Josh_The_Fourth
2019
At first I had tried to write something a lot longer and analytical but I ended up scrapping it due to how artificial it sounded. I struggle to put into words how much I truly loved playing this. Just from the first few missions I was extremely hooked and couldn’t put the game down. Normally when I play games now I think about things to inevitably say in my review but while playing this I strangely didn’t. I was just that immersed. It’s been a while since I played a game and wasn’t thinking about “what am I gonna write about this one.” The only thing on my mind for the few days I was playing was just this game. I had such an immensely enjoyable experience that kept a dumb grin on my face the whole time. DMC5 just made me…happy. I know that’s usually how good games make people feel, however in the past few months there hasn’t been a game that made me truly happy in this way. Seeing Dante return looking all stubbly and scraggly while pulling off his sick motorcycle tricks had me honestly laughing. Despite only having started playing this series over a month ago, this game got me in a strangely sentimental mood. This is the ultimate love letter to the series in every way, shape, and form, while still having its own unique identity. You can tell the developers had a good time putting everything together and that’s commendable in its own right. Dante’s meeting with King Cerberus had me in a dopamine induced cluster of emotions; excited to see the return of an iconic boss and overjoyed to see Reuban Langdon recite classic lines as if it were still 2005. Vergil’s dramatic return sequence sent CHILLS down my spine man. Every story moment executes its ideas perfectly. When the credits rolled it had finally hit me, I love this game. The combat was so thoroughly engaging all the way through. My climactic journey with this series ends here, and it couldn’t have ended on a note higher than this. I know this review is literally just me gushing in somewhat of a cliche way but I really don’t care lol. This is how Devil May Cry 5 made me feel.
Jackpot.
Jackpot.
2008
yahtzee. monopoly. devil may cry 4 on ps3 and xbox 360. poker.
what do these things have in common? dice. motherfucking dice.
nero is just THAT GUY. he loves his foster sister. he kills her brother. gamer move. chad. nero is like the only new character that i enjoy unfortunately. the others are just basic stereotypes. pope guy. professor guy. knight guy. religion bad… DANTE!!! he’s cool. the returning characters are the best characters in the game aside from nero for obvious reasons but sometimes i felt dante was a bit too lighthearted in situations. it’s probably just due to his older age in this game idk.
i wanted to write this review more analytically but by the end of this one i just didn’t care that much anymore. this game has odd parts that form a conflicted whole. like, the mission design? stupid tops, stupid enemies, stupid dice. stupid random teleporting clouds. stupid gimmicks. the combat? BOSS. i really like nero’s devil bringer but even then its use isn’t spectacular. i enjoy using it to fight the basic enemies and that’s it. it would be 10 times better on other enemies if it didn’t send me into this locked attack animation every time you used it. it completely breaks the flow of combat for me. dante’s style switching is inherently fun but none of the enemies were designed with him in mind so he just doesn’t feel as good to play as dmc3 if you catch my drift.
it’s blatantly clear development was rushed. i can kinda look past all the recycling buuut it’s still annoying at its core. you eagerly fight the bosses once as nero by exploiting use of the O/B button to win. Ok. you pessimistically fight the bosses somewhat quicker a second time as dante. Okay. Now you do a fucking boss rush like this shit is a mega man game. kill yourOKAY. the bosses are kinda good but man they really milk the shit out of them. dante like ‘what if i did nero’s missions but in reverse and with some of the dumbest gimmicks in the series.’ i’m like ‘dante how about you take off your cowboy looking ass pants and put on the green jeans. take off your undershirt and go back to your teens please.’
it may sound like i didn’t enjoy the game much but i exaggerate a bit. the combat and a few of the story beats are good enough to carry the game for me. fighting shit and bashing it into a bloody explosion of orbs is fundamentally enjoyable. very disappointed i ended up not liking this as much as dmc1, though. dmc1 had the immaculate remisent smeevil vibes and atmosphere which encapsulated the world nicely. as the games progressed, these chill-inducing themes diminished but dmc3 came close to reaching it. dmc4 does not!! i also love the iconic 2000s charm of dmc1 which dmc4 doesn’t really achieve either. i bring this up because it’s why i prefer 1 to 4. nero may 4 has better combat than dante cry 1 but the latter excels in everything else. better pacing, style, presentation, etc.
in conclusion, will i buy 4SE? hell no lol. i’m eager to try out trish and lady but not eager enough to warrant replaying the handful of lackluster missions and bosses. for all you dmc fans, this game is defo worth at least one playthrough.
what do these things have in common? dice. motherfucking dice.
nero is just THAT GUY. he loves his foster sister. he kills her brother. gamer move. chad. nero is like the only new character that i enjoy unfortunately. the others are just basic stereotypes. pope guy. professor guy. knight guy. religion bad… DANTE!!! he’s cool. the returning characters are the best characters in the game aside from nero for obvious reasons but sometimes i felt dante was a bit too lighthearted in situations. it’s probably just due to his older age in this game idk.
i wanted to write this review more analytically but by the end of this one i just didn’t care that much anymore. this game has odd parts that form a conflicted whole. like, the mission design? stupid tops, stupid enemies, stupid dice. stupid random teleporting clouds. stupid gimmicks. the combat? BOSS. i really like nero’s devil bringer but even then its use isn’t spectacular. i enjoy using it to fight the basic enemies and that’s it. it would be 10 times better on other enemies if it didn’t send me into this locked attack animation every time you used it. it completely breaks the flow of combat for me. dante’s style switching is inherently fun but none of the enemies were designed with him in mind so he just doesn’t feel as good to play as dmc3 if you catch my drift.
it’s blatantly clear development was rushed. i can kinda look past all the recycling buuut it’s still annoying at its core. you eagerly fight the bosses once as nero by exploiting use of the O/B button to win. Ok. you pessimistically fight the bosses somewhat quicker a second time as dante. Okay. Now you do a fucking boss rush like this shit is a mega man game. kill yourOKAY. the bosses are kinda good but man they really milk the shit out of them. dante like ‘what if i did nero’s missions but in reverse and with some of the dumbest gimmicks in the series.’ i’m like ‘dante how about you take off your cowboy looking ass pants and put on the green jeans. take off your undershirt and go back to your teens please.’
it may sound like i didn’t enjoy the game much but i exaggerate a bit. the combat and a few of the story beats are good enough to carry the game for me. fighting shit and bashing it into a bloody explosion of orbs is fundamentally enjoyable. very disappointed i ended up not liking this as much as dmc1, though. dmc1 had the immaculate remisent smeevil vibes and atmosphere which encapsulated the world nicely. as the games progressed, these chill-inducing themes diminished but dmc3 came close to reaching it. dmc4 does not!! i also love the iconic 2000s charm of dmc1 which dmc4 doesn’t really achieve either. i bring this up because it’s why i prefer 1 to 4. nero may 4 has better combat than dante cry 1 but the latter excels in everything else. better pacing, style, presentation, etc.
in conclusion, will i buy 4SE? hell no lol. i’m eager to try out trish and lady but not eager enough to warrant replaying the handful of lackluster missions and bosses. for all you dmc fans, this game is defo worth at least one playthrough.
2004
”The heart is what counts. Not the body…”
one year later and it’s plainly clear that i still love this game as much as when i first played it, if not more. almost 20 playthroughs to my name at this point across many platforms and it’s safe to say that this is my favorite game ever. i have such an immense attachment to this entire series and after dozens of playthroughs between the games, this is the one that stayed with me, which might sound cliche considering it’s everyone else’s series favorite too but it’s all for good reason.
the design philosophy of these games is expressed here in a much more defiant way than the what some may call “enigmatic” execution in the previous entries. at its core every game has the same concepts based around how to play the game but zero 3 makes these concepts much more fun to grasp and play around with yourself. the level design keeps you coming back rather than discouraging the player on a first playthrough due to sheer difficulty. everything the previous games brought to the table is expertly streamlined and just, blatantly more fun. one of the major additions here that, bar none, is my favorite mechanic in a platformer, is the combo system. ex skills in zero 2 were an interesting little reward for playing well but i never really found myself using them too much since a charge slash was always a better option against bosses. z3 changes this by adding an almost dmc-like system that turns fighting bosses into an exhilaratingly strategic spectacle. each ex skill and attack has a priority value in the game, where the lower priority moves can be chained into higher priority moves during bosses to ignore invincibility frames to deal maximum damage. putting all of your ex skills to the test with this knowledge breaks the somewhat formulaic attack strategy the previous games wanted you to hone in on. experimentation is now the key to effectively transforming this game into an action game of sorts, and not just with the combo system. lots of customization options via the newly introduced head, body, and foot attachments encourage you to create a Zero suited for specific, or many situations. cyber elves can now be equipped two at a time and don’t hinder your rank, as well as the brand new recoil rod being a unique tool to weave into your playstyle. all of this provides an extra layer of depth that enhances gameplay in an interestingly diverse and encouraging way that the previous games didn’t exactly need, but it’s obvious that what’s here is a lot cooler.
the dramatic climax of zero’s ongoing character arc is here. in a way zero’s mental battle with omega is kinda symbolic of overcoming a self-deprecating emotional struggle, which a common person can relate to much better than physically fighting your alter-ego lol. coming to terms with yourself to accept who you are no matter what can be stressful for some. the point i’m just trying to make is that zero is sometimes like us. these strangely three dimensional themes being present in a game such as this one helps us enjoy the characters more, and that’s what i feel is done here, whether intentional or not. zero is probably one of my favorite video game protagonists partly because of this.
in the end, i wanna thank Reddish and GodOfMediocity for effectively getting me into this series. back then i had no clue how much impact these games would have on me in the future. inti creates, you have my gratitude.
“It's just me... I am... ... Zero.”
one year later and it’s plainly clear that i still love this game as much as when i first played it, if not more. almost 20 playthroughs to my name at this point across many platforms and it’s safe to say that this is my favorite game ever. i have such an immense attachment to this entire series and after dozens of playthroughs between the games, this is the one that stayed with me, which might sound cliche considering it’s everyone else’s series favorite too but it’s all for good reason.
the design philosophy of these games is expressed here in a much more defiant way than the what some may call “enigmatic” execution in the previous entries. at its core every game has the same concepts based around how to play the game but zero 3 makes these concepts much more fun to grasp and play around with yourself. the level design keeps you coming back rather than discouraging the player on a first playthrough due to sheer difficulty. everything the previous games brought to the table is expertly streamlined and just, blatantly more fun. one of the major additions here that, bar none, is my favorite mechanic in a platformer, is the combo system. ex skills in zero 2 were an interesting little reward for playing well but i never really found myself using them too much since a charge slash was always a better option against bosses. z3 changes this by adding an almost dmc-like system that turns fighting bosses into an exhilaratingly strategic spectacle. each ex skill and attack has a priority value in the game, where the lower priority moves can be chained into higher priority moves during bosses to ignore invincibility frames to deal maximum damage. putting all of your ex skills to the test with this knowledge breaks the somewhat formulaic attack strategy the previous games wanted you to hone in on. experimentation is now the key to effectively transforming this game into an action game of sorts, and not just with the combo system. lots of customization options via the newly introduced head, body, and foot attachments encourage you to create a Zero suited for specific, or many situations. cyber elves can now be equipped two at a time and don’t hinder your rank, as well as the brand new recoil rod being a unique tool to weave into your playstyle. all of this provides an extra layer of depth that enhances gameplay in an interestingly diverse and encouraging way that the previous games didn’t exactly need, but it’s obvious that what’s here is a lot cooler.
the dramatic climax of zero’s ongoing character arc is here. in a way zero’s mental battle with omega is kinda symbolic of overcoming a self-deprecating emotional struggle, which a common person can relate to much better than physically fighting your alter-ego lol. coming to terms with yourself to accept who you are no matter what can be stressful for some. the point i’m just trying to make is that zero is sometimes like us. these strangely three dimensional themes being present in a game such as this one helps us enjoy the characters more, and that’s what i feel is done here, whether intentional or not. zero is probably one of my favorite video game protagonists partly because of this.
in the end, i wanna thank Reddish and GodOfMediocity for effectively getting me into this series. back then i had no clue how much impact these games would have on me in the future. inti creates, you have my gratitude.
“It's just me... I am... ... Zero.”
sonic, sonic, sonic. the one franchise i can never escape from. it defined my younger years and is the reason im interested in the medium at all. nowadays there’s somewhat of a disconnect between me and actually playing the games (partially due to me having played them so much in the past), but i still think about and discuss them regularly. sonic adventure is the one that i was thinking about recently, but in a broader and more artistic sense than the strictly gameplay-focused mindset i had about the series when i was younger. sonic never changed, but i did. i’ve come to appreciate more of what sonic is in recent years, whether it be the music, atmosphere, or cultural impact. i’m not going to go on about why this is one of the best sonic games or one of the worst, merely just sharing my experience with the game as a whole. when i come back to this game now i don’t dissect its multiple parts and try to make sense of them all, i appreciate it as one of the games i bought a gamecube for and played for hours on end once i had finished that pesky science homework.
its a sit-back-and-relax kinda game. whether it be the grandiose oceanic ruins accompanied by mellow beats, or the self contained beaches filled with mesmerizing waves and summer vibes; it’s what makes this game for me. gameplay wise i was never a fan of hub worlds in sonic but they certainly help everything feel connected in a dramatic sense. every area differentiates itself from one another while still feeling connected thematically. the story is kinda laid-back in a way where its themes are…somewhat relatable? i feel like there’s a sonic, tails, amy, or even big inside every one of us. whether you’re more of an adventurous sonic guy or a dream-chasing tails kinda guy, the themes conveyed here are understandable.
the whole package we get is undoubtedly very early 6th gen. dreamcast do be dreamcasting. this game was both an attempt at a great sonic game but also at a great display of the dreamcast’s power, and in retrospect it certainly delivers. big’s gameplay was solely made because the dreamcast had nice water for the time, but, going back a bit, alternatively i think big’s story helps accentuate the game’s themes? like, the gameplay blows don’t get me wrong, but i feel as if The Vibes present in the game can be soaked in more during his campaign. big is like us. he likes exploring funny little places and getting into funny little situations. he sees the game through a more lax lens that the other characters do. what a dope, just like me fr. you can feel the game’s energy in a less stressful way, at least that’s how i see it. each story represents the differing perspectives people can have when experiencing the same thing together. i do think this was intentional as seen by minor dialogue changes to the scenes that occur in each story. our own feelings and context influence how we see things compared to others, and i think that’s a cool thing for a sonic game to focus on.
with this one i really wanted to write a review that wasn’t strictly tied down by my thoughts on the actual gameplay, but rather a more personal write-up. if you’re a fan of this specific game or not, experiences like this in games are special to each individual that experienced them. dunno how to conclude this, so i really like smashing pumpkins. i listened to mellon collie and the infinite sadness while writing this. listen to it i think. lol.
its a sit-back-and-relax kinda game. whether it be the grandiose oceanic ruins accompanied by mellow beats, or the self contained beaches filled with mesmerizing waves and summer vibes; it’s what makes this game for me. gameplay wise i was never a fan of hub worlds in sonic but they certainly help everything feel connected in a dramatic sense. every area differentiates itself from one another while still feeling connected thematically. the story is kinda laid-back in a way where its themes are…somewhat relatable? i feel like there’s a sonic, tails, amy, or even big inside every one of us. whether you’re more of an adventurous sonic guy or a dream-chasing tails kinda guy, the themes conveyed here are understandable.
the whole package we get is undoubtedly very early 6th gen. dreamcast do be dreamcasting. this game was both an attempt at a great sonic game but also at a great display of the dreamcast’s power, and in retrospect it certainly delivers. big’s gameplay was solely made because the dreamcast had nice water for the time, but, going back a bit, alternatively i think big’s story helps accentuate the game’s themes? like, the gameplay blows don’t get me wrong, but i feel as if The Vibes present in the game can be soaked in more during his campaign. big is like us. he likes exploring funny little places and getting into funny little situations. he sees the game through a more lax lens that the other characters do. what a dope, just like me fr. you can feel the game’s energy in a less stressful way, at least that’s how i see it. each story represents the differing perspectives people can have when experiencing the same thing together. i do think this was intentional as seen by minor dialogue changes to the scenes that occur in each story. our own feelings and context influence how we see things compared to others, and i think that’s a cool thing for a sonic game to focus on.
with this one i really wanted to write a review that wasn’t strictly tied down by my thoughts on the actual gameplay, but rather a more personal write-up. if you’re a fan of this specific game or not, experiences like this in games are special to each individual that experienced them. dunno how to conclude this, so i really like smashing pumpkins. i listened to mellon collie and the infinite sadness while writing this. listen to it i think. lol.
TASTE THE BLOOD, TASTE YOUR FATE
SWALLOW YOUR PRIDE, WITH YOUR HATE
Looking back, DEVIL MAY CRY 3 was exactly what the series needed at the time. With the mess that was DMC2, the series needed to get back up on its feet. The developers quickly went to work on a new entry that would be more stylish, action-packed, and memorable than the previous entries. Their work of course paid off and here we have DMC taken to its highest of heights. By expanding upon the formula and combining the best aspects of the previous games, DMC3 was that breath of fresh air the series desperately needed.
As soon as the game starts you’re thrown into what is quite possibly one of the best game intros of all time. The thrill of hordes of demons rushing at our half-naked hero while he kills them all effortlessly with the use of pool balls; the stylistic nature of the game is exemplified perfectly in the very first mission. This is where Dante gets his crazy wise-cracking attitude in the way that we now know him for today.
Everything here just clicks. If you’ve played the game you know what I mean. Creating your own combos to achieve that SSSTYLISH ranking feels incredibly satisfying and rewarding to pull off. Timing together attacks and dodging accordingly is all based on your own skills as a player, nothing more, nothing less. I was never frustrated when I had to redo a boss for a second or even third time because I could feel myself improving with each try. Boss patterns are fun to learn whilst you find their opening to exploit and lay on the heat. As the missions go on you gain more and more abilities to put to the test of said skills. By the end you feel like a badass being able to (hopefully) use all your moves to the fullest of their extent. You’re also free to experiment with whatever you want as supported by the ingenious Style system. Wanna go in guns blazing? Now you can. Wanna effortlessly weave in and out of groups of enemies? You’re free to do so! Forming your own playstyle is the key to DMC3’s genius design.
I’ve heard stories of how this game is hard as nails but I honestly had more trouble with DMC1 lol. I think the hard-as-hell reputation was mainly gained from Americans who played the original game on PS2, or people who played this game as their introduction to the series. In retrospect I really do not recommend this as a first DMC game. Yes it’s the best, but that’s precisely why. To fully appreciate this game in all its glory you do need the context of the prior games. You need to feel the combat’s evolution across the games to reach its peak here. It’s also why a lot of people don’t think DMC1 is that great of a game nowadays.
A killer game needs killer presentation and music to top it all off right? With tracks as iconic as Taste the Blood, Divine Hate, and Devils Never Cry, the atmosphere orchestrated keeps you engaged whether you like it or not. The dark gothic corridors and rooms embark a sense of dread whilst the kick-ass stress inducing music keeps you pumped up during a battle.
My expectations for this one were high, but I never thought they would be shattered violently and exceeded. Dante is the homie, Lady is the bestie, Vergil is the bro, and Arkham can rot in hell. “Wanna know what it’s called? Devil May Cry.”
SWALLOW YOUR PRIDE, WITH YOUR HATE
Looking back, DEVIL MAY CRY 3 was exactly what the series needed at the time. With the mess that was DMC2, the series needed to get back up on its feet. The developers quickly went to work on a new entry that would be more stylish, action-packed, and memorable than the previous entries. Their work of course paid off and here we have DMC taken to its highest of heights. By expanding upon the formula and combining the best aspects of the previous games, DMC3 was that breath of fresh air the series desperately needed.
As soon as the game starts you’re thrown into what is quite possibly one of the best game intros of all time. The thrill of hordes of demons rushing at our half-naked hero while he kills them all effortlessly with the use of pool balls; the stylistic nature of the game is exemplified perfectly in the very first mission. This is where Dante gets his crazy wise-cracking attitude in the way that we now know him for today.
Everything here just clicks. If you’ve played the game you know what I mean. Creating your own combos to achieve that SSSTYLISH ranking feels incredibly satisfying and rewarding to pull off. Timing together attacks and dodging accordingly is all based on your own skills as a player, nothing more, nothing less. I was never frustrated when I had to redo a boss for a second or even third time because I could feel myself improving with each try. Boss patterns are fun to learn whilst you find their opening to exploit and lay on the heat. As the missions go on you gain more and more abilities to put to the test of said skills. By the end you feel like a badass being able to (hopefully) use all your moves to the fullest of their extent. You’re also free to experiment with whatever you want as supported by the ingenious Style system. Wanna go in guns blazing? Now you can. Wanna effortlessly weave in and out of groups of enemies? You’re free to do so! Forming your own playstyle is the key to DMC3’s genius design.
I’ve heard stories of how this game is hard as nails but I honestly had more trouble with DMC1 lol. I think the hard-as-hell reputation was mainly gained from Americans who played the original game on PS2, or people who played this game as their introduction to the series. In retrospect I really do not recommend this as a first DMC game. Yes it’s the best, but that’s precisely why. To fully appreciate this game in all its glory you do need the context of the prior games. You need to feel the combat’s evolution across the games to reach its peak here. It’s also why a lot of people don’t think DMC1 is that great of a game nowadays.
A killer game needs killer presentation and music to top it all off right? With tracks as iconic as Taste the Blood, Divine Hate, and Devils Never Cry, the atmosphere orchestrated keeps you engaged whether you like it or not. The dark gothic corridors and rooms embark a sense of dread whilst the kick-ass stress inducing music keeps you pumped up during a battle.
My expectations for this one were high, but I never thought they would be shattered violently and exceeded. Dante is the homie, Lady is the bestie, Vergil is the bro, and Arkham can rot in hell. “Wanna know what it’s called? Devil May Cry.”
I missed this. What exactly is this? I’m not even sure myself. Maybe it’s the tight controls and explosive combat, or maybe it’s the gripping atmosphere that never ceases to impress in all of Iga’s works. Whatever it is, this game’s got it. It’s been a long while since I’ve blindly experienced an Igavania, so this was a nice breath of fresh air and more importantly, an escape. I’ve recently been yearning for a game to play that would dissipate the thick anxious fog that has been surrounding my mind as of recent, something to sink my teeth into and play without any consideration for real world duties. Castlevania is the franchise that usually satisfies that hunger for me, and thankfully this game was no exception.
While at first the explorative nature of this series may be a bit lacking in the beginning of HARMONY OF DISSONANCE, by the end it definitely picks up. In SOTN, after the first two bosses you’re greeted with an item that greatly expands your playing field, so it’s definitely jarring to enter the expansive castle in this game and be perplexed as to why almost every area you try to explore has locked doors or jumps you can’t make yet.
Progression here is…definitely a bit lacking. I don’t think it’s bad but it’s a bit questionable. The two castles gimmick gets old rather quickly and while paced into the game flow nicely, still ends up being a bore sometimes due to you exploring the same exact areas again but with different enemies. The Vlad parts also seem like an afterthought? Like they’re not obtained by beating bosses and finding them is weirdly cryptic and/or mindless. Two of them are hidden behind an invisible path in a wall which you would have no clue how to get through without the use of a guide, while the other three are just in a random room you walk into. They’re also each only in one castle which is annoying. Doesn’t help that the bosses overall are not good. None of them have fun patterns to dodge, as you can easily get a sub weapon combined with a spell book and tear through them in under a minute.
I may seem very negative towards this game but as said in the opening I still really enjoyed it! The great controls, sexy dash move, visual presentation, music, and exploring the castle are already inherently fun to me. I wish I had more unique positives to say, but that’s kinda it. This game is good because fundamentally it’s a Castlevania game and reuses some pre-established ideas from previous entries (SOTN prominently). Halfway through development I bet they realized exploring the base castle was already way too short so they added a carbon copy and frequent oddly key-required doors to extend game time.
Also this game’s OST is not the best, but still heavily underrated; Offense and Defense is such a banger.
While at first the explorative nature of this series may be a bit lacking in the beginning of HARMONY OF DISSONANCE, by the end it definitely picks up. In SOTN, after the first two bosses you’re greeted with an item that greatly expands your playing field, so it’s definitely jarring to enter the expansive castle in this game and be perplexed as to why almost every area you try to explore has locked doors or jumps you can’t make yet.
Progression here is…definitely a bit lacking. I don’t think it’s bad but it’s a bit questionable. The two castles gimmick gets old rather quickly and while paced into the game flow nicely, still ends up being a bore sometimes due to you exploring the same exact areas again but with different enemies. The Vlad parts also seem like an afterthought? Like they’re not obtained by beating bosses and finding them is weirdly cryptic and/or mindless. Two of them are hidden behind an invisible path in a wall which you would have no clue how to get through without the use of a guide, while the other three are just in a random room you walk into. They’re also each only in one castle which is annoying. Doesn’t help that the bosses overall are not good. None of them have fun patterns to dodge, as you can easily get a sub weapon combined with a spell book and tear through them in under a minute.
I may seem very negative towards this game but as said in the opening I still really enjoyed it! The great controls, sexy dash move, visual presentation, music, and exploring the castle are already inherently fun to me. I wish I had more unique positives to say, but that’s kinda it. This game is good because fundamentally it’s a Castlevania game and reuses some pre-established ideas from previous entries (SOTN prominently). Halfway through development I bet they realized exploring the base castle was already way too short so they added a carbon copy and frequent oddly key-required doors to extend game time.
Also this game’s OST is not the best, but still heavily underrated; Offense and Defense is such a banger.
What is a woman? A miserable little pile of glyphs.
THE LAST 2D CASTLEVANIA GAME. (harmony of despair is not real)
It’s been a while since I beat this one, but relistening to the soundtrack has flooded my brain with feelings and thoughts I had forgotten about. This shit probably has my favorite Castlevania OST so far alongside Rondo. Shit hits all the right notes for me, literally and figuratively. Theming and dramatization has always been an important aspect of these games and there’s no shortage of it here. Our favorite girl in blue evolves throughout the story naturally and in an engaging way. Our villains and plot twists surrounding those villains leave their respective marks. In terms of dramatization the soundtrack ties back to this as well. Having areas be actual separate places I believe helps them differentiate themselves from each other tonally more than other games in the series.
Gameplay wise? Aria/Dawn taken to the extreme, which is not a negative at all. At first I thought having basic moves deplete your MP bar was a bit strange and counterintuitive, but as the game progressed it wasn’t an issue and also plays into Shanoa’s character nicely. I honestly really enjoyed the Metroid Fusion inspired progression here. Like I said before, the areas being separate gives them a bit more identity. It also makes things a bit less cluttered and allows for some nicely scripted story segments. The game ending with the exploration of Castlevania feels like a final ‘hurrah’ of sorts for the series, especially considering the legacy this game would entail. Contained within these castle walls are some of the most banging tunes you’ll hear in a Castlevania game. Shit fucks so hard goddamn. The castle also holds the most challenging yet most fun bosses. Except Eligor, fuck that shit lol. The Glyph system was surprisingly fun to play around with. Having powerful moves to use instead of your basic weapons was an interesting contrast to the past games. One thing that I found pretty stupid was that you have to absorb 45 glyphs to fully level up familiars. Fuck that. I only managed to get the Medusa heads to level 2, even with grinding.
In the end, I was left with satisfaction but yet, still yearning for more in a broader sense. I wished they went further with the mechanics displayed here in a sequel of sorts similar to Dawn of Sorrow. It’s unfortunate that the series’ 2D roots were eventually stripped from itself after this and then later the entire series would be stripped from Konami’s priority entirely. Yeah we have the collections, which I’m grateful Konami can do those right, but again, me and many others are still yearning for a new game to scratch that Castlevania itch. Bloodstained wasn’t quite enough to reach that itch personally, but it’s still a fantastic series.
”Now I can die with such happiness in my heart.”
THE LAST 2D CASTLEVANIA GAME. (harmony of despair is not real)
It’s been a while since I beat this one, but relistening to the soundtrack has flooded my brain with feelings and thoughts I had forgotten about. This shit probably has my favorite Castlevania OST so far alongside Rondo. Shit hits all the right notes for me, literally and figuratively. Theming and dramatization has always been an important aspect of these games and there’s no shortage of it here. Our favorite girl in blue evolves throughout the story naturally and in an engaging way. Our villains and plot twists surrounding those villains leave their respective marks. In terms of dramatization the soundtrack ties back to this as well. Having areas be actual separate places I believe helps them differentiate themselves from each other tonally more than other games in the series.
Gameplay wise? Aria/Dawn taken to the extreme, which is not a negative at all. At first I thought having basic moves deplete your MP bar was a bit strange and counterintuitive, but as the game progressed it wasn’t an issue and also plays into Shanoa’s character nicely. I honestly really enjoyed the Metroid Fusion inspired progression here. Like I said before, the areas being separate gives them a bit more identity. It also makes things a bit less cluttered and allows for some nicely scripted story segments. The game ending with the exploration of Castlevania feels like a final ‘hurrah’ of sorts for the series, especially considering the legacy this game would entail. Contained within these castle walls are some of the most banging tunes you’ll hear in a Castlevania game. Shit fucks so hard goddamn. The castle also holds the most challenging yet most fun bosses. Except Eligor, fuck that shit lol. The Glyph system was surprisingly fun to play around with. Having powerful moves to use instead of your basic weapons was an interesting contrast to the past games. One thing that I found pretty stupid was that you have to absorb 45 glyphs to fully level up familiars. Fuck that. I only managed to get the Medusa heads to level 2, even with grinding.
In the end, I was left with satisfaction but yet, still yearning for more in a broader sense. I wished they went further with the mechanics displayed here in a sequel of sorts similar to Dawn of Sorrow. It’s unfortunate that the series’ 2D roots were eventually stripped from itself after this and then later the entire series would be stripped from Konami’s priority entirely. Yeah we have the collections, which I’m grateful Konami can do those right, but again, me and many others are still yearning for a new game to scratch that Castlevania itch. Bloodstained wasn’t quite enough to reach that itch personally, but it’s still a fantastic series.
”Now I can die with such happiness in my heart.”
THE FIRST PORTABLE CASTLEVANIA GAME.
who fucking made this shit. sucks ass. i know the gameboy was limited but some of these levels are just barren hallways with enemies. the 3rd level had an interesting gimmick but it goes to shit because simon controls like a fucking tortoise. mf can’t move or jump for shit. the game demands the tightest jumps from you which most of the time you will fail on your first try due to how stiff and shitty the jump is. bosses are barely even bosses and have like one attack. music was kinda good but they loop after like 30 seconds lol. i think for a gameboy game it has cool aesthetics i guess but everything else is terrible. every flaw with classic castlevania is present here in full force and then some.
my advice? play the remake on wii instead. i will personally send you the rom of that shit do NOT play this. they turned the worst 2d castlevania into one of the best how is that possible.
who fucking made this shit. sucks ass. i know the gameboy was limited but some of these levels are just barren hallways with enemies. the 3rd level had an interesting gimmick but it goes to shit because simon controls like a fucking tortoise. mf can’t move or jump for shit. the game demands the tightest jumps from you which most of the time you will fail on your first try due to how stiff and shitty the jump is. bosses are barely even bosses and have like one attack. music was kinda good but they loop after like 30 seconds lol. i think for a gameboy game it has cool aesthetics i guess but everything else is terrible. every flaw with classic castlevania is present here in full force and then some.
my advice? play the remake on wii instead. i will personally send you the rom of that shit do NOT play this. they turned the worst 2d castlevania into one of the best how is that possible.
1986
THE FIRST CASTLEVANIA GAME.
is it still good today? if it was good back then then it sure as hell still is today. defining the platformer world with horror elements, snappy yet challenging gameplay, and an ost that would be remixed for decades to come. a great game by nes standards.
the difficulty starts off naturally progressing but as the game goes on there start to be a lot more bullshitty moments; enemies coming out of no where and generally having no way to combat those enemies. the game doesn’t do anything exceptionally fantastic nor does it do anything inherently terrible. i spent an hour doing dracula without save states and, yes, i was immensely frustrated, but by the end i was able to beat him with minimal damage. that’s the pulverizing staple nes difficulty showing itself through the cracks but in a much less demanding way than other titles on the system. as you practice more and more you feel yourself gaining a better understanding of how the enemies and controls work while your skills improve. yeah this is basically every video game but with castlevania 1 it turns it into a fun experience that feels less like you adapting to the game and more like you honing your skills, which i think was a contrast to most other games at the time. all the greats like mario did this of course which i’m not discrediting at all. will i ever replay this game on hard mode? hell fucking no. game’s good enough on the standard difficulty.
vampire killer and bloody tears have been remixed to death but goddamn i’d be lying if i said they weren’t bangers.
is it still good today? if it was good back then then it sure as hell still is today. defining the platformer world with horror elements, snappy yet challenging gameplay, and an ost that would be remixed for decades to come. a great game by nes standards.
the difficulty starts off naturally progressing but as the game goes on there start to be a lot more bullshitty moments; enemies coming out of no where and generally having no way to combat those enemies. the game doesn’t do anything exceptionally fantastic nor does it do anything inherently terrible. i spent an hour doing dracula without save states and, yes, i was immensely frustrated, but by the end i was able to beat him with minimal damage. that’s the pulverizing staple nes difficulty showing itself through the cracks but in a much less demanding way than other titles on the system. as you practice more and more you feel yourself gaining a better understanding of how the enemies and controls work while your skills improve. yeah this is basically every video game but with castlevania 1 it turns it into a fun experience that feels less like you adapting to the game and more like you honing your skills, which i think was a contrast to most other games at the time. all the greats like mario did this of course which i’m not discrediting at all. will i ever replay this game on hard mode? hell fucking no. game’s good enough on the standard difficulty.
vampire killer and bloody tears have been remixed to death but goddamn i’d be lying if i said they weren’t bangers.
2003
one of the most royal fuck ups in gaming history. arguably the most influential action game of all time followed up with arguably the worst action game of all time. maybe that’s a bit of an exaggeration but you get my point. not sure who the fuck’s idea it was to get a completely new set of inexperienced developers for this one. we still don’t know who the hell was directing this shit at the beginning. for all we know the developers were just fucking around with no real aim until itsuno came around and salvaged what he could during the remaining 4 months of development.
“Dante is back! Prepare for the next, stylish chapter of Capcom's ultimate action thriller, Devil May Cry! Dante, the mysterious half-man, half-demon action hero is back to battle the legions of the underworld. Sporting trash-talking attitude and rock star good looks, Dante launches into a new adventure with twice the environments, twice the graphic sizzle and twice the gameplay of the original!”
shut the fuck up. where the fuck is dante’s trash talking attitude. man has 30 seconds of dialogue in the whole game. where the fuck are twice the environments. every area is a barren wasteland that doesn't distinguish themselves from each other at all. twice the gameplay? dante literally has all of his extra moves stripped from him except stinger. twice the button mashing more like. love the helicopter boss bros. such a W. fuck you capcom. im never going to even glance at a helicopter after this. twice the graphic sizzle? every area looks the fucking same and lame as fuck. basic ass highway. basic ass town. nothing interesting.
when does this game take place? i dont even think we know at this point. it could be after 1 but it could also be after 4. dante could’ve gone into a depressive episode between 4 and 5 i guess. can we just erase this game from the world it would be cool i think. this game definitely made not just devils but humans cry as well. what a disgrace. devils probably die too after playing this shit. fuck this game.
At least the soundtrack is boss.
“Dante is back! Prepare for the next, stylish chapter of Capcom's ultimate action thriller, Devil May Cry! Dante, the mysterious half-man, half-demon action hero is back to battle the legions of the underworld. Sporting trash-talking attitude and rock star good looks, Dante launches into a new adventure with twice the environments, twice the graphic sizzle and twice the gameplay of the original!”
shut the fuck up. where the fuck is dante’s trash talking attitude. man has 30 seconds of dialogue in the whole game. where the fuck are twice the environments. every area is a barren wasteland that doesn't distinguish themselves from each other at all. twice the gameplay? dante literally has all of his extra moves stripped from him except stinger. twice the button mashing more like. love the helicopter boss bros. such a W. fuck you capcom. im never going to even glance at a helicopter after this. twice the graphic sizzle? every area looks the fucking same and lame as fuck. basic ass highway. basic ass town. nothing interesting.
when does this game take place? i dont even think we know at this point. it could be after 1 but it could also be after 4. dante could’ve gone into a depressive episode between 4 and 5 i guess. can we just erase this game from the world it would be cool i think. this game definitely made not just devils but humans cry as well. what a disgrace. devils probably die too after playing this shit. fuck this game.
At least the soundtrack is boss.
2001
the wretched discussion of what is considered to have aged or not to have aged. devil may cry is a landmark example of a game that needs to be taken in from a perspective within itself. this is the game that both invented and defined the hack-n-slash genre. playing this i don’t put it comparatively next to any later game in the franchise or hell later games in general, as sure it can be seen as outdated and flat out worse, but that’s what makes this game great. the future games being so expansive and advanced is because of the fantastic foundation set here. now, this is not to excuse the game’s flaws, far from it. i just want to clear it up that games “aging” is a poor method of critiquing something of the past that has been done better in the future. aging is contextual and with games like this you have to view its aspects in the context of its release. there are still issues i have with the game that can be critiqued no matter when this game released.
miscommunication. that’s the feeling i get from some of these missions. the camera is weirdly but understandably disconnected from the action on-screen which is a remnant of its resident evil origins, but it doesn’t work as well here in combat specifically. you have odd top down angles that can switch to an uptight and claustrophobic wide shot from dante’s behind while trying to react accordingly to enemies. this becomes an issue in hallway sections and tight spaces, which honestly was a somewhat infrequently issue but when it did happen it was a bit frustrating. the first phantom battle is a key example of this with the camera constantly changing when moving while you’re trying to dodge lethal attacks safely. “why isn’t this a relic of its time to be viewed in its original context?” you may ask by now. the simple answer is that this seems a bit like an overlooked design flaw. not being able to dodge an attack due to the game’s incompetence is certainly not an intended feature for a game in any era. even then, some of the shots presented are very much fitting to the overall tone and atmosphere in each area. you’re in uncharted territory unaware of what lies ahead of you so naturally you’re as anxious as the camera angles convey.
combat depth is not something i had an issue with or was wanting more of, as the options you’re given are well suited for what’s brought to the table. fighting hoards of enemies makes you feel like the badass dante really is. the skill ceiling is undoubtedly very high but climbing up the ladder to reach that ceiling doesn’t feel unnatural. as missions progress, bosses become adapted to your skillset to keep you on your toes. nelo angelo specifically is memorable because of this and his kick ass design. all the bosses have pretty cool designs that speak for themselves.
back with another one of those BLOCK ROCKIN BEATS; the soundtrack is very late 90s to early 2000s influenced hard rock mixed with some electronica elements that could be compared to the prodigy or chemical brothers. psycho siren is a really good representation of this with its blaring siren sample that gets cut and looped while the most banging drumbeat backs it up. nelo angelo’s theme is another banger and is truly as memorable as his character.
speaking of character, to cap this off, dante’s character. he’s the cheesy edgy bastard we all know and love. he can kick some serious ass and drop some serious one liners.
overall this game just reeks of over-personified 2000s charm and cheesiness that defines a new genre and left a cultural impact.
devils never cry.
miscommunication. that’s the feeling i get from some of these missions. the camera is weirdly but understandably disconnected from the action on-screen which is a remnant of its resident evil origins, but it doesn’t work as well here in combat specifically. you have odd top down angles that can switch to an uptight and claustrophobic wide shot from dante’s behind while trying to react accordingly to enemies. this becomes an issue in hallway sections and tight spaces, which honestly was a somewhat infrequently issue but when it did happen it was a bit frustrating. the first phantom battle is a key example of this with the camera constantly changing when moving while you’re trying to dodge lethal attacks safely. “why isn’t this a relic of its time to be viewed in its original context?” you may ask by now. the simple answer is that this seems a bit like an overlooked design flaw. not being able to dodge an attack due to the game’s incompetence is certainly not an intended feature for a game in any era. even then, some of the shots presented are very much fitting to the overall tone and atmosphere in each area. you’re in uncharted territory unaware of what lies ahead of you so naturally you’re as anxious as the camera angles convey.
combat depth is not something i had an issue with or was wanting more of, as the options you’re given are well suited for what’s brought to the table. fighting hoards of enemies makes you feel like the badass dante really is. the skill ceiling is undoubtedly very high but climbing up the ladder to reach that ceiling doesn’t feel unnatural. as missions progress, bosses become adapted to your skillset to keep you on your toes. nelo angelo specifically is memorable because of this and his kick ass design. all the bosses have pretty cool designs that speak for themselves.
back with another one of those BLOCK ROCKIN BEATS; the soundtrack is very late 90s to early 2000s influenced hard rock mixed with some electronica elements that could be compared to the prodigy or chemical brothers. psycho siren is a really good representation of this with its blaring siren sample that gets cut and looped while the most banging drumbeat backs it up. nelo angelo’s theme is another banger and is truly as memorable as his character.
speaking of character, to cap this off, dante’s character. he’s the cheesy edgy bastard we all know and love. he can kick some serious ass and drop some serious one liners.
overall this game just reeks of over-personified 2000s charm and cheesiness that defines a new genre and left a cultural impact.
devils never cry.
2009
i’ve be eyeing this game ever since bayo was put in smash way back when, so seeing a sale for this and VANQUISH on psn was an instant purchase from me. platinum games had previously hooked me with TRANSFORMERS:DEVASTATION so i’m glad this one didn’t disappoint.
bayonetta weaves elegant hack n slash gameplay together with unique combos and customization that’ll keep you coming back for more. the beginning of the game was a little offputting due to me getting such low ranks on mission results but i later realized you just have to accept that on a first playthrough lol. there’s just a ton of depth here that’s further expanded by both your own skill and extra equipment. skill especially in the form of WITCH TIME, a mechanic i had already been familiar with from transformers devastation, but not quite familiar with being good at it this time. it’s such an ingenious mechanic that turns a passive move into one of great importance to your offensive capabilities. every kick, punch, and dodge feels immensely satisfying to pull off keeping you invested.
“FATHER!!!!” is probably one of the funniest line deliveries in a game but it works because it’s never meant to be taken completely seriously much like everything else in the game. even the more grim scenes have some form of comedic flair to them fueled by bayonetta’s fun and dare i say “dante-like” nature. never a dull moment in both gameplay and the story which interweave into a stylistic joy. LETS ROCK BABY
as much as i want to give this a 9/10, for right now as this being my first playthrough i’m keeping it at an 8. i’m sure as i play this more i’ll start to see it in much higher regard.
am i the only one who flew jubileus into the planets thinking it was an ff7 reference LOL
bayonetta weaves elegant hack n slash gameplay together with unique combos and customization that’ll keep you coming back for more. the beginning of the game was a little offputting due to me getting such low ranks on mission results but i later realized you just have to accept that on a first playthrough lol. there’s just a ton of depth here that’s further expanded by both your own skill and extra equipment. skill especially in the form of WITCH TIME, a mechanic i had already been familiar with from transformers devastation, but not quite familiar with being good at it this time. it’s such an ingenious mechanic that turns a passive move into one of great importance to your offensive capabilities. every kick, punch, and dodge feels immensely satisfying to pull off keeping you invested.
“FATHER!!!!” is probably one of the funniest line deliveries in a game but it works because it’s never meant to be taken completely seriously much like everything else in the game. even the more grim scenes have some form of comedic flair to them fueled by bayonetta’s fun and dare i say “dante-like” nature. never a dull moment in both gameplay and the story which interweave into a stylistic joy. LETS ROCK BABY
as much as i want to give this a 9/10, for right now as this being my first playthrough i’m keeping it at an 8. i’m sure as i play this more i’ll start to see it in much higher regard.
am i the only one who flew jubileus into the planets thinking it was an ff7 reference LOL
1997
what does the title mean? who fucking knows. in an era where capcom and snk fighters were dominating the market atlus decided to make this but only release it in japan 👍. did it sell well? idk i bet it sold like shit but it’s an atlus game so it has to be good right? i don’t play fighting games so idk i bet it plays like shit. my computer struggles to run mednafen so i played this with minimal slowdown but it was pretty alright. it seems that the balancing is a little off though cuz some basic moves can just destroy your whole health bar. the character designs are stylish and the music was good from what i could hear when my computer was able to play it for a few seconds. should you go out of your way to play this like me? no. you could go your whole life without knowing about this game and you would probably still end up middle aged, lonely, and jobless. is this an atlus game? yes. atlus developed and published this video game. the sega saturn had fighting games on it i think. this game is kinda good.
This review contains spoilers
CRISIS CORE: FINAL FANTASY VII is an outlier in video game stories. With this being a prequel to the most influential JRPG of all time, it focuses on that being the main point. You know what’s going to happen in the end no matter what and the game builds up to this. You know in the end Sephiroth will go mad with bloodthirsty rage motivated by Jenova. You know Zack inevitably dies at the hands of his own comrades. These two parts are the keys that essentially open up this game. Now you get to feel what Zack felt when he died and when Sephiroth burned down Nibelheim and why these were tragedies even more. Now, I’m not dismissing the rest of the game here, as everything that’s new is actually pretty good besides Genesis. Zack has really good characterization that is key to the aforementioned build up to his death scene. Where am I going with this as relating to the game being an “outlier” in game stories? The climax. The climax IS the moments we know and love from FINAL FANTASY VII. The climax isn’t the final boss. I don’t think Genesis was ever intended to be the most exciting part about this game. That moment when you see Sephiroth in his anger induced thoughts pondering his own mother that lies before him…that moment when you see Zack in his disgust and conflicted emotions lashing out at Sephiroth. Oh, and it doesn’t end here; the bossfight. That fight with Sephiroth, that is the climax of the game. You knew this was coming the entire time and now you can live through it just as the original game eluded to. The second you arrive in Nibelheim is when the climax begins. Everything else after is the resolution, rather than the resolution being the events that take place after the final sections of gameplay. Crisis Core plays with your emotions here by making what we all know and love refreshing and making it hit as hard as possible.
Zack’s death is thematically the death of Final Fantasy 7’s tragic tale in context of the Compilation. This is where the Compilation shines the most. The Price Of Freedom. Zack ACTIVATES COMBAT MODE in his final attempt to salvage his dreams and honor as SOLDIER. His mind becomes hazy, the DMW deteriorating anxiously as the cherished memories that flood Zack’s mind take over. He’s fighting till the very end no matter what. Angeal’s influence isn’t the only thing that carries him now, he has the influence of Cloud, Aerith, Cissnei, and others to hold on to. Final Fantasy 7 is coming back and flooding into our minds. Zack lays there lifelessly as the scene bridging everything together unfolds. He hands Cloud not just his sword, but his dreams and honor along with it as Cloud’s future motivations become clearer. Why is this not the climax now you may ask? Because it’s the resolution. The resolution to Final Fantasy 7. It ends here. It hits you harder and clearer than never before. Maybe I’m exaggerating, but just to further get my own and this game’s point across.
From a gameplay standpoint the DMW is a pretty forced gimmick but I enjoy how it somewhat ties itself to the story. You use abilities influenced from characters you meet as the game progresses to show how Zack has made unforgettable connections and relationships. Although, relating to this I think Genesis falls pretty flat. He really only serves as a motivation for Angeal to act out in certain situations to get the story rolling. His Loveless recitings just feel redundant as the game comes to a close. Maybe that was intentional? As to feel how Zack feels hearing these lines over and over? I’m not sure, but I don’t think it enhanced the story very much at all considering how one dimensional Genesis is. Angeal on the other hand is absolutely perfect as an influence to Zack’s character evolution over the course of the game. He invokes courage and confidence into Zack to make him who he is.
To flip the script a little here, the side missions are interesting as a way to get more out of the combat while also helping solidify Zack’s original ties to Shinra. Missions being strictly gameplay focused content that you can hop into whenever you want is something I wish more games did with their side content. No need to spend long hours focusing on extra story, just hop into a mission to level up and that’s it. On the down side, the unconventional method of leveling up was a decision that I think inevitably shot the devs in their own feet. Having leveling up be randomized supports the DMW gimmick, yeah, but in turn it effectively makes the game much easier due to the devs having to balance the whole game around this system. If you get lucky and frequently receive level-ups the game can become extremely easy. This is why the combat system is “good” but nothing spectacular. A lot of times I was easily winning battles only using basic attacks.
To tie everything together: Presentation and Atmosphere. Unfortunately I don’t think the atmosphere here is as strong as the original game due to it being a PSP game with limited resources for how areas can look, but I still think they did the best they could with what they had. You can still point out iconic areas in the original and recall them the same way, which is exactly what this game wanted to accomplish as the FF7 resolution. Musically we got my homie TAKEHARU ISHIMOTO from THE WORLD ENDS WITH YOU. Melodramatic and impactful tracks do leave those impacts, and heavy rock battle themes do rock heavily. The orchestrated songs like The Price Of Freedom make certain moments thematically hit much harder than others, which is further enhanced by some good Nomura direction.
As a game to add insight to the world of Final Fantasy VII, Crisis Core does indeed succeed in that aspect. Zack is a lovable punk that you do end up loving by the end. TO BE CONTINUED IN FINAL FANTASY VII…
this one i decided to write a lot longer than my usual stuff because i feel it can do this game justice and my ff7 compilation retrospective as a whole, so to people who actually bothered reading the whole thing, thanks.
Zack’s death is thematically the death of Final Fantasy 7’s tragic tale in context of the Compilation. This is where the Compilation shines the most. The Price Of Freedom. Zack ACTIVATES COMBAT MODE in his final attempt to salvage his dreams and honor as SOLDIER. His mind becomes hazy, the DMW deteriorating anxiously as the cherished memories that flood Zack’s mind take over. He’s fighting till the very end no matter what. Angeal’s influence isn’t the only thing that carries him now, he has the influence of Cloud, Aerith, Cissnei, and others to hold on to. Final Fantasy 7 is coming back and flooding into our minds. Zack lays there lifelessly as the scene bridging everything together unfolds. He hands Cloud not just his sword, but his dreams and honor along with it as Cloud’s future motivations become clearer. Why is this not the climax now you may ask? Because it’s the resolution. The resolution to Final Fantasy 7. It ends here. It hits you harder and clearer than never before. Maybe I’m exaggerating, but just to further get my own and this game’s point across.
From a gameplay standpoint the DMW is a pretty forced gimmick but I enjoy how it somewhat ties itself to the story. You use abilities influenced from characters you meet as the game progresses to show how Zack has made unforgettable connections and relationships. Although, relating to this I think Genesis falls pretty flat. He really only serves as a motivation for Angeal to act out in certain situations to get the story rolling. His Loveless recitings just feel redundant as the game comes to a close. Maybe that was intentional? As to feel how Zack feels hearing these lines over and over? I’m not sure, but I don’t think it enhanced the story very much at all considering how one dimensional Genesis is. Angeal on the other hand is absolutely perfect as an influence to Zack’s character evolution over the course of the game. He invokes courage and confidence into Zack to make him who he is.
To flip the script a little here, the side missions are interesting as a way to get more out of the combat while also helping solidify Zack’s original ties to Shinra. Missions being strictly gameplay focused content that you can hop into whenever you want is something I wish more games did with their side content. No need to spend long hours focusing on extra story, just hop into a mission to level up and that’s it. On the down side, the unconventional method of leveling up was a decision that I think inevitably shot the devs in their own feet. Having leveling up be randomized supports the DMW gimmick, yeah, but in turn it effectively makes the game much easier due to the devs having to balance the whole game around this system. If you get lucky and frequently receive level-ups the game can become extremely easy. This is why the combat system is “good” but nothing spectacular. A lot of times I was easily winning battles only using basic attacks.
To tie everything together: Presentation and Atmosphere. Unfortunately I don’t think the atmosphere here is as strong as the original game due to it being a PSP game with limited resources for how areas can look, but I still think they did the best they could with what they had. You can still point out iconic areas in the original and recall them the same way, which is exactly what this game wanted to accomplish as the FF7 resolution. Musically we got my homie TAKEHARU ISHIMOTO from THE WORLD ENDS WITH YOU. Melodramatic and impactful tracks do leave those impacts, and heavy rock battle themes do rock heavily. The orchestrated songs like The Price Of Freedom make certain moments thematically hit much harder than others, which is further enhanced by some good Nomura direction.
As a game to add insight to the world of Final Fantasy VII, Crisis Core does indeed succeed in that aspect. Zack is a lovable punk that you do end up loving by the end. TO BE CONTINUED IN FINAL FANTASY VII…
this one i decided to write a lot longer than my usual stuff because i feel it can do this game justice and my ff7 compilation retrospective as a whole, so to people who actually bothered reading the whole thing, thanks.
2005
looking back, SHADOW THE HEDGEHOG has some overall major backloggdcore vibes lmao. at this point in time it’s been well over a year since i’ve last played the game but i’ve done so twice in the past. then why am i writing this review? to be frank it’s because i recently played DIRGE OF CERBERUS lol. funnily enough, both this and that game have some overlapping qualities mechanically and artistically (for better or for worse).
you open up with this fuckin insane ass intro where shadow, nah. we ain’t doin this. y'all know the story of this game to death whether it be due to hands-on experience or the more likely reason, internet culture. this game has such an insane presence online whether you’re a sonic fan or not. the obvious EDGY THE HEDGY meme may come to mind, but this game is kinda the laughing stock of sonic games online. i would say 06 is similar in that regard but for some reason there’s been a rapid resurgence of appreciation for that game for reasons i could not for the life of me tell you why. now i’m not saying this game is the MOST UNDERRATED SONIC GAME OF ITS ERA, hell no. this game sucks badly but there are key aspects that i can appreciate stylistically based on their own merits. hell i’m listening to the game’s ost while writing this. shit like that’s got me in the feels ya know? the way the menus have this gritty over-the-top mid to late 2000s charm that every 13 year old at the time was trying to pull off, or how a fuckin stock gunshot plays whenever you make a selection in said menus LOL. like this shit is really funny but cool at the same time. the fuckin, overlapping stylized arrows overlapping the degrading edges of the background borders overlapping some render of shadow with stock fire animatics overlapping the eyes of said overlapping model, overlaps bro. shit’s wild and differentiates itself from the rest of the games in this era of sonic and even the entire franchise. we will never get another “shadow the hedgehog” sonic game in an artistic sense.
you have this encapsulating atmosphere that lingers throughout the levels of the whole game. the bangin tunes ofc help this out immensely. melodramatic tunes for the slow infiltration of GUN hq, bleeps and bloops overlapping classic sonic rock tunes; it’s some good shit that helps the contextualization of each area, more so than sa2 but not as on par with sa1. the aforementioned grittiness carries over into the gameplay. of course shadow has his AK-47s and whatever which is seen as “nonsensical,” yet cartoon hedgehogs going super saiyan fighting a giant cock monster is completely sensical. i honestly do get the complaints about shadow simply wielding a gun as it’s defo a tonal contrast to what sonic is usually all about, but as its own thing i think its p cool. coming back to the gameplay, said guns do actually feel pretty good to use on their own. the downside to this is that they nerfed the shit out of the homing attack to focus on this which does kinda suck. shadow consistently falters in areas where heroes succeeded controlwise. shadow just feels a lot more slippery than in heroes which doesn’t help the abhorrent level design. levels either have stupid gimmicks further stupidified by the level missions or they just become exhausting slogs, sometimes both of these even. now, do i think the stylistic atmosphere carries this? no, lol. playing the game is just not that fun unfortunately. bosses are jokes and needing to play the game 10 times over is just plain redundant. conceptually, having multiple pathways was something ahead of its time for a platformer, but the issue is that the execution sucks. there isn’t a single mission in the game that i actually like. most of them break the flow and pace of levels entirely.
i think this is a game worth playing if you enjoy over personified mid 2000s style…but you also have to endure the conflicted gameplay. in conclusion, did the game succeed in its goal to resonate with edgy teens in the 2000s? no, but it succeeded in doing something else. being really really funny.
you open up with this fuckin insane ass intro where shadow, nah. we ain’t doin this. y'all know the story of this game to death whether it be due to hands-on experience or the more likely reason, internet culture. this game has such an insane presence online whether you’re a sonic fan or not. the obvious EDGY THE HEDGY meme may come to mind, but this game is kinda the laughing stock of sonic games online. i would say 06 is similar in that regard but for some reason there’s been a rapid resurgence of appreciation for that game for reasons i could not for the life of me tell you why. now i’m not saying this game is the MOST UNDERRATED SONIC GAME OF ITS ERA, hell no. this game sucks badly but there are key aspects that i can appreciate stylistically based on their own merits. hell i’m listening to the game’s ost while writing this. shit like that’s got me in the feels ya know? the way the menus have this gritty over-the-top mid to late 2000s charm that every 13 year old at the time was trying to pull off, or how a fuckin stock gunshot plays whenever you make a selection in said menus LOL. like this shit is really funny but cool at the same time. the fuckin, overlapping stylized arrows overlapping the degrading edges of the background borders overlapping some render of shadow with stock fire animatics overlapping the eyes of said overlapping model, overlaps bro. shit’s wild and differentiates itself from the rest of the games in this era of sonic and even the entire franchise. we will never get another “shadow the hedgehog” sonic game in an artistic sense.
you have this encapsulating atmosphere that lingers throughout the levels of the whole game. the bangin tunes ofc help this out immensely. melodramatic tunes for the slow infiltration of GUN hq, bleeps and bloops overlapping classic sonic rock tunes; it’s some good shit that helps the contextualization of each area, more so than sa2 but not as on par with sa1. the aforementioned grittiness carries over into the gameplay. of course shadow has his AK-47s and whatever which is seen as “nonsensical,” yet cartoon hedgehogs going super saiyan fighting a giant cock monster is completely sensical. i honestly do get the complaints about shadow simply wielding a gun as it’s defo a tonal contrast to what sonic is usually all about, but as its own thing i think its p cool. coming back to the gameplay, said guns do actually feel pretty good to use on their own. the downside to this is that they nerfed the shit out of the homing attack to focus on this which does kinda suck. shadow consistently falters in areas where heroes succeeded controlwise. shadow just feels a lot more slippery than in heroes which doesn’t help the abhorrent level design. levels either have stupid gimmicks further stupidified by the level missions or they just become exhausting slogs, sometimes both of these even. now, do i think the stylistic atmosphere carries this? no, lol. playing the game is just not that fun unfortunately. bosses are jokes and needing to play the game 10 times over is just plain redundant. conceptually, having multiple pathways was something ahead of its time for a platformer, but the issue is that the execution sucks. there isn’t a single mission in the game that i actually like. most of them break the flow and pace of levels entirely.
i think this is a game worth playing if you enjoy over personified mid 2000s style…but you also have to endure the conflicted gameplay. in conclusion, did the game succeed in its goal to resonate with edgy teens in the 2000s? no, but it succeeded in doing something else. being really really funny.