Taking any sort of dormant franchise and bringing it back into the “modern” era is always a risky move, no matter what the franchise in question is, but it was clear that Rare was able to pull this off seamlessly with the original Donkey Kong Country for the SNES. Sure, the bosses may have been lacking in plenty of areas, and there is some bullshit to be found when it comes to some of the secrets, but all of that is made up for with the game’s tight platformer, superb gameplay, wonderful gimmicks, impressive graphics for the time, and wonderful music, tying everything up together in one, banana-flavored package that many have enjoyed ever since it had initially released. Not only that, but the game was also extremely successful, selling over 9.3 MILLION copies, so it was clear that both Rare and Nintendo needed to keep this money train rolling with a sequel of some kind. However, this is the part of Rare’s life as a company where they were going to go through a bit of character development: they were sitting on a gold mine with this property, so they couldn’t just hash out something cheap and terrible like they did with Battletoads. They needed to make sure that this game was better than the rest, the true king of the jungle, one that can stand amongst the greatest of the greats, and personally, if you were to ask me, I think they succeeded in doing that and then some with Donkey Kong Country 2: Diddy’s Kong Quest.

While I did get the original DKC as one of the first games on my SNES, and I would go onto playing it a lot because of that, I initially didn’t get DKC2 for quite some time, even though I was well aware of it existing for a while. It was only when another video game convention managed to roll through my town a good couple of years ago that I was able to snag myself a physical copy of the game to try it out, and HOT DAMN, I definitely should’ve hopped on it a lot sooner before then. The original game was already great enough as is, but this game manages to take everything that game did, expand upon it, and improve upon every criticism that I could have with that game, making for what I would say is not only a perfect sequel, but also a masterpiece of the platforming genre.

The story is just that little more complex when compared to the extremely simplistic premise of DKC 1, where while relaxing on the beach, Donkey Kong is suddenly ambushed and kidnapped by a group of Kremlings, who take him to the dastardly Kaptain K. Rool. Shortly after this, he then sends a message to the other Kongs, saying that if they want to ever see DK again, they need to give him the banana hoard that he failed to get from the previous game, which the Kongs refuse to give up, so it is up to Diddy Kong now, alongside his girlfriend Dixie Kong, to travel through the lands of Crocodile Isle, save DK, and defeat Kaptain K. Rool once and for all. It is still a very basic premise, one that decided it wanted to be even more like Mario and involve a kidnapping of some kind, but it is still an effective story, and not gonna lie, having the main character of the previous game be the one that needs rescuing in this is a bit of a nice twist.

The graphics are pretty great, looking on par with the original game in many different aspects, but also expanding on the visuals with much more creative environment, character, enemy and boss designs, with great animations paired right alongside them as well, the music is fantastic once again, having plenty of incredible tracks that range from the menacing and exciting like this one, to the much more calm and serene like this one, all of which are an absolute joy to listen to even after all this time, and the gameplay/control is just as tight, fun, and masterfully put together as last time, not only providing plenty of fun levels and gimmicks for you to mess with ahead, but also plenty of challenges ahead that will make you feel like a true champ for conquering.

The game is a 2D platformer, where you take control of either Diddy Kong once again or Dixie Kong, go through many different worlds of varying shape and size, each having a very different, unique theme that makes them stand out from each other, while also not feeling like complete copies of what came before in the previous game, defeat plenty of enemies using various techniques while gathering plenty of different bananas, collectibles, animal buddies, and power-ups along the way to help you out, run into many other members of the Kong family such as Funky Kong, who is STILL the coolest motherfucker on the planet, Wrinkly Kong, the one that reminds you of all the horrible teachers that you had back in school, and Swanky Kong, the one that will prove to you just how much of a dumbass you really are, who will each help you out in their own way (except for Cranky again, who I’m surprised hasn’t dropped dead from a heart attack at this point), and take on plenty of bosses who, unlike the last game, are not only very fun to fight, but also have a level of creativity to them that makes taking them each on feel incredibly fun and rewarding. As any good sequel does, this game takes all the great elements from the previous game and retains all of their great qualities, while expanding on them just enough to make it even better than before, and trust me, back when I first played this a long time ago after only having the original game some time, I was FLOORED by just how massive the jump in quality really was, despite not being all too clear by just looking at it.

For starters, since he is now the damsel in distress of this game, you can’t play as DK anymore, which does kinda suck, but hey, at least you still get to play as Diddy Kong, who still plays just as wonderfully as he did in that original game, being very nimble and quick. Not only that, but we now also have Dixie Kong in the crew, who when you start to play as for the first time, you will decide from there on out to ONLY play as Dixie Kong whenever you get the chance, because she is AWESOME in this game. Not only does she have all the same strengths (and weaknesses) as Diddy Kong, but she can also twirl around in the air with her hair, allowing her to safely glide over plenty of obstacles, which, by default, makes her the better character to play as. It’s just like when you discover how Peach can float in Super Mario Bros. 2: it is just broken enough to where you will stick with it for the whole game, and you will accept no other alternatives……….. except when you are forced to.

The game features just as many different kinds of levels as you would find in the original game, this time featuring plenty of new, creative gimmicks that do make it feel a lot more exciting and fun to play. Of course, at first, you just get your standard kinds of levels, where you just run through, jumping on enemies, collecting things, and watching Diddy perform a rap at the end of the stage, just as a means of getting you back into the groove of things, which it manages to do so very smoothly. This then leads onto the levels then quickly spicing things up, with levels where you will have to change the temperature of the water via some magic seals, making it so that you gotta make a mad dash through before you end up dead, levels where you have to ascend up a pirate ship quickly before the water catches up to you so that the piranhas will eat you, levels where you will have to maneuver on hot air balloons to catch hot steam over molten lava, and even levels where you are riding a roller coaster while being chased by a creepy spector, needing to hit checkmark barrels to open gates to avoid your own ghastly demise. Those are only just SOME of the gimmicks that you will encounter with the levels in this game, and they are much more fun to mess around with this time, making the game feel more like a proper evolution of what came before it other then just a simple retread.

This can also be seen in the game’s difficulty, because this game is HARD AS FUCK, even more so compared to DKC 1. Sure, there are plenty of easy levels that you will run into that will take no time to beat, but even by the second world of the game, you will be running into plenty of tricky platforming challenges, enemies that you can’t take out as easily as you would like to, gimmicks that push you to the limit in many different ways, even forcing you to play as certain animal buddies in some levels, and then you add getting the collectibles on top of that, and that adds a whole nother layer to the difficulty in many different instances. This even extends further beyond what you would expect to see from traditional video game difficulty, which can be seen with the simple aspect of saving the game, where you initially can save the game normally once in each world, but then after that one time, you then have to pay banana coins each time, making it so that you will now focus on collecting these things much more in levels, which can lead to plenty of other roadblocks as well. Hell, if that doesn’t convince you enough, how about the fact that there is an enemy in this game who, if he touches you, can zap away your lives from your life counter until you ultimately have nothing left? That is just one of the many cruel ways that this game can fuck you over if you aren’t ready.

However, with all that being said, the harsh difficulty that the game presents you with is one of the reasons why the game is so fantastic to begin with. It truly feels like you are being presented with a challenge, where the original DKC could be seen as the training grounds for you to get used to how this kind of game works and what it could throw your way, and now this game is the true test of everything you have learned, throwing whatever it can at you to kill you, while also giving you everything that you need to conquer every single challenge you face. It never feels unfair in that regard, which makes playing through these levels much more fun, especially whenever you do eventually succeed in beating some of these challenges, as the wave of satisfaction washes over you, making you feel like you truly have accomplished something here today, and that feeling carries out through most of the game.

But of course, what would a DKC game be without having some sort of collectible, and this game has plenty of them for you to find. There are still the many different bonus areas you can find, each giving you a Kremkoin for beating them, as well as the new DK coins that you can get in each level, which if you get enough of them, you can place yourself amongst the others in the Video Game Heroes Contest, allowing you to beat out Mario, Yoshi, Link, and even non-Nintendo characters like Sonic and Earthworm Jim. It’s a pretty cute easter egg to get, and it does prove once and for all that DKC is better then all of those other games, and you can’t change that fact no matter what you say. That’s not all the reward you can get though, as with the Kremkoins in hand, you can then gain access to the Lost World, a bonus world of the game that houses some of the hardest levels in the entire game, such as one level where you have to complete multiple sections as each of the animal buddies that you found throughout the whole game. Needless to say, these levels are no joke, but again, completing them only adds to the satisfaction you feel throughout, and helps you stand on top as the best Video Game Hero of all time.

Overall, if I haven’t made it clear enough at this point, this is a near-perfect sequel to the original DKC in just about every way, and one of the best games that you could find from the SNES era, not only providing many more fun levels to run through, exciting boss fights, incredible music, and gameplay that is as fresh and tight as ever, but it also provides quite a hefty challenge that feels oh so satisfying to overcome, leading to plenty of neat rewards waiting around the corner. I would absolutely recommend it, not just for those who played and loved the original DKC, but also to anyone in general, because it is just that damn good to where if you haven’t tried it out at least once, then do yourself a favor and load it up, possibly with a friend to join you, and get ready to have a blast. satisfied sigh... man, it felt great to revisit this game again after so long, and it really has me looking forward to what comes next in this series. I mean, come on, how could they possibly screw it up at this point now?............... oh right, with a stupid little fuck named Kiddie Kong, that’s how.

Game #586

Ah, man. Really not as good as I remember. Still too hard for its own good, which I had already been well aware of, but it also just feels like a very blah experience past that. It spends 75% of its time on Tatooine, and while A New Hope certainly does more than enough to get by with only two or three main locations, it feels unvaried and kind of shit when padded out to 12 stages. Around the second half of the game you get the option to play as Han or Chewbacca, but there's never really any reason to play as Han since Luke retains his blaster after receiving his lightsaber anyways, and Chewbacca plays poorly and doesn't really feel suited to his surroundings. Also around this point, many levels seem to use the same song in a row and it gets really grating. One of my friends ended up just muting the stream until it was over, and honestly I can't blame him.

It's really only the graphics and presentation that shine here in retrospect, and everything else needs a bit of work. Having to pull teeth to complete the game even on Easy isn't really worth it when there's already not as much to appreciate. The sequels are a little more varied if my memory serves me well, but even harder. I don't even know if I can endure them again.

There's something genuinely special about how Wattam presents itself. Children of all shapes and sizes, coming together and understanding each other through the impromptu act of play. Not even a language barrier can prevent them from settling disagreements or making friends. As it turns out, fun is a universal language.
The game just wants you to have enjoy yourself. It even refrains from dropping achievements until you've closed the game, so as to not take your focus away from the experience.

That experience...sure is something.

The controls feel like the biggest obstacle to this being a universal experience. Climbing is initiated by hugging up against another character, something that can happen purely on accident as you're just trying to move around, or is almost guaranteed to happen when you're surrounded by other characters. Selecting other characters is mapped to the right stick, an awkward choice that always had me swapping two or more times before I finally reached the one I wanted to control. This also means that camera control is mapped elsewhere, on the triggers specifically, and limited to the x-axis. Holding hands is a seamless action, but getting everyone together for a big hand-holding circle is understandably cumbersome. None of this detracts too hard from the laid-back nature of the game, but it did get on my nerves a couple times.

The presentation has "Keita Takahashi" written all over it. Everyone's got the same, simplistic, doofy face, and soft rounded edges. You greet everyone in this game with a tip of your hat and a KABOOM. The circle of life is self>fruit>poop>self. Flush yourself down the toilet if you want to become golden. I don't make the rules, Keita Takahashi does. Every single controllable being has their own weird bio to read in the collection, and dynamically adds their own little melody with their own instruments to the background music while you're moving them around. The jaunty piano and acapella vocals of the title theme provided the most welcoming atmosphere I've experienced in a game in a long time.

It feels weird to say that the story is probably the highlight of this game for me. Its lessons are simple, but easy to forget, particularly by today's society. It can be hard to apologize, difficult to forgive, and impossible to forget. But it's important to cherish what we have. You can never anticipate when it might up and leave your life, or if it'll ever return. These things may never truly be the same, but we still move forward regardless.

And that's how I'm ending this review: by moving on, and keeping the good memories close to my heart. Looking forward to "To a T", and whatever else comes out of Keita Takahashi's head after that.

Assassin's Creed: Mirage is a new addition to the classic franchise. After years of people complaining about the directions Ubisoft took in previous games, Mirage departs from RPG features and returns to the original gameplay seen in the initial entries.

Mirage primarily focuses on stealth gameplay. Although an open world is still present for exploration, main objectives are situated in closed areas where maintaining concealment from enemies is crucial. You can choose to engage in combat, but doing so significantly increases the game's difficulty.

The open world is somewhat generic, offering limited exploration opportunities. Infiltrating certain bases provides an engaging experience, but it becomes repetitive after a few hours.

Regrettably, the story is lacking and becomes progressively worse. After a few hours, I found it so uninteresting that I chose to stop paying attention. The characters lack charisma, and it's the weakest narrative in the franchise.

Honestly, Mirage appears to be a game developed solely to fulfill Ubisoft's agenda. While I understand the commercial aspect of gaming, I failed to discern any artistic justification for its development.

In conclusion, Assassin's Creed: Mirage is a game best avoided. There are similar yet superior options available. I only recommend it if you're curious about experiencing this revival of the franchise's original era. My concern for the future of Assassin's Creed remains significant.

Final Fantasy VII is one of the most influential video game and pop culture icons of all time. It was revolutionary in its day in storytelling, graphics, and scope. I never got around to playing the original PS1 game. When the game came out, I just wasn't into JRPGs and would never have had the patience to finish the game or even remotely understand the story. I was 7 at the time. Fast forward nearly three decades, and out comes the remake. The Final Fantasy VII projects have been in the making for nearly two decades. I remember the Adventu Children being released. I rented it and watched it with my parents, and I had no idea what was going on. There was a mobile game exclusive to Japan at the time, and Crisis Core had just been released. I also had no idea what was going on in that game. I couldn't appreciate these FF7 projects as I hadn't played the original title.

That has all changed. Square Enix did a great job bringing the game up to par with modern audiences and video game standards. Not only is the story well told and easy to follow, but it's still complex and full of interesting and lovable characters. While this game is only what the first disc from the original offered, there are 30+ hours of content here to explore. While the game isn't perfect, there is more to love than to hate, and I was surprised at how great this game was. I didn't want to put it down. From the well-done English voice-acting (which was a shocker) to the well-paced and fast-moving story, the game never got stale (at least during the story moments). 

The basic structure of this game is very linear. This is a dated design choice that transferred over, but some think this game has been in development since the tech demo for the PS3 reveal was shown in 2006. If that were the case, then this linear design would have been considered mostly modern at the time. There are large towns to explore, but these still have linear paths, and the story mode is a single path you follow, and there's no way to branch off. This is both fine for a scripted story but also feels cramped in some aspects. Despite how large Midgar feels, with sweeping vistas and massive backdrops, you can explore very little of it. There's a large sense of scale, but what you can explore just feels so claustrophobic in comparison. Many thought this would be an open-world game, but to follow the story the way Square Enix's wants, that wouldn't be possible, and I can see why they chose this path.

Exploring the game (and even the menu system) is similar to most modern Final Fantasy games. You run around towards a goal, fight bosses, run into enemies, do some mini-games, complete side quests, and try to get the best accessories, armor, and weapons in the game. This is all slowly introduced to you, but let's start with the combat, as that's the bulk of the game. Combat is not turn-based, but you can pause the action to give commands. The controls are intuitively designed to allow this to be done with minimal effort. You have regular attacks, a special attack, a block, and a dodge button. When enemies have red exclamations over their heads with the attack name, you know it can't be blocked but must be dodged. Cloud's alternate special attack is actually a stance called Punisher Mode, and while you block him, he will auto-parry incoming attacks. This comes in handy all the time. 

You can issue commands, such as using ababilities. These are obtained by changing weapons. Materia can be equipped to give you commands that use MP. Things like magic, offense, defense, and even passive Materia can be slotted. Different weapons and equipment determine your slot count. It's important that you learn this system well and balance your team. You can only have three active party members at a time, but you never change your party. It's all based on the story. You will go through multiple chapters with a missing party member, but you can still upgrade and equip them all the time, even when they aren't with you. Powering up weapons is also a must. Each weapon has strengths and weaknesses. Some focus on sheer power, some on magic, and some on defensive skills. You acquire SP through combat and can use it across all weapons. Each weapon gets the same pool of SP separately. If you have 90 SP, you can use that separately on each weapon, which is really nice. As you level up, you unlock new SP pools.

Combat is fast-paced, fun, and exciting. Each character can be controlled by the player in combat only. During exploration, you're mostly stuck as Cloud or another character, as the story deems fit. Cloud is an all-rounder; Aerith mostly focuses on magic and distance combat; Tifa is a fast-paced melee fighter; and Barret uses a mid- to long-range gun, which is great for aerial enemies. He also has a ton of HP and defensive points. You can issue commands to other characters with the triggers that pause combat. You all have two AP gauges that fill up slowly over time or quicker as you do damage. These are needed to even use items in combat. These guides are the center of your strategy because, without them, you will die. You have limit breaks, which really can only be filled during longer battles (mostly bosses) and summons that deal massive damage, but the battle needs to be long enough to fill these guages.

Summons are mostly acquired optically through the VR training. You only get two during the story mode automatically. These are the keys to strategizing battles and winning as quickly as possible. I found the combat rarely frustrating. Only during long boss battles with multiple phases did I find it annoying that these cut-scenes were not skippable. You need to watch them all over again if you die. This didn't become an issue until towards the end of the game. You can run away from battle by running away and fleeing, and thankfully enemies regenerate until you leave the entire area and come back. The boss battles are all unique and imaginative, and no one is the same. The smaller enemies are also unique and different, and they require you to learn their attacks and know what is weak against what type of attack. There is a lot more strategy in the combat system than a simple hack-and-slash setup.

While combat is the bulk of the game, you will spend a lot of time outside of combat. There are a few simple puzzles inside some dungeons, but the hub areas or towns you explore allow you to rest, buy items, materia, armor, and weapons, and that's about it. The side quests and mini-games are some of the weakest parts of this game. While not every side- question is bad, Some offer challenging boss fights and good rewards; some just don't offer much story-wise. I completed almost all of them anyway for more XP, SP, and the items they offered, but fetch quests are just not fun here. Not to mention, the mini-games are incredibly tedious and boring and not well thought out. There's an okay darts mini-game. Beating the highest score and achievement. But there's a box-breaking mini-game that requires you to run around breaking different-sized boxes. This was incredibly tedious and not fun. There are combat VR simulators that net you material. Most of which you can acquire elsewhere. Then there's the optional summons, which can be incredibly difficult to acquire early on as you need to beat them, and you need three party members to even have a fair chance. There's also a pretty stupid dancing rhythm mini-game. It's just, overall, a bit lame.

Some other annoying niggles come from dated design decisions, like treating the player like they're stupid. For decades, games would have you flip a switch, cut the camera away, show you that a gate in front of you opened, and then give you control. I'm pretty sure most people can figure out that the switch opened the only gate on the only path you can go down. I also got annoyed by how animations would have to line up to whatever script they were tied to, do the animation, re-align, change animations, flip the switch, then go back. It just slowed things down a lot. 

Outside of the mostly optional and passable annoyances, the visuals are fantastic. Character models look amazing, the pre-rendered cutscenes are some of the best in the industry, and the story and overall character designs are some of the best you will ever come across. The story is deep and full of political intrigue, and I want to know more about this world, the characters, and see things move on. It's sad that Square Enix takes so long to make sequels, but what are we going to do? With the fantastic combat system that adds just enough strategy and depth to the large swath of enemies, bosses, environments, and perfect pacing, FF7 Remake is fantastic. The additional Intermission DLC is also wonderful, and playing as Yuffie is a blast. The short, 4-hour story DLC still has more of the same lame mini-games and annoyances as the main game, but the story is just so well done. There's nothing quite like it out there.

I picked up Shenzhen Solitaire by Zachtronics a couple years ago and didn't think much of it. I played it a little and found it confusing and arcane. My mind couldn't think or plan ahead the way the game needed you to, and I got frustrated having to reset constantly.

For a long time I have struggled with feelings of inadequacy, in all aspects of my life. What is self-worth when you have so little with which to define one's self? The kind of destructive thinking that informs anything and everything you do. I have 3000+ hours on Paladins. More than half of that time I have probably spent frustrated- about my aim, my KDA, my game sense and knowledge. Constantly checking the stat trackers, getting discouraged that I can never be like the good players.

Shenzhen Solitaire has a way of sneaking up on you, as you sit there resetting the board. I got into the habit of clicking and slightly dragging a card over and over as I scan the board for possible routes, the way someone might shuffle or fidget with a physical deck of cards. The same droning ambient loop plays in perpetuity, to this day I don't even know if I really even like it. But I could listen to that loop for hours, and I did end up listening to it for hours. Turning it off was weird- the silence actually felt deafening.

Getting my first win was a revelatory moment, cause I had probably lost 50-100 times before I finally cleared the board. The feeling of accomplishment may have been the closest I had gotten to self-actualization in a long time. I have these moments of hyperfixation my entire life. They all matter to me in different ways, but solitaires a bit different. I felt like I was clearing cobwebs in my brain through constant iteration. I felt satisfied, and I realized I had stopped getting frustrated a long time ago. Awhile later, I reached 20 wins, and it clicked for me why it was working so well for me. It's because I was feeling, for a brief moment in the whirlwind of life, like I was actually at peace.

There's a lot of writing out there on what makes solitaire so compelling. Francine Prose wrote in Solitaire: Me vs. Me the following: "Like writing, it’s entirely private, the exertion is purely cerebral; you’re playing against yourself, against your previous best, against the law of averages and the forces of chance. You’re taking random elements and trying to put them together in a pleasing way, to make order out of chaos."

As I sit there, fighting against both my brain and the board state, I finally make a move that allows me to sort out an entire pile. I feel a feeling of elation that video games very rarely give me anymore. Its as if my thoughts have decayed by the constant low-level dread of depression, and I have sunk into the worst kinds of maladaptive coping mechanism. Competitive online gaming gave me an outlet to let out frustration and anxiety, but I rarely was feeling good whether I won or I lost. I was always on-edge, always annoyed at something. Even the act of running the game itself became a source of anxiety. Researching monitors, FPS optimizations, mouse polling rates and DPI. Everything felt like a constant tightrope and I think to myself, when did this stop being a game? When did I stop having fun doing this?

Zachtronics Solitaire Collection has allowed me a calm respite in the storm of my thoughts- a world in which I can both relax and challenge myself in a healthy manner. While regular Freecell and Klondike solitaire are very simple conceptually, they provide a solid blueprint for creatives to remix into extremely deep play experiences.Fortune's Foundation, with its beautiful tarot cards and complicated ruleset, is a particular standout. It has so many possible fail states that Zach included an Undo button, which is somewhat of a rarity in the popular Solitaire-likes. Even with the option, it's such a difficult game that I have yet to clear it. I have gotten close- so tantalizingly close- only to realize an action I made 50 moves ago has painted me in a corner. I realize it, I note where I went wrong, I reset, and I try again.

I think it has taught me to deal with failure in a far more healthy way. I come from a career field where making a mistake is met with open hostility, and I make many mistakes. It's so easy to internalize failure in the immediate moment as an inherent failing of either the self or others. In the smorgasboard of sight and sound that is competitive gaming, where its so easy to tie your self-worth with your mechanical skill, it becomes natural to spiral into the worst impulses.

The repetitive, calming nature of solitaire has become a therapeutic exercise for me, in ways I mostly imagined games to be. I long called gaming my coping mechanism- but it was hardly anything like that. Being able to find an experience like this, in solitude, has made all the difference for me. Gaming is a personal experience, as all art is. So what makes something like a standard deck of cards into a meditative gaming experience is just that.

In Solitaire, all that awaits failure is the humdrum ambience of the background and the opportunity to reset the board and try again. In solitude, I learned to center myself in the moment rather than allow my anxiety to consume my every thought. In solitude, I learned to give myself a chance.

Ah MySims my bread and butter.
I remember when i was very young I had to get surgery and I was so scared but my mom gave me this game in the hospital and it really helped me to calm down, instead of sitting in the waiting room with anxiety I was thinking about all the cool towns I could build so this game got a very special place in my heart. I've played this game over and over as a kid and now as a 22 year adult I replayed it and I got to play with the PC exclusive content wich was awesome.
I just wanna thank this game for bringing me years of hapiness.

Unicorn Overlord is one of only a handful of new releases I’m really interested in this year and is one of the very few that I am actually interested in buying straight away at full price. The reason for this isn’t just that Unicorn Overlord looks very appealing to me but also because the developer Vanillaware have not missed yet. I am happy to report that after playing Unicorn Overlord Vanilliaware’s reputation is not only intact but now elevated a little higher than it was before. Unicorn Overlord is a game that has breadth and depth. It is a tactical RPG that delivers both quantity and quality but it is not flawless.

The story is simplistic and might not quite be what some people wanted after 13 Sentinels but it is grand and enjoyable and of course picks up right around the end. It is carried by the many smaller stories I liked getting lost in along the way and by an enormous cast of characters I wanted to get to know and build rapport with. I like this world and there is plenty of history and lore to discover. I think the main character and the main objective of liberating Fevrith from evil being plain and generic allows for everything else to take centre stage, which is what Unicorn Overlord is actually about. It is about the people and places of this world and the journey. Vanilliaware also made things pretty tricky for themselves by giving players some freedom in the order of completing things. The main issues I have are that it’s slow to start and is also a bit overwhelming.

The gameplay is similar in that it is slow to start and overwhelming but that’s the price that needs to be paid for a game like this. Thankfully Unicorn Overlord provides comprehensive archive and game tips sections in the options to help keep you up. On top of this it does have tutorials, a slow, accessible way of introducing things and you can test units in mock battles. It has so many options, unit combinations, classes, equipment and items. I loved diving into this and never tired of messing around with my units and changing up my characters. I was always looking forward to gaining new team members and seeing how they could be used. The game allows quite a lot of freedom and diversity in your approach. You are rewarded for your thought and experimentation by finding ways to do better in the addictive battles. I do wish with so many characters available, plus you can hire more, that I could have more units created at once. The game could have then restricted this by only allowing use of a certain number of them per battle. The Battles may feel repetitive after 10s of hours put in but they are still always enjoyable; rewarding planning, using the optimal units, watchtowers, items and the terrain.

It has satisfying progression and an addictive loop. You have a battle. Then you can restore and use the local places to expand unit sizes, hire or promote characters, buy equipment and items or have a meal at the tavern. Then explore the local area for supplies, items, treasures and side quests. Then get your units and characters ready for the next battle. Then repeat. It is really enjoyable and I constantly wanted to keep going. Although this does start to feel worn out towards the end and would have benefited from a slightly tighter run time, to be fair though I was doing everything along the way. I think if the Cornia, Elheim and Drakenhold areas were a bit smaller they would have nailed it. There are some other side things to do, which can help break things up, like the coliseum, which has an online component. There is a mining mini game and rapport conversations too. The bigger problem though is difficulty. It is a bit too easy. You’ll find yourself bumping the game up to tactical difficulty before leaving the first area. Then later on if you’ve been doing most of the stuff along the way you will probably find yourself overpowered often and might look at putting it up to the hardest difficulty. Even then this might not be enough for serious tactical fans craving more challenge. It does get harder right at the end and after finishing the game an even higher difficulty does unlock. A few more large scale battles and a few less small ones would have been awesome too.

When it comes to presentation it’s a Vanillaware game so of course it does not disappoint. Unicorn Overlord is beautiful with a wonderful variety of character designs, backgrounds and objects. I love this detailed, layered art that pulls you into each scene. There’s obviously been so much love poured into how this game looks, even the menus look good to me. Despite everything going on and lots of info being displayed I always found the screen clear to view and everything easy to read. It sounds great too with a polished and fitting soundtrack and quality effects and voice acting. The only thing to nitpick here is that not everything is fully voiced. On top of all this it works perfectly on PS5 and feels very complete.

Unicorn Overlord is the type of game that makes me wish I didn’t have any responsibilities for a while so I could just sink an unhealthy amount of hours into it every day until I was done. Its flaws mostly come from how long and ambitious it is. They don’t detract too much from the experience though and I loved it anyway. It was an engrossing delight not to just play through but to get the Platinum Trophy as well. It is my game of the year so far and even if I play every single new release I have even a slight interest in this year I doubt this would change. Vanillaware have put out another fantastic game and I have another game to highly recommend.

8.8/10

Shout out to small rural towns overtaken by an evil or dark presence that corrupts them or brings hellish creatures. Gotta be one of my favorite genders.




Deemon, the incompetent reviewer, started off his write-off with one of his usual jokes, so unfunny that one might wonder if he was doing it on purpose or if he really has such poor comedy taste. He was trying to hide the fact that he really didn’t know where to start; the path to take might seem clear, but like the streets and forest of Bright Falls, it’s more deceiving than it may look at first, like a maze that’s also a downward spiral.

Deemon pondered, searching for a way to salvage the review, desperately trying to find out which step he should take, what words he should use. He sighed. He decided to let the words write themselves, to let out all the thoughts that had formed while the darkness and light of the town surrounded Alan Wake. He surrendered himself to the unknown, one that might be already written after all… Though he knows he had to talk about the music for sure, that selection of bangers had to be celebrated somehow.




Ambition almost killed Alan Wake, in more ways than one. I mean, I may not know much about Remedy Studios, in fact, it is the very first game of theirs I have ever played and beaten, but I do know the story of Bright Falls and how it was initially going to be something else, an open world of sorts, something that didn’t quite work, as it seems. Translating an already crafted open world into a linear style of game is such a monumental task that if I were in that predicament, I’d have considered outright scrapping everything and starting from zero, but that probably wasn’t even a realistic option for the team to begin with.

But that’s not even what I’m specifically referring to. Alan Wake, the game, the package, the copy made out of code and specific sections, is riddled with hiccups and bumps; it’s filled with padding, sections of trees and mist than don’t offer much aside from one or two manuscripts pages and combat sections that can feel overbearing at times, the remnants of its troubled production remain in aspects such as the barren areas and driving sections that don’t have much of a place and are so frustrating to playthrough even if you ignore any cars I just wish they were taken out —tho it’s kind of cute how it also uses the same light mechanic as the rest of the game—,  the encounters with the Taken or the groups of mad crows often lack imagination and enemy variety or don’t jam very well with how the camera works in the case of the camera, and at one point I just kept thinking how much the experience would have benefited if some sections were repurposed in different ways or outright removed.

The imperfections of Alan Wake mostly come from this, factors outside of the game itself, of its story, but they still impact it negatively; I can’t scratch off the feeling of something being lost a bit when all of the boss enemies behave the exact same, the only thing that changes being the creepy lines they spat out and the character model. If the game wasn’t anything more than a series of levels where you shoot at things, then these issues would have rotted its pages…

…luckily, it has a dragon.

Wouldn’t it be funny if I started to praise the actual combat itself after spending two paragraphs criticizing some gameplay sections? Yeah, it would be hilarious! ... ANYWAYyeah I fucking adore the way Al controls. It occupies that same space as Simon from Castlevania, where how slow and imprecise it feels actually benefits the gameplay. You truly get the feeling Alan has never picked a gun in his life in any major capacity; he’s slow, clunky, imprecise, and I wouldn’t want it any other way. The tense dance of using light to weaken the Taken and gen emptying the chambers of them, or hell, simply using a flare and trying to activate the closest generator, it’s a super straight-forward system, and I love it. It’s incredibly satisfying to come out of encounters on top, because even if there isn’t much scarcity in resources (even if you start off each chapter with nothing each time), they are still somewhat limited, especially the most powerful weapons, and little things like mashing X to reload faster or the camera panning out to warn you of nearby enemies are things I didn’t know I needed until now.

It would be a far cry to call it a survival horror, but it’s tense; it’s tense to try to manage the purge while a bulldozer is charging full speed at you; it’s tense to try to outspeed a force you cannot do nothing against; and Alan gets progressively more and more tired. I can make the argument that there should be less of it or at least more variety in what it offers enemy-wise, but nothing will take away from the fact that the core itself is some fantastic shit.

Like… there’s something about fighting against waves of enemies on stage while the sickest rock tune ever plays in the background and the lights and flames fill your eyes that I can only call ‘’fucking awesome’’.




Deemon knew that wasn’t just it. He could talk about flaws and shooting Taken all he wanted, but something else lied within the light. He ran into it.

‘’But there’s something else’’, he said




But there’s something else.

A story already written, touched by the darkness. Written already as a part of it before birth, its muse trying to corrupt it. An ending yet to be typed out.

I have never seen a videogame story that trusts so much that the player will be intrigued enough by it to stick with it and engage with it all the way through. The tale Alan Wake, Alice, Barry, Sarah, and the whole town get tangled into is not intriguing; it is fascinating. I have never felt such closure from getting answers to questions I never realized where there in the first place. From being pretty disappointed about how Nightingale and Mott had such a poor presence as antagonists to being in awe of how their actions fell into place after the truth of this unfortunate series of events was revealed. Alan Wake offers a hell of a mystery. Alan Wake solves it.

The pages of the manuscript are as essential as the cinematics and interactions, so many pieces of the puzzle fit, it’s almost like getting spoiled before something happens, which in a way is exactly what’s happening. At first, I felt pretty disappointed that this would be a jarring light vs darkness story mixed with a thriller. Then it ended up being a meta-narrative within its own meta-narrative. The fact they did that without it feeling overcomplicated or screwing it up is ovation worthy.

But I also feel a huge sense of admiration for the micro-stories at play; hearing and talking to the inhabitants of Bright Falls, listening to Maine’s night radio, the echoes of the Taken and stellar ambience sounds ringing through my ears, the fucking incredible Night Springs shorts that had me HOOKED... It was the little things scattered in the trees and buildings and the small talk that gave this spiraling world even more meaning.

It ends with the darkness hungry for more, just like me. I’ve seen people call Alan Wake ‘’the most 6/7 out of ten game I’ve ever played’’, and even though I do not sympathize with that statement at all because it feels reductive in any context, I kind of get what people mean by it. Alan Wake is profoundly flawed, but most of them do not come from the game itself, but rather from the complicated production it had to go through.  In the face of such adversity, I’ve never seen such confidence, such talent, or such a desire to tell a tale like this. Alan Wake isn’t just *a* story, there’s more to be written and read, but at the end of the day, it’s also its own story. And what a story it is.

Maybe this isn’t what the champion of light could have been if the circumstances were different, but the hardships cannot be avoided, and even after going through them, they really sold me on this novel.