"An idiot admires complexity, a genius admires simplicity, a physicist tries to make it simple, for an idiot anything the more complicated it is the more he will admire it, if you make something so clusterfucked he can't understand it he's gonna think you're a god cause you made it so complicated nobody can understand it"
-Terry A. Davis, RIP.

People weren't ready for this game, it didn't deserve this much critical panning. Sure, it went through development hell, having to change multiple publishers to settle down for an exclusivity deal with Nintendo at the end, but i'd argue that it delivered. Tomonobu Itagaki's main purpose for this game was its multiplayer (which unfortunately is dead) it actually did very well in Japan, even having the multiplayer filled with people so much that they made a "Devil's Third Online" on PC that was JP-Exclusive. Itagaki notes on his FB Account that he wanted to get as many people in its multiplayer mode. He also noted many things like how he was done with Ninja Gaiden & DOA but he wanted to continue Devil's Third. Its almost been 9 years since this game's release and with Wanted: Dead coming out this year and his heir Yoshifuru Okamoto doing a great job overall, its safe to say Itagaki will make a comeback sooner or later.

The reviews that note it down as a poorly made game with poor mechanics are absolutely clueless on how to play this game. It literally is simple, you've got your shooting, sliding, blocking, parrying, dodging, jumping, quick attacks and heavy attacks. However, despite all of this, in every goddamn video I've seen that pans this game as the absolute worst or shrugs it off as a "so bad its good" title, they always end up hiding behind covers and shooting with the gun... Yeah, let us just ignore the fact that this is a literal Gun-Fu game, where you're literally encouraged to use the melee as much as you're encouraged to use the gun. The game even throws you in a lot of different enemy types and bosses for you to switch up your playstyle. But nope, everyone is going to approach the combat with as much disinterest and disaffection as possible. Then later complain how much it sucked. These are the same people that play games in so-called "Journo" baby mode.
"Itagaki professes a liking for simplicity of inputs, he states too many inputs would result in the loss of the gaming experience."
-From Tomonobu Itagaki's Wikipedia page
Itagaki doesn't care for complexity, it has been apparent ever since DOA & Ninja Gaiden and that's where the beauty of his game design kicks in, the simplicity. There's no need to memorize movesets because all of it naturally gets revealed to you, you know exactly how to approach a threat, and to eliminate it. In Devil's Third especially, one of my favorite combat strategies was to slide towards the enemy while hip-firing, then cancelling it with a slash and getting that sweet glory kill. Another great mechanic was the ability to leap kills and being able to throw your melee weapon at the enemy, I was just so hooked to the gameplay and the endless combat scenarios, I couldn't stop at all. All of these abilities are presented to you by the man himself so you can play experimenting with different approaches as it was intended. Not just sticking to one method of gameplay like an absolute cretin. It genuinely infuriates me to see people refer to this as a "Gears of War" clone or a "TPS COD", when it has absolutely nothing in common.

Devil's Third's story felt like a riff on Metal Gear, which seemed to be the case for any Japanese game releasing during that era. It involves heavy on the nose Buddhist themes, as if the Sanskrit tattoos written all over our main protagonist, Ivan, wasn't an indication already. You have loading screens filled with Buddha statues, and not to mention a Buddhist take on a "revenge" story, with the main antagonist's ultimate masterplan literally being the concept of Nirvana in itself, is nothing short but one hell of a ride. The boss encounters are especially to live for, your final stand-off with Isaac Kumano is genuinely breathtaking sequence, that I feel a certain game company for sure took some artistic liberties in putting it in their own title. :)

Tomonobu Itagaki to this very day is still proud of what he's done. When asked about the hysterical criticism, his answer was: "The fans loved it." And that's what Itagaki truly cares for. As if these Metacritic obsessing, ratingheads would understand.

"To all my fellow gamers. No matter how the world changes or times pass, our love for games and our passion will never die. Thank you all for waiting so long for this moment."
-Tomonobu Itagaki, End Credits of Devil's Third.

Persona will never be this great again.

Persona 2: Eternal Punishment is justifiably hailed as a classic for its gripping story, unique atmosphere, and memorable characters who are not constrained by the typical student roles found in many JRPGs and later entries in the Persona series.

Just like P1 and P2:IS, the vibe and atmosphere presented in this game are immaculate with its gritty urban setting and eerie supernatural elements. Eternal Punishment delves into mature themes the series never really has since, at least not in a way like EP did. As a sucker for old-school and adult characters, the stylized character designs not only reflect the era in which the game was created but also contribute significantly to the overall atmosphere and tone. It's a rarity in JRPGs and anime these days, which is a shame because I believe these mediums could benefit greatly from more variety.

However, one aspect that really disappointed me was Maya's sudden role as a silent protagonist. It's an annoying trope all too common in JRPGs and in a game with such rich character development, Maya's silence felt like a missed opportunity for further exploration of her character. I've never really been a big fan of silent protagonists to begin with, but this trend never fails to annoy me. I get that silent protagonists are popular in JRPGS, but Maya being one in a story and character-driven game like EP felt like a huge mistake.

Despite this, the story of Persona 2: Eternal Punishment hooked me from the very beginning. Just like its predecessor, its intricate plot weaves together supernatural elements with psychological depth, creating a narrative that kept me engaged throughout the whole thing.

P1 and P2 are, without a doubt, the best Persona games Atlus has ever cooked up, despite their clunky and dated gameplay. If you're a Persona fan, you will be doing yourself a disservice by not trying out these amazing games. But what made me really love and appreciate these games, aside from the great characters and stories, are the atmosphere and vibes that only retro games can truly emphasize.

I was born two months premature. When I was one, I was dropped on the porch. When I was two, I
had pneumonia. When I was three, I got the chicken pox. When I was four, I fell down the stairs and broke six ribs. When I was five, my uncle was decapitated by a watermelon. When I was six, my parents hit me in the head with a shovel. When I was seven, I lost my right index finger to my pet Rat. When I was eight, my dog Spike got hit by a tractor. When I was nine, my mother lost her arm to a rabid brahmin. When I was ten, my sister was torn to bits by a pack of dogs. When I was eleven, my grandfather killed himself because I was ugly. When I was twelve, my grandmother killed herself because I was ugly. When I was thirteen, my father poked out his eyes with a pitchfork in a drunken stupor. When I was fourteen, my brother lost his hand to a wallaby. When I was fifteen, my aunt choked to death on a chicken bone. When I was sixteen, I lost my cousin to a badger. When I was seventeen, I cut off my left big toe with a hoe. When I was eighteen, my father lost his right leg to the same tractor that killed my dog.

this game, elite beat agents, and gitaroo man are all the proof i need to happily declare iNiS as the kings of rhythm games. a plethora of genres intertwined yet every song feels connected thematically. the note tapping is silky smooth and glides along to the beat naturally. all of this coated with a thick layer of inspirational emotional motivation and personal charm, presented strongly with a fun-filled artstyle. ends on such a gleeful note that erupts a certain fanfare inside all of us. transcends the boundaries of language with music as a device to communicate with the human spirit. reaches the zenith of the mountain and then shoots for the stars. bursting with overwhelming charisma. this is what video games are all about. goddamn.

Ben Esposito refers to Neon White as a "game for freaks." One would assume that this game is meant to appeal to social outcasts, rejects, or at the very least those with very specific and esoteric tastes. Instead Neon White panders to the lowest common denominator of anime fans that dominate spaces like Twitter and Reddit - who are indeed freaks, though likely not the "cool" kind of freaks that Esposito is attempting to appeal to.

The gameplay is fun! A bit floaty, but not enough that the moment-to-moment platforming suffers. The process of learning levels to optimize your time and get an Ace rank is incredibly addicting. In spite of being a single-player game there is an undeniable communal aspect if you're playing with friends, since the PC version compares your scores to those of your Steam friends - a lot of the appeal to me is running levels over and over again to try and best your friends' scores. The levels are gorgeous, intuitively designed while remaining complex enough for optimization, and over in less than thirty seconds. The music is fantastic and the presentation (my distaste for the VN format aside) is spectacular.

Thus comes the elephant in the room: the writing. Abysmal on every single front, an endless fount of regurgitated memes originating from the "Anitwt" community on Twitter only to be reposted and recycled onto the countless cesspools of Reddit. You can't go twenty seconds without hearing a buzzword or in-joke, and in the rare moments without talking about characters' breasts, making John Cena jokes or name-dropping Naruto characters you'll find it hard to take the characters and their dialogue seriously for the simple fact that nobody talks like this. If anything it's only accentuated by the fact that the voice acting is really great (Steve Blum voices the title character!) and the actors are giving it their all with every line, struggling to wring emotion and depth out of dialogue that simply has none to offer.

I don't have anything to say about the plot because I don't care and I'm probably going to skip it from here on out. The only comment I have about the dating sim elements is that the Persona series and its consequences have been a disaster for the human race.

Overall a really fun game if you skip the cutscenes and pretend it's just a bunch of floating levels in a void with no context or narrative presentation!