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Yes, but also no, but also hell no.
It's such a shame because I know talented people worked on this, but there is absolutely no reason to play it. If they were going to make a vehicle game, make a new IP: if they were going to make a Banjo game, then make a platformer! WE'VE BEEN WAINTING TWENTY YEARS!
It's such a shame because I know talented people worked on this, but there is absolutely no reason to play it. If they were going to make a vehicle game, make a new IP: if they were going to make a Banjo game, then make a platformer! WE'VE BEEN WAINTING TWENTY YEARS!
These are some of the most forgettable bosses, bland weapons, and flat characters; with one of the weakest stories; some of the most tedious exploration; and some of the least satisfying progression I've ever experienced in a Zelda game.
The Legend of Zelda had produced some of my all-time favorite games, so to have Oracle of Seasons do so little for me is a shame. I'll admit I'm generally not as big a fan of handheld entries in this series, but this game runs on the same engine as Link's Awakening: a certified banger, so I know greatness was possible.
The Legend of Zelda had produced some of my all-time favorite games, so to have Oracle of Seasons do so little for me is a shame. I'll admit I'm generally not as big a fan of handheld entries in this series, but this game runs on the same engine as Link's Awakening: a certified banger, so I know greatness was possible.
I was getting dinner with a friend of mine yesterday, and he commented that my life was too short to be playing this DLC: he's a smart guy.
I loved the main game, but it definitely had its issues. Thankfully, INTERmission is here to give me every single problem I had with the campaign and less then half the good stuff yay. The story is uncompelling filler, almost every character added is either painfully forgettable or stolen from the main game, the story adds nothing to FF7R's plot or character development, party management is practically non-existent in combat, and I don't even have time to go over how eye-rolling the ending was. I seriously have no idea what the developers were going for with INTERmission. Honestly, if you heard about the Final Fantasy 7 Remake and thought it was going to be confused trash, this DLC is probably exactly what you would expect.
INTERmission isn't without merit: It still looks great, Yuffie is a fairly enjoyable character, the environmental puzzles with the shuriken are good, and Fort Condor is a legitimate blast; seriously, that minigame is the only thing from this entire campaign I want to see turn up in FF7R part 2, you can leave the rest.
INTERmission's nonsensical story, reliance on fan service, and preference for style in place of substance still concerns me, and I hope it isn't a harbinger of things to come in FF7R part 2.
I loved the main game, but it definitely had its issues. Thankfully, INTERmission is here to give me every single problem I had with the campaign and less then half the good stuff yay. The story is uncompelling filler, almost every character added is either painfully forgettable or stolen from the main game, the story adds nothing to FF7R's plot or character development, party management is practically non-existent in combat, and I don't even have time to go over how eye-rolling the ending was. I seriously have no idea what the developers were going for with INTERmission. Honestly, if you heard about the Final Fantasy 7 Remake and thought it was going to be confused trash, this DLC is probably exactly what you would expect.
INTERmission isn't without merit: It still looks great, Yuffie is a fairly enjoyable character, the environmental puzzles with the shuriken are good, and Fort Condor is a legitimate blast; seriously, that minigame is the only thing from this entire campaign I want to see turn up in FF7R part 2, you can leave the rest.
INTERmission's nonsensical story, reliance on fan service, and preference for style in place of substance still concerns me, and I hope it isn't a harbinger of things to come in FF7R part 2.
Kirby, you will eat that car: the great Baron`o Beef Dip commands it.
The most fun you'll have with this game is talking to the NPCs without having completed their quests. Here are some highlights:
N. Gin: Ah! So beautiful! It is the stuff dreams are made of if you dream about plutonium all the time. I certainly do!
Crunch: What's wrong with you fool? Should'a stayed in school. Don't know what number's bigger than another number. Become an accountant. Go on to bigger things. Instead, you a chump. A chump that can't count. Crunch needs the coins, and brush your teeth: looks like a checker board in there.
Also N. Gin: Wah I'm crying because... I'm not pretty! Please Crash, bring me something that will make me pretty.
Cortex: Crash. Can you help me out? I need power crystals for my weapon of mass... helping people.
I love N. Gin: I know your weakness Crash: Bullets!
N. Gin: Ah! So beautiful! It is the stuff dreams are made of if you dream about plutonium all the time. I certainly do!
Crunch: What's wrong with you fool? Should'a stayed in school. Don't know what number's bigger than another number. Become an accountant. Go on to bigger things. Instead, you a chump. A chump that can't count. Crunch needs the coins, and brush your teeth: looks like a checker board in there.
Also N. Gin: Wah I'm crying because... I'm not pretty! Please Crash, bring me something that will make me pretty.
Cortex: Crash. Can you help me out? I need power crystals for my weapon of mass... helping people.
I love N. Gin: I know your weakness Crash: Bullets!
It gets the job done and little else.
Nearly every aspect of this game can be summed up as 'basic but functional.' The story, the gameplay, the presentation: it all does the bare minimum, but does it well enough(except the soundtrack, that's pretty good). I'll admit the game does suffer from inconsistent theming: why does this stealth game have a level that takes place during the day time, and how do turret minigames mesh with stealth gameplay? But, these issues aren't so bad that they ruin anything.
There are only two stand-out aspects of the game: Level 3, which is easily the worst level in the game. It doesn't fit the theme of the game at all and it ends with the worst boss fight in the series; and Level 5, easily the best level in the game. Succinct and loaded with fun gameplay sequences and ended with the best boss fight in the series. The rest is pretty standard.
Play this game if you want. I don't have much of an outro, I'm just excited to talk about Sly Cooper 2; see you soon!
Nearly every aspect of this game can be summed up as 'basic but functional.' The story, the gameplay, the presentation: it all does the bare minimum, but does it well enough(except the soundtrack, that's pretty good). I'll admit the game does suffer from inconsistent theming: why does this stealth game have a level that takes place during the day time, and how do turret minigames mesh with stealth gameplay? But, these issues aren't so bad that they ruin anything.
There are only two stand-out aspects of the game: Level 3, which is easily the worst level in the game. It doesn't fit the theme of the game at all and it ends with the worst boss fight in the series; and Level 5, easily the best level in the game. Succinct and loaded with fun gameplay sequences and ended with the best boss fight in the series. The rest is pretty standard.
Play this game if you want. I don't have much of an outro, I'm just excited to talk about Sly Cooper 2; see you soon!
When elegant simplicity meets mind-numbing repetition.
If you've played the first level of this game, you've essentially played the whole thing. Yoshi's Island's beautiful artwork, strong soundtrack, and solid gameplay loop weren't enough to stop me from being overwhelmed by a feeling of repetition so strong I could only play about three levels at a time. Worth mentioning is that the game's stressful 100% completion, tacked-on minigames, and (mostly) weak boss roster didn't help.
Play this game in short bursts, and you'll have a good time.
If you've played the first level of this game, you've essentially played the whole thing. Yoshi's Island's beautiful artwork, strong soundtrack, and solid gameplay loop weren't enough to stop me from being overwhelmed by a feeling of repetition so strong I could only play about three levels at a time. Worth mentioning is that the game's stressful 100% completion, tacked-on minigames, and (mostly) weak boss roster didn't help.
Play this game in short bursts, and you'll have a good time.
Sly 2 isn't one of the best games I've ever played, but it may be one of the best sequels I've ever played.
Every single aspect of the first game was cranked up: the already-strong soundtrack was made even better, the story is much more unique and better told, the side characters are so much better established, the gameplay is so much more distinct and varied, and the progression is endlessly satisfying, because the objectives both within and between levels are so specific and well constructed. The first game is still enjoyable, but this one blew it out of the water!
Some consider Sly 2 one of the all-time greats of the platforming genre, but I can't go quite that far: the game is just a hair too long, the level themes needed more variety, the ending feels somewhat rushed and uncanny, and I take issue with some of the game's writing and characterization. If there is one thing I really give Sly 3 credit over Sly 2 for, it's in writing strong characters who leave impressions: most of the side characters of Sly 2 aren't very memorable, and the main characters can be unlikable and their interactions inconsistent. If you could put Sly 3's characters in Sly 2's story, maybe this would be one of the GOATs.
As it stands, Sly 2 is still terrific and easily my favorite of the trilogy. If there ever is a Sly 5, I hope it can do this game justice (but I'm not too optimistic on either account).
Every single aspect of the first game was cranked up: the already-strong soundtrack was made even better, the story is much more unique and better told, the side characters are so much better established, the gameplay is so much more distinct and varied, and the progression is endlessly satisfying, because the objectives both within and between levels are so specific and well constructed. The first game is still enjoyable, but this one blew it out of the water!
Some consider Sly 2 one of the all-time greats of the platforming genre, but I can't go quite that far: the game is just a hair too long, the level themes needed more variety, the ending feels somewhat rushed and uncanny, and I take issue with some of the game's writing and characterization. If there is one thing I really give Sly 3 credit over Sly 2 for, it's in writing strong characters who leave impressions: most of the side characters of Sly 2 aren't very memorable, and the main characters can be unlikable and their interactions inconsistent. If you could put Sly 3's characters in Sly 2's story, maybe this would be one of the GOATs.
As it stands, Sly 2 is still terrific and easily my favorite of the trilogy. If there ever is a Sly 5, I hope it can do this game justice (but I'm not too optimistic on either account).
The whole of Sly 3 is lesser than the sum of its parts.
It's a real shame I can't rank this game higher, because it clearly has a lot of hard work put into it, but Sly 3 is so uniquely-unsatisfying to play that a six out of ten is the best I'm giving it.
The game has little-if-anything to do with the previous two, making it a very anticlimactic note to end the trilogy on, but it's also jarring and disjointed within itself. The abrupt shift from disconnected chapter to disconnected chapter becomes more jarring each time as the cast becomes more oversaturated and the gameplay becomes more unfocused. The game has moments of excellent gameplay and sharp writing, but it isn't consistent in any aspect of its quality outside of getting weaker: Sly 3 has a near-perfect downward turn in quality as the game progresses; I liked each chapter just a hair less than the one before, and I wasn't enjoying it at all by the end. The game also has some pretty bad plot holes and poor storytelling.
Sly 3 has some wonderful characters and strong gameplay sequences, but nothing in the game is given the attention or development it deserves: Most villains are underdeveloped, most heroes are underutilized, character arcs disappear between chapters, and there are far too many gimmicky, one-off gameplay sequences. I respect any game that attempts all this for its ambition, but a game is going to far if it has: a canal chase with guns, a crane minigame, a scuba minigame, a sequence where you fight a giant sea monster with fireworks, dogfighting, a section where you feed guards to an alligator or mow them down with a wolf(this game got dark), an all-out brawl in a lemonade bar, a section where you catch giant scorpions in a giant truck, RC car driving or helicopter flying, and a tedious section where you shoot guards with a turret attached to a tiny camera. Seriously, to the people who worked on this game: calm down. Do any of the activities I just listed sound like they belong in a stealth game?
The tragedy of Sly 3 is that I see so much quality within it, but I never feel tempted to replay it. If you're someone who takes video games moment-by-moment and doesn't read too deeply into things, you'll probably like this game more than I did. I wish I liked Sly 3 as much as 2 or even 1, but sadly, it's not to be.
It's a real shame I can't rank this game higher, because it clearly has a lot of hard work put into it, but Sly 3 is so uniquely-unsatisfying to play that a six out of ten is the best I'm giving it.
The game has little-if-anything to do with the previous two, making it a very anticlimactic note to end the trilogy on, but it's also jarring and disjointed within itself. The abrupt shift from disconnected chapter to disconnected chapter becomes more jarring each time as the cast becomes more oversaturated and the gameplay becomes more unfocused. The game has moments of excellent gameplay and sharp writing, but it isn't consistent in any aspect of its quality outside of getting weaker: Sly 3 has a near-perfect downward turn in quality as the game progresses; I liked each chapter just a hair less than the one before, and I wasn't enjoying it at all by the end. The game also has some pretty bad plot holes and poor storytelling.
Sly 3 has some wonderful characters and strong gameplay sequences, but nothing in the game is given the attention or development it deserves: Most villains are underdeveloped, most heroes are underutilized, character arcs disappear between chapters, and there are far too many gimmicky, one-off gameplay sequences. I respect any game that attempts all this for its ambition, but a game is going to far if it has: a canal chase with guns, a crane minigame, a scuba minigame, a sequence where you fight a giant sea monster with fireworks, dogfighting, a section where you feed guards to an alligator or mow them down with a wolf(this game got dark), an all-out brawl in a lemonade bar, a section where you catch giant scorpions in a giant truck, RC car driving or helicopter flying, and a tedious section where you shoot guards with a turret attached to a tiny camera. Seriously, to the people who worked on this game: calm down. Do any of the activities I just listed sound like they belong in a stealth game?
The tragedy of Sly 3 is that I see so much quality within it, but I never feel tempted to replay it. If you're someone who takes video games moment-by-moment and doesn't read too deeply into things, you'll probably like this game more than I did. I wish I liked Sly 3 as much as 2 or even 1, but sadly, it's not to be.
2010
This review contains spoilers
Sly 2 is a game where Sly learns there is no Honor Among Thieves, and Sly 3 is literally about assembling a Band of Thieves.
These are the greatest thieving games of all time: they stole each-other's names!
These are the greatest thieving games of all time: they stole each-other's names!
It had been too long since I reviewed a five-star game.
I have nothing but respect for Ocarina of Time for its development of the franchise and impact on the medium of video games but how can I consider it a perfect game if Majora's Mask improved on every single aspect of it: providing better-developed side characters, better dungeon design, a thicker atmosphere, better side quests, much better 100% completion, a balanced currency system, a more unique and thematically-rich story, gameplay that simultaneously feels more varied and less gimmicky, subtle-yet-interesting worldbuilding; Look, I could go on, but I need to make dinner soon.
The game's unforgettable, haunting story walks the fine line between the the uncomfortable and the absurd beautifully; The collectables are so balanced and the objectives so meaningful, I found almost everything without the use of a guide despite not playing the game in years; The unique story structure makes a strong argument for video games as a medium for this story wouldn't have worked as well in any other form; The deft storytelling, meaningful character interactions, and clever item placements add a great deal of depth and worldbuilding to Termina without ever breaking the game's pace; And, seriously, I'm starting to get hungry! Let's wrap this up.
I acknowledge Ocarina of Time as the more important and groundbreaking game. And, if I can be honest, Wind Waker HD is still my favorite Zelda game for personal reasons, but Majora's Mask is still about as good as video games get if you ask me. We're still talking about it more than twenty years later, and we'll be talking about it twenty years from now.
Alright, I'll go make dinner. I'm having pasta.
I have nothing but respect for Ocarina of Time for its development of the franchise and impact on the medium of video games but how can I consider it a perfect game if Majora's Mask improved on every single aspect of it: providing better-developed side characters, better dungeon design, a thicker atmosphere, better side quests, much better 100% completion, a balanced currency system, a more unique and thematically-rich story, gameplay that simultaneously feels more varied and less gimmicky, subtle-yet-interesting worldbuilding; Look, I could go on, but I need to make dinner soon.
The game's unforgettable, haunting story walks the fine line between the the uncomfortable and the absurd beautifully; The collectables are so balanced and the objectives so meaningful, I found almost everything without the use of a guide despite not playing the game in years; The unique story structure makes a strong argument for video games as a medium for this story wouldn't have worked as well in any other form; The deft storytelling, meaningful character interactions, and clever item placements add a great deal of depth and worldbuilding to Termina without ever breaking the game's pace; And, seriously, I'm starting to get hungry! Let's wrap this up.
I acknowledge Ocarina of Time as the more important and groundbreaking game. And, if I can be honest, Wind Waker HD is still my favorite Zelda game for personal reasons, but Majora's Mask is still about as good as video games get if you ask me. We're still talking about it more than twenty years later, and we'll be talking about it twenty years from now.
Alright, I'll go make dinner. I'm having pasta.
2019
I've found a new game to play every October.
I love the aesthetics of this game so much: The excellent music and designs that walk a perfect line between disturbing and cartoonish, Tim Burton would be proud. The main character has a really novel backstory and the short levels are excellent for anyone looking to play the game in short bursts. The writing can be pretty amusing as well.
Sadly, It's true that most of the other characters are forgettable, the combat is really basic, and the weapon degradation system is Breath-of-the-Wild levels of frustrating. Most upgrades are also pretty redundant, mostly serving the same purpose and replacing a weapon you just got, making progression somewhat unsatisfying.
In summary: I didn't think MediEvil was anything groundbreaking, but I did think it was a lot of fun, and perfect game to get me in the mood for Halloween.
I love the aesthetics of this game so much: The excellent music and designs that walk a perfect line between disturbing and cartoonish, Tim Burton would be proud. The main character has a really novel backstory and the short levels are excellent for anyone looking to play the game in short bursts. The writing can be pretty amusing as well.
Sadly, It's true that most of the other characters are forgettable, the combat is really basic, and the weapon degradation system is Breath-of-the-Wild levels of frustrating. Most upgrades are also pretty redundant, mostly serving the same purpose and replacing a weapon you just got, making progression somewhat unsatisfying.
In summary: I didn't think MediEvil was anything groundbreaking, but I did think it was a lot of fun, and perfect game to get me in the mood for Halloween.
2010
This review contains spoilers
A boy treks through a dark and unforgiving night. His body is frail, but his resolve is unbreakable. His journey brought him through countless ordeals: walking through treacherous terrains and avoiding deadly traps. He comes to a clearing. A young girl is playing by herself in the light. He approaches her, and she takes notice of him. His journey is over.
2018
A redemption, a rebirth, and a reinvention.
There is no better example of a game I never knew I wanted. The ending of God of War 3 rung hollow for me, and the oversaturation of mediocre content and lack of creative ingenuity the franchise displayed afterward made me ready to hang up the blades of chaos and explore newer, more inventive titles. I'm pleased to report that God of War PS4 is everything a bad God of War title isn't.
The incorporations of Norse mythology are inspired, weaving a rich, unique world nothing like what we would see in the PS2 titles. The cinematography captures the strong facial animations and both the strong vocal performances and excellent score ensure the experience will be just as much a feast for the ears as the eyes. The excellent combat system allows you to fight iconic Norse monsters with satisfying weight behind your attacks, incorporating whichever approach to combat you would like. This game is a huge technical marvel and a bold advancement, not only for the franchise but for video games as a medium.
However, the game is not perfect. This game clearly took inspiration from the original Dark Souls, and much like that game, I think this game created an incredible framework that shook the foundation of video games as a medium, but the execution of that framework was flawed.
God of War PS4 is infamous for a lack of enemy variety, most notably among sub-bosses; the game should have taken more advantage of the pantheon of Norse characters, as there were only a few and some (most notably the villains) weren't as fleshed out as they should have been; the game also suffers from uncompelling side-objectives and some tedious travel and item collection; Oh, and I can't stand Nifelheim: it's my second-least-favorite location in any God of War game. I'm glad it's optional and I appreciate Ragnarök for completely changing it, but I would have preferred if it were removed altogether.
In summary, this game is still incredible. You don't need me to tell you to play it, but play it. Also, if you liked my review, be on the lookout for my review of the sequel, especially if you're mad that I don't consider this one of the greatest games ever made. It may take a while for me to compose all of my feelings about Ragnarök, having just finished it, but boy am I looking forward to talking about it.
There is no better example of a game I never knew I wanted. The ending of God of War 3 rung hollow for me, and the oversaturation of mediocre content and lack of creative ingenuity the franchise displayed afterward made me ready to hang up the blades of chaos and explore newer, more inventive titles. I'm pleased to report that God of War PS4 is everything a bad God of War title isn't.
The incorporations of Norse mythology are inspired, weaving a rich, unique world nothing like what we would see in the PS2 titles. The cinematography captures the strong facial animations and both the strong vocal performances and excellent score ensure the experience will be just as much a feast for the ears as the eyes. The excellent combat system allows you to fight iconic Norse monsters with satisfying weight behind your attacks, incorporating whichever approach to combat you would like. This game is a huge technical marvel and a bold advancement, not only for the franchise but for video games as a medium.
However, the game is not perfect. This game clearly took inspiration from the original Dark Souls, and much like that game, I think this game created an incredible framework that shook the foundation of video games as a medium, but the execution of that framework was flawed.
God of War PS4 is infamous for a lack of enemy variety, most notably among sub-bosses; the game should have taken more advantage of the pantheon of Norse characters, as there were only a few and some (most notably the villains) weren't as fleshed out as they should have been; the game also suffers from uncompelling side-objectives and some tedious travel and item collection; Oh, and I can't stand Nifelheim: it's my second-least-favorite location in any God of War game. I'm glad it's optional and I appreciate Ragnarök for completely changing it, but I would have preferred if it were removed altogether.
In summary, this game is still incredible. You don't need me to tell you to play it, but play it. Also, if you liked my review, be on the lookout for my review of the sequel, especially if you're mad that I don't consider this one of the greatest games ever made. It may take a while for me to compose all of my feelings about Ragnarök, having just finished it, but boy am I looking forward to talking about it.
2022
"Open your heart to the world as you have opened it to me, and you will find every reason to keep living in it."
When I opened my heart to God of War Ragnarök, I was enthralled by a thematically rich, character-driven story. For as satisfying and versatile as the combat was, I often found myself content to look out over a beautiful landscape, putting the controller down and letting the serene environments and magnificent score sweep me through the valleys of Norse Mythology. The climatic boss fights, air-tight pacing, meaningful side-objectives, and distinct, layered side characters shredded any issues I had with the 2018 game into non-existence. God of War 5 is a profound achievement, taking the medium of Video Game to its bleeding edge and providing a meticulously-woven, epic, fun, beautiful, and unforgettable experience.
"To grieve deeply is to have loved fully." I love this game. I've had experiences with this franchise spanning back nearly twenty years, and I'm sad to see it go, but I think this is time. I can't see the majesty of this game ever being succeeded by any other God of War game, and I believe it is time to move on.
I cannot recommend enough, open your heart to this game and live in its world for a time, and you'll find some of the best the medium of video games has to offer.
When I opened my heart to God of War Ragnarök, I was enthralled by a thematically rich, character-driven story. For as satisfying and versatile as the combat was, I often found myself content to look out over a beautiful landscape, putting the controller down and letting the serene environments and magnificent score sweep me through the valleys of Norse Mythology. The climatic boss fights, air-tight pacing, meaningful side-objectives, and distinct, layered side characters shredded any issues I had with the 2018 game into non-existence. God of War 5 is a profound achievement, taking the medium of Video Game to its bleeding edge and providing a meticulously-woven, epic, fun, beautiful, and unforgettable experience.
"To grieve deeply is to have loved fully." I love this game. I've had experiences with this franchise spanning back nearly twenty years, and I'm sad to see it go, but I think this is time. I can't see the majesty of this game ever being succeeded by any other God of War game, and I believe it is time to move on.
I cannot recommend enough, open your heart to this game and live in its world for a time, and you'll find some of the best the medium of video games has to offer.