Beyond their obvious visual splendor, what really struck me about Boku Natsu 2’s fixed camera angles was how they create a unique relationship with time. In similar Japanese adventure games about mundane day-to-day life – your Shenmues or your Chulips – the clock is always running independent of you and this often creates situations where you simply have nothing to do but twiddle your thumbs while you wait for the next scheduled event to happen. As top Backloggd scholars have pointed out, this can be oddly immersive in a way, as you scroll through your real-life phone or do something else around the house while you wait for the time to pass in-game. I’m not fully sold on these kinds of “time-wasting” systems but there’s certainly a lot of charm in how they represent boredom and alienation felt within the hustle and bustle of the city.

Boku No Natsuyasumi 2 is set in the rural countryside though, and as such its understanding of time is quite different from those games about city slickers. While there’s still a day/night cycle and a finite number of days before the game ends, time only advances when you move from one pre-rendered background to the next. Constructing the game this way, you still feel the pressure to spend your time wisely and traverse the world as efficiently as you can, but each screen is also its own pocket dimension where you can linger as long as you’d like. This is the real difference here: In Chulip, passive play is something forced onto you and an excuse for the player to stop paying attention to the game for a couple minutes. Sometimes you just miss a train and have nothing better to do but sit around waiting for the next one. In Boku Natsu 2 however, passive play is turned into an active choice. A conscious decision, as significant as any other, to do absolutely fucking nothing but drink in the sunset until that fireball finally goes out for good. At one point a character playing the guitar remarks that she feels like she’s been sitting in the same spot strumming the same song for 1000 years. And maybe she has been. These beautiful, fleeting moments can last forever if you’d like them to.

Like most of my favorite game narratives, Boku Natsu 2 is quite thin on actual plot and is instead a game about talking to loads of different people and slowly forming an understanding of character relationships and the world around you. And there’s a satisfyingly predictable rhythm to how it all unfolds; each character will have exactly two new things to say to you each time you see them, the many subplots of this game being fed to you a couple breadcrumbs at a time. Through it all, there’s an understanding that seeing and doing everything is completely infeasible. Minigames are too time-consuming and characters are spaced too far apart for you to realistically see half of what this game has to offer on a first playthrough. So despite the game’s large number of collectibles and sidequests, play rarely becomes something stressful or compulsive. As the in-game month of August wore on and subplots continued to pile up, I did start to feel less like a child on summer vacation and more like an errand boy for all the grown-ups around me. Though the game smartly chooses to wrap up its major character arcs a few days before the ending, which gives you a chance to decompress and play aimlessly for just a little bit longer.

Boku Natsu 2 is an unrelentingly pleasant game about nature, romance, and new life, but it never becomes too saccharine as there’s always the specter of industry, divorce, and death creeping in around the edges. The writing itself is wonderfully terse, full of frequently beautiful reflections on life and the world that feel achingly true to conversations between children and adults. Even when the story suddenly escalates during the final third and the player starts piecing together a larger picture that our 9 year old main character has no ability to process, Boku Natsu 2 always puts that 9 year old’s perspective front and center. Because at the end of the day, that perspective and innocence is why he’s able to mend the hearts and soothe the souls of everyone around him.

“Listen, doesn’t sitting on the swing make you feel like you can be a poet?”

the swinging package here is sewn up by three mechanics: the boost, the web zip, and the charge jump. in a modern design, the boost would inevitably be restrained by some kind of resource like a meter or a cooldown thanks to the idle nodding of designers seeing a chance to add an explicit limitation to the system. spider-man 2 doesn't need that; the boost's only mechanical restriction is that it can be used once per swing with no other catch. simply obtaining the speed that it comes with using it adds enough danger to traversal to avoid any need for an artificial check on its power. the web zip (once obtained) defrays this by opening up an escape hatch when you need to bail out. its ability to quickly change your angle and briefly cap your speed reins in runaway or unexpected swings. the charge jump overlays all of this with the ability to influence height out of the swing and weave in ground movement without losing momentum. it gives the player a variable amount of impulse based on how long it's been buffered, and it sits completely independent of the other moves, making it chargeable in the background while simultaneously swinging. these three beg not only multilayered decision-making, with fingers working independently to control different systems, but also robust split-second decision-making that keeps the player constantly juggling the three as the micropositioning constantly evolves.

that's primarily because the micropositioning (partially) controls where spidey's webs go, and it's nuanced to such an extent that you'll often have no idea what exactly it'll attach to or how you'll swing around its fulcrum. watch this quick speedrun of the pizza missions and you'll see even a world record holder overshoot objectives, muddle with awkward climbing angles, and get stuck inside a fire escape. this chaos persists even at lower speeds, so there's no point to holding yourself back; boost as often as you can and be prepared for disaster. the game's challenges accept this fact and run with it by featuring generously sized rings to run through without many "tricks" involved. in fact, most of the challenges would feel like filler if not for the volatility of the swinging system giving much-needed variety to what otherwise are checkpoints slapped inside city blocks. you're never expected to plan intricate routes through these because accepting inconsistency and learning to work around it is the core of the game's unique movement system. even simple additions to a challenge such as mandating wallrunning, loop-de-loops, or landing on the ground inside particular checkpoints wrinkle the necessary traversal in such a way that you'll remember one-off challenges days after you originally played them. these nuances are the crux of the game's appeal.

whether this sounds appealing to you in the long run depends on how much intrinsic enjoyment you can get out of this system without much structure surrounding it. its these challenges and the pizza missions providing most of your sustenance, and luckily they're available from mere minutes into the game. however, to further upgrade your base speed, expect to pay the piper by sleepwalking through ~4-5 hours of story-driven setpieces. it shockingly does little to play with your swinging chops and instead alternates extremely lax "get to the objective" segments with dull beat-em-up combat that rarely escalates beyond spamming the air combo and the contextual dodge. it luckily rarely veers into true frustration, but the fact that you have to engage with it all was a rather sore point to me. having to eat my veggies to enjoy my traversal dessert doesn't hit quite as hard when the dessert itself is a bit of an acquired taste, riddled with its own frustrations and inconsistencies. holistically the experience feels often more like something I enjoy dissecting in theory and less so in practice.

the similarities to gravity rush occurred to me while playing, as I outlined in my review of that game that it was also a bare-bones open world experience buoyed by its exciting traversal yet limited by rarely leaning into it outside of optional challenges. spider-man 2 is an even purer expression of that sentiment, with a washed-out, flat version of manhattan replacing the anachronistically rich hekseville and an even more wild and disorienting swinging system replacing the comparatively straight-forward gravity control. a game I see myself continuing to pop in to pick away at the remaining challenges, but not necessarily one that kept me enthralled.

In an industry that continues to blindly chase accessibility, I can't help but appreciate a game that unabashedly tells you to play "its way." Funny to imagine a game as acclaimed as this coming out today and being regarded as "dated" for being like it is. We no longer accept games that simply want us to play "their way," because "some people can't play that way!" Even funnier seeing the medium doggedly pursuing the status of "real art" even though they keep compromising it for the sake of appealing to all audiences. You know, even when the game is a violent action title. Ninja Gaiden Black hasn't endured in the same way that other action games have for a reason. Maybe "the game's way" is too hard, maybe the checkpoints are too far apart, maybe it doesn't have a manual lock-on feature. But it wants you to play "its way" for a reason. Too many checkpoints may trivialize certain encounters or make them blend together. Some encounters are intense battles which would be made far less threatening and engaging if they had the same stakes as a casual brawl while exploring an exciting new area.

This is just one example of Ninja Gaiden Black teaching you to play "its way." Once you've begun playing "its way," you become one with the systems. Every attack is punishing so dodging them is always satisfying. There aren't rigid attack windows, you must dynamically react to every enemy to begin your ultra-crunchy violent massacres. You need to be committed to your decisions, every move has weight and can determine whether you live or die, but everything is so quick that the amount of possible decisions is never compromised. The game becomes a simple matter of reacting and attacking, pushed forward by a perfectly paced campaign through an intriguing world with the best visuals of the entire generation. It becomes almost hypnotic...

The acceptable shape of "hard games" has grown small. They have lock on, they have generous I-frames in the form of a big dodge roll, they have little 6 pixel platforms surrounded by spikes, they have big flashing symbols telling me the dangerous attack is about to hit, they have little 30 second checkpoint loops so that I don't have to waste my time replaying a section i beat, they present all information with absolute clarity, they make sure I have enough resources so that I don't need to think about it. These things are not bad but they are so common it becomes limiting. If a game breaks the formula, it's fake difficulty, fake difficulty is when the game is difficult in ways I don't like, making it fake.
Ninja Gaiden has enemies who will grab you for blocking too much, the grab has almost no tell, you simply need to be aware it's a risk. Ninja Gaiden has enemies who will pelt you with exploding knives for daring to be in the same room as them, that's not their only attack it's just a thing they'll do. Ninja Gaiden gives you a dozen attacks that'll insta kill just about any goon in the game if you know where to apply them. Ninja Gaiden does not have a lock on, it would simply cause problems. Ninja Gaiden remains thrilling even as your expertise grows because it demands you remain mindful of enemies that you understand perfectly. I forgot to make a punchline for this one.

My original addendum got deleted because I made a rude comment about Arzest and Sonic Team, so I'll omit that and just cut straight to the point:

Trip Mode is an utter travesty that only magnifies this game's problems.

While compared to the character-specific levels that are in the main story, the levels do use far more of Trip's moveset, this is countered by the fact that these levels are so haphazardly designed in ways that are incredibly dickish with no other purpose. The levels in Trip mode actively relish in bullshit, like springs that send you straight into instant death or having you fly into an enemy you couldn't see, which results in these levels feeling more prolonged than they already are.

While using Trip and the increase in obstacles does result in more usage of powers like Slowdown or the Beanstalk, these are still made situational because if you got all the Chaos Emeralds in the main story (which you likely would have given the game gives you ample opportunity to do so), you will have access to Trip's Super Form, which allows you to fly infinitely, taking the piss out of everything.

If it were just this, I would likely have kept my rating the same as I did initially, but the bosses are where Trip's Story truly falls apart. They're more prolonged and still have all of the problems that made them miserable in the first place. In my previous review, I had a comment that said that me saying "waiting in a Sonic game" is terrible. Still, my argument here is when the bosses are designed in a way that actively disregards your time and forces you to have to take an inactive role in damaging the boss, what else am I supposed to think other than that it's a waste of my time? Some of these bosses have downtimes where you can't damage them that range from 5-15 seconds and sometimes upwards to 25 seconds. On the Carnival Zone Act 3 boss, I spent 20 seconds in Trip's super form on top of the boss, unable to damage it. That's not good boss design, especially not in a franchise like Sonic, where in previous Classic entries, it was a viable strategy to try and multi-hit the boss to end it as quickly as possible.

The worst offender of all is Fang the Sniper, who, through some miserable circumstances, has been given the worst boss fight I've seen in a Classic Sonic game. The first fight with him isn't good by any means and has active sections just centered on wasting your time, but the second fight with him in Trip's Story is just one of the dullest, obnoxiously designed fights I've seen in this series, and I am not ashamed to say I haven't beaten it.

It is nothing but instant kill attacks and time-wasting. It is so utterly dull that I wonder what the developers were thinking, making such an atrocious waste of time. Not to mention, it's two phases for no real discernable reason. This brings me to my complaint about unlimited lives: They don't help.

The fact that I get no downtime between boss attempts serves to be more infuriating than helpful, and to top it off; it's fucking redundant in a game that HAS A HUBWORLD WHERE YOU CAN JUST WALK AND START THE STAGE AGAIN. It gives the devs an excuse to keep plopping out these miserably designed stages and fights that serve nothing but to infuriate and agitate.

I'm not finishing Trip mode; I've decided that, ultimately, it isn't worth it. Super Mario Wonder comes out today, and while I got fucked by the shipping, so I'm not getting the game for an extra day, I know that it will be far more worth my time and effort to play.

I have always been a Sonic fan since I was a three-year-old boy playing Sonic 2 for the first time. But if this is how Classic Sonic will be treated from now on, with this level of hollowness and utterly unpleasant design choices, then I firmly believe it should have died after Mania.

If this is the road we're going down, I hope I never see another Classic Sonic game as long as I live.

In all the time building up to this game and Mario Wonder, I have constantly argued about what "soul" means for a video game. To have a "soul" means to have substance, a reason to exist in the first place, something of inherent value. There are many games I would argue that have a vast "soul," Fallout New Vegas, Lobotomy Corporation, hell, even something like Tsukihime has some value buried deep down inherently. So the question then becomes, what does a game with no "soul" look like?

Enter Sonic Superstars.

While this game may have the facade of Classic Sonic down, it lacks any of the charm that makes any of those titles feel fresh and exciting. Every stage feels dead and lifeless as if they were put into an AI Sonic Level generator and shat out like pig slop; All the most generic and bland concepts. We have bitchless Green Hill, we have bitchless Chemical Plant, We have bitchless Death Egg Zone, everything so utterly devoid of true originality.

None of these stages brought any semblance of joy to me, even with the physics being relatively similar; going through these vapid, boring worlds left me tired and unhappy. While the game isn't offensively bad in the way that something like Sonic 4 is, it represents an arguably worse issue: Pure Unadulterated Mediocrity.

Starting first with the Chaos Emeralds, while the Special Stages are mostly mindless nonsense, the Chaos Emeralds have functions beyond granting you your Super State. Each Emerald has individual powers, a concept not seen since Tails' Adventure on the Game Gear. In theory, these would all be very cool, but in practice, almost all of the abilities are situational at best, and borderline useless otherwise.

What is the purpose of the Vision power when the game doesn't blatantly tell you to use it? Fucking nothing, absolutely nothing. The ability to turn into water is so situational, given that most of the areas in the game don't have water, and it isn't even that helpful when used. I guess the beanstalk one is helpful, but if you play Tails (like me), it doesn't serve much purpose. The ones I got the most use out of were the Screen Nuke (the first one you get for some reason) and the Slowdown Power. The slowdown power was helpful in particular instances in boss fights, and well, the Screen Nuke is part of why this game isn't even worse in my eyes because let's talk about the bosses.

Sonic Bosses have never indeed been the pinnacle of boss fights, especially in Classic, but usually, they were a relatively speedy process. Superstars decides to nix that and make it so that bosses can only be damaged at certain times, removing the strat of multi-hitting a boss that the older games and even Mania used. This results in fights where you must wait before you can do anything. Waiting in a Sonic Game, indeed, we have reached the point of stupidity I didn't think was possible. The Screen Nuke exists because it can essentially chain hits on bosses, annihilating them to make them less lengthy… Not that it matters because some of these later boss fights start getting so long you'd wonder if you're playing Sonic or a JRPG.

Not to mention this game still falls into annoying tropes I hate, like random shmup level near the end of the game that plays like shit and wastes your time. Hell, at one point in the final level, the game has you go through the same four level gimmicks in a row, like three fucking times, and then the next act have you do it all backward; I cannot make this shit up.

I'm sure all this will come across as foaming at the mouth, but you must understand I love Sonic. Sonic is my favorite platformer franchise, and I am so sick of seeing it fall back into mediocrity when games like Mania prove that this franchise can move forward. But here at Arzest, I can see the only thing being moved forward is level gimmick after level gimmick, hell there was even a Gimmick Programmer in the fucking credits.

There are other things I could say: Unlimited Lives is stupid, the character-specific and fruit stages are literal wastes of time, the music is forgettable minus the one Tee Lopes track, and every level looks boring.

The profound lack of soul comes from the fact that Sonic Superstars is what happens when you make a mass-produced Sonic game, gentrified Sonic the Hedgehog. All you have are some dull level concepts and a bunch of wasted potential.

To think I wanted to make a video comparing this game to Mario Wonder… I have to scrap it because it'd be like comparing a Coughing Baby to a Hydrogen Bomb.

OOPS it kinda went and DESTROYED any goodwill I felt back for the original release. hard to still appreciate those glimmers of 'PROMISE' and ''''POTENTIAL'''' that maybe shined through before when on this big chance at a do-over they give us that same unpolished, dlc typical "the game, but worse!!!" treatment (in this case tho - A LOT WORSE!!!! :O ).

Even that ever potent Sonic "SOUL" factor you'd wanna see manifest DOESN'T HIT thanks to all the plot happenings looking like shit and coming off so RANDOM and abrupt in delivery. Not a very cool time!!

we cannot trust these old names to carry on the will of our beloved memories! their time has come and gone!!