Stabbed
2023
I've been delaying writing this review for a few hours because I was busy playing through it again. I want to be critical and say that it doesn't need to exist (which it doesn't, really), or say that it's a 9/10 due to some aspects that are lesser than the original, but nah, fuck it. It's still RE4, and it's still great.
I guess I'll start with my short list of complaints, which are more like nitpicks, really. The RE2make style aiming is a great way to mimic the classic tank controls, but it does feel a bit restrictive at times, leading to more than a few scenarios of getting hit when you didn't need to, due to having to stand near-perfectly still to aim. I do wish there was some kind of recipe for making a "knife repair kit" on the fly, because while I absolutely love the new knife system, it can be a bit strict on just how much you can use it if you're not careful. Granted, I think this is a deliberate choice, but it's just so fun to use that it's hard not to. Uhm... a couple rooms were removed that I liked from the original? Does kind of bum me out, but not nearly enough for it to matter. Legitimately, maybe my biggest and most wholehearted complaint for this remake is that suplexes no longer explode cultists' heads. Your kicks still explode heads, why not your suplexes???
Nah, I can't do this anymore. Making a remake, as much as some overly critical gamers might disagree with me, is not easy. You change too much, you have people saying it's not the same game. You change too little, you have even more people wondering why it was made. With such a delicate balance in mind, remaking a game like Resident Evil 4 should be like walking a razor's edge; questionable and moderately concerning to everyone watching, even your biggest fans. Capcom, being Capcom, decided to start breakdancing on the razor. Not only do they perfectly understand what made the original so beloved and able to withstand the test of time, they were brave enough to change things up to keep it fresh and prevent it from being a 1:1 remake. Certain sequences are redone, boss fights are added onto while still retaining their original feel, and even the characters have had a good level of polish to them, while still keeping great care to not deviate from their original versions. They didn't make a game that held hands and appealed only to new players, and they didn't make a game mired in nostalgia and self-references that appealed to veterans, they made a game that anyone can pick up and feel like it was their first time playing RE4.
It's always been very hard for me to describe why RE4 works, why it's such a great game, and unfortunately that difficulty has stuck with me, but throughout my entire time playing this, I was constantly shocked at how little I was thinking "the original did this better" or "I don't like this change". Hell, most of the times I did think that were for a line delivery that was less cheesy than I had wished, which of course makes sense for the REmakes; the perfect balance of serious and cheese. Leon is grittier and less goofier here, but still knows how to show off and crack some great action movie one-liners. Salazar is played a bit more straight, but is still just as absurd and sneering as his original. Granted, I do miss hearing "MEESTAR KENNEDYYYYYY", but the new version is certainly not a bad replacement. It's more realistic, sure, but not soulless in the slightest. The exact same sentiment stands for the visuals, as well. I feel like too many critical gamers have the belief that photorealism = soullessness, and while I get why such a belief exists, I can't think of a worse game to apply it to than this. It is still just as stylized as the original, with characters all looking incredibly distinct and memorable; not even characters, your guns all look really unique, the different areas do, even basic props still have a very video game-y feel to them while looking fantastic doing so.
Yeah, man, I don't know what else to write here. I've been up all night playing this, and this is just my scribbled out rambling thoughts so I can get back to playing it more. I will leave on a very important thought: I do not think this is better than the original. Similarly, I don't think it's worse, either. I think they are both exceptional action-horror games that have their own great strengths and minor weaknesses. I will probably end up coming back to this version more simply for the gameplay, but that's not necessarily a reflection on quality. The original's level design is still unbeatable, but the new gameplay additions in this version give it an undeniable edge for me. Point is, I don't think we need to hate on one version to praise another. The original is still available to play (unlike RE2 and 3...), and I think this is a fine modern counterpart to it, rather than a full-on replacement. We can like both! Hopefully, that sentiment will begin to ring true in some of this game's detractors. An excellent remake that stands toe-to-toe with the original in nearly every front, and one I'm going to be spending a lot of time with for a very long while.
I guess I'll start with my short list of complaints, which are more like nitpicks, really. The RE2make style aiming is a great way to mimic the classic tank controls, but it does feel a bit restrictive at times, leading to more than a few scenarios of getting hit when you didn't need to, due to having to stand near-perfectly still to aim. I do wish there was some kind of recipe for making a "knife repair kit" on the fly, because while I absolutely love the new knife system, it can be a bit strict on just how much you can use it if you're not careful. Granted, I think this is a deliberate choice, but it's just so fun to use that it's hard not to. Uhm... a couple rooms were removed that I liked from the original? Does kind of bum me out, but not nearly enough for it to matter. Legitimately, maybe my biggest and most wholehearted complaint for this remake is that suplexes no longer explode cultists' heads. Your kicks still explode heads, why not your suplexes???
Nah, I can't do this anymore. Making a remake, as much as some overly critical gamers might disagree with me, is not easy. You change too much, you have people saying it's not the same game. You change too little, you have even more people wondering why it was made. With such a delicate balance in mind, remaking a game like Resident Evil 4 should be like walking a razor's edge; questionable and moderately concerning to everyone watching, even your biggest fans. Capcom, being Capcom, decided to start breakdancing on the razor. Not only do they perfectly understand what made the original so beloved and able to withstand the test of time, they were brave enough to change things up to keep it fresh and prevent it from being a 1:1 remake. Certain sequences are redone, boss fights are added onto while still retaining their original feel, and even the characters have had a good level of polish to them, while still keeping great care to not deviate from their original versions. They didn't make a game that held hands and appealed only to new players, and they didn't make a game mired in nostalgia and self-references that appealed to veterans, they made a game that anyone can pick up and feel like it was their first time playing RE4.
It's always been very hard for me to describe why RE4 works, why it's such a great game, and unfortunately that difficulty has stuck with me, but throughout my entire time playing this, I was constantly shocked at how little I was thinking "the original did this better" or "I don't like this change". Hell, most of the times I did think that were for a line delivery that was less cheesy than I had wished, which of course makes sense for the REmakes; the perfect balance of serious and cheese. Leon is grittier and less goofier here, but still knows how to show off and crack some great action movie one-liners. Salazar is played a bit more straight, but is still just as absurd and sneering as his original. Granted, I do miss hearing "MEESTAR KENNEDYYYYYY", but the new version is certainly not a bad replacement. It's more realistic, sure, but not soulless in the slightest. The exact same sentiment stands for the visuals, as well. I feel like too many critical gamers have the belief that photorealism = soullessness, and while I get why such a belief exists, I can't think of a worse game to apply it to than this. It is still just as stylized as the original, with characters all looking incredibly distinct and memorable; not even characters, your guns all look really unique, the different areas do, even basic props still have a very video game-y feel to them while looking fantastic doing so.
Yeah, man, I don't know what else to write here. I've been up all night playing this, and this is just my scribbled out rambling thoughts so I can get back to playing it more. I will leave on a very important thought: I do not think this is better than the original. Similarly, I don't think it's worse, either. I think they are both exceptional action-horror games that have their own great strengths and minor weaknesses. I will probably end up coming back to this version more simply for the gameplay, but that's not necessarily a reflection on quality. The original's level design is still unbeatable, but the new gameplay additions in this version give it an undeniable edge for me. Point is, I don't think we need to hate on one version to praise another. The original is still available to play (unlike RE2 and 3...), and I think this is a fine modern counterpart to it, rather than a full-on replacement. We can like both! Hopefully, that sentiment will begin to ring true in some of this game's detractors. An excellent remake that stands toe-to-toe with the original in nearly every front, and one I'm going to be spending a lot of time with for a very long while.
This is a very uneven game. There are some parts of it that are my favorite parts of the whole series, and some that make me not want to ever replay this.
The game's biggest sin is how strict it is about when and where you can warp. It puts a lot of arbitrary limits that don't actually affect the world or storytelling that much, and just make things feel like a hassle of constantly asking "can i warp yet" until the game finally says yes. The in-between sections, where you're outside of temples, can be total slogs sometimes, especially towards the back half of the game. So much needless backtracking and fetching, made worse by the again draconic warping. This isn't too major of a complaint, since you don't use her that much, but holy god above are the horse controls ever awful. Extremely clunky and unresponsive, I don't know how an N64 game got it right while this completely fumbled the ball.
All that aside, however, this is the most fun I've had with this series in a long time. Midna is such a wonderful companion; her dialogue is delightfully spunky, she's actually useful both in the story and in gameplay (unlike near every one of her contemporaries in the series), and she has some shockingly compelling character growth for one of these games. The combat is ridiculously fun, easily the best in the series, it's super nuanced and it allows you to pull off cool combos and finishers rather than the typical "block, hit, block, hit" affair. My favorite part of the game by far, though, is the temples. I know a lot of people complain that they're too long, and while I agree, that's personally a plus. I love how atmospheric and labyrinthine they can feel, like you really are an adventurer lost in some ancient structure. Even outside of that, they feel much more unique in this, with some pretty interesting concepts that are executed really well. Also, the art style. Even the people who don't like this game have quietly applauded it, and for good reason. Everything has such a carved, abstract look to it that makes certain designs really pop out and leaves nothing looking bland or uninteresting; even the most basic of enemies are memorable just because of how they look in this style. I wanted to mention this but didn't know where to put it, but I feel like this is the true sequel to Ocarina of Time. I can't really place why, but a lot of this game has a vibe of taking place long after it, and this Link pulls upon the power of Ocarina Link. It's a really, really interesting vibe that makes me love the game even more.
All told, this is a great game with some soaring highs and some screeching lows. It definitely feels more subjective than other games in the series, I see some people praise the aspects that others criticize. Me personally, I'd consider myself a fan of it, even with its flaws. Its length will prevent me from coming back to it too often, but I still had a really fun time with it, and I definitely recommend it.
The game's biggest sin is how strict it is about when and where you can warp. It puts a lot of arbitrary limits that don't actually affect the world or storytelling that much, and just make things feel like a hassle of constantly asking "can i warp yet" until the game finally says yes. The in-between sections, where you're outside of temples, can be total slogs sometimes, especially towards the back half of the game. So much needless backtracking and fetching, made worse by the again draconic warping. This isn't too major of a complaint, since you don't use her that much, but holy god above are the horse controls ever awful. Extremely clunky and unresponsive, I don't know how an N64 game got it right while this completely fumbled the ball.
All that aside, however, this is the most fun I've had with this series in a long time. Midna is such a wonderful companion; her dialogue is delightfully spunky, she's actually useful both in the story and in gameplay (unlike near every one of her contemporaries in the series), and she has some shockingly compelling character growth for one of these games. The combat is ridiculously fun, easily the best in the series, it's super nuanced and it allows you to pull off cool combos and finishers rather than the typical "block, hit, block, hit" affair. My favorite part of the game by far, though, is the temples. I know a lot of people complain that they're too long, and while I agree, that's personally a plus. I love how atmospheric and labyrinthine they can feel, like you really are an adventurer lost in some ancient structure. Even outside of that, they feel much more unique in this, with some pretty interesting concepts that are executed really well. Also, the art style. Even the people who don't like this game have quietly applauded it, and for good reason. Everything has such a carved, abstract look to it that makes certain designs really pop out and leaves nothing looking bland or uninteresting; even the most basic of enemies are memorable just because of how they look in this style. I wanted to mention this but didn't know where to put it, but I feel like this is the true sequel to Ocarina of Time. I can't really place why, but a lot of this game has a vibe of taking place long after it, and this Link pulls upon the power of Ocarina Link. It's a really, really interesting vibe that makes me love the game even more.
All told, this is a great game with some soaring highs and some screeching lows. It definitely feels more subjective than other games in the series, I see some people praise the aspects that others criticize. Me personally, I'd consider myself a fan of it, even with its flaws. Its length will prevent me from coming back to it too often, but I still had a really fun time with it, and I definitely recommend it.
1999
It's time for me to face the music.
I decided to replay this game for the first time in almost a decade, successfully aiming to get a true 101% completion, colored bananas and all. This game really means a lot to me; it's the first game I remember really getting into, I have a ton of vivid childhood memories of going through it at various ages and learning more and more about it, it's partially responsible for making me a furry, and I've always been ready to come up to bat to defend it from the naysayers. Sure, it's dated, but it's still good, right? ... right?
It's really hard to tackle the many issues this game has, so to get it out of the way, I'll talk about the good. As to be expected from Rare, it's incredibly charming. All the characters are so vivid and full of personality, from idle animations to falling screams to their weapon choices, everything really sticks with you and makes you smile throughout the entire game. The art style is very fun, managing to create such colorful and varied scenery with the N64's limited ability. Although, hands down, the best aspect of this game might be its sound design. Grant Kirkhope is one of the true gaming composing legends, and he once again proves it in this game. All the sound effects are so memorable and playful, and the music consistently goes crazy hard, especially the boss themes. The gameplay, while repetitive, does have some really fun moments; I love all the minecart sequences, some of the puzzles are really clever, and in general the levels are surprisingly atmospheric and rich for such a silly game. However, cracks are going to show if you stay in these levels for long periods.
There are three major complaints I see towards this game: #1 is that there's too many collectibles, #2 is that it's too segmented, and #3 is that it relies on mini-games too much. I would like to actually defend the first point, I think the amount of collectibles works perfectly from a level-to-level basis and really never feels like it's overbearing, unless including all colored bananas. 5 Golden Bananas for each Kong (which is really 4 + finding an enemy), 5 Banana Medals, 2 Banana Fairies, and a Battle Crown. Sure, it sounds like a lot when you write it down like that, but it flows fine in-game and doesn't leave too many sloggish moments. However, complaint #2 is not something I can defend at all. The game is too segmented. Full stop.
Having a game be linear and segmented is not necessarily a bad thing, e.g. Ocarina of Time, but the problem in DK64 arises from the unbelievable level of backtracking that you have to do if you plan on collecting everything. There are numerous levels where teleport pads are used just to bring one Kong to a room they otherwise could not have gotten to just to shoot a balloon and gain 10 bananas. It doesn't feel fun or satisfying, it just leads to a slow trek back to a Tag Barrel to swap for the one Kong you need, teleporting to the room, shooting, and walking all the way back to continue with the level. There are also a lot of occasions of one room having to be entered and exited with multiple different Kongs, which while seeming clever at first, just leads to a very repetitive and stale experience where you go in and out and in and out and in and out of the same room with very little difference. You're not seeing 5 different rooms, you're seeing 1 room 5 times, and it gets grating. Luckily, there is a romhack that mitigates some of these issues, allowing you to swap Kongs at almost any moment, which significantly cuts down the backtracking. You would think that would be a major solution, and I will definitely admit that it helps a lot, but it still doesn't solve everything, specifically...
Complaint #3, too many mini-games. Yes, yes, yes, and yes. I don't remember the exact number, but I believe the total amount of Golden Bananas obtained solely through Bonus Barrels is over 25, if not over 30. That's not a small amount, especially when you consider that some mini-games are only used once, which means the rest are repeated over and over. Some are fine (Kremling Kosh), some are tedious (Stealthy Snoop), and some make you want to crush your controller in your hands (Minecart Mayhem). Overall, it's a lot more negative than positive, and you just keep seeing them, all the way to the literal end of the game, you will see mini-games. But the thing that really bothers me, the thing that really pushed me over the edge and made me realize a huge flaw in the design, is how the mini-games are used. Occasionally, it's something as simple as hitting a switch and then going into a Bonus Barrel; it's basic, sure, but that's all it needs to be. Other times, a Bonus Barrel is used as a supplement for a regular Golden Banana for solving a puzzle. Really think about this: they're giving you the opportunity to gain a Golden Banana, rather than just giving you the Banana. It sucks away so much of the enjoyment of figuring something out, having your "a-ha!", and feeling the satisfaction of hearing the success sound effect, just to see a Bonus Barrel pop up. If I wasn't going for 100%, I would've absolutely skipped most of them.
That's actually something I felt during a lot of this playthrough, and I feel an accurate summation of the game's flawed design. There is some great stuff in here, and the layouts of the levels themselves is pretty consistently good, but so much of it is bogged down by how tedious and grindy 100%'ing it is. Normally that wouldn't be an issue, but it's a collect-a-thon game, a genre that actively encourages you to go out of your way and search every nook and cranny to get every possible thing you can. Unfortunately, doing that here leads to an actively worse experience than if you were to just play the game "normally" and be willing to give up when a Banana just gets too frustrating to unlock, if you're okay with not having every number be maxed out, every slot filled. That's the biggest takeaway I can give for this game: it's a collect-a-thon where the best possible way to play is to not collect everything.
Do I still like this game? Yes, I do. It still means a lot to me and I really can't even say it's terrible, but it is horribly flawed and its dated design will most likely only continue to age worse and worse as time goes on. Who knows, maybe there will be a collect-a-thon revival in a few years and people will come back to love this. Would be cool. For now, though, it remains as a massive guilty pleasure for my inner kid, while the adult on the outside is suffering headaches from doubling back for the 5th time looking for the last green banana bunch.
I decided to replay this game for the first time in almost a decade, successfully aiming to get a true 101% completion, colored bananas and all. This game really means a lot to me; it's the first game I remember really getting into, I have a ton of vivid childhood memories of going through it at various ages and learning more and more about it, it's partially responsible for making me a furry, and I've always been ready to come up to bat to defend it from the naysayers. Sure, it's dated, but it's still good, right? ... right?
It's really hard to tackle the many issues this game has, so to get it out of the way, I'll talk about the good. As to be expected from Rare, it's incredibly charming. All the characters are so vivid and full of personality, from idle animations to falling screams to their weapon choices, everything really sticks with you and makes you smile throughout the entire game. The art style is very fun, managing to create such colorful and varied scenery with the N64's limited ability. Although, hands down, the best aspect of this game might be its sound design. Grant Kirkhope is one of the true gaming composing legends, and he once again proves it in this game. All the sound effects are so memorable and playful, and the music consistently goes crazy hard, especially the boss themes. The gameplay, while repetitive, does have some really fun moments; I love all the minecart sequences, some of the puzzles are really clever, and in general the levels are surprisingly atmospheric and rich for such a silly game. However, cracks are going to show if you stay in these levels for long periods.
There are three major complaints I see towards this game: #1 is that there's too many collectibles, #2 is that it's too segmented, and #3 is that it relies on mini-games too much. I would like to actually defend the first point, I think the amount of collectibles works perfectly from a level-to-level basis and really never feels like it's overbearing, unless including all colored bananas. 5 Golden Bananas for each Kong (which is really 4 + finding an enemy), 5 Banana Medals, 2 Banana Fairies, and a Battle Crown. Sure, it sounds like a lot when you write it down like that, but it flows fine in-game and doesn't leave too many sloggish moments. However, complaint #2 is not something I can defend at all. The game is too segmented. Full stop.
Having a game be linear and segmented is not necessarily a bad thing, e.g. Ocarina of Time, but the problem in DK64 arises from the unbelievable level of backtracking that you have to do if you plan on collecting everything. There are numerous levels where teleport pads are used just to bring one Kong to a room they otherwise could not have gotten to just to shoot a balloon and gain 10 bananas. It doesn't feel fun or satisfying, it just leads to a slow trek back to a Tag Barrel to swap for the one Kong you need, teleporting to the room, shooting, and walking all the way back to continue with the level. There are also a lot of occasions of one room having to be entered and exited with multiple different Kongs, which while seeming clever at first, just leads to a very repetitive and stale experience where you go in and out and in and out and in and out of the same room with very little difference. You're not seeing 5 different rooms, you're seeing 1 room 5 times, and it gets grating. Luckily, there is a romhack that mitigates some of these issues, allowing you to swap Kongs at almost any moment, which significantly cuts down the backtracking. You would think that would be a major solution, and I will definitely admit that it helps a lot, but it still doesn't solve everything, specifically...
Complaint #3, too many mini-games. Yes, yes, yes, and yes. I don't remember the exact number, but I believe the total amount of Golden Bananas obtained solely through Bonus Barrels is over 25, if not over 30. That's not a small amount, especially when you consider that some mini-games are only used once, which means the rest are repeated over and over. Some are fine (Kremling Kosh), some are tedious (Stealthy Snoop), and some make you want to crush your controller in your hands (Minecart Mayhem). Overall, it's a lot more negative than positive, and you just keep seeing them, all the way to the literal end of the game, you will see mini-games. But the thing that really bothers me, the thing that really pushed me over the edge and made me realize a huge flaw in the design, is how the mini-games are used. Occasionally, it's something as simple as hitting a switch and then going into a Bonus Barrel; it's basic, sure, but that's all it needs to be. Other times, a Bonus Barrel is used as a supplement for a regular Golden Banana for solving a puzzle. Really think about this: they're giving you the opportunity to gain a Golden Banana, rather than just giving you the Banana. It sucks away so much of the enjoyment of figuring something out, having your "a-ha!", and feeling the satisfaction of hearing the success sound effect, just to see a Bonus Barrel pop up. If I wasn't going for 100%, I would've absolutely skipped most of them.
That's actually something I felt during a lot of this playthrough, and I feel an accurate summation of the game's flawed design. There is some great stuff in here, and the layouts of the levels themselves is pretty consistently good, but so much of it is bogged down by how tedious and grindy 100%'ing it is. Normally that wouldn't be an issue, but it's a collect-a-thon game, a genre that actively encourages you to go out of your way and search every nook and cranny to get every possible thing you can. Unfortunately, doing that here leads to an actively worse experience than if you were to just play the game "normally" and be willing to give up when a Banana just gets too frustrating to unlock, if you're okay with not having every number be maxed out, every slot filled. That's the biggest takeaway I can give for this game: it's a collect-a-thon where the best possible way to play is to not collect everything.
Do I still like this game? Yes, I do. It still means a lot to me and I really can't even say it's terrible, but it is horribly flawed and its dated design will most likely only continue to age worse and worse as time goes on. Who knows, maybe there will be a collect-a-thon revival in a few years and people will come back to love this. Would be cool. For now, though, it remains as a massive guilty pleasure for my inner kid, while the adult on the outside is suffering headaches from doubling back for the 5th time looking for the last green banana bunch.
As much as I want to give this a higher rating due to its charm, there are some elements that really hold it back for me. The bosses aren't that great, sailing is a neat concept that grows stale pretty quickly, and the last third of the game (Triforce Hunt + Ganon's Tower) completely drops the ball and grinds progression to a halt. In terms of the actual "Zelda" aspects of the game, it's lacking. But, the temples are all actually really solid, the art style is iconic and super fun to see, the music is fantastic and my 2nd favorite Zelda soundtrack (behind Majora's), the lore and Ocarina callbacks are surprisingly intriguing and captivating, and the characters are all very sweet and loveable, even ones you don't see very often. The critical half of me and the loving half of me are fighting hard over this game, but in the end, I think the loving half wins just a bit. This game's adorable, man. Even if its adventure aspects are somewhat uneven, the world itself is an absolute delight, and make up for the undercooked parts.
2022
It feels incredibly bizarre to finally complete my arc, but yeah, I love this game. I made a promise around 8 months ago that once the endgame was better handled that I'd gladly come back and give this the love it deserves; I'm happy to announce that I can fulfill that promise. I don't know if it's because I spent more time exploring that I was more leveled up and had better gear, or if my time away let me ruminate on my feelings towards this game, or if even my new PC setup made it a smoother experience, but something clicked in my brain, and I'm now officially a whole-hearted fan of this game. It has its flaws, yes, and I do think that the latter parts of the game that are less exploration-heavy are weaker than the rest, but they make up for it by having excellent level design, crushingly hard boss fights, and an overall sense of brevity to a lot of the story details near the end. But, man, when you have this much great stuff in one package, I feel like it's almost nitpicking to say that one part of the game isn't as great as the rest. I don't want to copout a review, but really, there's just so much that I can't even talk about it all. I'm beyond happy to love this game now, and I can absolutely see myself sinking more and more hours into it as time goes on. I would consider this the peak of the Souls formula, even if it's not my personal favorite (nor my vote for the best), and I truly wonder how FromSoft is going to follow this up, if they even will at all. Can't wait for the DLC.
2009
I'll be fair and not score this since I didn't complete it, but even if I did want to score it, I don't know what it'd be. More than anything, this game is interesting. It's neat to kind of go back in time and see my favorite game franchise's roots, concepts that would get reused or honed in future installments, and for what it is, it is still pretty impressive just how much they got right on the first go. But I can't bring myself to keep going. The disjointed level design, mixed atmosphere (either really great or pretty flat), and overall combat jankiness make this an unenjoyable experience for me. The only reason I played the original was so that I could see its art style before going onto the remake, as I didn't want just one version to live in my mind. I don't think the remake will solve all my problems, but I have hopes it will at least feel smoother than this. At the end of the day, even if I don't like playing this game, I can really respect it and especially Miyazaki's vision.
2015
Anyone shocked at those interviews where Miyazaki talks about being a total horndog when he's developing games has very clearly never played this one.
2000
If I could describe this game in one word, it would be overstated. Not necessarily overrated, because I do think it's earned its praise, but overstated because I think people blow some of the features out of proportion. The RPG elements are really only effective in regards to your shooting, the openness is not quite as limitless as you'd expect, and I don't think this game is as "prophetic" as people say it is. I'm sure you lot all agree, but I get a special thorn in my side whenever I read a comment that says something along the likes of "this is the real world we're living in!!!!" That's not to say it's not incredibly impressive with how much it got right; aside from a certain billionaire's recent escapades with a certain social media site perfectly replicating the main antagonist, the constant paranoia and unease of a post-Patriot Act world is captured excellently to an almost unsettling degree. The miasma of disbelief whenever you talk to a new person as the game continues is a good example of the game's greatest strength: its immersion. Finding a code for a locked door by thoroughly searching a room you merely glazed over before. Talking to people to get information that contradicts what you've heard before, making you want to double-check all the facts you've been given. Listening to some banging ambient techno background music to really get yourself in that cyberpunk mindset. Despite how much Deus Ex uses these tricks, they somehow never get old, and still feel satisfying to be a part of. There's a constant feeling of everything you're doing being your way of doing things that just... really clicks with me. It's hard to explain, it just makes you feel like you're actually doing something in the world.
It has a couple hefty flaws, the biggest one being how awful the AI is. I know it was 2000, but jesus are the enemies ever inconsistent. Barrel at them down a hallway at mach 4 with a rocket launcher in your hands and they'll barely blink, accidentally drop a knife 3 rooms away from them and they'll hone in on your location like they had wallhacks. The combat itself isn't terribly great, with unupgraded weapons being practically impossible to use, though it does make it more satisfying when you finally get the skill points to properly use a gun you want. Not that any of that even matters because combat is effectively disabled about a third through the game with a saddeningly powerful melee weapon that renders pretty much every bullet weapon completely obsolete. In general, this game's strengths very clearly lie in its world, freedom, and immersion rather than its combat, and it really shows in some areas.
Overall, I enjoyed playing this. Some areas were a little too grindy (the final boss battle really leaves a bad taste in your mouth), but nearly all of the levels in this are phenomenally designed, especially near the back half of the game. I don't see myself coming back for a replay any time soon, but I can definitely see it happen in the future when I need a refresher on how immersive games can really be. JC Denton, my beloved.
It has a couple hefty flaws, the biggest one being how awful the AI is. I know it was 2000, but jesus are the enemies ever inconsistent. Barrel at them down a hallway at mach 4 with a rocket launcher in your hands and they'll barely blink, accidentally drop a knife 3 rooms away from them and they'll hone in on your location like they had wallhacks. The combat itself isn't terribly great, with unupgraded weapons being practically impossible to use, though it does make it more satisfying when you finally get the skill points to properly use a gun you want. Not that any of that even matters because combat is effectively disabled about a third through the game with a saddeningly powerful melee weapon that renders pretty much every bullet weapon completely obsolete. In general, this game's strengths very clearly lie in its world, freedom, and immersion rather than its combat, and it really shows in some areas.
Overall, I enjoyed playing this. Some areas were a little too grindy (the final boss battle really leaves a bad taste in your mouth), but nearly all of the levels in this are phenomenally designed, especially near the back half of the game. I don't see myself coming back for a replay any time soon, but I can definitely see it happen in the future when I need a refresher on how immersive games can really be. JC Denton, my beloved.
2011
The height of the FromSoft rule: The bad parts are there, but the good parts are so good that you can ignore the bad parts. Sure, the formula for bosses has only improved with time and has reached new heights with Bloodborne and Dark Souls III. Sure, the build variety in Dark Souls II and Elden Ring is a lot more diverse and open. Sure, this game plays much, much slower than what came after it, to the point of it being considered one of the easiest entries in the series solely for how easy its combat can be. I'll even acquiesce to the public opinion and say that maybe the second half isn't as good as the first half, both in terms of level design and bosses. By all technical accounts, this game is pretty much outmoded and surpassed by its peers, except for one detail: the heart. At the end of the day, I really don't care how this plays in comparison to the other games, because it just feels so good, so warm, so full of love and care for the world and the player. Thematically rich, stylistically breathtaking, intricately built, very clearly made by special people who wanted to make something beautiful. If I had to choose only one game to play for the rest of my life, it'd be this without a doubt. Next time I replay it, I'll probably have even more to say on it. It's the well that never runs dry.
This game took me a year and a half over 5 different attempts to finally click, and my god, did it click. One of the most satisfying experiences in all of gaming for me was learning how to fight, what prosthetics to use and when, how enemies react to certain attacks and how to deflect their counters, it is so meticulously crafted to the point where despite getting all achievements and going all the way up to NG+4, I still feel like I'm just starting to understand it all. From Software has never accomplished as balanced a feeling of reward and punishment in their games as they have here, which is insanely high praise coming from me. A few rough edges here and there prevent me from giving it a 5, the biggest being how short the game is, but the craftsmanship and true understanding of the art of combat make this one of FS's finest titles to date. I really hope it gets more love from the company over time, though I understand not wanting to work this hard again, haha. There's a lot more I have to say on this game, but I really don't know how to, so I'll just leave it here. I'm really glad that this clicked for me, and I highly recommend everyone who doesn't think they can handle this game to keep persevering. The satisfaction of it clicking will stay with you for a long time.
2001
I mean really, have we succeeded in the field of psychological themes in video games past this point? Every single detail is so planned out despite it all feeling incredibly casual, and it all acts as a reflection of every one of the main character's subconscious. And, like, yeah, everyone has said this, but seriously, it's every detail. Corpses wearing certain clothing, certain camera angles on characters, what seem like innocuous props for a scene having perfect thematic purpose for being there, the interactions between James and the others, it all flows perfectly from one scene to the next as a downward spiral into one's own psyche. Beyond that, this game deserves all the praise in the world for handling topics like familial abuse, sexuality, bullying, suicide, and morality with more finesse than a vast majority of contemporary games claiming to do so. James, Angela, and Eddie don't feel like mouthpieces to show how "caring" the developers are, they feel like real, tangible people who are going through their own struggles the same as you. Perfect game, perfect story, perfect characters, perfect atmosphere, perfect music, passable combat, and maybe my vote for best video game ever made. It really doesn't get much better than this, man.
2009
Every bad thing you've heard about this VN is probably true. They play to tropes way too much with little payoff; what is an incredibly interesting character at times is too often used as the butt of a tsundere joke, another character makes perverted, unfunny comments, and the main character is too high on his own fumes for most of the game that he comes off as a pretentious jackass even when they're trying to not paint him as such. The dialogue is overly verbose, which could be a side effect of poor translation for all I know, but it makes for some exhausting conversations at times, and it takes an absurdly long time to get started, with the first two or three chapters being potentially grating to someone not willing to put up with the overly trope-y characters. And, while I wouldn't call it transphobic, the way it handles a certain character's gender identity is questionable at best. Now, all that aside, what's good about this game?
Literally everything else.
There's some of the most lovable and fun chemistry between all of the characters here, whether it be banter at thinking each other to be overdramatic or having to help someone understand quantum mechanics with strings of yarn. They all play an important role to the story, everyone is so essential in their own unique way, even ones you never expect. There's a certain pink-haired girl who I absolutely loathed in the beginning only to find myself having incredibly strong feelings towards her situation, and even relating myself to her story. No one feels like they're there just to move the plot along, they all feel like integral parts to the overarching narrative and it's just fantastic. However, the true gem of this game, without a doubt, is its examination of time travel. It does such an amazing job at introducing scientific theories and how things function in-universe at the perfect intervals in the story so that it makes sense when things start getting more and more complicated; by the end of the game, half of the dialogue is just science stuff, yet I was nodding along, not once thinking it didn't make sense. All the rules are crystal clear, there never feels like any huge contradictions or shoddy logic; even if something doesn't immediately make sense to you, the game will help you understand it and presents it to you in a way that will wrap your head around it. Beyond just the science, it's also an incredibly intriguing look at fatalism, changing the past, the butterfly effect, playing god, the dangers of losing our humanity, and so much else that makes the time traveling much, much more than just a plot device.
I was going to give this a 4/5 due to my aforementioned issues with pacing and tropes, but the final chapter really elevated my feelings for the game and left with a beautiful message that rendered some of my previous concerns completely obsolete. It's some of the most compelling sci-fi storytelling you'll get your hands on, and I really recommend it to anyone interested in a humanistic approach to the wonders of science.
El Psy Kongroo.
Literally everything else.
There's some of the most lovable and fun chemistry between all of the characters here, whether it be banter at thinking each other to be overdramatic or having to help someone understand quantum mechanics with strings of yarn. They all play an important role to the story, everyone is so essential in their own unique way, even ones you never expect. There's a certain pink-haired girl who I absolutely loathed in the beginning only to find myself having incredibly strong feelings towards her situation, and even relating myself to her story. No one feels like they're there just to move the plot along, they all feel like integral parts to the overarching narrative and it's just fantastic. However, the true gem of this game, without a doubt, is its examination of time travel. It does such an amazing job at introducing scientific theories and how things function in-universe at the perfect intervals in the story so that it makes sense when things start getting more and more complicated; by the end of the game, half of the dialogue is just science stuff, yet I was nodding along, not once thinking it didn't make sense. All the rules are crystal clear, there never feels like any huge contradictions or shoddy logic; even if something doesn't immediately make sense to you, the game will help you understand it and presents it to you in a way that will wrap your head around it. Beyond just the science, it's also an incredibly intriguing look at fatalism, changing the past, the butterfly effect, playing god, the dangers of losing our humanity, and so much else that makes the time traveling much, much more than just a plot device.
I was going to give this a 4/5 due to my aforementioned issues with pacing and tropes, but the final chapter really elevated my feelings for the game and left with a beautiful message that rendered some of my previous concerns completely obsolete. It's some of the most compelling sci-fi storytelling you'll get your hands on, and I really recommend it to anyone interested in a humanistic approach to the wonders of science.
El Psy Kongroo.
2007
Short, sweet, and leaves a good taste in your mouth after you're finished, but lacking in substance. As someone who played the second game first (child me didn't understand what sequels were), this game has always been overshadowed by it, but coming back to it, I think there definitely is reason why it garnered the respect it did. The slow peeling back of the faceless, clinical "tests" as the game reaches a climax is very well done, and the atmosphere is some of the strongest in any Valve game; as my friend put it, it feels like you're the last living thing on the planet at some parts. There's certainly no real dip in quality, the puzzles are very consistent throughout, but I really feel like a mixture of time and the sequel have not been too kind to this game. If it were still 2007, this would be an easy 5/5 for me. For now, it's a solid 4/5 with a 5/5 in the atmosphere department.
1994
"i don like this :(" - what my friend wanted me to make my review
Sorry, Goose, but I actually have a lot more to say about this. After giving up on this and beating MOTHER 3 and 1, I decided it was only fair to come back and finish it. I came in with a fresh mind, and was really hoping I would like it as much as everyone else does, but sadly, that just isn't the case.
I'll start with the positives: it's very charming! The reputation it's built up for being very quirky and funny is definitely deserved, there were double-digits times I found myself laughing at a gag or throwaway line, and I think more jokes landed than flopped, which is impressive considering just how many there are. The art style is very striking and creative, it makes the little details like the towns' buildings more memorable and the party members' designs simply iconic, though the peak is the final boss without a doubt. While I personally don't like the SNES soundfont, I do like a majority of the songs from the MOTHER 1 soundtrack that were touched up (e.g. the shop theme) and the two final boss themes are just fantastic, the last being one of my favorite songs in video games. However, that's about all I can say for positives, although the charm is definitely a major part of the game.
The biggest negative I have is the gameplay. Underneath its silly, surreal syrup of style, the RPG that lies at the core is pretty weak. The rolling numbers are a nice addition, but I find that a majority of the time they roll too quickly to the point of being useless, with party members already dead before the healing text box popped up. Too many fights are just A-button mashing with next to zero actual strategizing, ESPECIALLY once Jeff gets his late game bottle rocket collection. Even when you can't bash an enemy to death, I found that Paula and Poo's (and, when necessary, Ness's) PSI attacks rendered most foes dead within the first round, and even if it went on longer, it felt like more of a nuisance than a real fight. Not only the gameplay, but I find that the characters and world are much less interesting than either of its two sibling games, and even on its own, it lacks in that department. What is Paula's character outside of "she's nice to Ness and has psychic powers"? I know it's a lot to ask a SNES-era game to have incredibly compelling characters, but when a major ending plot point is reliant on the fact that you care about them, it feels cheap to ask that when you haven't given me enough to care about. As for the world itself, I just don't find it particularly interesting. It's neat to look at it now, nearly 30 years later, and see just how much of it is a time capsule of an exact era in American culture, but that's about all I feel, the world feels much more disjointed and segmented than I'd want it to.
Rating this game is admittedly very difficult for me, because I don't feel like a 5/10 is correct, but I don't know what to rate it. I think, for what it's worth, it's aged decently. Sure, the menuing is painfully clunky and the console lag can be insufferable at times, but it's not terrible and still very much playable, though I think the amount of slow-scrolling text boxes during battle can certainly start to wear one's patience thin. The gameplay is not great, but the style and vibe of the game definitely wins me over and is what kept me playing until the end, even if the ending was more of a let down for me than anything. I feel near equal parts positive and negative things about this game, and it evens out to a resounding shrug of an experience. I'm glad I played it, and I think its influence on the world of gaming has been more of a good thing than a bad thing, but it's not one I can see myself coming back to, nor is it one I can even see myself recommending.
Sorry, Goose, but I actually have a lot more to say about this. After giving up on this and beating MOTHER 3 and 1, I decided it was only fair to come back and finish it. I came in with a fresh mind, and was really hoping I would like it as much as everyone else does, but sadly, that just isn't the case.
I'll start with the positives: it's very charming! The reputation it's built up for being very quirky and funny is definitely deserved, there were double-digits times I found myself laughing at a gag or throwaway line, and I think more jokes landed than flopped, which is impressive considering just how many there are. The art style is very striking and creative, it makes the little details like the towns' buildings more memorable and the party members' designs simply iconic, though the peak is the final boss without a doubt. While I personally don't like the SNES soundfont, I do like a majority of the songs from the MOTHER 1 soundtrack that were touched up (e.g. the shop theme) and the two final boss themes are just fantastic, the last being one of my favorite songs in video games. However, that's about all I can say for positives, although the charm is definitely a major part of the game.
The biggest negative I have is the gameplay. Underneath its silly, surreal syrup of style, the RPG that lies at the core is pretty weak. The rolling numbers are a nice addition, but I find that a majority of the time they roll too quickly to the point of being useless, with party members already dead before the healing text box popped up. Too many fights are just A-button mashing with next to zero actual strategizing, ESPECIALLY once Jeff gets his late game bottle rocket collection. Even when you can't bash an enemy to death, I found that Paula and Poo's (and, when necessary, Ness's) PSI attacks rendered most foes dead within the first round, and even if it went on longer, it felt like more of a nuisance than a real fight. Not only the gameplay, but I find that the characters and world are much less interesting than either of its two sibling games, and even on its own, it lacks in that department. What is Paula's character outside of "she's nice to Ness and has psychic powers"? I know it's a lot to ask a SNES-era game to have incredibly compelling characters, but when a major ending plot point is reliant on the fact that you care about them, it feels cheap to ask that when you haven't given me enough to care about. As for the world itself, I just don't find it particularly interesting. It's neat to look at it now, nearly 30 years later, and see just how much of it is a time capsule of an exact era in American culture, but that's about all I feel, the world feels much more disjointed and segmented than I'd want it to.
Rating this game is admittedly very difficult for me, because I don't feel like a 5/10 is correct, but I don't know what to rate it. I think, for what it's worth, it's aged decently. Sure, the menuing is painfully clunky and the console lag can be insufferable at times, but it's not terrible and still very much playable, though I think the amount of slow-scrolling text boxes during battle can certainly start to wear one's patience thin. The gameplay is not great, but the style and vibe of the game definitely wins me over and is what kept me playing until the end, even if the ending was more of a let down for me than anything. I feel near equal parts positive and negative things about this game, and it evens out to a resounding shrug of an experience. I'm glad I played it, and I think its influence on the world of gaming has been more of a good thing than a bad thing, but it's not one I can see myself coming back to, nor is it one I can even see myself recommending.
Rating this is kind of impossible because I really didn't play the same game everyone else did. I abused the shit out of my emulator's rewind and turbo options, ESPECIALLY the latter. If I didn't, I probably would've thrown in the towel about 30 minutes in. However, I credit these as a workaround to the game's poor aging, because the story at the heart of the game is incredibly compelling and kept me just interested enough to keep going. The final 15 minutes was, surprisingly, worth all of the pain of grinding and pushing through the constant encounters. I think the best summation I could give of this game is that everything you've heard about it is true. The grinding is pretty excessive, the encounters are way too frequent, and in general it feels like a dry run for Mother 2, but it is saved by having really intriguing worldbuilding and themes, an absolutely stellar soundtrack, and an impactful final boss fight that sticks with you despite its simplicity. I wouldn't recommend that you play it, maybe just watch someone else play it instead, but if you do, there are a lot of hacks to make things more enjoyable; I'd personally recommend the all-in-one Demiforce hack.
Also, Backloggd dropped the ball on this. It's called Mother. Nothing else. Don't listen to Nintendo's lies.
Also, Backloggd dropped the ball on this. It's called Mother. Nothing else. Don't listen to Nintendo's lies.