WELL that was a long time! 62.4 hours according to Steam, which is the longest time I've played a more-or-less story based game in a loooooong time! Cyberpunk was like just over 30 hours I think for me!

SO y'all should know that I love love LOVE tactical games, and this game, which is basically Fire Emblem Three Houses: Marvel Edition with a really lovely card system, is so wildly up my alley I almost couldn't believe it. I am a lifelong capes comics lover (I will admit that the monstrosity that is the MCU and how much I dislike those movies makes me kinda be very lowkey about how much I love capes) and I love that we get more-or-less comic book versions of folks here.

SINCE it's so up my alley, and I trust my skill in the genre, I don't cheat on games like this. In fact, I bumped up the difficulty to the second highest one as soon as I unlocked it. I feel ok boasting that I only had to restart a single mission [smug sunglasses face]

What else can I say? I loved this game a ton. I loved Hunter's friendships (especially with Nico and Magik and Wanda) and I loved the Abbey and I just loved what this game had going on.

Tips and tricks? Gotta say that, having not read anything else so I could be way off base here, Spider-Man is probably the “best” character. He has lots of abilities that can be upgraded to be “free” and if I’ve learned anything from a lifetime of really loving games with action economy it’s that being able to use moves that don’t count against your action economy is as good as it gets!

Anywho, I cannot recommend this game highly enough!

Dead Space (2023) improves the original in every way possible. If you want the definitive version to experience the first game, this is the way. On a technical level it's really great and even more immersive than the original. Atmosphere and sound design have been greatly improved thanks to the modern technical possibilities. The story also works so much better and you can feel empathy for the characters now. All of it thanks the simple change which is that Isaac speaks now when other characters talk to him. So Isaac is finally a character now and is not just a paper stencil. The fact that in this Remake, Isaac's voice lines change based on whether you're low health or not is the kind of detail I absolutely love in video games. I recently played the original Dead Space first time so I remeber it really well and they did such a great job at being faithful to the original but also added new stuff which improved the game. Like for example the peeling system, it adds so much pressure which made the combat system more intense.

The only problems that I had are that there are a few bugs, like Isaac beeing invisible and that you couldn't interact with anything during that time. Or that when you die while you are at a save station you end up in a loop where the Game loads just for you to die during the loading screen. I had to reload and replay a really annoying segment that I just went through for both bugs. The other thing which bugged me is that I think the balancing regarding ammunition is really bad. The first quarter of the game is good but after that the game always gave me items that I didn't need. So for most of the time my weapons were empty so I had to smash my way through the enemies using the upgraded melee attack for the plasma cutter which felt more like The Callisto Protocol and less like the right way to use the plasma cutter. But overall a really great and faithful Remake, it is such a good time to be a fan of survival horror games.

Dead Space games ranked

Favorite horror games ranked

Games I finished in 2023 ranked

I keep trying to write this review but I am never sure how to articulate the words to express how magical Arx Fatalis feels to explore.

This is not a game I appreciated immediately, nor is it something I understood the potency of 15 hours in. But days after completing Arx Fatalis, I cannot stop thinking about every floor of this sprawling, claustrophobic labyrinth.

It is Arkane Studios' most freeing immersive sim and has the only magic system in this medium that actually made me feel like a wizard. It is full of little issues but I cannot recommend it enough.

I'm having trouble seeing what everyone else sees in this game. Maybe it's because I went with a Strength+Endurance Great Sword build, maybe it's because I had covid while playing this and it's affected my mood towards the game. Maybe it just didn't click with me for reasons I'll get into. But whatever the case is, I didn't seem to enjoy Elden Ring as much as others have. And that bothers me.

In previous Souls games, a lot of what made those games interesting for me was that their design involved a lot of interlooping paths. It's similar to how a Metroidvania is designed, where one area is locked off by progression gates that you open to bring about shortcuts for that area. Elden Ring has this, but only in the more linear areas of the game that are there for progression. The rest of the world, in turn, is designed like a regular AAA open world map, albeit with the non-linearity of other Fromsoft games. The non-linearity is great, and I understand the appreciation for it. The open world part is where I get confused with the praise. A lot of it is your standard tropes of open world design; small dungeons, forts, repeating geometry, paths within the terrain that direct you where you need to go, enemies scattered everywhere, reused bosses to fill out open world. All of this is stuff I've already seen before in other games, and in games I love, but just with a Dark Souls twist to it. Which, if you're really, REALLY into open world games, and you're really, REALLY into Souls games, it's probably like chocolate and peanut butter making out for the first time. Which is great, I love seeing those two suck face! But to me, it's a lot more of the same from each. And I'm beginning to become fatigued by it.

This may be Breath of The Wild's fault. My brain may have decided, consciously or unconsciously, that anything that doesn't provide the same feelings that Breath of the Wild has given me for open world games is a lesser experience. Which isn't a fair point of comparison. Breath of the Wild isn't a perfect game, and if someone with different tastes felt the same way about it the way I do with Elden Ring, I think I would understand where their preferences lie. I am in love with exploring. I love interacting with the environment. So climbing everything and seeing where I could go, what I could do, what I could skip, what I could manipulate, was something that appealed greatly to me. Elden Ring is more for the type of person who wants to control a build, customize it, and do crazy damage to tough enemies through their own skill mastery.

But I think there's a point where the Dark Souls and the route they took with the open world design tends to clash. I think it's also, in part, because they've broaded the appeal of the games to a wider number of players. They provide the player with a lot of options to get through the game much easier. Dark Souls has done this before with things like summons, but they usually required some drawbacks like the use of humanity. Here, it's simply a matter of finding the right summon, leveling them up through grinding, and having them do most of the work, or distracting the boss. On top of this, enemies tend to be a lot easier, especially given the fact that you can summon your mount almost whenever. This means normal enemies, mid-boss enemies, and certain boss enemies become a repeated game of using your horse to circle around the boss and hit them until they're dead. And when the horse is essentially an incredibly fast option with the only drawback is if you take enough damage, your horse uses up a healing item, it's by far the best option to pick from. Not to say that the game can't be challenging, because it can be, but the selection pool of my options feels less strategic when all I'm really doing is circling an enemy with my horse and chopping them down as my summon distracts them. The easiest option for the player tends to be the one that the player goes and chooses. It's best to prevent those types of things entering your game if possible. It's like with back stabbing abuse in Dark Souls 1, it's usually the most effective, and would get used a lot. But you still had more interesting options to roll, dodge, parry attacks with Dark Souls 1, with the horse strat, you're just running around.

Maybe in a couple of years, I'll come back to Elden Ring, and give it another chance. I'll try a new build, I'll try different strategies, I'll try not to think about other games. Who knows, maybe I'll like it more. It would not be the first, nor will it be the last, where I go back to a game that I didn't much care for and take away something different. But as of right now, I don't get why people love Elden Ring. And it's going to keep bother me.

Open-world crime game set in London. Oh go on then. Apparently The Getaway did well on its release, however I can't say I had ever heard of it until recently.

I live in the UK and spend a lot of time in London as it is only a short journey on the train for me. Naturally I was eager to see what a game set in London would look like. Honestly they did an amazing job recreating the streets of London and its impressive how good it looks considering it came out in 2002. All of the landmarks are there as well as so many smaller details. While in London the other week I visited Covent Gardens as it is always a nice place to visit this time of year. While there I grabbed a coffee from a nearby Starbucks. Later that week I went down the same road in The Getaway and was amazed to see a Starbucks pretty much in the same place. This is probably a massive coincidence but I couldn't help but find this hilarious. Apart from making me laugh I'd say this is the main reason why the game feels so immersive and a joy to play. I was also surprised to find out that all of the cars are real car models from that time. There must be around 30 plus official car manufacturers in the game. Again I found this hilarious when the police were chasing me in my Fiat Punto.

What sets The Getaway apart from other games is the lack of a HUD and using alternate methods to explain to the player what is going on. The lack of a HUD does make the game feel more immersive and I do think overall it was the right choice but it does have its problems. Apart from a few hints in the pause menu and a mission brief, you are given very little information when starting the game. For example The Getaway's lack of a HUD means there is no map to look at, so how do you know where to go? The Getaway solves this problem by using the indicators on the car to tell you what direction you need to be going. This is a pretty cool mechanic but it can be hard to follow especially when you're being chased by the police or rival gangs. It also isn't explained to you so I ended up failing the first mission several times before I noticed this. While I'm talking about the driving I should also mention how weak the cars are in this game. It only takes a few crashes to destroy a car. Some missions I ended up stealing 4-5 cars just to get to my destination as they kept breaking down. At certain points in the game you are required to get somewhere within a time limit so taking your time isn't an option, expect to crash a lot.

The other half of the gameplay is the shooting and I found this more enjoyable, once I worked out all of the mechanics that is. Again The Getaway uses different ways to deal with no HUD. For example if you run out of ammo your character will simply drop the weapon and then pick up another automatically if you walk over one on the floor. How much damage you have taken is indicated by the blood on the player and your character will start to limp on low health. It is little details like this that I enjoy in a game. That being said, like the driving sections, it still has its issues… well for me anyway. I found myself hating the shooting sections at first because to my knowledge I thought you could not heal. I thought every shooting section was way too hard as you can't take many hits before dying. It was not until I got about half-way through the game that I realised you could heal. Simply stand next to a wall and your character will lean up against it and regain health. I know I'm probably an idiot as there is a tip on the pause menu telling you this but I still think this is another example why The Getaway can be a bit confusing for new players.

I didn't want to talk too much about the story but I did find it engaging and found the cutscenes to be well-acted. It's nothing to write home about but if you're a fan of the films it's based on you will probably enjoy it.

I was struggling to decide if this is worth recommending or not. Despite my gripes I still had a great time. I wanted to write this review because I think The Getaway is worth your time, however if you do want to give this a go be patient with it and make sure you learn all of the mechanics.

Did I expect the next game in the Dishonored series to be a PS5 launch title about dismantling an impressionist time cult? No, not really. But now I wouldn’t have it any other way.

Deathloop is a special game in that it continually gave me more than I asked for. Traversal that feels great? Check, but here are items and upgrades that really bust movement wide open. A story that justifies the game’s looping premise? For sure, but we’ll also give you knockout performances in every role and some real depth to each character if you’re willing to dig. Levels that feel purposeful and lived in? A tall ask but we’ll do that and make each space feel unique, interesting, and have at least three different versions. It’s a deceptively deep experience. At first what feels like Prey quickly gives way to Dishonored–all of which makes sense given Arkane Lyon’s tenure–but as you tug at each thread of the game, more and more reveals itself creating this standout rougelite action RPG experience that’s unlike anything else I’ve ever played. Okay, so that’s only sort of true. It’s like a TON of things I’ve played before but in the best of ways. The way it threads together the lineage of immersive first-person action games with an exceptional polish makes everything feel fresh.

Deathloop is its own marvel as much as it is the logical next step for Arkane as a studio.

I wish more games were like this one.

Simple objective, easy and intuitive controls, great art direction, challenging-but-fair(ish) difficulty, an incredibly rewarding ending, and the title tells you everything you need to know about the whole game.

Ape. Out.

definitive cat game. The world/lore is cool and it's crazy how much info they put like on every single wall. I just didn't like when it got a little too fetch questy. Oh I also didn't like how ending a conversation is a different button than progressing text. You have no idea how many times I struggled with text boxes because I was playing on steam with a switch controller so it's like hit A to finish talking but that means hit B so my ankles were constantly broken having to alternate from hitting Y to B or was it A I still don't know. Also also I wish the game told you what music notes you gave to the dude because I wasn't keeping track :(

Cult of the Lamb is likely not exactly what you think it is. While the flashy roguelike action has drawn a lot of comparisons to Hades, it’s not really the crux of the game. At its core, developer Massive Monster’s new ultra-cute cult simulator is just that - a simulation. Players will spend around 75% of its 14 hour runtime playing a masterfully designed city-builder/management sim, with bursts in between of mediocre roguelike action that far out stays its welcome weighed down in poorly paced progression systems.

In Cult of the Lamb, you’ll become a lamb sent to slaughter in the name of a false god. On your way to hell, you’re rescued by a demon called The One Who Waits, who has been shackled between the surface world and inferno. In exchange for sending you back to the world above with its remaining power, it tasks the Lamb with creating a cult in its name, in the name of the Red Crown. There are four bishops, who serve as the bosses, that the Lamb must defeat while managing their cult compound to free The One Who Waits from its demonic chains.

I first want to speak about the thing that draws the most attention in Cult of the Lamb - the art style. It’s beautiful, it’s colorful, it’s easy to distinguish in the heat of combat, and most importantly it’s consistent. Even during the garish occult rituals and demonic summonings, the presentation of Cult of the Lamb never, ever wavers. The artists and animators are 110% dedicated to making this the most adorable Satanic ritual you’ve ever experienced, and do not back down. The contrast of the subject matter and art style is not just something to catch players eyes - it’s an aesthetic decision that was made with purpose.

As I mentioned previously, Cult of the Lamb is a management sim supported by small chunks of roguelike action. You’d be forgiven for thinking the management part is secondary based on the trailers, but really the game is about growing your cult and making them more powerful while the runs through the four procedurally generated biomes serve to help you gather followers and materials for building. Each run is actually quite short, depending on what you run into; I had some that were as quick as 3 minutes, with the longest being about 10.

Cult of the Lamb, like any good management sim, is made up of a dozen interlocking systems, each one both feeding and being dependent on several others. As the game progresses and your cult expands, you’ll be able to automate these processes so you can focus on more high level planning. It very much has the cadence of a city-builder RTS like the Tycoon games, but on a much smaller and more palpable scale for newcomers to the genre.

After inducting your first few cultists (those are freebies), you’ll need to construct your most important structures - a shrine and a temple. The shrine is the beating heart of your cult, and is where your followers will worship you so you can gain power over the course of your journey. The temple is the brain, where you will make the decisions that affect your followers, tell them how to live their lives, dictate their eating, sleeping and working schedules, and more.

From there, you’ll branch out and need to collect rocks, wood, grass, flowers, seeds, food and a variety of other materials so your cult can thrive. There’s three meters you’re trying to maintain - loyalty, hunger, and sickness. If your loyalty depletes, your followers will revolt and declare you a false prophet, leaving the camp. If your hunger depletes, your followers will begin to starve and die. Likewise, if the sickness meter hits 0 disease will begin to spread and followers will be similarly snuffed out.

There are nearly two dozen systems running in the camp by the time it's operational, and it is frankly mind blowing that they all work together so well and never become overwhelming. Like any good management game, it’s all about getting better stuff so you can automate your basic systems, then automate those systems, and so on and so forth. At first you’re scrounging for berry seeds to put together meager meals for your cult, but 6 hours later you’ve got an industrial farm complete with fertilizer and irrigation automation.

You’ll construct housing for your followers, decorations to brighten the place up, and lots of idols to increase the amount of faith you’re collecting each day. All of these systems lead directly into leveling up your Lamb. Each day, you can host one sermon, which feeds skill points into a tree that increases your attack power while increasing loyalty. You can also declare a new doctrine if you have enough tablets, which are gained by doing nice things for your followers. They’ll age and die and you’ll find new ones over time, and restart the cycle.

New doctrines can either be passive buffs for your camp or active rituals that can be cast with a 2 day cooldown. Roughly half these doctrines aid you in leading by way of love, and the other half by way of fear, so you can definitely choose what kind of cult you would like to run. I only picked the love-based doctrines because I am a merciful god Lamb and would bestow my grace upon this flock. But you can go full dictator on it if you wish.

One of the best parts of Cult of the Lamb is that you can name and customize your followers, so, like most everyone, I named them after my real life friends and asked everyone which animal and what color they’d like to be. Everyone had a good time watching their antics as one friend would report another as a traitor, or when two of my friends who barely know each other fell in love, or when one of them showed up at camp covered in blood and just died without explanation. There are certainly other games where you can name characters, but the concept of the social interactions takes the interesting part of Miitopia and Tomodachi Life and puts it into a good game instead.

Now it’s time to talk about the mediocre part of it - the roguelike action stuff. At the beginning of each run, you’re given a weapon and a curse, which is a magic spell. Defeating enemies gains fervor, which is in turn used to cast spells. Simple enough. You’ll unlock tarot cards that give small buffs, like turning your weapons to poison or raising your crit chance, and collect a different assortment on each run. And that’s it. The color palette changes between the four biomes, and there’s a few monsters that are unique to each, but they all effectively do the same thing. As I was spending just a few minutes at a time in combat before heading back to the farm, it didn’t hit me until about 7 or 8 hours in that the combat had not changed. The way that it feels at the beginning is the way it will feel in hour 14, just with new (mostly worse) weapons and upgraded versions of the same spells. The combat is smooth, quick, and certainly eye-catching, but without any additional layers it grows boring after a time.

This leads to my next, much bigger issue: progression. The management sim in this game was not designed with me in mind, who put 20 hours into Factorio over just two days and who builds large scale automated mining operations in Minecraft for fun. As i normally would with a game in this genre, I optimized my followers and automated them, then automated the automations, and so on. I ran a sermon every day, ran as many rituals as possible, upgraded my worship speeds right at the beginning to accrue faster over the life of the game, and talked to every follower to inspire them every single day and extort resources from them. I also mostly ignored the side quests, because mathematically the amount of loyalty you lose for accepting and then not doing them can easily be made up with a single ritual the next day.

There’s a saying that if given a chance, players will optimize the fun out of a game. Well, I did it, and I did it barely halfway through. As I was early on in the third biome, I completed the doctrine tree, the sermon tree, the fishing quests, the mushroom quests, and everything useful in the camp tree. What this resulted in was no progress for the last 5 hours of the game. I had already finished everything the game had to offer, so the next few hours were just maintaining my camp for no reward and outputting resources that would never be used. It slammed to a crashing halt. There is a difficulty modifier for combat, but god I wish there had been a hard mode for the management part of it. I never struggled with collecting enough of anything, and if I didn't have enough resources my automated systems would have it ready for me in just minutes regardless. Perhaps I got too eager, but as a fanatic lover of management games and city builders this was hugely disappointing. Imagine playing Fallout and hitting a level cap halfway through the main story and having to continue without the small reward of simply leveling up.

Another issue that really put a damper on my experience was the requirement to have 20 living followers to fight the final boss. The second biome required me to have 9 to enter, the third required me to have 10, and the fourth required me to have 12. However, to face the final boss I needed to find 8 more. This was such a strange ramp up in requirements I did not expect. In addition, one of the features of the fourth biome is that your followers are summoned and possessed and you must kill them to progress, so right after losing 4 followers in this way I was presented with a gate telling me to find 8 more to proceed.

It’s not actually all that simple - you can buy one follower a day from a spider nearby, but you cannot just fast forward through the days and buy them because your followers will continue to age and die. Rather, I had to basically speedrun 4 more runs hoping that my current elderly followers wouldn’t drop dead any second so i could grind out more cultists. It was not fun in the least. While narratively satisfying, the final boss was also a disappointing fight that lacked a single new combat element.

The first 8 hours of Cult of the Lamb were magical, and if the game had ended somewhere there this review score would be a 10. But it doesn’t, and it goes on and on and gets less and less interesting as it reaches the conclusion. With progression systems that are way too easy to bust and combat that goes stale halfway through, my time with this game did not sustain the high I felt at the beginning. But there are strokes of a masterpiece in here, with excellent music, whimsical characters, starkly themed visuals, just enough narrative push, and management tools that allow for the player to really experience their own story. If you don’t optimize the fun out of Cult of the Lamb, there’s an incredible amount of it to be had.

Live a live feels so absurdly ahead of its time it’s not even funny. Like, I know this is a remake and slightly modernized and stuff, but from what I can tell most of what was changed was the visual style (duh) and the translation (which is one of the best translations for an rpg I’ve ever SEEN) (also duh) and everything else was like, slightly rebalanced? But the vast vast majority of what’s fantastic and creative and bursting with life here was just as breathtaking in the original version, and that’s genuinely insane to me.

If you don’t know, Live a Live is made up of a bunch of mini-rpgs, usually running anywhere from 1-3 hours apiece. Each of these picks the genre conventions apart in a slightly different way, with almost none having a traditional dungeon crawl/town experience (and when they do, you can tell there’s an understanding of the genre built upon the deconstructions they’ve perpetrated elsewhere).



One scenario has you exploring one huge dungeon that reveals itself in more of a metroidvania-type way. One has you spending most of your playtime preparing for a bossfight at the end. A few have extremely novel and fun forms of progression, beyond the standard “kill and level up” loop. A few of them diverge so far from how rpgs typically work that they completely cross genres. 



But it’s not just interesting in this way. This experimentation goes beyond the structural and mechanical and bleeds into everything about the game. Each chapter takes place in a different time period and location, exploring a certain kind of pulpy fiction story and how you can mold rpg mechanics around the feelings those stories deliver. The wild mechanics are used to build story, character, and really connect you to the material in a unique way.

That kind of brings me to this game’s legacy. These short, experimental rpgs, that play with the genre and conventions in such a loving way, yet not very sentimentally, are the kind of thing I associate most with little indie rpgs on Itch.io. Sure there’s a lot of “earthbound-inspired indie rpgs”, but these days if you look in the right places you can find stuff that feels more varied and unconventional, stuff that until now, I didn’t think had ever been released by a larger studio. Games like An Outcry, Facets, Cataphract.io, even Dujanah to an extent, feel like the kind of bold interesting games that would not feel out of place next to any of Live A Live’s chapters.

Beyond even that though, the way this game ends (which I don’t want to get too into for spoiler reasons) is almost as perfect as I could’ve even wanted. It ties the themes of all these disparate stories together so well and so meaningfully, and gives you a right challenge too (which the rest of the game doesn’t really focus on). It nearly left me speechless, and gave me all the warm feelings finishing a more traditionally laid out rpg would.



If you like rpgs at all, you’ve gotta play this. Like, as soon as you can. This is one of the most interesting and cool and fun expressions of the genre to ever come out, especially from a studio as large as Square. Go in with open eyes.

Stray is a very respectable game. For a game who's credits arent rolling long enough to demand multiple credits songs and 3 point font, it is astounding in terms of visuals, technical design, and to an extent game direction. It achieves seemingly everything it goes for with only minor "objective" issues. You could have told me that this game was made by naughty dog as a little side project and i'd only need two drinks in me to believe you.

And it really is a very ND-style game, down to the straight up game flow. Linear platforming where you snap from location to location, chase sequences, extremely light puzzling, general level-to-level structure and the occasional quiet bit where you just get to explore a very small area - it's like Uncharted 4 but drake is small and there's no ludonarrative dissonance trophy. Even has the very naughty dog thing of having a conspicous landmark in the horizon you always work towards in the levels. I swear im not crazy, it's really noticeable when you catch onto it.

The problem with Stray is that, for my money, you don't feel like a cat. Which is a pretty big issue for a game where that's the hook. There's a few good gags, the animation passes muster for the most part, but the behaiour of the cat and in particular the interactions it has with others don't. You could practically replace the cat with a small dog, hell, it would probably make more sense for the things the characters demand and how they treat you.

My favourite moment in the game, is, when in what is ostensibly a tense, high-stakes situation where you're meant to solve a puzzle, the cat can simply lie down by a record player in a comfy alcove, as long as you and they want. It's lovely. And there's just not enough of it. The adventures of cats are crescendos to lives spent revelling in comfort and warmth - even in wild and big cats - and you can let me meow as much as you like but the pure action adventure betrays the nature of cats. I feel like small creature. I don't feel like cat.

On top of that the sci fi narrative is very bland. Fortunately the environments are excellent and carry the game pretty hard. Again, the naughty dog influence is well integrated, with fantastic subtle signposting of areas that feels naturalistic whilst ensuring you're never really lost.

Again, the game is very competent, and a frankly remarkable facsimile of games with hundreds of times the budget. It's well paced and i appreciate it's brevity, and i would be remiss not to touch on it's excellent soundtrack. And it's that extreme competence that makes it dissapointing for me that it doesnt actually get it's hook. And without it, it's ultimately forgettable, as good as it is.

Definitely has its problems in the dungeon and world design departments but its charm is irresistible. Awesome soundtrack and art style, one of the best Zelda stories, and good characters. While Ocarina of Time was about growing up, Wind Waker is about being forced to grow up. You aren't "the chosen one", you aren't inhabiting some kind of magical fairytale world, and your call to action wasn't from a talking tree. Your sister was captured, the world is flooding, and your grandmother is spiraling. What's left of Hyrule has gone to absolute shit (and you didn't even need to set foot in a temple of time), and now it's your job to fix the colossal mess that the older generation created? You had to prove your worth as a hero not because it was your destiny, but because nobody else would step up. It's graphical style was seen as unpleasant when the original game released in 2002. And I think that reaction mirrors the way Wind Waker attempts to unlearn generational patterns of selfish inaction and mediocrity. We've come to appreciate this game's artstyle nowadays, and applaud Aonuma and co.'s progressiveness and willingness to bring change. And I believe those lessons can be applied to our own lives. The kids are alright - you don't need to be the "chosen one" to change the world.

Also, I'm gonna say it. The final scene in this game where link kills ganondorf is cooler than the one in twilight princess. Rawest moment in video games.