YIIK: A Postmodern RPG is an experience unlike any other. It's hard to begin to put the game into words. I think a lot of critics are quick to dismiss YIIK because of it's pretentious title, ridiculously unlikable protagonist and the ongoing controversy surrounding the game over time - some of which is justified, some of which is blown out of proportion. These things are true, unfortunately. The subtitle of YIIK is ridiculously pretentious, and regardless of intent the protagonist, Alex, is deeply, deeply unlikable. But what more is there to YIIK? I think what is here conveys more than a failed pretentious JRPG-wannabe meme game. This game IS saying things, and I think considering just how much of a process this game was for the developers - who saw their own mother die during production of the game - it would be disrespectful for me to disregard their intentions and attempts at making meaning through the gameplay and the story. So, forgive me if this is a long review beforehand.

YIIK focuses on a year in the life of Alex Eggleston, the most average young adult white dude to have probably ever been conceived. We all know someone like Alex YIIK (which is what I will be calling him in this review.) Vapid, yet confrontational. Smug, yet substanceless. Every human flaw you can imagine, Alex YIIK has it in droves, and he doesn't really have much in the way of positive attributes to like him. Why do people... LIKE Alex YIIK? What are his positive traits? He's never succeeded at anything worthwhile, he's not kind or big-hearted, he's not particularly smart or attractive. As a result, Alex YIIK, our protagonist, is the walking flaw. He's an amalgamation of everything that could possibly be wrong with a human being. The creators know it, and they make it very clear after a while. He's a pretentious little brat, who thinks the world revolves around him.

You might think it's a bit weird that I've gone on to talk about this first before talking about the gameplay, or the overall plot - but it's important to understand that if Alex YIIK does not work, this game does not work. If this game cannot make Alex YIIK into a deep and substantial character with a strong role in the story then it's game over. The whole game revolves around him. A lengthy amount of what I'm saying is going to be about him.
So, how does Alex YIIK play out? How does he fit into the story? ... Good question.

The idea of the story presented by YIIK is that Alex YIIK is explicitly a bad person. All of these negative traits are not a byproduct of poor writing, they are intentional. So, the story necessitates that he grow and become a kind person who cares for his friends and appreciates the world around them. It's a simple moral. Alex YIIK starts off the story by being a bad friend, bullying Rory, and berating his mother for not doing good enough. At the end of the story, YIIK is clear - Alex YIIK is a terrible guy, and he has hurt all of his friends and family. He knows it, and he makes a vow to change. So, we have an arc. How does the story actually engage with this, and importantly, can a story like this work in the first place?

You'll quickly notice that every question you can ask of YIIK leads to another one. This is because YIIK is very poorly written. It's an undeniable feature of the game that no amount of reduced monologue options (yes, that is a real feature) can fix. YIIK is convoluted, often needlessly, requiring you to interrogate every aspect of the text with a fervor to understand basic things about it. Despite what detractors would have you believe, this has nothing to do with postmodernism. It has everything to do with incompetence. Characters recite wikipedia articles to Alex YIIK about the mechanisms of metaphysics, Alex YIIK goes on borderline nonsensical tirades to the audience about whatever the hell he feels like and the two endings presented are incredibly abstract in an uninteresting and somewhat lazy way. So, decoding Alex YIIK and the story itself is needlessly hard, because YIIK tells its story very poorly. Again, the memes are right, and funny. "Vibrating With Motion" is more than just a meme, it's an indicator as to how the game's writing fails.

However, despite this, I think Alex YIIK does KIND OF work as a protagonist. His unlikability is undeniable, but the story does have a few very compelling ideas working with him.
A) Alex YIIK's unlikability is very, very well established. The story constructs his role well, and a lot of his internal monologues provide this increasingly frustrating sense that Alex YIIK knows what he is doing is wrong, but that his arrogance won't let him stop. It is genuinely harsh and sometimes almost personal to see him be a fuck-up. They wrote the most unlikable man in the world, to great effect.
B) The idea that Alex YIIK REALLY IS THE CENTER OF THE UNIVERSE is deeply, deeply fascinating. The world does revolve around Alex YIIK, and it's something that Alex YIIK explicitly rejects. But really, all he is rejecting is the responsibility and the acknowledgement that comes with. He was fine with acting like he was the only one who mattered until responsibility came with it. So, when he faces the facts? When he realises that his presence in the universe is what will tear everything apart, and then he sees it happen? That's incredibly emotionally damaging for Alex YIIK, and does GENUINELY humble him. I like that. It's a good subversion.
C) The game essentially ends on the twist that you, the player, are the Alex YIIK of your own dimension. That sounds... ridiculous. That's because it is. It does really add to him, though. Alex YIIK goes from an unlikable bastard, to an uncomfortable mirror. Somewhere, in another universe, you could have been Alex YIIK. Exactly like him. Earlier, I mentioned that we all know someone like Alex YIIK. That someone is us. Alex YIIK has flaws so numerous, inevitably, we will see that flaw in ourselves. This is really cool. I think it explains why Alex YIIK is so viscerally hateable. It's like looking into one of those mirrors that makes you look fatter than you really are. Everybody laughs at a hall of mirrors, but if you're afraid of being fat, seeing that in the mirror can be quite impactful and scary. Alex YIIK is that for every flaw a person can have. That's scary, and quite powerful. I like that a lot.
D) The ending of the game does hold Alex YIIK accountable for being such an asshole. I have my issues with the ending but Alex YIIK doesn't get off scot-free. Just the opposite, he gets punished extensively.

That's what I like about Alex YIIK. I think he's a very interesting character when viewed through these specific ideas. However, uh, while I think these ideas really work, there is a story going on around him that he does not work in.

Alex YIIK has friends who seem to forgive him for everything and treat him like some kind of saint. Why would he even have friends who care about him? He's done nothing to earn their respect and friendship. He has no redeeming qualities at all. Yet, even when he shows basically no reform and offers weak-willed half hearted apologies, everybody falls to their feet to pray for him. This is really stupid. The rest of the cast will consistently break character just to puff Alex up. It just runs in contrast to the game's themes. Alex YIIK has to care for his friends, be a nice guy and do for them what they do for him - he can't be totally unlikable all the time and have people fall at his feet. This happens for the whole story, to the point where it gets all of his friends killed. This is what really instigates his change, but this is only for the final few hours of the game. They sell it, but it's already too late. Alex YIIK does go through development before that point, becoming marginally nicer - but it's not enough of a constant change to lead to this kind of Persona 4 style friendship group that support each other all the time. Especially not when Alex YIIK can make one of the characters kill themselves. Which, disregarding the obvious tastelessness on display, is absolutely terrible - and is tolerated by the main cast. It just doesn't work out. Alex YIIK develops in a way that feels totally disconnected from the rest of the cast, and it seriously kills the theme of the game.

In summary on Alex YIIK himself before I talk briefly about the rest of the cast, Alex YIIK simultaneously works, and yet, he doesn't. He's a great character concept carrying poignant ideas throughout the story, even if he's written poorly - but he is in total disconnect with the world around him. This kills him as a character, and makes him feel more like he is being celebrated for being a bad person, rather than growing - which he needs to do for the story to function.

The rest of the cast are rather hit or miss. I was a really big fan of Rory and Claudio. Rory is a sweet but really depressed guy who's struggling with his mental health after the death of his sister. He doesn't know how to cope, and this has led him to the point of delusion - when he meets the cast, he almost seriously hurts them because of this delusion. This plunges him into depression when Alex YIIK screams at him, telling him nobody cares about his dead sister. A lot of the game is helping him cope, and becoming a better and more confident person who can help others. He's sweet, and I like him. Claudio, on the other hand, is a mature black man who runs a record shop and is super into weird anime. He's really chill and respectful, and he doesn't like to lose his mind over anything. He's got a business of his own, a comfortable adult life, and he's happy that way. I like that. He's a good contrast to Alex YIIK - when he isn’t breaking his character to lick his boots. The rest of the cast suck and are boring. Most of them are just exposition dumps. Michael especially is probably the most boring fictional character ever, despite being a clear expy of Yosuke from Persona 4. I found most of them grating, with Rory and Claudio being the only major exceptions.

I still haven't talked about the gameplay yet, and it's for good reason. It REALLY sucks. Everything is based on little QTE minigames, and all of them are very unfun and repetitive. These minigames are clearly inspired by Mario and Luigi, but they lack the diversity to keep them interesting. Instead, you are doing the same QTE on loop with little to no strategy. It's just painfully boring, and that is all there is to it. Add on the uninteresting dungeons that do little of note with their puzzles as well as mind-numbing grinding requirements throughout the game, and actually playing this game is terrible. The gameplay just isn't up to par.

The music, on the other hand, is somewhat solid. It's all hit or miss with this game, but I think this soundtrack does land some good ones. Alex's theme is actually pretty good, and it makes for a good leitmotif that reappears throughout the game in various new contexts. A lot of the battle music is really awesome, and diverse, due to the huge amount of composers who worked on the game. Some of the tracks are still really bad, though. The soundtrack lacks consistency and cohesion outside of Alex's motif, which is definitely a result of numerous composers who were working on different pages. The visuals are particularly striking and memorable, too. I really liked them, they really do encapsulate post-modern visual design, conveying many emotions and scenarios through minimalism and surrealism. It's a cool visual fulfillment of post-modernism inspired by post-modern paintings and artists.

So what's left to say about YIIK? Honestly? A lot. Maybe one day I will make a full-on video essay on this behemoth. It's a complex beast, and I'm glad I sat down and really gave it a chance. However, it also really, really sucks. It sucks to see a game that I personally find myself morally agreeing with in many ways just... suck so much shit. But still, I think there is something to be learnt from this. I think just like how Alex YIIK represents our worst insecurity - YIIK itself is no different. Anybody could have made a game like YIIK - ambitious, with a lot to say, that falls short for one reason or another. I feel for the developers, because I think they had a lot of ideas and everything just kind of came crashing down on them. Their heart was in this, and so was their passion. It just hasn't born out. It can happen to anybody, it really can. I don't fault them for this game. I don’t fault Alex YIIK entirely, either. Because in both cases, it really can happen to anybody. We’ve all got a bit of Alex YIIK in us - and we all have the potential in us to make something like YIIK, for better or for worse. This isn't just a "quirky Earthbound-inspired RPG,” like many people insist that it is. This is a uniquely bad game - something that could only come from passion, and love.

So, YIIK: A Postmodern RPG is bad. Really bad, actually. But it is genuine. ACKK Studios was making what they wanted to make. This is an earnest trainwreck, rather than a cynical attempt at a generic, indie RPG. Maybe that brings you comfort. Maybe that makes the game even funnier. Personally, I think that makes this whole thing hurt just a bit more.

One never becomes a true gamer until it reads Infinite Jest in Another Pokémon Game.

Here I am, reviewing a game made by a person I follow on here once again. I said this multiple times, but making a game, as simple as the final product may end up being, it's a labor of work that I cannot even begin to conceive, and as such, making a review for a game who its creator may read it's always daunting.

What's funny about Another Pokémon Game it's that it talks about the game making process. Or rather, the game making process of a certain franchise of the Triple A industry.

A franchise that has broken my heart a lot of times.

Yet one I absolutely adore.

It's no secret Pokémon is a series of lights and shadows: it has some incredible games, both mainline and spin-off, that a lot of people, including myself, hold very dearly in our hearts. And it's precisely that love that makes us buy some unfinished messes, games that could have been so much more. A lot of people do love these games I call ''messes'', and I respect the hell out of them, but for me, since the release of Sun and Moon, this series has been a string of disappointments in one way or another.

Another Pokémon Game loves Pokémon too, and its because of that it's very critic of it, or to be more exact, of what its subjected too as the gigantic franchise that it is. Crunch, underpay, lay-offs, both a satire of the series and the industry in general, this game laughs non-stop at all that surrounds Pokémon, but with all the best intent possible, 'cause behind the jokes and laughs, the sadness of the matter is that this all happening, yesterday, today and tomorrow, a wheel built on money and nostalgia.

Another Pokémon Game isn't the funniest thing out there, at least for me, and I'm still not sure if some of its dialogue is supposed to be a pun or an attempt at a statement, but it still has some pretty funny gags, and even if I couldn't qualify it as ''subtle'', it does and tells what it aims for. We are bound to repeat this cycle as long as Pikachu poops money, and it'll keep pooping money, 'cause we'll be there to buy yet another Pokémon game.

As a game, this one is only to be enjoyed by fans, as strangers to the series will not get it or will simply not care, which it's totally understandable. In that sense, Another Pokémon Game is a more personal work, something I value a lot, especially when it’s done like this.

It's far from perfect, even as a little satiric experience, but golly gee does it do what it wants to do. I reminded me of how we as consumers should change. How multi-million dollar companies should, but will never change. And it reminded me of the old times.

Times playing a Pokémon game.

I think I want to give VRChat my first and only five-star rating largely out of principle. I've only spent roughly 20 hours ingame so far, and half of that time was spent pirating an entire HBO series in a media world.

I'm an anthropology student who just downloaded the game in 2022 but I am utterly fascinated with the social interactions that occur here.

Freshman year of college I did a small ethnographic project on social interations within Town of Salem's game chat, and I really regret that I hadn't studied VRChat instead. There was one world I went to where you spawn on a train that moves forever, and there were two people sitting on top who were edating. I could basically hear their whole conversation. They must have been aware, but they didn't seem to mind. My friends and I also explored a virtual art museum, while our artist friend gave an explanation of the famous pieces.

There are so many interesting layers to peel back when it comes to people watching. And if you don't want to do that, you can always just pirate an entire TV series, because it's way too easy to do that.

VRChat isn't my favorite game, not by a longshot. I don't even own a VR headset, I play this game in desktop mode. But I've never explored a virtual space with more childlike wonder than when I wander the nooks and crannies of this game's many worlds. Meta and Mark Zuckerberg could never accomplish creating a space like this. While VRChat worlds contain a couple semi-ironic and easy to ignore advertisment posters, and creator bulletins thanking loyal patrons, Meta is creating a sterile, work-friendly environment backed with tv ads promoting virtual Jon Batiste tshirts and NFTs. VRChat isn't necessarily a videogame, but its association with Steam, Oculus, and gaming as a whole works as a natural gatekeeper from corporate takeover. Of course, this skews the playerbase in an unfavorable direction (creepy gamers can flood certain spaces) but the silver lining remains: VRChat is a virtual space largely untainted by the real world. As a result, exploring the game is captivating.

TL;DR: I pirated all of HBO's The White Lotus within a week on VRChat. If anything, get it to do that.

I've had an amazing gaming session with this; I really love Rhythm Heaven series, and in consequence, I loved this one as well. However, you can tell it was approached differently since it loses a lot of difficulty if you've played the previous Rhythm Paradise games (which is my case, as I've played them all quite a bit). I miss more remixes and some mini-games that are tough to pass, like "Love Rap" from Wii or "Remix 8" from DS, since the most challenging ones (except for the last phase of "Karate Mane") are from previous releases and I already have them mastered. Its best point is that it's loaded with content and still feels like a Rhythm Paradise game. I also really like the indicator of whether you've gone over tempo or entered too early; it's very useful, and they've used it as another mechanic. Let's see how many perfects I end up getting; for now, I think I've done more than half.

Short Version: If I ever have to read a visual novel with #00FF00 green as the sole background again, I'm going to strangle something.

Slightly Longer Version: On one hand, everything this game is saying is mostly true, if delivered in a dry manner. Capitalism is a hellscape and the commodification of any and every style or state of being is something to be cognizant of, even (if not especially) when it becomes frightfully untenable to separate capitalist meddling from "earnest expression" (whatever that supposedly means).

I don't think the way to deliver that message is through a stoic diatribe quoting verbose philosophers and using terminology that no-one will understand unless you have the specific knowledge of the author. For how much the text absolutely loves to relish in the (warranted) skepticism of 'new sincerity', it equally eschews any form of accessibility, almost as if to intentionally stifle and out-word any form of questioning that comes from it. I think that there is a good reason people dismiss this as a 'twitter thread visual novel', it presents the same austere and unrelenting tiredness as one to the uninitiated.

TL;DR: Sometimes, dumbing it down is a good thing,