Some people have said that this is the Citizen Kane of videogames. In reality, its enigmatic nature makes it closer to the Lighthouse of videogames. That is, if The Lighthouse had blade saws and zombies and gunboats and building an antlion army and a trashcan and a soda can. Needless to say, this is awesome. The only times I got frustrated were when I was stuck in the mentality of "kill every enemy you face," which obviously won't work in some chapters. Every chapter is uniquely brilliant, and the story is very compelling. Overall, a fine addition to my collection of favorite games.
But minus half a star for not having any music during the final fight.

Goldman just like me fr fr
Pessimism about the fate of the planet aside, this was a surprisingly fun arcade game. Being able to add in a second gun without paying extra was a nice touch, the gunplay was very natural, and most boss fights were well-designed (although The Star and the subway chainsaw guy were complete bullshit). That, combined with an engaging (albiet slightly confusing) story, makes this a high point in penny-guzzling rail shooters.


(This is more of a story about my experience with the game than a review. It spoils the end of the first run. If you want to know how good the game is, it's great. Some mechanics were a bit unclear, but overall it's very well-designed.)
During the past three weeks, I was working at an overnight summer camp. In the staff lounge, there was a Switch. I was excited because I could play Smash and Mario Kart. However, one of my coworkers brought a copy of Hades. One night, after dying again, he passed the controller to me. "Wanna try it?" he said. I said sure. I had heard much about this game, and I wanted to try it for myself.
From that first run, I was hooked. I started my own save file and became invested in both the gameplay loop and the story. Nearly all of my time off I spent on Hades. That is, until something happened.
Most staff members were granted one 6-hour period of time off during the summer. When mine came, I went down to the staff lounge and started playing. But something was different this time. I didn't want to see Zagreus die anymore, even though that would allow me to see more of the story. I wanted him to escape. So I did something that devastated the hardcore gamer in me: I turned on God Mode. After nearly five hours, I reached the eponymous boss before dying again. I should have seen the writing on the wall and realized I wasn't going to complete a run that night. However, I didn't. I tried again, this time dying to a butterfly in Elysium. Frustrated, I had a near-midnight snack and then went to bed.
During the next day, images of the game flashed whenever I closed my images. I suffering videogame compulsion, the restless wanting of a game that is often mistaken for addiction. I cut myself off from Hades for the rest of the time campers were there.
On the day campers left, I returned to the staff lounge for a few hours before staff banquet. As the strumming guitars of the main theme started, I realized something: This was personal. If Zagreus could escape the Underworld, then I could finish something. I could write a book, or a composition, or see something to the end. I could do something with my life without messing up. I could be a person people admire. With this in the back of my mind, I began another attempt.
I didn't complete a run that night. The next day, after finishing work around camp, I went back, missing out on the other staff hanging out. With a plan in mind, I started another attempt. After three or four more attempts, I finally beat Hades. The boss, at least.
Then Zagreus, sitting with his mother in her garden, realized he could not stay. He was made of blood and darkness, and as much as he hated it, the Underworld was part of him. As he realized that, I had a similar realization. I cannot change who I am. I can be the best version of myself, but the core of who I am will always be with me.
As Zagreus was taken by the Styx back to the House of Hades, I paused for a moment, then closed the game. Although I am sure there are more runs left in the game and an ending where Zag is able to stay with his mother, I learned my lesson from the game, and my time with it is complete. So thank you, Supergiant Games. Not just for creating a great videogame, but also for creating the vessel for my own personal journey.

Such an amazing game, with probably the best final boss and ending in videogame history. While it isn't as impeccably designed as the first game, the story is just as great.

Pretty sus how the game asks you for your voice and signature. I wonder how long it will be until Valve has control of some high-level economic institutions.
I don't often say that a game is too short, but this one really is. The gameplay and humor are so great, and it feels like it was just getting started by the time it ends. However, it still is a pretty great proof-of-concept game. Just make sure you don't use your real name or signature.

Pretty fun, but some of the level design is just insulting.

I really don't know what to think of this from a gameplay perspective. Outside of the Tips system, there is basically no gameplay, and at first that was really annoying. However, I really got used to it as I went along, although there were still plenty of moments where I wished this was a novel or a 4-hour-long arthouse film. The story is extremely well told, although Keichii being just a generic anime protagonist made some moments really annoying. Also I thought it was hilarious how Tomitake was first described as an "average-looking man" right as they show an insanely buff person, but thankfully they acknowledged it later. I probably won't continue for many reasons, including the fact that I'll be taking a break from videogames soon and how well this first chapter works as a self-contained story. Overall, surprisingly good, especially the soundtrack.

"You're going the wrong way. Because I don't think you're going where you think you're going."
Horrifying yet brilliant exploration of entrapment and indoctrination.
But forget all that intellectual mumbo-jumbo, here's the real reason I gave it five stars:

Or as I like to call it, the Scribblenauts Criterion Box Set.

This sequel fixes the previous game's problems of tedious puzzles and unwieldy controls. Unfortunately, in many levels the player must complete the same puzzle three times, using different objects each time. The problem with this is that some puzzles were clearly not designed to be completed three times. However, it's still pretty good.

Fun concept that is designed well, but heavily brought down by tedious puzzles and awkward movement controls.

Please Backloggd either merge these two entries into one or make them more consistent because they're essentially the same game.

This game is made up of two parts: Government simulation and social interaction among groups. If you are very interested in either one I highly recommend this game. If not, it's not nearly as fun.

It’s something in the wind. Something in the air that is undefinable but always there if you take the time to look around. Something that is found, but never known to be lost. This sensation, in my mind, is what forms the true core of Breath of the Wild.
Most reviewers who call this game a masterpiece mention the incredible mechanics and environment that rewards exploration. These aspects do form part of my love for the game, but something that those reviews fail to mention, and that people who come in expecting another typical fantasy open-world game and leave disappointed fail to understand, is the beauty and profundity of this game. While gameplay may be the most important aspect of a video game, a great game uses its other aspects in coordination with its gameplay to make something much greater than the sum of its parts.
Breath of the Wild intends its players to feel it just as much as play it. The greatest moments in the game can be had just looking from a point over a vast expanse, reminiscing on the world and the beauty of it. The game’s art style, while clearly having heavy anime inspirations, was based on the works of impressionist painters and Studio Ghibli, who have been renowned for their unrealistic yet emotionally accurate visual representations of nature. And (despite the occasional pop-in texture) I believe the same can be said of Breath of the Wild. The game makes one feel like they are in nature even when, based on the lack of “realistic” details, it doesn’t look as such. And the interiors of shrines at first seem cold and mechanical, but as one grows more familiar with them, one sees the beauty of nature imprinted in subtle ways on them, to the point where the walls seem to be filled with constellations as they descend into a bottomless pit that feels like the cosmos.
One of the most controversial aspects of the game has been its soundtrack. This may be because it is far more experimental than a typical fantasy video game soundtrack, with influences ranging from Debussy and Bartok to Stravinsky and hard rock. Like this soundtrack, these composers (with the exception of the hard rock ones) were originally accused of being “unmelodic” and “unmemorable,” despite having created what today are some of the most memorable soundworlds in classical music. Breath of the Wild’s music lives in the moment and is filled with the vitality of life, whether that life is found in the warm company of other travelers at a stable or in reflection at the memory of a great building now in ruins.
The story, another aspect of the game that is heavily controversial, is also often misunderstood. If viewed from an expectation of the main conflict being told throughout a series of cutscenes, the story can seem extremely bland. However, if the story is viewed as the player’s and characters’ reactions to the main conflict and world, it is quite impressive. For example, let’s look at Link. He appears to just be an avatar for the player at first. But, when we start seeing memories of his past and comparing them to his current behavior, we see something drastic. In the past, the great burden put on him made him react by never speaking or showing emotion in order to be the heroic idol everyone expected him to be. In the present, without the memory of the burden, he is able to express himself, talk to people (through dialogue options), and act silly. His amnesia, in a way, allows him to find his true self. And that is just scratching the surface of the deep character arcs and little stories that make up the world of Hyrule. In a sense, the true story of Breath of the Wild is found not through its external conflicts, but through the character’s personalities and the world they inhabit.
I'm gonna end the review here, as I could easily fill a doctoral thesis with my thoughts on this game. But if you dismissed this game before, you might want to reconsider based on what I wrote here.
"Good luck sealing the darkness!"