LiamTriforce
This review contains spoilers
A lot of great ideas, with rough execution. The structure of the game being contingent on visiting your apartment to heal and deposit items meant that the first half was largely a breeze, whereas the second half was both extremely compelling and irritating at the same time. Definitely didn't enjoy revisiting every level over again with Eileen following slowly behind me. Still, I had a good time for the most part, and there were plenty of great scares.
The game's strongest aspect, and the thing that tied the whole experience together in the end, was the story of Walter Sullivan. I found myself completely enthralled with how he was mysteriously established as a cold-blooded killer, and especially how they managed to apply his story, as you later piece together, to the cold loneliness and isolation you feel when trapped in your own apartment as Henry. This was conveyed best in the portion where you're exploring the nightmarish version of Henry's apartment building, and you learn about Walter's past, all set to a haunting and soul-crushing, yet eerily comforting piece by Akira Yamaoka. It spoke to my favourite kind of horror - existentialism. The fear of becoming something you despise, the fear of being isolated, the fear of being forgotten - all embodied in a truly sick individual... that I both feared and pitied.
It's not as good as their previous entries, but it's still far better than almost anything that came after it. Team Silent had such a strong grasp on creating horror, and I fear we'll never experience anything close to their efforts ever again.
Fuck Konami, btw.
The game's strongest aspect, and the thing that tied the whole experience together in the end, was the story of Walter Sullivan. I found myself completely enthralled with how he was mysteriously established as a cold-blooded killer, and especially how they managed to apply his story, as you later piece together, to the cold loneliness and isolation you feel when trapped in your own apartment as Henry. This was conveyed best in the portion where you're exploring the nightmarish version of Henry's apartment building, and you learn about Walter's past, all set to a haunting and soul-crushing, yet eerily comforting piece by Akira Yamaoka. It spoke to my favourite kind of horror - existentialism. The fear of becoming something you despise, the fear of being isolated, the fear of being forgotten - all embodied in a truly sick individual... that I both feared and pitied.
It's not as good as their previous entries, but it's still far better than almost anything that came after it. Team Silent had such a strong grasp on creating horror, and I fear we'll never experience anything close to their efforts ever again.
Fuck Konami, btw.
2006
If those eggs were fertilized, this would be the darkest game I've ever played. Thank goodness they're not!
...Right?
...Right?
Whoever chose to have Sanji sound like that, I just wanna talk.
This happened to my buddy Eric
I fought my brother, who played as Bob and Slim Bob cosplaying Mario and Luigi respectively, as Kazuya cosplaying Link and Lili cosplaying Princess Peach, while Snoop Dogg rapped about Tekken in the background and cars with insane hydraulics bounced past.
What more could you ask for in a video game?
What more could you ask for in a video game?
I love difficult games that make you feel like a badass when you get the hang of things. Genius combat, entertaining as all hell, and tons of replay value. An absolute gem.
2006
This game is so real for having Free Bird as the final encore.
Far better than Splatoon 2's base campaign with a more identifiable style, a welcome increase in challenge, and hugely enjoyable character and lore writing. It couldn't have been the base game's campaign due to its length, but I would have been more than happy if it was, honestly. This is how you do an expansion right.
Still a definitive and incredibly well-designed game in all regards.
This review contains spoilers
Positives out of the way first. The core narrative through line involving Kenny's descent after the loss of his family and Sarita was incredible, and ultimately, the choice I made to finally put a bullet in him would be the only way anyone would finally get through to him. I love Kenny, I really do, but the poor guy was spiraling. And after watching everyone die around Clementine, it felt like the only way I could truly end this cycle of love and loss. Jane was right all along.
The thing that really tied all of this together was the flashback Clementine had to Lee. People are complicated, just as he says.
With that out of the way, here's why I was conflicted on this game as a whole. Several characters around you die in often sudden and shocking ways. This was a running theme throughout the entire season, and it impacts everyone in various ways. This inherently isn't a bad thing for the narrative, and while certain characters did at least get some sort of sendoff (particularly Luke), I took issue with the way some characters were written out. Carlos dies suddenly, and Sarah is in shock for a while, as he sheltered her for most of her life. Before this, you could spend time with her and earn her trust, which makes the choice of getting her out of that mobile home feel rewarding, rather than just leaving her to die. But then, she dies anyway in the most distasteful and disgusting way I could have ever imagined. It was as if they didn't feel like writing her into the story any further, and they just have this poor, scared little girl devoured by a pack of walkers. What the fuck?
This is actually representative of a bigger issue with Season Two - your choices really don't have the same weight as frequently as they did in Season One. This is compounded by the fact that there are basically no hubs this time, and no opportunities to have conversations with characters. Considering how often they kill people off in this game, that seems intentional, but it just ends up leaving me without much closure or connection with the characters as I did in Season One. This also directly impacts how much weight your choices have, with the greatest choice in the game - that being the choice to shoot Kenny or look away - being so great because of the two seasons they had to develop Kenny's character.
Then again, I've also learned that Kenny pretty much has no presence in Season Three, and he ends up dying in a flashback anyway, so hey. There you go.
Moreover, there isn't really much gameplay in Season Two. No puzzles, no chances to do nice things for the characters, rarely any optional discoveries that matter - Season One was already a more minimalistic game in terms of adventure game mechanics, but Season Two is just about moving from place to place like an interactive film more than it is a compelling video game.
As a whole, I thought Season Two was a good experience. But it didn't live up to Season One by any stretch of the imagination.
The thing that really tied all of this together was the flashback Clementine had to Lee. People are complicated, just as he says.
With that out of the way, here's why I was conflicted on this game as a whole. Several characters around you die in often sudden and shocking ways. This was a running theme throughout the entire season, and it impacts everyone in various ways. This inherently isn't a bad thing for the narrative, and while certain characters did at least get some sort of sendoff (particularly Luke), I took issue with the way some characters were written out. Carlos dies suddenly, and Sarah is in shock for a while, as he sheltered her for most of her life. Before this, you could spend time with her and earn her trust, which makes the choice of getting her out of that mobile home feel rewarding, rather than just leaving her to die. But then, she dies anyway in the most distasteful and disgusting way I could have ever imagined. It was as if they didn't feel like writing her into the story any further, and they just have this poor, scared little girl devoured by a pack of walkers. What the fuck?
This is actually representative of a bigger issue with Season Two - your choices really don't have the same weight as frequently as they did in Season One. This is compounded by the fact that there are basically no hubs this time, and no opportunities to have conversations with characters. Considering how often they kill people off in this game, that seems intentional, but it just ends up leaving me without much closure or connection with the characters as I did in Season One. This also directly impacts how much weight your choices have, with the greatest choice in the game - that being the choice to shoot Kenny or look away - being so great because of the two seasons they had to develop Kenny's character.
Then again, I've also learned that Kenny pretty much has no presence in Season Three, and he ends up dying in a flashback anyway, so hey. There you go.
Moreover, there isn't really much gameplay in Season Two. No puzzles, no chances to do nice things for the characters, rarely any optional discoveries that matter - Season One was already a more minimalistic game in terms of adventure game mechanics, but Season Two is just about moving from place to place like an interactive film more than it is a compelling video game.
As a whole, I thought Season Two was a good experience. But it didn't live up to Season One by any stretch of the imagination.
I have some idea as to why this game was called "Infinite Wealth" in the West. Perhaps it's the wealth of knowledge from a lifetime of mistakes, and the desire to atone. Perhaps it's the wealth of courage that it takes to continue to move forward with your head held high.
Or, more likely, it's the wealth I accumulated from using my Poundmates to cheese battles with multiple enemies. Spend money, make money back. It felt infinite to me.
This game was amazing. The Hawaii setting was thoroughly enjoyable as a break from the Japanese metropolitan cities of past games. It brought me back to Okinawa in Yakuza 3, which very much focused on the day-to-day life of Kiyru at Morning Glory, and that is fitting, because a lot of this game is about enjoying the time we have left.
The game is full of brilliant satire of contemporary life, wild concepts, and most importantly of all - the battle system is a great step up from 7. From the position-based moves to the new jobs and party members to experiment with, it's a great time.
Moreover, Kiyru is not only my favourite party member, but this game also has a huge focus on him. It's funny, considering he's had like 3 different games that could be considered "endings" by now, but I feel this game was a true conclusion, and to carry Kiryu on past this point would be distasteful. By chapter eight, I was trying to cross off every item on his bucket list and see all of the life links. Chapter eight and its lingering elements might just be some of the best things I've ever seen in a Yakuza game. As someone who dealt with cancer in the past, I understand the desire to not be treated any differently, as well as finding that desire to keep going and live on. I have not faced death as Kiyru has, but it certainly reshapes your view on life itself and your desire to see it through. Kiryu's illness did not define him, and that's what I resonated with most.
I don't think the A-plot was really anything special in comparison to 7, but what it stood for was far more important. Without spoiling anything, the way this game resolves was more about the protagonists than anything else, and that is why I fell in love with it. It doesn't always make for an exciting narrative, and it does have a similar issue to other Yakuza games with its expository dialogue, but its themes were strong enough for me to appreciate what it was going for. Also, this game made me love Ichiban even more than I already did.
All in all - this is an excellent game. Certainly one of the best games RGG Studios has ever made. It's not perfect, but it's damn close, and well worth experiencing if you want to laugh and have a good time just as much as you want an emotional gut-punch to round things out. And that's always what I'm looking for in a game.
Or, more likely, it's the wealth I accumulated from using my Poundmates to cheese battles with multiple enemies. Spend money, make money back. It felt infinite to me.
This game was amazing. The Hawaii setting was thoroughly enjoyable as a break from the Japanese metropolitan cities of past games. It brought me back to Okinawa in Yakuza 3, which very much focused on the day-to-day life of Kiyru at Morning Glory, and that is fitting, because a lot of this game is about enjoying the time we have left.
The game is full of brilliant satire of contemporary life, wild concepts, and most importantly of all - the battle system is a great step up from 7. From the position-based moves to the new jobs and party members to experiment with, it's a great time.
Moreover, Kiyru is not only my favourite party member, but this game also has a huge focus on him. It's funny, considering he's had like 3 different games that could be considered "endings" by now, but I feel this game was a true conclusion, and to carry Kiryu on past this point would be distasteful. By chapter eight, I was trying to cross off every item on his bucket list and see all of the life links. Chapter eight and its lingering elements might just be some of the best things I've ever seen in a Yakuza game. As someone who dealt with cancer in the past, I understand the desire to not be treated any differently, as well as finding that desire to keep going and live on. I have not faced death as Kiyru has, but it certainly reshapes your view on life itself and your desire to see it through. Kiryu's illness did not define him, and that's what I resonated with most.
I don't think the A-plot was really anything special in comparison to 7, but what it stood for was far more important. Without spoiling anything, the way this game resolves was more about the protagonists than anything else, and that is why I fell in love with it. It doesn't always make for an exciting narrative, and it does have a similar issue to other Yakuza games with its expository dialogue, but its themes were strong enough for me to appreciate what it was going for. Also, this game made me love Ichiban even more than I already did.
All in all - this is an excellent game. Certainly one of the best games RGG Studios has ever made. It's not perfect, but it's damn close, and well worth experiencing if you want to laugh and have a good time just as much as you want an emotional gut-punch to round things out. And that's always what I'm looking for in a game.
2003
In comparison to the console version of Nitro Kart, the GBA version is far and away the better game.
Mario Kart: Super Circuit has the better track variety, but this game beats it in terms of fun because it adapts CTR's superior racing mechanics for the platform remarkably well. The sense of speed is far more prevalent than CNK, and the controls are tight as hell, compared to the console version where you felt like you were driving in oil constantly and you had to fight to have any sense of speed not feel artificial.
The successful adaptation of those mechanics, coupled with the fully-featured adventure mode that made CTR so great, make this the best version of CNK and one of the best racing games on the Game Boy Advance, if not the best. Not a very high bar there, but this game is genuinely awesome and worth playing regardless.
Pro tip: Acceleration is a useless stat in this game because you can get to your top speed from a single mini-turbo after moving for a very brief period. Always prioritize speed and turning!
Mario Kart: Super Circuit has the better track variety, but this game beats it in terms of fun because it adapts CTR's superior racing mechanics for the platform remarkably well. The sense of speed is far more prevalent than CNK, and the controls are tight as hell, compared to the console version where you felt like you were driving in oil constantly and you had to fight to have any sense of speed not feel artificial.
The successful adaptation of those mechanics, coupled with the fully-featured adventure mode that made CTR so great, make this the best version of CNK and one of the best racing games on the Game Boy Advance, if not the best. Not a very high bar there, but this game is genuinely awesome and worth playing regardless.
Pro tip: Acceleration is a useless stat in this game because you can get to your top speed from a single mini-turbo after moving for a very brief period. Always prioritize speed and turning!
2019
More like Mario Kart Snore zzzzzzzzz
2010
Alan Wake is weird, unconventional, and unique. Its meta narrative deliberately makes it unclear who is in control of whose story, and it paints a crystal clear picture of what writer's block feels like, better than any piece of fiction I've ever consumed. I had a blast playing it.
That said, the gameplay could've used some more work. It was solid fun for the most part, and reinforced the game's psychological thriller atmosphere and design, but man did it get repetitive by the end. The game also clearly doesn't account for when multiple enemies are attacking you because you just get true-comboed into death.
All in all, though, there are few games that feel closely related with literature like Alan Wake, and for that reason I think it's something that everyone should play, ponder, and discuss.
That said, the gameplay could've used some more work. It was solid fun for the most part, and reinforced the game's psychological thriller atmosphere and design, but man did it get repetitive by the end. The game also clearly doesn't account for when multiple enemies are attacking you because you just get true-comboed into death.
All in all, though, there are few games that feel closely related with literature like Alan Wake, and for that reason I think it's something that everyone should play, ponder, and discuss.
2011
Excellent controls, absolutely solid track selection, all unfortunately held back by a lack of innovation or any real sense of identity. It's a very typical Mario Kart, but otherwise, it's a great game.