in seeing further. HOWEVER, I do feel like sometimes it’s not delivered in the best ways, specifically the whole website intel thing but I’ll go on to gameplay for that. The misdirection with Sandman and Liev is cool, though I can understand if people don’t like it due to the fact that Liev is comically an asshole. However, this does get frustrating when Liev could’ve just as easily had told Raven on the helicopter that Sandman attacked everyone; however whether or not he would've been believed due to his demeanor, who knows? It’s also interesting how many differences there were between the Kickstarter campaign and the final product with cut points like Sam and Sarah having a kid being one of the more prominent differences that I wonder what could’ve been. Regardless however, I just know I came out of this enjoying the plot they had gone with here, it’s not perfect but I’m interested and I want more.


The gameplay has the usual survival horror stuff: conserving ammo, limited inventory space, third person over the shoulder stuff, etcetera and the like. If you’ve played any other survival horror game that’s third person over the shoulder then a lot of stuff will be familiar. However, Daymare has some stuff in it that’s different, sometimes to its own detriment. Starting out on the main campaign, the game doesn’t have an overall hub world with different paths but functions more as a Chapter structure. The first chapter honestly feels like the perfect pace, introducing Liev as he heads into a secret base to steal a virus. It’s not overly long, it helps introduce mechanics and brings the rest of the conflict ahead. The playtimes for the next couple of chapters are a little different though. Chapter 2 feels a bit longer but plays well enough, while Chapter 3 is the full course meal with the entire chapter taking a couple of hours for me to play on the first try. Chapter 4 and 5 on the other hand feels shorter and more to the point, and the truth is I don’t know how to feel about this in relation to the chapter structure. Instead of feeling precise, it kind of feels stretched out a little bit and it makes me wish it took on a structure more like the original games where things loop back in on itself. It never feels like safe rooms are put in accessible places because the game’s structure naturally feels like a constant state of moving forward, so to me it always felt like a drag running all the way back to certain safe room stuff (of which I never felt like there were enough anyways) that eventually I just stopped running certain items back and just dropped them for the most part. Some of these safe rooms are secret Hexacore operative shelters hidden behind walls in public spaces, only able to be found due to the D.I.D. on your wrist beeping near them and some of them you kind of have to go out of your way to find. The safe room issue isn’t helped by the auto save system, which is great for the most part to have but it kind of feels like it relies on it as a sort of crutch kind of? I say kind of because if you have an auto save, I feel like you should have the checkpoints be semi regularly and sometimes it didn’t really spread it out for me though I only noticed it in Chapter 1.

Another thing I’ll add to the differences is the healing/crafting system. You don’t craft your own ammo as far as I’m aware, though there is a sort of mixing feature they put in for health and other benefits. In order to do this however, you have to find a needle called an H Additive and you have to mix it with different items like energy drinks or mental drops. Different effects you can have are the obvious health boost (which you can also take the energy drink by itself or eat an energy bar for small increases), a boost where you can have infinite stamina for a short period of time, or a “mental” boost, which I assume helps you aim more precisely. I didn’t really end up using or mixing anything with the latter two and I ended up being able to just play the game only using the health stuff. Some of these injections can be found in your surroundings, and very rarely they’ll be mixed together to provide some combination of both attributes. You can also trade in certain ingredients at the save room computer in exchange for items, though I don’t personally feel like you get enough to actually make that worth your time. However, ironically enough, if you play the game in the usual survival horror way, you’ll be flushed with ammo and health stuff for the most part. It’s a strange mix, I’ll never complain about the game letting me off easy myself, but the disparity between the amount of stuff you get and the trade-in system not feeling balanced is a strange one so I ended up ignoring it entirely next to using the mental drops or the stamina boost. They also have a system where you can “overdose” if you use too much of any injections but truth be told I never overdosed once, and you kind of have to try to overdose on purpose to actually do it.

The puzzles for the most part are pretty solid and simple, with the answers that you need for the most part existing within the area that the puzzle takes place in. Chapter 1 had at least two that were so simple that I looked back while struggling on them and actively face palmed. Chapter 4 had one which had me turn valves, the answer of which was right above the valves themselves on a diagram. You’ll also find hidden lockers around the city which require a combination of sorts (which can be a bit more difficult, requiring some collectible stuff and backtracking) for items or alternatively you’ll need some hacking tools (which are kind of finite and is required to get it right on the first try) to break into some lockers. The hacking pretty much just has you clicking one bar onto another bar while they both move, and while I make it sound more confusing than it actually should, once you know what you’re doing you can get the hang of it and get it right for the most part on the first try. The only puzzle I can genuinely say I can’t get the hang of is one at the end of Chapter 4 that involves some sort of morse code tapping bullshit, and I hate these because I personally never understand how the fuck I’m supposed to find out what the hell to look for so I just looked up a guide answer. Not saying that anyone else can’t do it of course, maybe I’m just a simpleton but I also had issues in Penumbra doing the morse code puzzle.


Collectibles consist of three different kinds: there are deer bobbleheads that you can shoot throughout the game hidden in certain places that reference certain horror and action movies and even a Jojo’s Bizarre Adventure reference (one which I didn’t understand until the person I was streaming for explained it to me). As far as I’m aware, you don’t really get anything for shooting these bobbleheads other than a trophy so for that I just followed the guide I linked down below for help on that. Now comes one of my main problems: most of the collectibles you find have a website link (which I’ll post below) and a password to the corresponding collectible. In order to read certain bits of intel, you have to actively get on your computer or phone, go to this website (which says it’s “Not Secure” on my PC by the way) and type in the password for each individual document. I’ll be honest, I respect the whole metanarrative thing they’re going with but this fucking blows. I’m not interested in logging onto my real life device to look this stuff up when I’d rather be playing the game. Some of the documents you do get that you can read in game on your arm tablet, and while that’s fine I would’ve rather had them bring back the original document pop up then read small print on the in game phone. There’s a similar thing they do with the dog tag collectibles, only found in HADES Dead End (which is PC exclusive apparently) and is basically this game’s Mercenaries mode from what I understand. I say from what I understand because I didn’t play it, nor am I going to right now, but I’m glad they have that mode for players who like the game and want more.

Another thing I want to follow up on is Sam, who has Daymare syndrome whose characteristics include hallucinations. This also factors into gameplay and I like the idea of how they integrate his condition in game. The main way they do it is by having certain zombies be hallucinations within the game itself, such as attacking zombies. Not every zombie is a hallucination of course, but some of them are and when they grapple you they don’t do any damage. I like the idea of having to tell the difference between both of them and choosing whether to spend ammo on something that’s potentially not real, though I wish they gave a more telltale sign (even if small that I’d have to keep a lookout for) that something IS a mirage, especially considering that Sam points out something that’s one hundred percent a hallucination (though that one was kind of obvious). Other than that, it’s an interesting feature that makes for some tense scares during gameplay.

To bring up one more difference that I can remember, there are two different modes (other than difficulty). There’s Old School and there’s Modern Day. I played on Old School, and I’ll say that to me I personally think that it’s the best way to play the game. You can’t skip puzzles (which are easy for the most part), and you have to balance your weapon ammunition more. For example, there are two reload types: Fast and Slow. Slow switches out your current magazine for another one with current ammo while fast is mostly used for on the move against the undead and drops your current magazine on the ground which you’ll have to pick up later or possibly permanently lose it if you forget about it. You’ll have to reload it all in your inventory screen manually, which makes encounters tense and you can potentially flub up if you don’t know what you’re doing. The modern take mode you don’t have to worry about most of that stuff and you can skip puzzles, which if that’s what you prefer is a perfectly valid way to play the game if that’s what you want to do. I’ll put a wiki link that could explain it better than I do, but overall I like the tension of the old school system and I feel it’s the way that this game should be played. This only counts towards pistols though, so you won’t have to worry about shotguns. In fact, if there is one thing I’d love to mention is that I wish there were more variations of weapons like they promised in the Kickstarter. The most you get is different pistol types like a Beretta, a revolver, a desert eagle, and a shotgun just to name a few. There aren’t any assault rifles, grenade launchers or anything big or crazy and it’s kind of sad but understandable I suppose. Only other piece of advice I have for this is that for the magnum in chapter 3, collect as much ammo as you can and get the magazine for it around the gas station. Trust me, you’ll need it for the boss and it’s one of the only places to get it in the game and you could potentially fuck yourself if not done right.

Overall though, I want to add that while I have my criticisms towards certain aspects of the game and how it does stuff, I like the fact that they tried some new things while also keeping a lot of the old survival horror aspects together. I want to emphasize that they didn’t do a bad job here, in fact that’s where I feel like the game excels in for the most part despite a few ups and downs. I had played the game on Old School normal difficulty and didn’t die once except for a late game boss fuckup, in which I exited and reloaded the manual save and still got the GOG achievement for it anyways. There is the “Daymare” difficulty, which is the highest you can possibly go if you’re a masochist but I’m also a scared little bitch boy so there’s no way in hell I’m going to do that.

The sound design is pretty solid for the game too: the weapons feel like they have impact, footsteps sound good, doors creak creepily, I mean everything that you think that the game should do right, I feel they did right. I felt like the environmental sound design could’ve come straight out of Resident Evil 2 so that’s pretty solid. What helps add to everything with the actual sound design is the soundtrack as well. While it’s not the most unique, it does have some tunes that I could remember being decently catchy. The main theme song has a sort of dramatic and dark string vibe that’s tragic and ominous both, while “Safe Place” harkens back to the safe room themes of old survival horror. I’m not sure of the track that plays during infected Liev’s boss battles in Chapter 5 but they’re mad stressful and do a good job and put tension out there. For the most part, expect to hear your dramatic strings and some electronic stuff here and there. The composer was Alessandro Galdieri and if I can say one thing that I felt he did a good job here is capturing the survival horror essence, again it specifically feels like it could’ve came out of the other Resident Evil remakes and seeing as this is definitely a homage game, it hits the mark perfectly.

The voice acting however, is something that could’ve been a tad bit better? Truth be told, I’d say this is more of a translation/subtitle issue than something really on the voice actors. I’m not sure if it’s supposed to be a homage to old Resident Evil’s campy style of dialogue, but I didn’t take it as such especially considering that the subtitles are sometimes straight up false. Sometimes the Apple Blossom Fair is mistaken for the Cherry Blossom Feast, one line delivery from Sam had him awkwardly saying “He’s going there…then he’ll be there..” in a line that straight up made me cackle and brought me out of the moment. There was one part where one of the characters is ambushed by a guy with a wrench, but is told by the other character to “Drop your gun”. Subtitles are misspelled sometimes or awkwardly phrased, and while I wasn’t really bothered with that because the developers were Italian and cross translation is hard work, it did sadly pull me out at some moments.

The graphics of this game looks pretty decent for the most part; the environment work is stunning with the town of Keen Sight being an interesting and lively place with a history dating back to the Lewis and Clark days. Keen Sight as a town looks phenomenal, though while it’s a town ruined and destitute by undead, conveys a familiar and homely yet abandoned town at the same time. I would say that walking through the town is where the game shines the most from its pride in its history with their monuments, taking shortcuts through back alleys and into buildings with tight claustrophobic spaces. It feels like a real place, a sort of maze that truth be told I wish was the whole game. That being said, I don’t hate that the game has secret government labs or forest sections or whatever but they pale in comparison to the town itself. I would even dare say that this town, to me, feels like it belongs up in the pantheon with the most interesting settings next to Willamette, Colorado or Raccoon City, ironically both being Capcom games. I don’t really have much criticism to give with the environmental stuff other than they look how they would in a Resident Evil game otherwise, and that’s what the developers were looking for I feel, so mission accomplished there.

If I were to give any criticism in regards to graphical fidelity, then I would say it’s the models themselves. I know it’s an obvious indie budget thing, and I’m not going to disrespect the effort put into making these. However, there are a lot of models (at least the human ones) that feel sort of…artificial. Like I can tell these were made with a limited budget, it reminds me of the Friday the 13th counselor models. That’s not to say they’re inherently bad, though I’d say that sometimes they don’t really look…human? Especially in the animation department because by god, the lip syncing isn’t great and the facial movements could be a lot less stiff with the human characters. Maybe it was a sort of budget thing with them being an inexperienced indie game studio however, and with that in mind I don’t want to judge too harshly because it does add to a sort of campy charm, even if it’s inadvertently so. To finish off, the only other things I can really point out are that there were points where if I wasn’t following the story that I would get Liev and Raven mixed up, looking nearly identical wise and being bald as hell so they could’ve differentiated them a bit there. That, and while streaming me and my friend noticed that Sam’s got a pretty nice bulge LOL. Ironically enough however, the enemy models such as the zombies and special infected look pretty damn creepy and look the part in playing a foreboding atmosphere for the game. Between the “Hunters”, the Melted Men, Castor Hades or even the regular zombies, they all look all sorts of fucked up with jaws missing, looking skinned alive or severely deformed that they’re pretty damn effective in the intimidate department.

In short, I came out of this game pleasantly surprised and kind of ashamed that I forgot about this. It was a bit janky in some places, sure; but I had really enjoyed my time playing this title. Invader Studios didn’t create a perfect game, but I felt they had made a fun one and sometimes that's all that really matters. There were only a few places where I truly rolled my eyes out of dislike, and that was mostly towards the second to final boss in the game running towards the elevator and the website intel system. Otherwise, if you’re willing to put aside some of the more imperfect aspects and you’re really itching for a survival horror homage filled love letter then I would suggest trying this title out. In fact, there’s a part of me that questions why this has so many mixed reviews, although logically in the back of my mind I KNOW the reasons why. However, since the release of Daymare: 1998 they had also released a prequel to the game: Daymare 1994: Sandcastle, on August 30th which I also didn’t know about and/or forgot about. Maybe it’s a recurring theme of sorts? Who knows. Maybe I’ll give the prequel a go here someday soon and be hopefully pleasantly surprised again with potential quality, though the reviews aren’t looking that great either, but time will only tell.

Links:
https://www.neoseeker.com/daymare-1998/walkthrough (Guide I used)


https://www.youtube.com/watch?v=3pJ1g7MElpg&ab_channel=GamesSoundtracksOST (Soundtrack)

http://hexacorebiogenetics.com/intranet/mission-reports-archive/ (Intel Website)

https://daymare1998.fandom.com/wiki/How_to_play_guide_for_Daymare:_1998#Gameplay_modes (Certain Gameplay Aspects)

https://www.kickstarter.com/projects/invaderstudios/daymare-1998tm-bringing-back-the-survival-horror (Old Kickstarter Page)

https://daymare1998.fandom.com/wiki/Collectibles_in_Daymare:_1998 (Passwords included for the Hexacore Website)

https://tvtropes.org/pmwiki/pmwiki.php/VideoGame/Daymare1998

https://daymare1998.fandom.com/wiki/Daymare:_1998

https://invaderstudiosofficial.com/site/

This game is like ALMOST really good, but it's constantly buckling under the weight of it's ambition and it ends up being just a very scuffed experience.

It's like an alternate universe Resident Evil game and it's surprising how close they got in a lot of ways. The game has some pretty cool and strong ideas with the reload and healing mechanics or even a short lived infection meter. It looks fantastic visually (mostly). Hell they even tried to have full on cutscenes and voice acting.

But again, that ambition ends up really knee capping this game. There's some very lackluster enemy variety, the placement of save rooms are incredibly sparse and poorly placed, enemy placement is incredibly cheap (seriously why the fuck did anyone think it was a good idea to hide enemies RIGHT around corners where you can't see them?), the voice acting is insane in how inconsistent and usually pretty bad it is, things just sorta happen in the story, and the english translation is incredibly awkward. Like I said, super fucking scuffed.

I respect what the game wants to be. I really REALLY want to see what more this team can do. I love seeing games like this punching far above their weight class. Just not a true hidden gem like I hoped it would be.

Rayman Legends is such a treat. Almost hearkens back to Ubisoft's glory days of the late '90s through to the mid '00s. Initially I'd written a way shorter review for this, but so much of the game is so excellent that I figured it warrants gushing about a bit.

Its standout feature to me is that it's constantly throwing new ideas at you with pretty much every level. If a level in Rayman Legends doesn't have a mechanic which is it unique to it, it'll without a doubt utilise mechanics that were established previously in ways that aren't replicated in the rest of the game. In this respect there's an easy comparison to be made with the similarly creative Donkey Kong Tropical Freeze, but in a roundabout sort of way, it actually also reminded me somewhat of Metroid Prime - Retro Studios once stated one of their goals with the Prime games' level design was to ensure that no rooms were ever repeated or reused. I've the suspicion that Legends' designers had a similar philosophy given how distinctive each of the levels feel from each other; if they did, they did a fantastic job of putting it into practice. It's got mad variety in terms of mechanics, visuals and music of all sorts, but at the same time it also has the self-restraint to not linger on any one theme or idea for long enough to wear out its welcome. The pacing's so brisk and efficient.

Speaking of restraint, Legends is also remarkably tasteful when it comes to the implementation of stuff another, lesser game could've easily monetised. The little creatures you unlock which give you extra lums every 24 hours has got to be one of the healthiest and least intrusive incentives to play a game daily out there; not just because you're not punished for not doing so, but also because anything you can unlock with those extra lums is purely cosmetic. Costumes are there for those who want them and people who don't really care about them aren't disadvantaged for it; everybody wins.

Really the only thing I would maybe change about Legends is that I found wallrunning to sometimes feel a bit too "artificial," for lack of a better word. When you run at a sloped wall, the game automatically gives you a set amount of momentum to get up it rather than requiring you to build momentum yourself (like in the classic Sonic games, for example). This avoids frustrations where you might not have had enough space to do so had it not been automatic, but the game otherwise controls so immaculately that this didn't really feel necessary to me, especially because you can easily get enough speed by just using the dash attack anyway.

That's totally a footnote in comparison all the things Legends does well, though. It's so well-considered in terms of design and it's got charm out the ass to boot, in large part thanks to its beautifully expressive art. It's a shame that we haven't yet seen Rayman 4 like Murfy told us we would 18 years ago(!), but if Legends does end up being the last mainline game in the franchise, it's as good a note to end on as anyone could hope for.

For what a high point of storytelling in games the franchise it spawned has come to be seen as, it feels underdiscussed how effortlessly God of War married its narrative with its mechanics on its very first try. What I’d wager is the peak of this entire series in that regard’s present here, specifically during the final boss, at which point there’s a masochistically difficult segment where Kratos has to defend his family from an army of himself and can quite literally sacrifice his life (bar) to restore theirs.

While a sequence near the end of Chains of Olympus comes close in terms of catharsis, I find this section especially interesting not just for its music being a top 5 track in any action game or the 1:1 emotions it induces in both the player and Kratos, but also because of how neatly it wraps him up at the very start of what went on to be arguably Sony’s premier franchise, to the point of being its guinea pig for expanding outside of its own consoles. It’s become unfortunately common to mischaracterise the Greek games’ Kratos as an avatar of mindless anger, this being just one example of any number of counterpoints to that notion which existed as early on as his debut (you’d hope the introductory cutscene alone would’ve been enough). Were he not a compelling leading man with just enough depth to maintain interest over the course of a game relatively lengthy for its genre, it’s doubtful that he would’ve become probably the closest thing PlayStation’s ever had to its own Mario or Master Chief, if not in terms of sheer recognisability or an on-brand colour scheme then certainly in being a distilment of his parent company’s core draw – in this case, complex scenarios made accessible to as wide an audience as possible by way of presentational, cinematic flair.

God of War achieves this partially through its fixed camera, which is a huge boon to its sense of adventure. Even something as mundane as trotting down what’s functionally a featureless corridor feels momentous whenever it’s paired with a rampaging Ares in the background occupying two thirds of the screen, or when it pans out to the point of Kratos being barely visible to drive home the gargantuan scale of places like Pandora’s Temple and the Desert of Lost Souls. The in-game levels encompassing these areas are only so big, but the bespoke camera angles do a stellar job of selling the impression that there’s something more out there on the horizon (accentuated by how they enable the level designers to hide important collectibles out of view) and stoking the player’s imagination, the latter of which increasingly seems to be a lost art in games of production value comparable to this as they hone in further and further on photorealism. This isn’t to suggest that God of War isn’t likely trying to look as realistic as the PS2’s hardware allowed for – the amount of real-time reflections, volumetric water effects and NPCs running around during crowded scenes are pretty insane considering how smoothly it runs – but I do think this is a case where technical limitations helped bring about the best of both worlds, where it’s simultaneously cool how lifelike it can often look while still leaving room for mental abstraction on the player’s part.

The other half of the equation’s the combat system. The lack of any pesky directional inputs coupled with the Blades of Chaos’ gigantic range help reduce the skill barrier a decent margin by de-emphasising positioning (though not nearly to as egregious an extent as the Norse games’ slip ‘n’ slide attack magnetism) and technicality, but it’s still got layers which this surface-level simplicity belies. The hardest difficulty particularly necessitates a balancing act, where you’ll be pretty much constantly weighing up whether to get in as many weak hits as possible and milk the combo counter for all the red orbs it’s worth or to risk chucking out slower, stronger attacks to quickly dispatch the most annoying enemies. It has a few of those for sure; if you can believe it, Sony Santa Monica actually put my reaction to a gorgon appearing onscreen into one of these games. The enemy roster’s largely good and makes creative use of Greek myth, but other, more minor irritations do occasionally rear their heads in soldiers’ unreactable wakeup attacks and how there doesn’t seem to be any reliable way to predict when sirens or minotaurs decide to respectively dodge or block.

Despite these blemishes and the Blade of Artemis feeling slightly undertuned for being the only other weapon in the game, God of War’s combat system has enough other strong points to outweigh them. The grab system in particular deserves more attention than it tends to get and could stand to be cribbed from more often by other action games. At the press of a button and depending on the context in which they’re used, grabs are a tool for combo extension, crowd control, orb maximisation, invincible instakills (at the cost of receiving no orbs) and non-mandatory QTEs which net you specific resources from certain enemies should you need them; complemented by the wealth of magic abilities Kratos obtains over the course of the game, it enables more room for experimentation than one’d expect. It also can’t be stressed enough how great it is at fulfilling a power fantasy; the chunkiest hitstop in all of Athens and a striking amount of enemy hit reactions makes feedback on attacks feel fantastic whether you’re ripping into entire hordes or a single measly harpy.

As sobering as this being my 50th review was the fact that, according to my memory card, the last time I’d played God of War on original hardware seems to have been 2008. Gamer carbon dating places that roughly in our own equivalent of ancient Greece, but as with the real deal, we shouldn’t arrogantly look down on that era. There’s a tendency in gaming and other media to purport that standards only ever increase as time passes, but even in the face of the leaps and bounds action games have come on in the time since God of War’s release, I reckon there’s still not many that outdo it in all of its key selling points, one of which includes the ability to put Kratos in a cow costume. It remains not just the game I might not’ve gotten into my favourite genre without, but also a solid exemplification of why you probably shouldn’t trust anybody who uses “like a PS2 game” as a pejorative. Or, in my experience, the first sentence of this old promo video. The second one’s true enough, though.

Unmatched in the field of causing involuntary bodily responses in the player, the difficulty of F-Zero X itself’s exceeded only by that of trying not to squirm in your chair as you (un)successfully round corners at >1500km/h, bump rival racers off the track while trying to avoid speeding headlong into the abyss yourself or snatch first place out of an increasingly tenuous situation just as a guitar solo kicks in like it’s cheering you on.

The constant multisensory tug of war comprising every race’s brought about in large part thanks to a significant emphasis on tracks’ newfound verticality, enabled by one of the N64’s relatively unsung (though no less impactful) series-first forays into 3D, but it wouldn’t be complete without the mechanics themselves getting a makeover too. What’s probably the most crucial example of this is that boosting’s gone from its own independent resource, as in the first F-Zero, to something you now have to sacrifice your vehicle’s health to use. It’s streamlining at its finest; races rarely play out the same way because there’s no longer a guarantee of either you or your competitors being able to boost upon the completion of each lap, it’s inherently riskier to use but with greater potential reward due to the momentum gained from it carrying over into slopes or airtime, and it paves the way for strategies and decision-making which weren’t really present before. Will you have a comfortable amount of health left for the next lap if you boost partway through the healing zone? Are you gonna do without healing altogether to go for gold and beeline for the boost pad between them instead? Boosting up this hill could rocket you ahead of the crowd, but is your health and the geometry ahead sufficient for a safe landing? With how little time you have to make up your mind, each race leaves your frontal lobe as sweaty as your palms.

All of this in turn has the knock-on effect of enhancing the death race concept at the heart of F-Zero, brought to the forefront by and intertwined with the addition of attacks you and your opponents’ vehicles can perform. At the cost of momentarily decelerating, you can either horizontally ram into other vehicles or spin to win, stalling whoever you hit for the most critical of split seconds and dealing damage proportional to each party’s speed and/or proximity to walls. How smartly this is incentivised becomes increasingly apparent as you ramp up the difficulty and other racers’ AI becomes accordingly aggressive – to come out on top on Expert or above, you pretty much have to kill your designated rival at least once both to broaden your own margin of error and halt their accruement of points, the health it grants you being similarly precious given how often you’ll be boosting. On a less tangible level, there are in general few outlets for gamer malice so cathartic as hearing a series of brrrrrings sound out as you position yourself for a double kill, nevermind doing so by rendering Fox McCloud an orphan in the opening seconds via the world’s least ethically sound game of pinball.

While the actual Death Race mode itself’s a bit anaemic, having only a single track (albeit one unique to it) in which other racers mind their own business instead of trying to bump you off too, it’s nonetheless a useful stomping ground for practicing these mechanics and is balanced out by more substantial post-game unlocks. My favourite racer doesn’t become playable until after the credits roll, for one thing, but the main draw in this regard’s the X Cup and its randomised tracks. Even if it seemingly can’t generate loop-de-loops, cylinders or steep vertical inclines in general, the layouts still manage to become chaotic enough and unlike any of the handcrafted ones to the point that you’ll invariably want to give it at least a few spins. “Ahead of its time” is a phrase I typically don’t like, since the way it’s often used feeds into the idea that new = inherently better and rarely references any actual points of comparison. That said, it feels appropriate in this case when you take into consideration the relative prominence of roguelike side modes and/or DLCs with similar emphasis on procedural generation that’ve crept their way into multiple major releases in the past couple of console gens – the people are crying out for what this game essentially had as a free bonus when I was still being wheeled about in a pram.

As much can be said of F-Zero X in general. Beyond its intentional minimisation of graphics exemplifying the uncanny foresight of Nintendo’s president at the time, it seems as if must have been on the minds of the team behind Mario Kart 8 (currently the second-highest selling first party title ever) to some extent given not just the appearance of both Mute City and Big Blue in it, but also the conceptual overlap between its anti-grav segments and X’s dizzying track designs. Tighten your frame of reference to just its own series and even more recent evidence of how rock solid these mechanics are presents itself in the form of F-Zero 99; while its Skyway and titular battle royale idea help carve out its own more accessible, comparably well-considered spin, it’s also simultaneously a fusion of the first game’s assets with X’s systems. In short, there’s at least a few reverberations of how much this game gets right still being felt, as well as of how timeless its appeal remains, enough so to be more digestible to today’s players than you’d initially assume. If and/or when they decide to prove as much again by taking another crack at the formula, hopefully it won’t be set upon by quite as many people who’ve never played any of them for not being the “proper” franchise revival they were definitely clamouring for.

This is all to say: don’t be intimidated by its steep learning curve and give it a whirl, because the F stands for fun and there are too few games which let you do something like this completely by accident. Like its announcer whose garbled voice gave my brother shellshock says, it’s way out in front.

This was a journey. I think it's possibly my new favorite action game. The combat relies more on reflexes than memorizing combos. Playing it was invigorating, but I was also reminded that games like this were a dying breed.by 2005. Having a simple story of revenge was quickly becoming passe'. Contemporary to Ninja Gaiden Black were games like Devil May Cry 3 and Shadow of the Colossus, both of which released in 2005, as well Half-Life 2 and Metal Gear Solid 3, which released a year prior to Black (The base game Ninja Gaiden released the same year as Half-Life 2 and Metal Gear Solid 3). All of them were doing more interesting things with how stories could be told in games. Ninja Gaiden's story isn't bad, mind. It's just simple, with plenty of worldbuilding, llore, ambient music, and atmosphere to soak in if one is so inclined.

And the game gives you plenty of time to take in the sights. The map is sprawling, with lots of collectibles to find, secrets to uncover, and puzzles to solve. It reminds me of a Resident Evil game or a Zelda game from the Nintendo 64 era in terms of level design, while also having a foot firmly planted in the glories of the NES. You have a Ninja that travels to an evil empire by airship, fights, using primarily a sword, bad guys with guns, other ninjas, zombies, demons, and dinosaurs, with the help of a beautiful woman. It's all stuff you would have seen in the 8-bit days. The aesthetics, plot, and gameplay would fit right in with that era, especially given how hard the game is to finish.

i won't try to sugarcoat it, folks: this game is hard. To the point where it might seem unfair. It has mobs, enemies that respawn, and even classic NES knockback into lava pits. This version of the game does have an easy mode, and it makes fun of you for using it. So naturally, I played on Normal, learned the moveset, got better, and had the time of my life doing so. Every weapon in the game has a use (except for the nunchuks, which are basically a worse version of the flail). In addition, the game is very generous with healing items, so make sure to stock up if you get stuck, and don't be afraid to use your magic. This game does have a ranking system, but the rankings don't seem to do much. Which is a good thing, as that means all the bonuses, costumes, and extra missions can be unlocked and earned simply by playing the game at your own pace.

In summary, this is a perfect reboot of an old franchise. Fun story, immaculate level design, a combat system that will really put a player's reflexes to the test, an interesting world to explore, and lots of bonuses to unlock make this an amazing game that could potentially keep a player busy for months. Probably the best Xbox exclusive not published by Microsoft themselves. Don't miss it. But ignore the remake of this game, Ninja Gaiden Sigma. Sigma eliminates a lot of the puzzle elements that made this game so interesting to explore, in my opinion. Sigma is a fine game on its own, but it is not a substitute for Black. There is no other game like Ninja Gaiden Black. And given the nature of video games now, there never will be.

Everything people remember Goldeneye for being, Perfect Dark actually is. There's an intriguing mix of cyberpunk and X-Files alien espionage in the story, and the weapons are a lot of fun to use. The sound and music are excellent. Between this game and Banjo Tooie, Grant Kirkhope had a career defining year in 2000. Graphically, this pushes the Nintendo 64 to its absolute limits, and it shows. Even with the expansion pak, sub 20 FPS is common when there's a lot of action on the screen.

If you can get past that though, this game is feature rich. The campaign is long and engaging, and sadistic in its difficulty when you're playing on harder settings. The campaign can be played in co-op, or you can have up to 4 bots in co-op with you as well. It has a pvp campaign mode as well called counter-operative, where player 2 takes control of an enemy character. Even modern games don't do that. Combine that with a multiplayer mode that can be played with bots or up to four players across multiple different match types, and you have a total package of a game, and about as much fun as you could have with a first-person shooter in 2000. I wouldn't recommend playing this on a Nintendo 64 though. While I'm used to first-person shooter controls on the console, I also grew up with it. I know it's a tall order for most people, especially with those previously mentioned frame rate issues. I would instead point you to the remake Rare did for the Xbox 360 in 2010. That version fixes the frame rate issues and it's also compatible with the Xbox One and the Xbox Series X. If you don't have an Xbox console, some nice people did an unofficial PC port in 2023 that you can play instead. I will link the github at the end of the review for you to download it.

I feel like this game is incredibly slept on, given how much hype Goldeneye gets even now. This is better in every single way than Goldeneye and is the real best console FPS of the era.

Github for the unofficial PC port:
https://github.com/fgsfdsfgs/perfect_dark

I have a question for you: Do you have a "happy place" game? When you have had a bad day, nothing's gone right, and you feel dead to the world, do you have a game that you just turn on and suddenly everything suddenly feels like it's going to be okay? Donkey Kong Country is that game to me. Every Donkey Kong Country has that effect on me, but it's most keenly felt with this one.

The story is pretty simple. One dark and stormy night, King K. Rool has stolen Donkey Kong's banana hoard and locked Diddy Kong in a barrel. It's your job to save Diddy and the banana hoard. It is admittedly light on story, but most of the game's emotions are carried in the moment to moment gameplay. This is an incredibly challenging game for first-timers. Sure, I can beat it now no problem, but that's because I have over 20 years of experience playing it. Its difficulty actually enhances the quest. With how high stakes the atmosphere of the levels make it, combined with David Wise's frankly haunting soundtrack, it really feels like a quest into danger more than a simple platforming romp. Some nights, I will just put on Aquatic Ambience from the soundtrack and just contemplate my place in the world. The music and atmosphere of this game make me feel wonderful things that I am not sure I can even put into words.

The platforming itself is a ton of fun. An incredibly high skill ceiling means that it is always engaging, and there is enough mechanical variation to keep you entertained through the whole journey. The same can arguably not be said about the stage variety. They could have called this game "Donkey Kong Cave" for how much time you spend in them. This is one aspect where its sequels have it beat admittedly, but it never really bothered me personally. The same can be said of the bosses. Of all the various bosses in the game, only King K. Rool himself stands out as memorable. Fortunately, the final fight with him is arguably one of the best the Super Nintendo has to offer.

It should also be noted that this game arguably saved the Super Nintendo from losing to the Genesis in North America. While the Sega Genesis did still beat the Super Nintendo in sales in 1994 and 1995, it would prove to be the years that a Sega console would ever be on top in the region. Sega would move on to the Saturn in 1995 in America, more or less abandoning the Genesis, allowing the Super Nintendo to catch up and eventually surpass it in sales globally. The Donkey Kong Country games were a major reason why, and it all began with this one. This game would prove to be the second best-selling game for the SNES, with Donkey Kong, for a few years at least, supplanting Mario as Nintendo's most popular character. A lot of that had to do with the graphics. No one had ever seen graphics like this before. When you play this game on a CRT TV now, they still hold up. With the right filters on an emulator, you can get a similar effect.

This game was a risk that paid off. I am not sure modern Nintendo would trust a third party to handle one of their biggest IPs in such a way. Perhaps they should. With its colorful graphics, interesting and challenging platofrming, excellent animation, and amazing soundtrack that elevates the whole experience into something that is emotional and poignant, Donkey Kong Country is simply one of the finest platforming games ever made, and my "happy place" game. Give it a shot and who knows? It just might become your "happy place" game, too.