Not just the beat-em-up, the stealth oriented preying-upon-armed-goons angle was such an insanely COOKED creative choice to embody the caped crusader. Attractively gothic detectivism that turns into a reverse-survival delight through seismic punchy combos and techno-noir sleuthing. So tonally splendid you'd groove from the ceremonial pacing running from one villain showdown to the next and game over screens down to the badass slow walking, gets a bit formulaic with far too easily readable boss fights to the point of unchallenging linearity, still takes a conceptual blast of comic book roots through amazingly ominous sequencing including a mindbending Scarecrow that toys around videogame metaphysics to amusing effect and a toolbox of crafty sneaking made particularly priceless when seeing the last armed guard running around while panicking helplessly. Solid pacesetter.

As a fan of stop-animation, it pains me to say this game is a narrative and gameplay mess. Beyond its aesthetic, the interactions and movements are noticeably slow that impact backtracking and pacing significantly. This game has an unnecessary amount of backtracking due to the lack of fast travel, slow area transitions and repetitive fetch quest design which greatly impacts the pacing and character moments. I do wonder if this had fast travel then it would have been better as a visual novel to focus on its story than awkward traversal

Strange enough, I think this game added some strange sequences and mechanics to justify its aesthetic. First, it has follow the NPC segments that prevents sprinting but they tend to go way ahead because running is disabled making it a slower experience. Perhaps an auto-walk feature would alleviate this or take control away altogether as a cutscene. Second, it has a timed response mechanic that is used only once but makes players needlessly require attention on succeeding dialogue. Third, the mini-games and interactions are not really interesting like the rock scanning or flight sequences near the end of the game being more interactive videos. No strong puzzles or mechanics, I wonder why include them at all if they brought down the experience.

Being foremost an adventure game, I feel the story fails to be truly engaging or meaningful from its setting, character and theme. Fundamentally, I feel it lacks strong dialogue and character moments to make players more invested in their plight and developments. It specially feels missing during the numerous montage sequences where it could have been great moments but I feel were made understandibly due to budget constraints. Most of the plot threads also resolve weakly or poorly. Specially with the countdown pressure since the player has no direct control over it and how it closes out. Even the decision in the end, just feels so bland at the end of it all.

To be fair, let me mention what I did like. The letters were really nice despite the backtracking. I like the setting where capitalism still exist where money does not make sense anymore contrasted by how aliens live on a communal or non-capitalist system which is a political theme that I want to see more of. No major romantic subplot for the protagonist is appreciated. The notebook drawings are charming as a task reward. It is not much but there is something to love about it.

Do understand I wanted to like this game with its creative risk and effort here but I just cannot recommend due to its numerous shortcomings.

Retro Yearly List #17 [1991: Sunset Riders]

Okay, wow.
This game is often mentioned when it comes to ranking the best SNES games of all time, so my expectations were high, but I was still impressed.

Sunset Riders normally would fall into the status of those "hidden gems" since it's just a one-game title, but it went far beyond that, becoming an undisputed must-play game. I can see the reason: the game is a blast.
The Western atmosphere, which is something not enough explored in games, is pretty well implemented here. For that same aspect, OST does help a lot, and by the way, what a BANGER, Stage 1 theme went right into my top game tracks of all time, I'm listening to it in loop while writing this review.

The graphics are what you expect from SNES, as beautiful as the Arcade version. The gameplay works very well for the way the game is constructed, I just could not get used to the slide properly for whatever reason.
The game's difficulty is most of the time balanced, with a few sections of high unfairness, usually, the first minutes of the horse levels, which are a huge mess that will require you a response time comparable to the bonus stages at full speed.
Chief Scalpem boss is also a pain in the ass, and the final boss is a bullet hell. Those elements didn't take away my satisfaction with the game, though. After finishing this I got instigated to play it again and again, beating it about 3 times, and that was after beating the Arcade version twice.

I've saved the best for the end: The bosses.
I love boss battles, even more when they have identities, unique patterns, and personalities, and that's the case here. Everyone here can be easily remembered by their catchphrases, for example. The El Greco easter egg with Cormano on the Arcades is also a genius touch.
Even the main characters have their own characteristics which is incredible, they really put work on this.

Well, so this is what Konami was like at its full power, huh?

podcast fodder. it occurred to me over the course of playing that for four-player couch co-op like this, the mindlessness is a boon. you're supposed to be catching up with your friends and fucking around, not actually invested in the game.

it pulls surprisingly heavily from the original gauntlet with little variation: destroy generators that endlessly spawn, open chests and gates with keys, use potions as AoEs, destroy walls, open other walls. the only other mechanical changes is some light meter management, where you can activate one of three different special abilities depending on the level of the gauge or siphon some off to use a dash-twirl kinda action. other than weaving those in, you'll just be mashing the shoot/attack button, and with the advent of a 3D world and shifting perspective for the game, they've slathered auto-aim all over your toolkit, so there's almost no engagement other than being there to press the button... and if you're close enough to an enemy you'll auto-attack anyway, so who cares.

the main intrigue instead are the variety of environments and stages, each with their own hazards and puzzles to solve. you might rend an arena asunder by pressing a switch, skewing the two halves apart and exposing new corridors in the process. there's moments where you'll rearrange a set of catwalks by pressing a series of switches (although you never have access to more than one at once) to raise and lower them to match your character's height. in some (many) instances, you must painstakingly root out a breakable wall and enter it to press a switch and open a different wall somewhere else. indeed, most of the game consists of finding switches to press to access a new area; it is not uncommon for there to be chains of three to seven switches that lead to each other in the span of a single room. is what the switches activate occasionally cool, giving you a new path through the often intricate area designs? sure. but expect the whole game to follow virtually the exact same loop throughout: mash attack, press switch.

there's occasional gesturing to more of diablo-like system, the style which would quickly eat this series' lunch by the sixth gen, though it often doesn't land given the game's arcade-focused nature. other than adding a leveling and stats system to the original gauntlet experience, there's also this odd loot/power-up component, some of which is random but others of which are actually specific, often obscure unlockables within particular levels. of course, seeing as there's no permanence regarding items beyond keys/potions, these end up being temporary powerups; the thrill of grinding out skorne 1 so that you can get a piece of his armor set feels quaint when faced with the reality that said item will disappear 90 seconds into the next stage you play. as an aside: per the original game you're intended to replenish your health or revive yourself with extra credits, but seeing as this console version does not have that system, dying will kick you back out to the hub with whatever health you had going in. that might seem fine, but if you actually want to replenish to full health, expect to spend a lot of time grinding the first level for the 400-500 in health pickups that are guaranteed. for my final boss run, where I needed my level 60 max of 7000 health after spending most of the game maintaining about 2000, this was quite a chore.

this sega dreamcast version seems like a hodge-podge of each of the other versions of this game. compared to the playstation and n64 versions, which have a different set of levels and a proper inventory system, the dreamcast version serves as a more direct port of the original's levels and item system. oddly enough, it does have the additional endgame levels and skorne refight from the original home ports. it also carries in certain mechanical changes from the game's incremental sequel dark legacy, such as all of the new character classes and a functionally useless block ability; what the fuck is the point of a block in a mostly ranged game where having attack advantage is always a priority to avoid getting flanked and overwhelmed? probably the most bizarre aspect of the dreamcast version is that it runs like dogshit even with only a single player, and it retains the somewhat hideous look of the original game. not sure why the dc wasn't able to handle a relatively low-poly game built for a 3DFX banshee gpu, but I'm going to assume fault on the part of the developers.

still, a podcast game with some cool level visuals has its own appeal. was unfortunately left curious about dark legacy and the later gameplay revisions in seven sorrows. an arcade-style dungeon crawler does appeal to me in a base way, and I appreciate that this was an early attempt at creating an arcade game with a proper progression system (including rudimentary usernames and passwords!). should probably bring some friends along for the ride if I ever get a wild hair to try again.

Lost holds a special place in my heart. It came out at a time in my life when I really needed some good escapism, and by the time it concluded, I was in a much better place. I love its constant plot twists and drama bombs, and the fact that it wasn't shy about just killing off main characters. It always felt like anything could happen, and it was fun to think about even when I wasn't watching it. I didn't go on message boards or listen to podcasts or anything, but all the good feelings it gave me when I needed them most made it my favorite show and I've watched it more times than I can count.

My wife knows all this about me which is why she got me Lost: Via Domus for my birthday. It jumped immediately to the top of my list and took just a couple days to roll credits. I'm glad it worked out that way because it feels appropriate to end the year with something I'm kind of uniquely qualified to appreciate.

The main reason for that, of course, is that Via Domus is pretty rough as a game. Dialog is checklist-style question-response with no consequences. There are like 4 minigames which comprise the majority of the gameplay (outside of just walking around looking at stuff; more on that below), and all of them are pretty simplistic. There's one scripted shooting segment that took me like 15 tries because you get one hit killed and the guys have laser accuracy and fire instantly. The controls in general are super sluggish and imprecise. You're constantly fighting the auto-centering camera, since most of what you interact with is on the ground. The checkpointing is dreadful, often immediately before a long unskippable cutscene.

And you know this may be the only time I ever say this: I really didn't care about the gameplay. As clunky and shallow as it was, I was having too much fun playing around on Lost Island to pay it any mind. As a game it might be bad, but as fan service, Via Domus hits a whole lot more high notes.

Several major locations from the show are lovingly recreated in the kind of meticulous detail you'd expect from a rabid fan working closely with the show's creators. The characters and locations are presented with admirable fidelity to the source material. I wish they had gotten more of the voice actors from the show's cast, but I get the impression they didn't have the budget for that and the stand-in cast they did have stepped up admirably.

Stand-in actor or not, when Jack started pulling his Mr. Bossypants routine my wife and I both said "Ugh, fuck Jack" and it was just like watching the show again. It's even structured the same; with each act set up like an episode of the show with a synopsis, cold open, title card, series of escalating clusterfucks interspersed with flashbacks, smash cut to the logo, rinse and repeat. It all feels completely authentic.

Just having the opportunity as a fan to explore those iconic spaces from the show, and type commands into the cryptic Dharma Initiative computers and see everything from new angles is very satisfying and specifically rewards those of us nerds that would notice little details like how the vent in the vault ceiling is boarded shut (because after Kate escaped through there Locke briefly mentioned off hand that he sealed it up. Obviously).

It's also fun to see the cast through the eyes of someone who isn't in the main cast, as they're all a bunch of suspicious elitist assholes. It's completely consistent characterization but isn't as big of a factor in the show since it focuses mainly on the main cast.

That's my biggest takeaway on the game's value for me as a fan: a look back with an alternative perspective. I get to revisit this warm thing from my past and see it in a new light.

I've always been a fan of New Year's; I like that it's a secular holiday and the idea of taking a little time to both reflect and anticipate resonates with me. I got some life goals done in 2023. Got off the cigarettes. Had some losses. Kept my brilliant and beautiful wife happy. Got a little sloppy writing done!

I have a lot of fun here and I appreciate everyone who shares their great reviews. And the hearts are nice; holla to my core crew who heart every ramble. Here's to 2023, a year we're never going to forget; and to 2024, another year of balls-to-the-wall backlogging!

Wrath's appeal is a niche within a niche- the throwback shooter pivots itself on high-octane action inside of short/varied levels usually, and Wrath isn't this. It's high-octane; it's more intense than any other throwback shooter I've played by a heavy long shot, but it doesn't let you cool down. Levels are designed with less focus on a gimmick (arguably to its detriment) and more so with a focus on being gauntlets. Each one clocks in at about twenty minutes to half-an-hour if you're not speedrunning, and the appeal might seem limited given the small enemy roster and lack of variety, but I think Wrath taps into something totally worthwhile once you give it some time. The game slowly feeds you new content, thus demanding you figure out the ideal strategies for each enemy- which might reveal maybe the best weapon/item roster I've ever seen in these types of games. Every weapon has a primary fire and an alt-fire that is practical for the constant hostile ways enemies swarm you, and I do mean swarm you. Some levels clocked in at around 500+ enemies, and that's where Wrath's secret lays. It's as much a Serious Sam as it is a Quake, and it's a lot better than the average horde-shooter, too! Every weapon choice allows for high player expression here because they're pretty much all equally practical; you really need to balance out function and conserving ammo to invent your own ideal combos to put down the increasingly tanky enemies or large swarms. As the game really starts kicking you down with full on armies later on, it's always encouraged to explore for secrets and collect items, which are super utilitarian and I didn't find one of them uninteresting. Importantly, items are so limited that collecting them (and ammo) across multiple levels makes the entire game a resource-management challenge, as opposed to just one level usually. Saves themselves, being turned into an resource, also fixes one of the things I dislike most about classic PC gaming: the encouragement of save-scumming. Yeah, they could've dumbed down the number of Soul Tethers you get quite a bit, but just the notion of them and the Shrines is great. All of Wrath feels like a trial of reflex and moment-to-moment wit to me, and I love it! You might find it repetitive/padded, and I wouldn't blame you, but I loved Arcane Dimensions.

Bubblegum Bandit is a cute little action platformer where you must infiltrate spaceships and steal the reactor core at the center of each. To complete this task, you have the ability to flip gravity back and forth, while also armed with a bubblegum pistol to stick enemies and objects in place. There are a lot of fun moments that remind me of VVVVVV, but this game is much more bite-sized. I liked the steady introduction of new mechanics and the music and visuals were pretty good. I wish there were more different environments, and some of the controls felt a little unintuitive, but overall, I rescued all the hostages and completed the game.

Computer, generate a niche game.

If you've ever played one of those "make-your-own-game" games like Game Dev Story or Game Dev Tycoon or Mad Games Tycoon or any of the millions of fucking Kairosoft knock-offs out there, you're familiar with how the real-world game design process tends to be abstracted into gameplay. In order to keep things from getting too complicated, these tycoon games usually have a design pipeline which asks the player to combine a "genre" tag with a "theme" tag. The more "appropriate" the combination of tags, the better your fictional game tends to sell. Mixing "action" with "shooter" is almost universally a safe pick, as is something like "simulation" with "motorsports". Where you'll fall into the weeds, however, is when you decide to get experimental; making an "action farming" game or an "extreme sports RPG" tends to guarantee little more than poor sales and middling reviews. I played Game Dev Story a lot growing up, and it always annoyed me that what I thought were the most interesting and unique combinations always resulted in something that capped out around mediocre. I had game dev aspirations of my own — among other ideas, like being an astronaut or a lawyer — and I vowed that on the day that I could start running a studio of my own, I would never turn down even the wildest of ideas. I would play them, and support them, and make sure that everybody knew how good they truly were.

And I don't especially enjoy this horse-racing solitaire game.

My biggest gripe just comes down to the fact that what we have here is a fairly uninteresting horse racing game standing alongside a fairly uninteresting solitaire game, and the two exist in distinct and separate layers like how oil sits on water. Racing the horse seems to be the primary gameplay element — you can fail to full-clear the solitaire minigame and it doesn't count as a loss, with wins and losses instead coming down to the result of the actual race — but the horse's performance being abstracted into the solitaire minigame really doesn't feel as though it accomplishes much. There's no harmony between these systems. You do solitaire to make the horse run faster and more efficiently, but you could slot any sort of minigame in here and nothing would change. If this was Pocket Sudoku Racer or Pocket Slide Puzzle Racer, the core of racing the horses would remain wholly untouched. How close you got to finishing the minigame before the timer runs out or your deck empties gives you a boost or a penalty, but there are a dozen different games you could substitute in here without noticing a difference. The solitaire game and the horse racing game are hardly reliant on the other, nor does one make the other shine; they just exist together, each acting as an interruption of whatever the last mode of gameplay was.

Of course, Pocket Card Racer isn’t bad, but I don’t believe it to be especially good. The solitaire minigame is decent enough for an hour or two, and the raising of the horses implies that there’s going to be a lot more depth to the racing than there actually is, and it’s all okay. It’s a vehicle to play solitaire as filtered through the lens of being a jockey who’s whipping a horse named Nintendo Biggs on the final stretch of the track. There are far better and far worse ways to play golf solitaire. Grab a deck and imagine a horse running in your mind while you do it. Put on one of the tracks from the game to really immerse yourself, because they’re bangers. You’d get a comparable experience and save yourself some cash.

This is the kind of game that’s going to hit at an exact intersection of what an incredibly small group of people have been begging for all of their lives.