"This is a shelter. There's nothing to steal. Get out." and he did! - A secret dialogue when Aunt May talks to a promising Brooklyn Kid from 2018's Marvel’s Spider-Man.

This conversation is incredibly important and details how strong May’s willpower is to face off a major villain all by her lonesome. And her nephew Peter Parker AKA Spider-Man also inherits the strong willpower to face off dangerous adversaries. And the sequel is no different giving off the same phenomenal faceoffs, secret dialogue, and payoffs. Speaking of face-offs. The Spider-Men will struggle against new foes on the hunt with a different flair from the earlier. Like noticing sand in the air… Hmm… Strange… Guess the forecast for the day is sandy, with little chance of rain. A pity. Still what remains from the foreboding skies is a bolder game from the previous installment with new developments and reaching higher wings alongside venomous tidings. And yet a question arises whenever any game receives a sequel and follow-up. Is it better? And 2020’s Marvel's Spider-Man: Miles Morales? The short answer is yes. And the long answer is a bit complicated to call this almost everything I wish for.

Before I start I have to say I’m no expert regarding how sequels do a stronger job than the predecessor. In my eyes the next entry has to meet certain criteria to call itself worthy. I won’t bore you with the exact standards because sequel principles vary for every other individual and everyone has their own values on which they can base. To put it simply and succinctly I’ll say if any of ‘X’ improves that the earlier entry didn’t. Then that should be enough. I’ll attempt to condense my thoughts as to why Marvel's Spider-Man 2(MSM2) exceeded my expectations to the point I think it is a spectacular must-play for those who enjoyed the first and follow-up game. Without any spoilers. I’ll try to vaguely reference without hinting at anything concrete. If I fail to do so, you have my permission to send me to the dark dimension. First, the story. Moving past the sinister plot in the beginning and set up with Morales in the follow-up. Two strives to enrich the player in becoming not just Spider-Man within the game, but the man behind the mask. A focus on Peter Parker's desire to become a better person while Miles struggles to become a better Spider-Man. It features new villains kraving for a final hunt, a return of a scaly foe, and one para-. Man New York City can’t catch a break huh? Gotta stay positive and not negative with the webhead's rogue gallery eh?

Gameplay is a solid step up from eating decent pizza from before. Now we're having quality dishes served for NYC’s finest without a certain J. Jonah Jameson(JJJ) harping on our heels. Same but with improved combat and traversal mechanics. The former received new abilities to utilize like spider arms reminiscent of Parker's greatest enemy. Switching between the older and wiser web dude to a Brooklyn kid. So, you can’t go wrong playing as either a mentor or a fresh dude on the block to help the innocent. Morales has youthful, vibrant enthusiasm for taking on his new role from his debut and MSM2 demonstrates a wonderful way of how he is coming to terms with helping beyond Harlem for close to a year since his debut. As you progress further you can unlock new abilities once you accrue enough experience, allocating tokens for new suits and gadgets. These help instrumentally and leave a nice way to keep the gameplay fun factor fresh and exciting. Costumes allow you to customize each protagonist's looks with favorites like Cat Bodega and Scarlet + 2099 suits with classic into and across the spider-verse outfits. Honestly, there’s plenty to unlock to suit your needs heh. Gadgets return, a tad bit simplified from the many weaponry you could utilize, but it's not a downside since you have new abilities to utilize. Both arachnids have their skill trees with a shared linked tree to take advantage of new combat moves on foolish baddies. Super cool. The latter concerning traversal introduces a new form of travel in the form of webwings. And I kid you not, I felt like I was transported back in my childhood playing Spyro once again except taking inspiration from the guiding wind mechanic from Ghost of Tsushima in the form of wind tunnels to guide and accelerate our web slingers across blocks and tall skyscrapers. The new addition is very satisfying to a degree I find myself forgoing fast traveling multiple times to woop in delight as I soar to the skies and keep my arms by my sides to keep my speed in tip-top form. Ah, magnificent. Man if Vulture or Shocker were here, I bet we could fly circles around them.

Side activities (including city-wide collectibles) are a remarkable improvement. In the past I had mixed feelings about them as a whole since there were some activities worth completing to become a taskmaster with some caveats. In the 2020 game, they for the most part improved on the side content a vast deal. Here they’ve taken a sensational upgrade, with minor blemishes I’ll discuss later. Without going into too much detail to prevent spoilers. Mysteriums, photo ops, M. memories, Flame, FNSM App, prowler, EMF experiments, cultural museum, Brooklyn visions, and hunter blinds/bases are satisfying to complete in my honest opinion. To give a brief praise why: Mysteriums offers both a visual treat and somewhat of an extension from 2019’s Far From Home film concerning a mysterious baddie. Taking on handicap challenges to defeat within each location. Photo ops return. You gain cool NYC lore from Pete’s old Daily Bugle coworker Robbie Robertson. M. Memories, offers a melancholy monologue from the man who has sand, offering the big question of why he’s here and what he was doing. Moving on, The Flame quests is a nice departure from the pleasant vibe of the city, detailing a very serious tone and atmosphere bringing a familiar companion back to spice up moments. Love the companion of which I wont to say the name, but I’ll keep it as a surprise. The development the individual undergoes with Parker is a must-see and offers a tantalizing tease of a possible DLC. Anyway, the friendly neighborhood Spider-Man app returns taking cues from 2020’s excellent side-content to help the troubled New Yorkers in the Big Apple is without a doubt spectacularly strong. They’re not the most fleshed out, not visually stunning nor are they dropping maximum compelling narratives with eyes glued to the screen nor do they offer awesome scenes with the funnest gameplay inside. Instead, what is here is simply helping your everyday citizens. And while others might see this as “meh not worth it then!” I assure you if I were to rank all the optional content. This would easily be at the top. Two requests in particular brought home an excellent display of the man behind the mask to help the people in need. Howard and the Grandpa's request demonstrate the little things of simply talking with a person in need resulting in I would say superbly profound dialogue I witnessed. I want to say so much more here and why I appreciate these two requests in particular but I’ll refrain. Suffice it to say, please complete them. The other quests from the app are also beneficial to do to a lesser extent displaying humorous & serious content.

Prowler stashes. A banger job to showcase more conversations between Miles and his uncle. Very nice re-connecting filled with bonds, love, redemption, and greater insight into the brotherhood between Miles' father and his brother. Excellent addition from the 2020 follow-up. EMF experiments, please forgive me for not saying the acronym, but again a pleasant surprise for when you learn-ingame. This features creative tasks to do in a similar vein to the research stations in the first installment. Here were charged with healing the world. Using methods to help citizens via finding alternative sources of food, preventing pollution, and providing new means to make the world a better place. Much like how Pete and Doc did with their start-up. Terrific to do featuring different tasks like blasting wasps, testing out a new bike, and more. Man, I couldn’t get enough of these. Cultural Museum surprised me considerably in enriching the player on notable African-American idols while intertwining an investigation spearheaded by none other than Miles and his mom. Finding clues as to who would try to steal priceless artifacts related to music. Nice to see them not just for culture learning, but bonding with his mom. Brooklyn Visions is a series of simple, yet creative tasks on Miles' high school to help his fellow students. Sneaky Insomniac pulling inspiration from Talos Principle puzzles, a rescue, a very heartwarming quest to help a student help facilitate a proposal for homecoming, etc. Lastly, Hunter blind/bases offer a classic clearing out hideouts, but I felt they’re more reduced in quantity and far less in numbers which is a smashing plus in my books because the previous game featured them too much imo. You also get a nice slice of lore background upon completing them. So worth it to complete. And it is cool to flex out new powers to test on foolish goons who still think once again they have a chance at defeating the spider-bros. Seriously, these guys never learn…

Speaking of learning, the devs learned quite a lot since their debut with the webslinger back then. I am over the moon to say there are plenty of interactions of the men behind the mask to show, don’t tell. And this is huge because at the core of the wall-crawler is a man who continues to struggle to manage his personal and hero life. His relationships with Mary Jane Watson and Harry Osborn, two lifelong buddies, are instrumental in giving him the push and nudges he needs to support him and vice-versa. I witnessed endearing flashbacks back in high school, I spent a well-earned break with my loveable comrades in an amusement park. Taking the time to wisely, but gently push Miles to remember his college application. And partake in an old memory with none other than JJJ. These memories are vital to Pete’s mental health and maintaining a healthy balance. It is something that was touched upon earlier, but I felt it coming more into fruition here to a high degree. This coupled with interesting gameplay sequences like finer stealth sections and not drawn out added a stronger tie to the plot while delicately embracing bonds, friendship, brotherhood, and even love. Magnificent to witness and playthrough.

Also, I can’t believe I’m saying this, but I like JJJ’s podcast. Shocker I know. I didn’t before since dude continues to be a douchebag. But the sheer amount of mental gymnastics the man has to go through to tear apart the Web menace/s is quite frankly amusing to hear. More so to listen to how he included Miles in the equation with Spider-Men. But I have to give props to him. Due to one segment in the game, which made me go “Huh I didn’t think of him that way before.” A layer was peeled off upon completing the segment and in a way brought a shaky new light to him. So here’s to you Jonah I’m giving you the praise for doing that. Although, I can never forgive you for smearing Pete’s name over the years… manchild never quits having a hate mode for all things web-like.

Before I forget I have to confess on coming into this game doubting how much Miles will contribute and I’m glad to report how wrong I was to think of that. There are plenty of main story and optional quests to undertake which do a sizzling job of contextualizing the kid becoming a man, and transitioning his life from high school to college all while maintaining healthy relationships with family. Despite hurdles along the way, he manages to help his mentor in becoming a reliable partner. Shows no fear in telling the truth and admits when he’s wrong to become a better person. Struggles internally with understandably traumatic episodes with unresolved emotions toward someone I shall not name. But here, we see so much relatability emerge and how the human element of Miles shines brightly among the darkness. And most of all he’s not alone, others think highly of him and support him when he needs it. Like Hailey. There is a wholesome segment regarding her which made me reminiscent of Jet Set Radio Future oddly enough. Pretty rad.

Before I move on, I must talk about the fantastic accessible settings the game features. QTE autocomplete, puzzle/explicit hints with skipping, chase assist, dodge/parry timing increased, swing/parkour mode, tricks mode, and turning off visual effects like motion blur and depth of field is an absolute godsend. I kid you not I abused these settings without an inch of shame so much so it increased my enjoyment of every aspect of the game to the nth degree. No more failing chases, no more head-scratching puzzles! There are loads of different and varied ones you can complete so it feels good to try and solve them before resorting to the skip option. Moving on, forgiving dodge/parry mechanic, auto web-slinging, and turning off unneeded visual effects help so much in making the hero’s life easier. Don’t get me started on the quick-time events. I love watching the cutscenes uninterrupted without the requirement to press a button. I get it if others like that, but for me, I prefer a smooth scene to watch, soak in the dialogue, and take a breather from intense action sequences. At least it's not Hideo Kojima long cutscenes to movie length here… Despite the fact, that I love long cutscenes heh.

As much as I love the game. I did have some mixed feelings. Not a positive or a negative, but for the sake of transparency I’ll note them below, since I think these elements could’ve been improved, cut, or redone. Let's start with the big one.

Two villains needed more screen time and development which was another case I talked about previously for the 2018 game. And while I didn’t make a review(yet) of Miles Morales I completed the game twice to get a feel of them. From what I could ascertain, the 2018, 2020, and 2023 arachnid games share similar problems with not enough focus on antagonists/s which I won’t name. Twist the knife deeper and attack one of either spider’s family/friends, more depth to the bad guys, more missions. Additional screen time and development. Etc. While MSM2 improves tremendously in doing something for past foes. An element I liked to see. Nonetheless, I was hungry for everything above on my suggestions regarding the two. However, I think the devs do a good job of fleshing out enough of the rest you’ll come across later.

MJ stealth missions are back and while I was dreading their possible resurgence, I have to admit it does improve a bit from the original formula. Thankfully not dragging out too much while giving her enough new tools to help. Their frequency of coming back to these sections is enormously lessened too. Granted I believe they could’ve forgone with some of this or implemented other changes than a back to the old rinse and repeat method. The director sure ain't caring a whole lot it looks like, which I think speaks volumes about her stealth sections. So perhaps it’ll change in a possible third entry? Though considering his words I heavily doubt it. Would love to be wrong though.

Several activities needed major improvement. Such as Spider-Bots return in certain parts of the game and as a collectible to collect which I love, but this time I'll discuss strange spider-bots in random parts of NYC to capture. I find it mega lacking since both web dudes will say a brief comment and a very short note in the collections menu. Felt this could be improved like how finding backpacks included a nugget of lore for past Spidey villains. They could’ve added a recording from where the bots originated to confuse Parker and Morales on why the information being extracted feels so unfamiliar and familiar. Nonetheless, the reward for collecting all of them is such a tease for fans. So I recommend it despite my thoughts on it. Furthermore, one optional activity is rinse and repeat following a drone. With barely any payoff in the end. Nice to know the outcome, but I think this could’ve been constructed differently to make the gameplay more engaging. Thankfully there is a button you can press in the menu to skip the activity altogether, yet this is merely a band-aid instead of a proper solution. The [redacted] nests are pretty repetitive time-limit challenges to complete by preventing enemies from destroying a device to destroy said nests. An easy alternative would’ve been to include more lore/worldbuilding here or replace it by having our heroes rescue our allies. Granted I will give credit for making it a cleanup task to do.

Finally, there is a stretch of the game I won’t pinpoint while excellent in its execution I think the section needed more time fleshing out. At least two to five plus hours more to let the events that occur settle in and explore more complicated nuances in what happens in friendships/family. This ties into the [redacted] nests from earlier along with more missions to showcase devastation, further ramifications of a character's actions, and worthwhile optional content related to it. Why not a side mission to save some close friends? Family? Heck, even JJJ. Introduce new enemies taking advantage of the city and criminal team-ups. I had heavy nostalgia despite the fact I’ve barely played any Spider-Man games. And there’s one in particular this game takes large inspiration among other things like the films.

One silver lining to all these mixed feelings I have that it doesn’t impact my overall experience too much. The full package of controlling either Spider-Men and living their private life is as gratifying as it is to see their hero life continue among troubled times. Which reminds me of one quote that the dev’s continue to hit time and time again to marvelous effect. “-nothing ever turns out 100 percent OK; he's got a lot of problems, and he does things wrong, and I can relate to that.” From a Stan Lee interview with the Chicago Tribune. We see constant internal and external forces continuing to batter our strong-willed protagonists to the point I was left on the edge of my seat at times. Saw them during their darkest moments. Leaving me filled with dread and anxiety. Yet despite these tumultuous emotions. There is careful thought, precision and passion in crafting original new material while taking great cues from classic sources we know like Raimi’s Spider-Man 3. among certain liberties with one of their IPs to excellent effect. Making MSM2 almost like a careful love letter without treading on familiar material to utilize. Embracing realistic and surprising scenarios sending my eyebrows nearly to the top of my hairline and my eyeballs close to expelling from my sockets. So you could say I was pretty impressed by how far Insomniac continues to twist the narrative to make it both compelling and impactful to newcomers/ veterans well used to spidey lore. And boy oh boy are we in for one hell of a ride with a spectacular duo. If this is how much Insomniac upgraded after several years, I can only shudder at how much a third possible entry would reach in the future.

8.5/10

Additional Material:
Why Miles is the MVP - Major spoilers to endgame, good focus on Miles parts.
Villains and %^&$ - Same warning as above, related to what I discussed early on villains doing something
Black Suit $%^* - Same warning as above - Related to my last point in mixed feelings
Discourse on Peter and Miles - Same warning as above - I’m hesitant to link this since I think its kinda controversial in the fandom, but I think its good food for thought. Regardless, I agree with OP.
Marvel Spider-Man 2 & Raimi’s Spider-Man 3 scenes compilation - Same warning as above. Related to my point on Raimi above. I love it.
MJ in Spider-Man 1 vs. Spider-Man 2- minor spoilers, but meme sums up her performance to a T.
If this Be My Destiny - Fascinating look on early Spidey and one of his most defining traits.
My spoiler thoughts throughout the game up to the post-credit scene - same warning as above
Spider-Man’s Marriage- Not related to MSM2. But this recent news is so uplifting I have to share it since we’ve been in major dark times ever since Paul was introduced in the comics. Finally, good news.

In a 1999 developer interview. Keiichiro Toyama says “What is it that sets Silent Hill apart from other games? If I had to answer that question in a nutshell, it would be the atmosphere, which I suppose is vague and ambiguous. However, if you play the game, I think you will understand. Silent Hill is an orthodox game with no outlandish or innovative gameplay mechanics, but it is suffused with a unique atmosphere and mood, not only in its appearance but also in the story and sound.” - Director of Silent Hill 1(SH1).

I couldn’t help but come to the same conclusion as Toyama’s answer of ‘atmosphere’ as the final credits rolled in my blind playthrough of Silent Hill 1. The atmosphere permeates throughout my time running through the titular town full of dense fog. As I controlled the main character. Harry Mason. An everyman who has no special titles, or special powers, is neither rich nor an individual who has super connections of note. He is simply a regular dad desperately searching every house and street for any clue, to recover his missing daughter Cheryl after a car crash gone wrong. And so begins our journey, as he battles/evades otherworldly creatures all while unknowingly trying to survive in this horror-filled place.

Storywise, I found his journey to be a cross between safe storytelling mixed with a jigsaw puzzle. Looking back I can construct how the narrative is achieved by effectively omitting key details. By the time I had all the pieces, I could complete the ‘puzzle’ so to speak. In doing so I was treated to a relatively safe journey in regards to not throwing my suspension of disbelief into smithereens while spreading the plot breadcrumbs interesting enough to lure me further into the mystery. In spite of the slow threads in the beginning. Be that as it may, once I hit my stride in schools and hospitals my will to continue deepened further. Enabling me to question everything and everyone within the bounds of not delving too outside the box to conjure. The regular who, what, where, when, why whodunit. Kept my brain tingling for morsels of information to seek the answer to my relentless inquiries. And thankfully the ending I received satisfied me to a measure I cannot help but applaud for. Well at least for receiving the ‘G+’ ending. And while there are other endings I’ve seen on YouTube. The overarching narrative felt uncommonly used amongst the other horror games I've played thus far. I wish I could give more concrete examples, but that would inadvertently lose the magic and surprise.

The atmosphere toes the line between the unknown and frightening to an absurd, but realistic degree. As I traveled deeper into the mist surrounding the locations of Silent Hill. Taking inspiration from Stephen King's The Mist among other influences. And to its credit, the close draw distance to maximize fog nearly in our faces works cleverly to hide the technical limitations of the PS1 era. The missing inhabitants while replicating a small town out in the country oozes with mystery in a sort of “Will there be something?” is teased mercilessly. I enjoyed exploring to my delight and wasn’t scared too much despite the oppressive silence and lack of inhabitants. Instead, I found otherworldly creatures prowling the dead of the day. Hairless malformed dogs prowling the streets, as winged creatures fly indiscriminately above Mason’s head to claw at him. To the nurses and doctors who are out of their freaking mind looking like a zombie at times. I admit to being scared and simply ran away from these ghastly enemies. The dense fog adds to the intrigue with incessant questions in the back of my mind. “What's happening? Where is Cheryl? What should I do? Why is this happening? How can I survive? Am I dreaming? Is this real?” These questions and more will inevitably pop up as you stumble & struggle.

The struggle is real. As I cautiously checked for enemies in rotten corridors, clean hallways, and entering empty rooms splitting the real and unreal. Confusing me, yet a handy map can be found nearby upon entering a new location. Making backtracking painless. Allowing me to easily strengthen my will, admire the presentation and reference what I had already been to. The map updates as you explore making it a vital tool to utilize. Reinforced by how simple the mechanics are. Mason can run, walk, use guns, and melee weapons, and interact with objects in the environment. The radio too helps as a sort of sound radar for nearby enemies. Helping us to prepare for what's to come. As a result, no gimmicks or very innovative systems at work as Toyama stated above. Focusing on other elements brings the core strengths to the front and center for players to devour. Grayish mist compliments well with the dead air of the soundtrack while feeding breadcrumbs to the player early on to piece and make their deductions. It is fascinating if not slightly stressful since I am playing a survival horror game. Yet I wasn’t all too bothered by the gameplay formula.

Puzzles felt adequate without being too complex. The simple systems lend themselves again and again. Becoming cyclical as you progress further in new buildings without feeling like a drag. Encounter a mysterious item? Maybe we can use this later to open a door or slot into a mechanism to open a path. Hmm, bottle? Must be some liquid I need. Keys? Oh, a locked door I couldn’t enter before surely will this time. Every puzzle I found difficult had a nearby solution to help players give off clues to solve their current dilemma. And usually, they may connect to another component, solving a dilemma could be a key to finally removing an obstacle. Out of all the puzzles I encountered. Only one of them is incredibly difficult. This was the only time I felt compelled to check a walkthrough and once I found the solution I couldn’t help but smack myself silly. So here’s a helpful tip. Check your surroundings to make sure of any missing pieces, having a separate monitor or paper on hand to visualize text hints can offer a different point of view. There are puzzles here without a hint so visuals and any patterns as delicately as I can vaguely say will prove invaluable to the naked eye. Don’t overthink, sometimes the easiest and most gut feeling may prove to be the right one.

Combat I wasn't fighting every step of the way like tank controls. Instead I embraced the simple fighting system and abused them to my advantage. Harry can equip one weapon at a time. Utilizes a multitude of melee and ranged weaponry. From pipes to knives to a pistol, shotguns, etc. The armaments helped tremendously like a hammer and the shooting mechanics aren’t all too complicated due to the absence of a reticle. As long as you focus in the direction of the enemy. You can shoot them with extreme prejudice. And man does it feel good to lay them out on the floor and kick em when they're down. Go close to an enemy? Eat a full round from my shotgun. Enemy closing in? NOPE. Time to run in a zigzag and not look back. Dying in about one blow? Excuse me while I chug a kit and some bottles without a required animation to take effect. See several mobs? Yeah forget that, Ima run past them. Pick your battles, don’t fight everything, to conserve ammo.

Felt the resource collection and using my stockpile satisfactory. Supplies are spread throughout the town so you’ll have to do some exploring off the beaten path to see any health kits or bottles to replenish your vitality. I had a surplus of bullets and avoided combat where I could to save ammo. Didn’t need to heal every time, only when I needed to. I wasn’t hindered by any inventory limit, nor was there any sort of stamina meter. He does have a health meter once you enter the menu with a press of the button. Making the lack of any real user interface where you would traditionally see one noticeable, albeit not necessary to see. I didn’t find any major issues with finding resources.

I’ll talk more about this later, but for now, I'll praise the tank controls. The mechanic where you move the player is similar to the process of how a tank moves. And this is a process you’ll need to contend with throughout the entirety of a playthrough. Nevertheless, as I became more familiar with tank life(This was my first time experiencing the phenomenon.) I found it weirdly satisfying to look at the element from a different angle. The controls accentuate certain camera angles to invoke a sense of anxiety and unease. The combat adds to this which I didn’t mind at all considering the game doesn’t shout to the high heavens to play for the fighting module. This in turn creates anticipation and tension adding to the already unsettling atmosphere. So I like it. For adding depth to the combat and fleeing.

Honestly, this emphasizes cutscenes when they play by displaying different camera angles while the dialogue occurs. And boy do I have some good news. I’m surprised by how little text there is in the conversations. Thereby not slobbering players with text logs or lore logs. Though as a lore nut, I firmly believe as long as you have enough relative lore in hand it could prove beneficial. But that is neither here nor there. Words and phrases are used sparingly as if to uphold a sacred tenet that fewer words equals good. SH1 for example follows this rule to a T. I did not see any wasted text. Puzzles and hints are included. It's like a subtly minimalist Chekhov's gun here. And oddly enough I am praising the usage of short conversations between Harry and whoever is speaking to him to excellent effect. Why? This adds mystery and intrigue to the central locations while increasing tension, fear, etc. Reinforcing the enigmatic atmosphere Toyama envisions. Seriously this is great stuff preserving minimal, but essential text to have players piece their own conclusions. Showing us, but not telling us.

In a 2015 interview from Factmag Akira Yamaoka(composer of a majority of the Silent Hill series) talks about the franchise's soundtracks and why it continues to be as influential as ever. “One of the greatest ways that Yamaoka enhanced Silent Hill’s fear building is by using music and effects in ways that run against what you’re expecting. “I wanted it to be unpredictable: maybe during a big scare I cut everything out, and maybe if nothing was happening at all there would be a lot of sound.” You have an empty hallway? Layer a few sirens and mix it in the red. You have an establishing moment with a villain or environment? Use only the sound of a sharpening knife.”

This unpredictability by Yamaoka works to an impressive degree throughout the entire soundscape. Where I felt the absence of regular conventional instruments in favor of creepy silence, air vibrations, the beating of unconventional items like banging of doors, the scrapping of blades, and the heart-pumping scratches and fluctuating radio frequencies awakens dread. Some examples I’ll pull from the OST have silence integrated well such as: ‘Downtime, never end, never end, never end, alive, nothing else, justice for you, heaven give me say, far.’ These tracks accompany many of the gameplay segments and cutscenes in a congenial manner yet interlaced wonderfully facilitating differences from the usual effects we often hear. Creating an unsettling tone to repeat for days on end as you boot up the game. Not to the point of over-use since a lot of tracks differ in tempo, rhythm, and how untraditional sound works. Seriously listen to any of those tracks and see how it differs from classical instruments. The names of these tracks also share similar connotations. Giving off a break if you will. Or time of rest. By comparison, there is another layer. And that is the panic tracks. Imagine low drums combined with a background of haunting wails or cries of ghastly echoes.

While the foreground is immersed with a layer of banging utensils harshly being hit on steel walls in a pattern that evokes slow encroaching terror. Yeah, terrifying isn’t it? Try listening to these tracks: Die, ain't gonna rain, half day, dead end, ill kill you, bitter season, don’t cry, for all, devil’s lyric, over, until death. I had to stomach through the OST again and it is incredible if not spooky. Yet thankfully enough here’s a secret to lessen the tension and anxiety. Lower the volume, no shame in doing so. I admit to doing so! The naming sense also is interesting to note again, with most of the tracks I chose from a small sample conveying notions of death, threats, and bittersweetness. I could’ve added more, but you can see the rest here and suit the tracks in other patterns. Regardless, I want to focus on a pattern. The silence tracks and panic tracks from the ones I listed earlier follow a theme, eh? The former inhabits an eerie vibe throughout yet doesn’t go to the steep lengths of making the player run to the hills. In my ears, I felt they were used to excellent effect, conveying a tingle of mystery as I ran to new rooms and buildings. By comparison. The latter displays the rush, the unbearing suspense mixed with a persistent rhythm forming an incessant need to get out. Run faster and get the hell out of traps and dead-ends. As a result, the panic tracks I think work in its favor and complement the silence to a proportion, I find myself fascinated by the two accompanying themes.

However, a third and smaller portion of tracks not of the two kinds emerges. And this brings to the forefront the classical tracks to a shotgun-filled bar full of emotions and relief. These tracks finally make use of classical instruments like the guitar strings. For example in the track ‘She’ I felt they provide a profound degree of closure. Some may see this as an abrupt slap of whiplash, on the other hand, I found it comforting. In the near silence and panic-filled corridors of ambiance. I found at the end of my main character’s journey and to my great satisfaction a longing feeling of contentment and tranquility. It is apt and so powerful to hear classical instruments shine so bloody hard. I am amazed how different Yamaoka's style conveys so uniquely and so beautifully to listen to. Granted, the effects on the unused may be perceived as annoying to hear repetitive noise effects. Although, I think it works to its benefit. Complementing the game to magically transport the player into the Yamaoka’s soundscape. Like a puppet master controlling how we feel. Just wow. Very different from other Japanese composers I'm familiar with listening such as Nobou Uematsu, Keiichi Okabe, Yasunori Mitsuda, Yoko Shimomura, Hitoshi Sakimoto, Masashi Hamauzu, Masayoshi Soken, Keiki Kobayashi, Kota Hoshino, Falcom Sound Team jdk, and Xenoblade composers. The OST manages to ride the fine line of not being either bombastic or slamming us with gentility. Filling the player with enough suspense to not overflow in sheer terror while giving enough intrigue to the limit of genuine courage. It is as Yamaoka talks about earlier. Unpredictable in building fear.

As much as I could continue praising and analyzing every morsel. I must talk about my mixed feelings. These are neither positive nor negative, but simply some things that gave me pause, could be better and perhaps a hot take down below.

First tank controls for the unused can make it difficult to achieve the right balance in the beginning. When Harry moves in a single direction, turning becomes difficult. So you’ll have to swerve to the right or left before coming around. Takes some getting used to. I was never familiar with these types of old movements and considering it was my first foray into it. My first 15 minutes were clashing onto walls. I understand it's a product of its time. And while some may say it adds tension and anxiety, which I agree to a certain extent. More often than not I crashed into walls and wished it controlled better. Could be a dealbreaker for some. I’ve heard the newest entries after the first have better controls. Though for a first entry, it's not something I'll judge too harshly. Once an hour passed by I became used to them. To help, quick-turn using L1+R1. Helped immensely for my playthrough and thankfully the game’s runtime isn’t too long or medium to deal with. HLTB estimates put this at a short length.

Second, this might be a hot take. But I think going into the game blind completely would be a mistake. I tried playing blind for 95% of my experience and while I did have a good time, once I removed some tips to know beforehand along with some of my friend's advice I would’ve unknowingly struggled. Please check out some tips. I'll put some links further below to help newcomers. Therefore to prevent further suffering. Not required, but it doesn’t hurt to know ya know? For example, Running away from enemy mobs in the streets to conserve ammo. Quickturn if you hit a dead-end and I abused the hell out of that to counter the rough tank controls. Furthermore, going blind may inadvertently cause players more trouble when trying to achieve certain endings. They can be strict. Without going into concrete details of spoiler territory. To get the G+ ending, players need to somehow pick up a liquid in a hospital and use it in a boss fight. Not the last one. There’s a bit more, but I'll let Before I play handle that. Highly recommend referencing that in hand while you play. I hope that’s vague enough to say. I am not advocating for everyone to achieve that outcome, rather I think it would help in the long run when thinking about the game as a whole. It is simply a suggestion.

Third, boss fights I think could’ve been improved a little more to induce more puzzley in design without reverting into too gimmicky territory. As vaguely as I can say. I usually evaded their attacks, then shot bullets during appropriate moments. I’m torn on this point since I think this ties into the combat not being a true highlight to look forward to. I didn’t come to SH1 to be amazed by fighting. Yet unironically Toyama in another interview back in 1999 echoes similar sentiments by saying how “The action part of the game is really just something to create the horror.” A medium to enhance the horror if you will. Although, I still can’t help but add my suggestions on how this could be remedied to make boss fights more horrory. Off the top of my head: More on escaping, instead of traditional fights. Destroying objects in surrounding environments then switching to a different weapon like melee. Surprise me with dialogue maybe and if I answer wrong, game over. Taunt me while chasing me. I wouldn’t say they're bad by any means. The first, second to last boss and final boss do a decent job.

Fourth, I wish there was more interaction in the environment instead of literal observations anyone can make. When exploring anything of relative interest in his surroundings. Harry will make a direct, blunt phrase. “No useful books.” “Nothing unusual.” “Drugs? Better leave it.” “Just a wall.” Granted, there are plenty of notes, diaries, letters, and documents to give some relevant lore or plot hooks so it’s not all bad. Feels weird though. Why not have him say different lines like “Cheryl would’ve loved this book.” or “Ah I remember this drug from long ago my wife used to use.” See how those suggestions would’ve changed some of the stale observations? Makes me wonder if the other installments made some changes to his inspection.

Ultimately I found Silent Hill 1 to be largely a leap of faith as one Ubisoft franchise likes to say. While it does have some dated mechanics like the tank controls which may vary from person to person. And the story may not resonate with everyone. Along with my other mixed feelings. In the end, hidden beneath these varying qualities I found the everyman plot to be equally as satisfying as my time in Signalis. I can only leave pretty positive after my ten hour playthrough. And oddly enough, I regret not playing this title back then in my childhood. Never played any other entries in the series either. And yet for a PSX title released in 1999, I am pretty impressed how much it holds up. Stands tall amongst the other horror games I played. Sure the title doesn’t boast the Lovecraftian edge Bloodborne grasps. The excellent pacing of The Last of Us. Great lessons from Omori or hitting the fine balance of horror and action in the Evil Within series and Metro 2033. Nor does it provide richly diverse cast to the gills like Shadow Heart and Koudelka.

Rather, Harry Mason’s troubled venture to recover his daughter is a powerful incentive to keep in mind. And the feelings of “annoyance, anger and incredible kind of powerlessness” evoked by the protaganists voice actor Michael Guinn moved me enough to see what happens in the end. Strong to witness amongst the clever backtracking, colliding with interesting and well-thought-out puzzles. Constant showing, not telling, and remarkable use of minimal dialogue I found in contrast to Parasite Eve. Demonstrating how much this little gem can achieve in a concise manner without padding. I wasn’t bombarded by useless cutscenes or tearing my suspension of disbelief a new one. Beyond the palpable unique atmosphere, intriguing everyman story and excellent sound design lies something special to anyone who has never played Silent Hill 1. I’d even go as far as to say the game has made me appreciate horror much more than I thought.

8.5/10

References & Additional Material:
1st interview - Shmuplations translated the 1999 interview with Toyama and others
Wiki links - Everyman - Inspirational works of Silent Hill - Tank Controls - Chekhov’s Gun - SH1 OST - Soundscape
2nd interview - Akira Yamaoka interview
3rd interview - Another interview with Toyama back in 1999. Different from 1st.
4th interview - a 2018 interview with none other than the original Silent Hill voice actor for Harry Mason. Michael Guinn. Fair warning does contain spoilers for SH1 & SH3. I only read the SH1 portions.
Silent Hill 1 Before I Play Tips
Silent Hill 1 manual
A short history article on the origin of Tank Controls - Cool TIL tidbits.
My spoiler thoughts on Silent Hill 1 - Heavy spoilers from beginning to end of the game

It really is THAT good, but I don't necessarily think it's for everyone.

If you have any interest in playing it however, I urge you to take it to heart and give it an honest try. Don't get discouraged by its slow opening. As you've probably heard, this game is a very unique experience, and unique experiences require an open mindset. Just to put it into perspective, I only finished the game after my second attempt, and I'm incredibly thankful I gave it another chance, so stick with it!

This game felt like a nostalgic, dreamy scene of my childhood. It's funny, tragic, peaceful and downright terrifying at times. It's like a chameleon when it comes to the way it masterfuly handles its tonal shifts throughout the story.

It's terribly hard to describe the experience, but I can safely say there's nothing else like it. I guess the best way I can put it is that this game really made me feel profoundly happy. I didn't simply have fun (tho I'm not discrediting plain fun at all), but rather I managed to tap into a feeling of happiness that I don't think I had fully experienced since childhood. I even get chills thinking about it.

Please, please just give it a shot.

Although I was definitely curious to see what the first game in the series was like when I sat down to beat it last year, Super Metroid was the game that I was actually excited about, and a lot of that anticipation came from my experience with the game's intro sequence. At one point during what must've been middle school, I went on an online emulator and decided to boot up Super Metroid on a whim in between bite-sized play sessions of Contra and Mike Tyson's Punch Out!!, and the music, environmental storytelling, and especially that fight against Ridley all made the game intriguing to me. That sequence ended up being stuck in my mind for years, and on top of how great it was to relive it when I began my playthrough with this game, I ended up really enjoying Super Metroid as a whole, even if I didn't think that it was perfect.

Like all good sequels (or threequels, in this case, but I haven't played Metroid II: Return of Samus yet), Super Metroid took what worked with the first game and expanded on it, and the game did this while also injecting some of its own unique ideas. The sense of isolation from the first game is much thicker and more atmospheric here, as the decrepit environments and occasionally grotesque enemy design made venturing into the unknown feel eerie and unsettling, along with the areas feeling genuinely distinct from one another rather than just being simple color swaps like in the original game. The gameplay loop of exploring to find new items and areas felt exciting rather than tedious here thanks to the substantially larger map and decreased amounts of required backtracking, with the addition of an actual map being a lifesaver (although remembering which rooms were which was still a bit difficult). The sense of progression through the power-ups and items in Super Metroid is palpable, as having the initially annoying enemies get decimated by your missiles and arm cannon upgrades is satisfying in ways that the original Metroid struggled to convey. This directly ties into the game's tense and chaotic boss fights, with some of the scripted moments making for some surprisingly effective bits of silent storytelling. The score by Kenji Yamamoto and Minako Hamano was superb, as their memorable, yet evocative and ominous tracks were very effective in conveying the mood of each of the game's areas.

One of my least favorite aspects of the original Metroid was when I'd end up in an empty room, shoot the walls and ceiling at random in order to see where to go next, and then being annoyed with the fact that I was supposed to blow up some arbitrary block that looked just like the rest of the room, and this issue of random, cryptic design unfortunately found its way to Super Metroid on multiple occasions. Granted, the addition of the X-Ray Scope fixes this issue to an extent, but it arrives a bit too late into the game for it to be as useful as it could have been. The only area of the game that I straight up disliked in its entirety would be Maridia, as the spike in backtracking and the inclusion of quicksand that is unreasonably vexing to get out of made it a slog to get through. For the most part, the controls are an improvement on the first game, but I still found Samus' jumps to be inconsistent, with wall jumps being especially fiddly to pull off without eventually unlocking the Space Jump. Despite my gripes with the game, I still thought that Super Metroid was a great game that refined what was set up by the first game, and since I've heard good things about Metroid Fusion, I'll check that out at some point.

After initially beating the game back in December of 2020, I have found myself coming back to GoldenEye 007 whenever I couldn't think of much else to do, and because of that, the game has always been on my mind all this time. Granted, most of what I did for these past three-ish years was just replay the "Facility" level with at least one of the two cheat codes I'd unlocked turned on, but I still do really like the rest of the game, even if I won't pretend like some of its elements have aged all that gracefully. Although I have known about Perfect Dark for about as long as I'd known about GoldenEye 007, I was a bit hesitant to play it due to me not knowing if my emulator had any settings regarding the Expansion Pack that the game required, but once I found out that it worked just fine, I immediately sat down to play it and kept doing that for three days. I had pretty positive expectations for the game going into it, but I really wasn't expecting to love Perfect Dark as much as I did, and I'd honestly consider it to be my favorite game made by Rare so far.

Since this game was a spiritual successor to Rare's landmark first-person shooter, it would make sense for them to retain a lot of what made that game unique, but Perfect Dark went beyond that and vastly improved on everything that GoldenEye 007 had initially set out to accomplish. The maze-like level design and objective-based missions that increase alongside the difficulty are still here, but breaking said missions down into smaller levels that were linked made it so that it wasn't as easy to get lost while still giving you the opportunity to move around the game's environments freely in order to see where your next objective was. Speaking of which, the visuals in Perfect Dark were much more varied and detailed than in GoldenEye 007 (although that game was definitely limited by the fact that it had to stay true to the film that it was based on), as the cyberpunk artstyle made the shootouts and exploration go from taking place in sleek office buildings and grimy city streets to neon-lit alien spaceships and planets all while having the game retain its atmosphere of espionage and secrecy through its cool gadgets and wildly over-the-top storytelling. The gunplay here generally felt the same as it did in GoldenEye 007 (although this game features actual reload animations and some better aiming), but there were many more weapons this time around, and everything from the pistols to the laptop guns to the alien rifles feels great to use. Perfect Dark also fixed one of my biggest issues with Rare's previous shooter and drastically increased the draw distance, which made the game's outdoor snow level fun to explore due to the fact that I wasn't being gunned down by enemies that I couldn't even see this time around.

Like I mentioned earlier, Perfect Dark features a bizarre and unpredictable story that quickly kicks into high gear, and one of the elements that made it so entertaining for me would be the voice acting. Unlike the exclusive use of text boxes in GoldenEye 007, Perfect Dark is fully voice acted, and both the dialogue and performances had a level of cheesiness to them that both fit right at home with the game's spy theme and also made the characters more distinct and likable, with the grey alien named Elvis being my favorite of the cast. Despite how long I've been playing GoldenEye 007, I didn't get to experience the game's iconic multiplayer mode until just a few months ago when a flatmate and I decided to play it on a whim, but I got to play a lot more of it here in Perfect Dark. Not only was the multiplayer fun here, but it also featured more gamemodes than just different variations of deathmatch, and it even allowed for a lot of mode customization. I also really enjoyed exploring Carrington Institute in between missions and Combat Simulator matches, as I found it to be a compelling hub world with a lot of personality. Not only would I consider Perfect Dark to be one of the best games on the Nintendo 64, but I'd even go as far as to say that it's one of my favorite first-person shooters, and while I still think that GoldenEye 007 is worth playing, Perfect Dark was easily the far superior experience.

“I am Joshua’s Shield. I’m sworn to protect him… He takes too many risks. I only wish I could save him from himself.”

“Clive, you... Well, if you’re not going to pray to Metia for your safe return, I shall just have to do it for you.”

These lines are spoken in the very first hour, and detail three crucial details. His duty as Joshua’s Shield. How much he cares for his brother, and how Jill prays for his safe return. It’s simple, to the dot, and captures the player’s attention immediately. Statements are said with conviction, will, and resolve. Told during the halcyon days of their youth. Ahhh. But terrible storms gather nearby. For Clive, Jill, and Joshua their fates will change forevermore…

Final Fantasy(FF) is no stranger to taking risks. And each iteration boldly goes where the previous ones have not walked. And FFXVI is no different. We follow Clive Rosfield’s journey as a young lad into something more. For better or worse, he and others are embroiled in a political drama within Valisthea. A large continent with six nations all with their factions, agendas, and notorious individuals with nefarious goals. And Rosfield is the poor sod who has to survive, kill and go past his limits. Make no mistake, out of all the FF games I’ve ever had the pleasure of playing. Sixteen consumed my waking thoughts, and remained a constant as I went through the daily motions and as the days passed into weeks. I am astonished by how much there is to do, uncover and learn. I have gone the distance to see as much as I possibly can within two playthroughs. And here I am staring at my google docs page after an exhaustive duel, spending countless hours figuring out if it deserves to reach my top 5 FFs. And it does. I don’t say that statement lightly, since I love the series since starting with thirteen and have enjoyed over twenty-two entries. So you could say I am very familiar. Now then it is time to review the latest entry to one of Square Enix’s(SE) long-running IPs.

Combat is addicting. I couldn’t get enough of it. Experimenting with new skills and outfitting my kit. Or rushing to face numerous bosses that are both fair and hit the right spots. Tweaking the difficulty at your leisure from story or action focused. The former grants free rings at the start to aid you. The latter, you don’t acquire automatically. But you can freely switch difficulties at any time, so you won’t miss out. Equip accessible rings to make combat easier for ya. Auto dodge, auto combo, auto potion, and more are available. A nice way to make fights easier or harder depending on your preference. With the help of Kingdom Hearts developers and PlatinumGames. And signing up Ryota Suzuki. A Capcom veteran and one who has worked on the Devil May Cry franchise. A triple alliance emerges between these forces and at the helm is Creative Business Unit III(CBU3) joining to make an impressive quad squad. The titular and amazing Naoki Yoshida(Nicknamed Yoshi-P) is the producer. A man who has worked tirelessly to reform the original FFXIV launch into one of the most successful MMORPGs today. So you could say these guys are in very safe hands. Unafraid of taking risks, each FF entry strives to make combat innovative, but also familiar to entertain both veterans and sprouts(newbies). Traditional turn-based gameplay has radically shifted since its foundation, shifting into real-time action. And as someone who favors the turn-based approach, I don’t mind the change to real-time. I appreciate it. There is a fluid momentum persisting as you dodge, parry, and execute Eikon's abilities. Goblins? Move over Goblin Slayer, Dude will incinerate them to kingdom come. Phoenix shifting, with relentless fury as if the wind has blessed him with deadly claws. I didn’t find clunky movements wherever I treaded, making battles go smoothly. Transitions into these skirmishes are near instant. So don’t be afraid of a lengthy wait. Quick and nimble is the key here. And I had no problem acquiring different abilities to experiment and juggle my enemies. Didn’t find an issue with the experience. The gain was fair. Both in leveling up and upgrading my skills. I was satisfied to a degree of wanting more and the developers gave me that and extra.

The soundtrack is subtle, but full of magic. Composed by Masayoshi Soken Who has worked just as tirelessly as Yoshi-P in composing FFXIV melodies. Sixteen’s composition is distinct from the compositions of Nobuo Uematsu(FF1->10), Masashi Hamauzu(FF13 trilogy), Yoko Shimomura(FF15), and other composers. More in line with Hitoshi Sakimoto's works. Of FF Tactics and Vagrant Story fame. Subtle, in a good way. I think most if not all tracks work in favor of providing a layer I don’t find as bombastic, full of vocals, or orchestral. Going more tranquil, peaceful, and in some cases filled with tension creates a tightrope to induce fear and bravery. There is meaning and weight to these songs. Triumphant lyrics are largely missing in favor of the solemn and at times contemplative ambient sounds gracing our ears. Pleasant, soothing, and incredibly transformative. Didn’t hear the same old repetitive track again and again. Always something unfamiliar to hear, and listen to when I travel new places around the block. I could say more, but for the life of me, I cannot describe it justice enough. Just know when the epic tunes hit they hit bloody hard. There is a payoff in going subtle here. And if Uematsu could hear this, I think he would clap in joy for Soken’s work.

Gratifying gameplay loop that is cyclical, interconnected and works in tandem with the other systems in place. Get too tired with combat? That's fine. Take a breather with some side quests(SQ) that are almost perfect. Hitting the near-zenith of Witcher 3 SQ quality combined with consistently powerful worldbuilding I haven’t seen since I last played through The Legend of Heroes IP. Specifically, the Sky trilogy, Crossbell duology, and Cold Steel tetralogy. There is so much depth, I am left in wonder and awe to study more about the history of Valisthea and its denizens. More often than not you will encounter chunks of lore. To varying degrees. Religion and societal customs included. Unexpected discoveries in interpersonal relationships with folks I didn’t expect. Helping people in need at the main hub to assist strangers out in the wild. And these are not pointless to do, since the rewards can range from increasing your potions limit to rewarding items, weapons, equipment, materials, and key items. Worth it, both in the physical and knowledge aspects. Easily, the strongest SQs are the ones related to the main character(MC), his party members, and by extension those who are allied with him. Granting a decent to lengthy quest chains to learn more. Bond further and even partner up! Worthwhile to do and I encourage everyone to complete as many as they possibly can. Some of these connect with quests benefiting players and heck if you’re bored you can even undertake a hunt mission. Which are like bounties to defeat unique monsters out in the wild. Fun to do and a worthwhile conflict awaits. A solid way, building up renown to earn supplementary rewards. It's gotten to the point I couldn’t wait to finish the main story quests(MSQ) so I can complete new SQs/hunts popping up on my radar.

And Clive. Bless his soul. Doesn’t mind at all aiding those in need. Especially to offer a guiding hand to Bearers. People who are essentially slaves and can use magic. Commonfolk can’t use magic innately. Used by slave masters, nobility as a means of cheap labor. Bearers are human tools. Do you want your garden trimmed? Let the boy use wind magic to trim the bushes into a presentable state. No need to work yourself and use bladed shears. Need clothes to dry quickly rather than letting the sun do the work? Let the Bearer use wind magic again to blow air on your wet clothes becoming a human dryer. Oh, need consistent fire for your blacksmithing duties? Grab one of those filthy Bearers and order them to use their magic to cast fira. Heating the stones instead of using natural fire. I kid you not these instances I saw plenty throughout and equally jaw-dropping tales inside. In some cases, my emotional state stewed in conniptions. I was immensely saddened to see a mirror image of our world’s history of slavery. And the developers(devs) have managed to capture these horrific moments in ways I was reeling. I won’t go into the exact details, but my heart bled for each one. And I quickly without hesitation became the shield for these unfortunate souls who were suffering without end.

Worldbuilding is quality across the board. I usually have problems with worldbuilding in other Japanese Role-Playing Games(JRPGs). Some go too far. Gorging the player on unnecessary details. Others have too little and need more of the former. It’s been a long time since I was so engrossed in the lore and history. Sixteen manages to do it in such a way I am left hungry for more. Complementing this is a handy codex in the form of Active Time Lore(ATL for short). Where you can see relevant information during any part of the story. Yes, this includes cutscenes. Incredibly well-thought-out and as a lore nut. The feature is very satisfying to use when I need a refresher on what this legend is supposed to be. Why do we keep calling places ‘Storm’ and ‘Twins?’ What are Bearers? The plot, quests, and your companions will continually talk about these elements in rich detail. I could gush more but I think you see the picture. Wish other JRPGs and Non-RPGs learn from this.

An evolving world is persistent here. Each time a major or minor event has been resolved whether by SQ’s or MSQ. The state of NPC's is adjusted to reflect that. And the very essence of Valisthea wherever you travel to also shares the same evolution. Oh, a major event took place at [redacted]? Time to head back to and check for differences in the citizenry. This is just one example of how places may vary over time. Very reminiscent of my time with the Trails franchise. I eagerly looked forward to returning to the main hub and conversing with my comrades on the latest gossip, new information about the state of the realm, or the odd tip here and there you may not see coming. I cherished these NPCs and I would go so far as to call some, my dear friends. They all play a big role in shaping not just MC’s story, but their tales and stories are interwoven with his. Leaving me with an everlasting impression. The gentle giant Goetz, Sharp eyes Gav, the gentle but stern Tarja, the wise Harpocrates, and of course we can't forget the wise, venerable and slick leader. These individuals have their struggles, and quests from which we witness. Cooperate and in doing, so we are treated to a fantastic cast willing to shoulder our burdens. To care for our wounds. To sustain us with supplies and support us through thick and thin. Against all odds. We stand together.

There are however mixed feelings I have with this entry. Won’t say names. Since this is a non-spoiler review and certainly not a positive or a negative. But for the sake of transparency, I'm noting down here. One character in particular needed more fleshing out, some villains and to a lesser degree other persons. I felt I didn't grasp their entire being more than others. Which is funny because I adore my party. Sadly, I’ve already devoured the game as much as I possibly could in search of critical and related information I may have missed the first time around with no success. And I doubt a third go around would change my thoughts. Anyway, I think further context on the background and subsequent encounter with the MC needed more ‘meat’ so to speak for lack of better words to create a dynamic that would immerse me further. Extra side quests regarding ‘x’ nation concerning their status, additional scenes, and heavier amounts of banter, especially during battles to alleviate some silence. There is some banter, though I think the devs could’ve added a healthy amount to spare. Tease me with interconnected lore concerning their powers I wouldn’t expect. Past entries in the series had parties where I can comfortably say I know their personality, likes, dislikes, habits, quirks, relationships with others, etc. And while this one individual didn’t have to that extent. I enjoyed their presence, actions, and the precious moments they had in the story. Granted, including my suggestions would inflate the base content more in hours, but I think it's a small price to pay to receive more fleshed-out people. I’m not asking for five hours extra. Although I wouldn’t mind it. Just an hour or two. Be that as it may, it doesn't diminish the game all that much.

Wish we could control other party members and while this doesn’t make a lot of sense due to spoilers in the story. Conceptually I think it could’ve worked to give further spice to the combat capabilities. Adding a greater emphasis to my earlier point of fleshing out the characters. Since some member’s ability kit is not as varied as the MC’s which would perhaps make the players feel more lacking in the combat. However, internally I’m torn with the idea since I think this would’ve created somewhat a lesser emphasis on his story. And at its core, there is an extremely high plateau of which we the audience bear witness to his struggles, failures, and triumphs through his eyes. If we take out our(his) eyesight and perspective, then these incredible experiences we see perhaps may not have had a greater impact. Balance is key here and while I could sprout more suggestions I could see why the developer chose not to do so. It’s a troublesome matter. I've long since debated whether more or less should be added for games.

Style over substance is here. Should be noted, I don’t perceive this notion in a negative light. I can see the merits, demerits with shades in the middle. For Style It is simply amazing to behold the Eikon fights. But it becomes rinse and repeat as we continue to reuse a repetitive formula. Spamming our attacks amid downtimes of our cooldown abilities, interspersed with quick time events(QTE) to add a flourish making battles memorable. Sure there are moments when this evolves to keep the combat fresh amidst these epic David Vs. Goliath clashes. Tynan Sylvester goes deep into the subject of this in his article on "Style and Substance in Game Design" Here he posits:

“The designs all become too similar to each other because they're all simulations of the same things. The style is decided upon and a simulation is built before the substance gets tweaked. This means that the fundamentals of the games are all the same; they are just variations on one another.”

We see this clearly with the Eikon fights and perhaps in some respects with the combat system in the non-Eikon battles. Nevertheless, it is fitting in a narrative sense due to how the plot and sequences are constructed. I think I would’ve preferred a more tactical aspect here. Instead of having mandatory engagements like these. Include more natural surprises to the player. Raising their eyebrows. Make us fight using different aspects of an Eikon. Outwitting my opponents using subterfuge, and backstabbing, Let us use the environment to our advantage, add in human enemies to avoid clashes, and instill a sense of unpredictability by introducing our loveable party members into the equation. Give us choices or perhaps go bolder where it's not even a fight, but merely a duel of words. I could say more, but I’ll withhold myself. I can’t help but begrudgingly praise how well these Eikonic clashes were done in a cinematic sense, but also what they accomplish in the story. The substance is here too. Good lord, there are simply too many to my utter joy and I’ve already said earlier regarding the worldbuilding, sidequests, and how that wonderfully ties together into not just Clive’s struggles, but the cast alongside him. Man has conflict everywhere.

FF16 RPG elements are barely within and while I think the commentary article does have some truth. I believe for the narrative this was sacrificed necessarily to focus entirely on his journey. I am not defending Sixteen by saying this, merely trying to infer based on what I've seen. There is a clear vision from which the devs have led from beginning, middle, and end for the player to see. And I for one applaud the move to risk in their grand vision, by sacrificing some RPG elements. As a result, I am given less time managing and micromanaging my units stats and equipment, in favor of returning to action. Is this a conscious effort by the team to do so? Perhaps. Should Final Fantasy have the bare minimum of RPG elements like tweaking stats, combat, and more to make it as JRPG as other entries in the past have done? I don’t know. I for one am no developer nor am I an expert in determining the correct answer to such a question. I don’t think there is even a perfect one out there from which we can all unanimously agree. maybe Chrono Trigger? Without a pedantic fella hollering “Well actually…” Comparisons will be made of course. And in tradition, we see these constant debates online. In my opinion, as long as the elements are satisfying to the player, then I think that system serves its purpose. I don’t play FF solely for the role-playing experience. Although I don’t mind if it's in-depth like say Bravely Default or other Square Enix IPs For me, I play FF to become engrossed in the story, characters, music, themes, settings, gameplay etc. And to this end, CBU3 delivers in chests full of Mythril.

The dungeons(these are places from which we fight.) Could be improved level-wise. To allow more freedom to explore. Why can’t I search for a castle more thoroughly? Why am I stuck in yet another forced battle to clear out a room of enemies and goodness by the almighty grace of Greagor please not another forced skirmish? As a consequence, a formulaic method rises as we go through the corridor and room to fight familiar enemies before we can progress. I don’t think this is a bad design. I simply believe other avenues were available. Don’t make some fights mandatory. Allow us to free-roam, and inject some npc’s to raise an eyebrow. Drop some lore papers around ruins so I have something else to do beyond fighting enemy mobs who think they have a chance of opposing me. Be bolder and go the distance by granting loads of enemies to clash with, akin to Dynasty Warriors. Scores of deadly mobs push me to the limit. To play devil's advocate, I can see why the devs didn’t do so, since sixteen is already ambitious. And the pace of how the story beats are granted is logical to me. Overall I think aesthetically they’re great, and the mini-boss/regular boss fights are a thrill to test my mettle. The dev’s don’t miss on constructing these encounters. Using their mmo skills to bring in their expertise to a single player game is a 200 IQ move.

Final Fantasy Mode seems to be the intended difficulty. Unlocked after beating the story. Featuring better tweaks by removing button prompts during QTE's and relying on visual cues to press. Adding exclusive content(in the form of upgraded weapons and accessories), increasing enemy strength, and more enemies in areas you wouldn't expect in a 1st playthrough. I feel this mode ought to be available from the start. Granting a balanced challenge to players looking for a bitter bout. But I think I understand why the developers didn’t unlock it in the beginning. Some areas felt like padding by adding a miniboss in areas when the base game didn’t have one. Which is an interesting choice. Alternatives I was thinking to alleviate this were adding 10-25% more enemy variety and injecting these instead of more mandatory fights. Nevertheless, I am a bit eh on the FF mode. Although, It is a delightful affair for those who seek it.

That’s it for my mixed feelings. Despite the unholy amount I spouted, I don’t believe they bring the entire product down a great deal. Think of these ultimately as food for thought. The rest are minor nitpicks not worth mentioning. Two last notes before I head out and I am so sorry for writing more than I thought possible. But in the writing here. I savor every word. Very mature and filled with layers deep with rich dialogue. Considering it was spearheaded from creative director/lead writer by Kazutoyo Maehiro Who was mentored by Yasumi Matsuno(He directed FFT, Vagrant Story, FFXII among others). Therefore, the writing is beautifully well crafted. Not to the extent of flowery as the Shakespearan translation of FF Tactics: War of the Lions. But a cross between Vagrant Story & FFXIV dialogue in a modern take. Resulting in naturally organic voiced scenes. I frequently traveled back to cities, towns, and my main hub and listened to unique dialog every time. No need to hit a button to converse. Simply walk by and you can hear their chatter. The MSQ cutscenes between every important individual on-screen are handled with care and delicateness. Villains too. This attention to detail is given the same treatment as we go through the SQs and man it is so worth it. Clear amounts of nuance here where you will see neither side winning or losing. But full of shades of gray in the dialogue, and how some quests are resolved in unexpected, yet realistic outcomes.

Clive’s story from start to finish is such a breathtaking journey every FF fan needs to experience. Wonderful development, in my honest opinion. I was deeply moved by how raw Ben Starr voices the MC and how these give so much intensity to candid and countless natural conversations. Hell, even the voice actors aside from Ben deserve praise. A solid crew who tests, questions, and guides. Their counterparts, the villains, provide a powerful incentive to beat. Make no mistake. His story is not for the faint of heart. But, as much as there is darkness here, so too is light and it is without a doubt impeccably strong to behold. Cuteness and priceless moments are here to counter the stormy Valisthea political climate.

Final Fantasy has always been near and dear to my heart. I have witnessed innumerable stories that resonated so powerfully. Likable to loveable casts I reminiscence from time to time. Soundtracks never failing to capture the spirit of fantasy. Gameplay that can be a hit, miss or somewhere in between. And while some entries stagger and sputter without gas. Each one has a special place in my heart. From the foundation in one to three. Ascending to greater heights than before from four to six and taking a more bold and experimental graphical change from seven to nine. Transitioning into an advanced engine from ten to thirteen. And while I haven’t played FFXII yet. By the Founder, trust me, I’ll get there. FFXIV & FFXV still kept my faith. And now for FFXVI to grace our presence I am left in awe at the immense weight of it all. The sheer depth at stake here, when analyzed under a fine magnifying glass is a bloody tour de force. I applaud Square Enix’s Creative Business Unit III. Rarely do I become so absorbed in such a captivating narrative of Clive’s story. Seeing his growth from his younger days as he ages is such a vital aspect to soak in. For those who still doubts the series, this is a title that is simply a must-play and CANNOT be missed. For any newcomer to JRPGs, I envy you greatly if you start with one of the finest Final Fantasy games I’ve had the pleasure of playing.

Bravo Yoshi-P, Hiroshi Takai, Michael-Christopher Koji Fox, Masayoshi Soken, Kazutoyo Maehiro, Mitsutoshi Gondai, Ryota Suzuki, Yusuke Hashimoto, Hiroshi Minagawa, Kazuya Takahashi, and so many more who helped develop this raw title. And most of all thank you to anyone who read this long review. You guys are the best.

9/10

Note: If any links are not working please let me know and I'll update them accordingly. Worried about some FFXVI OST YT videos getting removed.