The people over at GoodFeel looked at what Yuji Naka was doing with Balan Wonderworld and said hold my beer.

As Nintendo exclusives go this one definitely feels the most like a late era release for a system on it's way out the door. Visually it's really bland and surprisingly fuzzy and poorly optimized for a game made by one of Nintendo go to second party studios, besides the main visual motif of the levels being plays everything else feels very bland; even by Goodfeels standers with their last game this is the most "second party" made nintendo game I've seen since in a long time, There just isn't much heart here and you can 100% tell.
Gameplay wise it's very easy, like......really easy; as in it's a two button game only and the only time the gameplay changes is when Peach uses a costume which gives her the ability to do one whole new move (wow). Obviously this game was made with very little kids in mind but honestly I feel like even they would get bored with something like this. Hell even compared with Kirby games like Forgotten Lands or Planet Robobot still offer a greater challenge as the game goes on, for pretty much the beginning to the end the whole game feels like it's on autopilot; like it's only reason for existence is to babysit your 6 year old for 5 hours instead of being a normal parent and put your kid in front of Bluey or a Mr. Beast video (joking by the way fuck Mr. Beast).

I guess my overall problem with the game is how...completely unmemorable the whole experience was. I went out of my way to 100% the whole game and besides like 1 or 2 moments from the beginning and the end I've already pretty much forgotten almost every part of the game. And I don't like using the argument of "oh well it's a kids game made for very little kids; what did you expect?", because even if you made a game with it being very easy in mind you still need to make it a good game. Like a side before Kirby is a very pretty much made with kids in mind but those games are not only game games that both kids and adult can enjoy, and give kids a good challenge while also still being welcoming for smaller kids; but those games are also chock full of stuff for kids and adult to play besides the main game. Here I 100% the game and did everything in around 9 hours for a game that cost the same price as Kirby's Forgotten land, Luigi's Mansion 3, and Super Mario Wonder.

The nicest thing I can say about this game is that unlike Balan Wonderworld it's not a buggy broken mess and plays alright, it's just a shame the game itself is the definition of bland.

Unfortunately this game is not good, it's not a worthy spiritual successor to Punch-Out.
It ends up being more trial and error with an emphasis on memorization.

Worst of all is that with low life, a filter covers the entire screen and occurs a dramatic close-up, which makes it difficult to see the patterns, which are inconsistent and not very clear, even more difficult to read at the most necessary moment.
The filter even covers the start menu, making the yellow highlight almost indistinguishable.

One of the bosses is a witch who releases magic, and guess the color... With low health it was better to restart the fight.

A Gunstar Heroes inspired game by the creators of Wild Arms? I was excited about trying this game out, but it wasn’t quite what I had in mind. 

As an early full 2D game for the PS1, it understandably wasn’t of high import, as this was only released outside of Japan in the PAL region. We didn’t get it in the States, probably due to Sony Computer Entertainment America being anal about 2D games. We almost didn’t even get any Mega Man games on the PS1 because of this. The only reason Mega Man 8 was able to be released in America is because Sony didn’t want the Saturn to have an exclusive title, as if they even needed to compete with it at all. So, yeah, something like this coming to America? No chance. Nonetheless, this is still a laughable localization. I was shocked to see that the entire credits was left untranslated. Did they think nobody would beat the game or something? I’m left wondering how it was even allowed to be released like that; I’ve never seen that before. Other than that, there was a difficulty change made to the European version where instead of the Japanese version's infinite continue amount, this game limits it to 9, which does make it much more difficult. It took a lot of grinding, as this game is pretty tough. 

You have 4 guns: a normal shot, a wide shot, a homing shot, and a flame shot, which is for high damage output. The cool thing about this game is that you’re able to switch between any of them on the fly, which is fun to swap them in the levels and boss fights to suit what's going on. There’s also a lock button so you can aim in place, and a grappling hook, so you’re able to vault onto platforms above. The cool thing about the grappling hook is that you’re immune for a period of time when using it which is fun to plan out. The bosses are great too; they’re really hard, and it’s fun to learn their patterns. The final boss is a great test for all you’ve learned playing the game. You will be dying a lot though, so beware. 

Rapid Reload lets you pick from two characters, and they are Axel Sonics and Ruka Hetfield. Their only gameplay difference is their weapons, which all have the same attributes (normal, homing, etc.) but are all different variations. Ruka, for some reason, is balanced horribly. Her guns barely do any damage, and there are a ton of instances where I’m certain it’s impossible to not take damage due to her not having enough coverage for what’s on the screen. Everything I praised about the gameplay basically gets thrown out the window while playing as Ruka. This is easily the worst part about this game, and it was infuriating when attempting to beat the game as her, but I was able to, and it took a lot of practice. Axel, though, is far stronger, as he does much more damage and has a lock-on homing laser, which makes a lot of the game's levels and bosses an absolute joke. 

I don’t really think anything else is super remarkable about the game though. The music is serviceable. I like some songs, but a lot of them are pretty boring. The graphics are also pretty standard. I mean, again, a super early PS1 game, but it’s very bland. The boss sprites do look pretty cool, though, along with the character portraits shown after stage completion.

If you play this game, just play as Axel, and save yourself from raging. If you’re a completionist, I’m sorry for what you’ll have to go through. If you don’t mind playing the game in Japanese, just play Gunners Heaven. You have infinite continues and 60 FPS, so that’s definitely a more desirable version. Or you could just play Gunstar Heroes.

undeniably, there was something lost during the transition from gen 1 to 2. you can even start to see it from red/blue to yellow. designs became less abstract, instead opting to ape the designs shown in the anime. the feeling of a JRPG monster game was traded in favor of eschewing a new genre, something a cross between that and a pet simulator. it's very fascinating for me to go back and see how distinctly unpokemon red/blue was, and gen 2 is really where you start to see a lot of the themes and tone come about.

on some level, i do prefer red/blue to this game. there's a greater "pick up and play" element to it for me, there's a staggering amount of content condensed into a relatively simple experience. something about the game design of red/blue evokes a "do another playthrough" desire out of me; it could be the relative minimalism by series standards or just the fact that it feels so video game-y in a way that pokemon's largely abandoned. charmander isn't a cute little salamander, it's a monster that's meant to grow into something greater than itself. and sure, some of the NPCs in the game do remark about how cute and adorable pokemon like jigglypuff and meowth are, but there's this implied understanding that, to be a superior pokemon trainer, you should be looking at stats and moves, not at designs.

fastforward to gen 2, and you get an almost completely opposite message from the game. there's a greater emphasis on bonding with your pokemon, both in the addition of a friendship statistic and also in the form of friendship evolutions. baby pokemon are added despite serving no advantage in gameplay terms and being relatively useless. much more gimmick pokemon are added that seemingly lack real-world counterparts to add to the world, like shuckle and gligar. in large part, gen 2 is the point in the series when pokemon decided to stop being centered on imitating the real world with a JRPG lens and instead became its own, lived-in universe. pokemon have mythos and lore beyond pokedex entries now! you can breed pokemon and get powerful egg moves onto things, regardless of how sensible it may be (hello chikorita with ancientpower)! gen 2 is when we look at pokemon's world in greater detail instead of abstraction. on the one hand, i appreciate and miss the abstraction of gen 1. on the other, it's undeniable that gen 2's when the pokemon series really kicked into high gear and cultivated its iconography and gameplay systems beyond what many expected of a fad of the year series.

it's worth mentioning that this game does a lot of quality of life improvements as well as bug fixes and move effect retoolings from gen 1 that were sorely needed. i could spend what feels like days listing off everything improved, but it's staggering when you sit down and bullet-point out how much of gen 1 needed to be fixed by its sequels; moreso staggering that it was. it's very easy to go "the jump from gen 1 to gen 2 was big", but it doesn't feel quite as big until you play them both back to back. the art style alone is so different that the games feel as though they're not even related. pokemon red/blue was the blueprint, pokemon GSC was the reinvention.

the largest and probably most damning flaw of the game for me is that a large portion of the gen 2 pokemon are prohibitively difficult to obtain. some are locked away behind trade evolutions, some are only obtainable after beating the elite four, and some are just painfully rare encounters (see: dunsparce, teddiursa, and swarm pokemon like yanma + qwilfish). and literally half the gym leaders only use pokemon from gen 1. you're telling me that you introduced one new ghost type pokemon in misdreavus, and not a single fucking person in morty's gym uses it? and falkner is left by the wayside in only using pidgey and pidgeotto. sure, he's the first gym leader, but you really couldn't have at least given him something at least a little interesting like hoothoot or murkrow?

but i'm nitpicking. this game is considered a hallmark of the series, and, when you consider the context, it's easy to see why. as much fondness as you could have for digimon, you simply must admit that it lacks a pokemon GSC. it lacks a video game that dominated markets and cemented its series as a mainstay of pop culture. for what pokemon has become and what we all wish it could be, there was a time when it felt like it was truly breaking new ground, as though it were mapping uncharted territory. that was exciting. thrilling, even.

(Continued from the Pokémon FireRed Review...)

After a solid Pokémon FireRed experience, my Twilight Princess buddy and I decided to take on a game together. Knowing neither of us would’ve been satisfied with the then-recent offerings, we decided on Pokémon Crystal for the Game Boy Color via the Nintendo 3DS Virtual Console. Crystal is perhaps the most lovingly crafted game in the series. Not that I’ve played the rest, I just can’t imagine it gets quite so thoughtful ever again (be sure to let me know if I’m wrong about that). As more thorough historians have pointed out, Pokémon’s second generation began development before the series exploded into a multi-bajillion dollar religion, and was the last to feature series creator Satoshi Tajiri as director. Judging by the nature of his two games compared to the stuff that followed, I have no choice but to conclude that I like this guy. His modest settings demonstrate a desire to simply provide his players a miniature, cutely idealistic neighborhood or countryside to get lost in. Where later sequels would achieve plastic doll house-ishness and Barbie-worthy Pokémon Center exterior architecture (even in FireRed), their earlier iterations were contained within charmingly ordinary little brick houses. Tajiri’s regions were places that looked like they might exist somewhere, only, they also happened to include Pokémon (Generation 2’s story even implies that its 100 new monsters just sorta…showed up all of the sudden). I hadn’t exactly been playing Pokémon according to Tajiri’s vision until this point, but that was about to change.

Nowadays, you can hurl your unwanted rat into the aether and even grab Super Duper Ultra Awesome Legendary goldfish online via special events, and while I’m not opposed to the inclusion of internet functionality, I do think (as the foremost authority on the subject) that this sort of thing does sort of go against the spirit of these games. Without another means of grabbing Alakazam, Gengar, or Golem, my friend got ahold of a Kadabra and a Haunter for me, and I trained him a Graveler. When we traded and unlocked their final evolutions, it felt like we’d broken the game. We progressed through Crystal in parallel, battling intermittently, swapping tips, and having a generally good time. Before long, my Lavos (Cyndaquil) had become a Typhlosion, and the end was nigh. Taking on the Elite Four and its Champion was quickly succeeded by the final battle against my true, real-world Rival. I still feel kinda bad about abusing Sleep Powder, though he insists it was totally fair game.

I knew there was a whole post-game section ahead of me, possibly the most memorable in the series’ long history, but after that experience, I was completely satisfied. Believe it or not, I continue to be. I’d finished Pokémon, gone out with a bang, and felt safe in the knowledge that I understood firsthand why the entire world holds Bulbasaur so close to its heart.

Just don’t ever ask me for anything ever again.

(Demo abandoned)

What the fuck are we doing? How the hell did Dark Souls 3 become the template for action games?

"Oh, it's the potential for good levels!" But what would good level design even look like in this context? Dark Souls 1 has a simple combat system that doesn't rely on large open spaces without obstacles. This way the player can be trusted to defend themselves in most terrain, which in turn enables designs like Blighttown, Sen's Fortress, New Londo Ruins, etc. where enemies can meaningfully interact with the level geometry. One can argue how consistently applied or successful this was in practice, but there is a solid design goal there that's still visible even up to Elden Ring (as scattershot as that game is).

As you make combat systems and enemy AI more complex though, generally you'll have to start making the simplifying assumptions of plenty of open space and no blocking terrain, which in turn restricts your level design capabilities. This is fine if you build the game accordingly, i.e. most of the classic linear action games. But Dark Souls 3 likes do not actually seem to be aware of this and so have dragged along huge amounts of bloat sections (Stellar Blade: swimming, keypads, climbing) so they can continue to pretend that the spaces between fights have any relation to the actual mechanics.

Similarly constructed arguments can also be made for the following Souls systems, which I will leave as an exercise to the reader: items, camera, pacing, leveling.

So I guess the whole point of these games is to grit your teeth so that you can experience the combat system? But is the combat really all that interesting? The camera limits how many aggressive enemies you can reasonably handle at once, and not being able to hitstun enemies with normal attacks pushes you into hit and run defensive play, which in turn pushes you to abuse the simplistic, timing-based parrying and iframe systems that all these games are cursed with. Why bother when you can just play Nioh 2, which commits all the soulslike sins above but at least has actually interesting resource management, accessible hitstun, deep weapon movesets, and so on. Why play any of these games at all when you can play Monster Hunter where the defensive, commitment driven style that soulslikes are known for is a hundred times better executed?

This whole subgenre is a complete dead-end design wise and doesn't look to be getting better anytime soon. What a mess.

[Played via the Never7 -the end of infinity- Eternal Edition v0.6 fan translation]

I didn't have high expectations for this going in - Uchikoshi has some writing quirks that can bug me and this is one of his earliest works, not to mention the fact that I've heard nought but bad things from people whose taste I trust. Unfortunately, my expectations weren't betrayed. I don't really have complaints about the presentation - the art, while not for me, isn't bad, but that's about it. The problem lies in the story and characters.

By chance I recently watched Welcome to the N.H.K, which at one point has a character explain the philosophy behind bishoujo/gal games; as I played through Never 7, I couldn't help but notice that it conformed almost exactly to that formula. The threat or act of death for women serves almost solely as inspiration for the main character, a variant of the 'fridging' trope, and the female characters have very little depth. The treatment of female characters is misogynistic and, in one instance, borderline pedophilic. Also, the protagonist kicks a dog. The supernatural elements are the highlight here and my understanding is that the rest of the series going forward has less focus on romance and more on plot and science fiction themes.

I wouldn't have played this at all if it weren't the beginning of the Infinity series, and I certainly can't recommend it on its own. If and when I get around to other entries in the series, I'll come back and update this review to indicate whether the series is worth playing and if so, how important Never 7 is to it or whether it can be skipped.

The first game I’ve ever played in my life was Super Mario 64. As a kid not really aware of the significance of this title for many years to come, a lot still stuck with me like Mario’s seamless movement in 3D and the possibilities it hosted interacting with the worlds and environment in both intended and unintended means. The worlds, in particular the initial set on the first level of Peach’s castle, felt so lively and overwhelming at first in the possibilities that existed and what could be found or missed even after seemingly scoping out the entire world. Hearing the keys of Jolly Roger Bay now almost twenty years removed still shoots a pang in my heart thinking back to my 5 year old self trying to catch all the red coins, get the power star early in the jet stream or plunder the secrets of the grimy underwater cavern. It’s easy nowadays to look back at 64 and the more questionable parts like hit or miss levels of the game, constant interruption in getting the stars, and the god awful camera, but the sense of amazement and charm around each corner and crevice of the experience rode high so hard then for me and I’m actually playing it. A bygone era so deeply intertwined with my childhood nostalgia that shaped and informed how I approach this medium even today.

Banjo Kazooie unfortunately was not part of my childhood like many people have experienced and I arrived real late on this duo’s whole thing until sometime around 2008 where I saw a commercial of nuts and bolts and its box art and being transfixed by their designs, Banjo in particular. Still, I never got around to the first game for many years to come until I stumbled upon a copy of it and its sequel randomly in my local used games store. It’s hard recalling many specific things I felt regarding the game then since it’s more than ten years removed at this point and I only progressed about as far as Clanker’s Cavern, but I wasn’t as in love with it like the acclaim it attracted but it was still a pretty captivating and colorful time. Though now I can say I 100%’d the entire game and find it to be more enjoyable than I thought before, not in a masterpiece way but still so invigorating to experience fully.

For as welcoming as this game oozes with the very cutesy and theatre kid like intro, I was caught off guard initially with how strict the movement is and levels later on tend to get later on. Banjo and Kazooie’s starting moveset is limited but opens up with each passing level to be a very unique tool kit of methodical traversal and basic enemy smashing. It doesn’t compare to the level of momentum and speed that can be generated and exploited from Mario and Sonic’s 3D outings at the time, but it still strikes a strong and enthralling identity with levels tuned and tailor-made around it with satisfying puzzles that incorporate their skills like the numerous egg-related puzzles, target puzzles with the beak bomb ability, and basic platforming and scaling done with the feathery flap, flap flip, talon trot and other abilities, even a toggle invulnerability skill. The levels are crafted very much around verticality while offering a lot to distinguish them from one another in their environments, characters and enemies, avoiding the issue of heavy reuse or too abstract territory in their level design. They are scaled near perfectly to prevent tedium from kicking in next to just how appealing it is to collect the various number of trinkets littered around the zones. I appreciate Rare’s approach to the collectibles by having both good variety and theming with the Jinjos, music notes, Jiggies, Mumbo tokens, honeycombs and other items that make collecting them appetizing outside of an overarching achievement. Music note collecting can become painful in some of the later levels with losing all your progress if you end up dying but this only became an annoyance in the later few levels that pushed the difficulty up slightly from its usual coasting fare.

The starting area of the tutorialized Spiral Mountain to Mumbo's Mountain and Treasure Trove Cove as the first two levels ease in how the game will go before truly adding some escalation with the levels onwards starting with Clanker’s Cavern. I recall my first experience of this place being a particular stinker that stopped me in my tracks because of how unwieldy I found swimming to be compared to Mario 64’s more in control feel, especially in stopping and changing direction. Playing Clanker again I didn’t find it to be much frustrating outside of turning and angling Banjo while swimming but alternating between the kicking and wing stroke (and apparently using the right bumper for sharp turns) alleviated some of the unwieldy feel. For as bad of a rap I feel this level gets, it was surprisingly fair and dare I say fun to go through and see this rise in challenge that would continue for most of the rest of the levels. Bubblegloop is a bit less exciting exploration wise and the gator mini game being too high energy until I unlocked the running shoes, but it was still interesting to see where it went and collecting the jiggies was a fun breeze. Freezeezy peak similarly felt more pulled in with the main peak of the tall snow man being the most interesting of the stage though falling on the short side; it did introduce the aerial beak bomb skill though it feels that it is missing a very needed reticle or some soft lock on as aiming is a bit too guesswork next to turning and recovering while flying being funky with the camera. Gobi’s desert ups the escalation with more treacherous terrain and an array of major and mini puzzles available such as the pyramids and the various ways of opening them and excavating the secrets within.


Mad Monster Mansion is possibly the peak of the levels for me with how many pathways and areas are layered across the map, even the Mansion alone, that I ended up missing a few things when I first exited the level. Rusty Bucket Bay and Click Clack Wood are the ultimate tests of the experience; the former being very strict on platforming and traversal outside with the trap of oily water draining available air below and above the surface fast and inside the ship with the engine room as the most unruly part of the game, somewhat to a frustrating degree with how sensitive Banjo’s movement feels at least playing on switch when walking across smaller and narrower platforms and connecting pathways. It’s a miracle having the suspend points as I feel I wouldn’t have completed this level fully with how many times I’ve dived off the deep end from making one wrong step or overextending a leap in the engine room. Click Clack Wood is much less difficult but unfortunately falls on the tedious side with an ambitious four season structure encompassing the same level of scaling a big tree and its surrounding puzzles for all the collectables. Collecting everything in Rusty was painful but Click Clack Wood felt more exhausting even halfway through going through the mostly same menial tasks, though a few had diverging set ups that changed across the seasons to fully get the jiggies associated with them. It never reached the levels of a Rainbow Ride, Tick Tock Clock or any other of Mario 64’s less stellar levels, but it did feel more intriguing as a concept versus the execution this time around. Overall, this set of worlds are excellent across the board and do their job well in emphasizing and incentivizing exploring the zones even when collecting the 100 music notes without dying felt sometimes eye rolling with some aspects of bullshit ending my runs roughly.

I don’t have extensive comments on the music outside of it fitting very well the gorgeous and charming presentation of Banjo-Kazooie’s worlds and layout. Sound design similarly is charismatic as each character and enemy feel vividly themselves in what they sound like, even if a few bordered on annoying or eye rolling at times. I will say I have a soft spot for the power up jingle played when using the temporary power ups and the different versions played depending on which is being used. The final boss theme goes hard for a delightfully tense final encounter with Gruntilda that incorporates a good variety of the skills gained across the journey. Sure aiming the eggs and beak bombing Grunty in the air was a bit frustrating with the camera but seeing the Mighty Jinjonator bash the shit out of Grunty in the end after all the effort is such a satisfying finish that I can almost overlook the annoyance.

It’s hard to pick up anything significant I didn’t like from my experience outside of the awkward camera but that’s more a staple of the era than anything completely unique to Banjo Kazooie. This game has aged very well for how long ago it came out, especially as a Nintendo 64 title. The thought of collecting everything in Super Mario 64 is a headache with how finicky the levels and platforming can get but Banjo Kazooie was a fun ride through and through outside of some hiccups on the way.

After engaging with very long and intensive games recently, I’ve had a craving for something smaller and more focused and Banjo-Kazooie definitely fit that bill. In many ways it was pretty refreshing to revisit this more bite sized adventure after clocking in so much time with more recent, bigger and sometimes exhaustive AAA titles that are fun in their own right but have started to have some diminishing returns the more I spent with them. Nostalgia rearing around again but a part of me does yearn for this era where the scale of games even at the top weren’t too alarming yet and what’s next not too far or too cautious with the threat of studio closure or acquisition to drain their bodies; the outright tease of Banjo-Tooie in the end credits and delivery of the extra in-game secrets after getting all the collectibles is real cocky but feels so human and sweet over a little bling of an achievement saying I completed everything in the game or the usual credit roll at the end of titles. I can admit this is a bit of a too nihilistic view at times given that so much good shit is still coming out today and even in the 90s and early aughts game development and various wings of it weren’t exactly rosy, especially many things Sega like that blue hedgehog and his messy titles around the fifth generation and onwards. Even Rare couldn’t escape the more vicious parts of this industry then and exists as a shell compared to its status decades ago. Never change games industry.

Regardless, I’ve greatly enjoyed my time with Banjo-Kazooie. It’s satisfied and ignited my craving for 3D platformer collect-a-thons again that has been a bit quiet for some time with all the action and rpg titles I’ve given myself to. I’m curious how I’ll feel about Tooie now since I recall not having a fun time with it ten years back. It would be very convenient to jump into it if Nintendo’s shameless online service had it but I suppose it will be added at some point when they raise the price again, but it’s whatever and other means to play can’t be too much of a problem. Who knows, maybe I’ll power up Super Mario 64 now and actually complete all the power stars for once since I’m feeling early 3D platformers again (extreme doubt).

Mf thinks life is all sunshine and rainbows

Despite my fondness for the Kirby series and the pink ball’s equally adorable friends, it’s kind of surprising how I haven’t played many of this cute eldritch horror’s older adventures. Case and point, it was only relatively recently that I finally played Kirby’s Dream Land,  and while it was certainly a simple and fun enough adventure —and a necessary stepping stone all things considered—, it didn’t quite click with me the same it does for others. It has its moments and highlights, like the shoot ‘em up boss fight, and as a short, easy-to-access platformer, it does a good job, but I find it reaaaaally hard to get invested in its not-so great levels, and Adventure’s existence and how fun and complete that game feels while also accomplishing everything Dream Land does doesn’t exactly help things.

All this to say I had no  clue what to expect from the sequel; I knew I had to play this, this is the first outing in Shinichi Shimomura’s less action oriented take on Kirby compared with what Sakurai would end up pursuing in Super Star and that fact alone made it far more interesting, and I also knew some other things here and there, like the fact it features copy abilities and what-not, but overall… Yeah, I didn’t know much about aside from ‘’this is the direct continuation to Dream Land’’. I wasn’t expecting anything bad, hell, I don’t even consider the original game a bad work at all, but I would lie if I said I had high expectations going in…

… so what if I told you I kinda really jammed with this game?

I… Wow, if we see this and the two previous games and some sort of original trilogy, then the evolution is clear as day; as I said, I knew this game lifted some elements from Adventure like the copy abilities, but I never expected to see so many translated so well to the charming brick that is the Game Boy. Levels once again have the adorable introductory cutscenes, but instead of being limited to one-stage run-throughs, there are actual defined hub-worlds, and while there’s less optional stuff than in Adventure (by less, I mean none), the hub areas themselves feel much more compacted and representative of the world they are set in, and it’s hard to describe how, but these areas and the game as a whole manage to feel very lively despite normally featuring no color at all.

And on the levels themselves… You can play as a hamster, so I think that says more than enough. The original Dream Land attempted things such as vertical challenges and annoying mazes, and while those are very much present here, they are accompanied by far more interesting overall lay-outs; the game is still easy, but beating the stages feel like an accomplishment either way thanks to the more varied and fitting challenges, mini-bosses that are actually super fun,  and a but more of a puzzle-like feeling thanks to the collectables and the varying paths.

There are still 1ups here and there, but the existence of star bits and being rewarded with a life after collecting enough is a incredibly simple change that goes a long way in encouraging you to approach the stages in a slower-paced, different way, and that’s not even getting into the main collectables that give you the real ending.

Most of the stuff in or added to Dream Land 2 seems like the most basic shit imaginable, and maybe it is, but it’s all done with such care and intent that it’s hard to not be profoundly enthralled by simply getting a new power-up or uncovering a secret. The design, the animations, so reminiscent of both games that came before yet even more adorable, and charming, even the music for crying out loud! Most are rather short loops, sure, but what they lack in length, they deliver in quality, have you even heard Coo’s theme? You know this bird is the real deal when this starts playing.

Oh, that reminds me of the friend animals, actually… Nah, just kidding, I could never forget Rick and his incredibly silly dance, I smiled so much when I saw the lil’ guy go… Rick, Coo, and Kine are so much more than what they seem at first; they aren’t only  funny fellas that give new ways to move around, they are also broken as hell in every sense of the word! Each power-up acts different depending if you are accompanied by them or not, and they are pretty much the key to finding the game’s more hidden secrets, and… I don’t know man, they are just so much fun to play as and make you view levels in a completely different way.

Out of the bunch, Kine is probably the least useful: his land movement is ass and pretty frustrating, and it’s not like it makes swimming easier than it already is, and getting him without the possibility of getting rid of it can make certain sections into a nightmare. Other than that, they are genius additions that not only seem like an inspiration for the sections in Kirby 64 alongside other friends of Kirby and even the ability combination mechanic, but also feel like a sort of preview for the far more complex move-sets Super Star would give us.

It's a super charming and fun experience that only has two big problems, those being The Iceberg and the Dark Castle; the former is an ice world, and even tho that alone doesn’t have to mean anything negative, it sadly has some of the most annoying, stressful, and frustrating levels in the entire game, with a vertical sections that is either the easiest thing ever or the most bullshit platformer challenge I’ve ever tried depending on if you have an animal pal or not. And the latter is relying solely in drawn out sections that aren’t that fun to begin with and content to see in other worlds, which is a huge shame considering how cool the whole setting is. Two whole worlds that drag down what’s otherwise a fun and wonderfully simple platformer, it's still Kirby after all, but what intrigues me is how it manages to be Kirby, if that makes sense.

It's clear to me now how much this game not only would highly influence both Dream Land 3 and 64, but after also the Kirby series in general: other playable characters aside of the main puffball, puzzle-like elements  and collectables that would return at full force in the modern 2D games, the long running tradition of Dedede getting possessed, and the beginning of the whole Kirby background story as we know it. What surprises me is not so much that it introduces these elements, but just how well they work right here, right now.

It's true that it has two worlds that feel like a bit of a chore, it’s true that most of the puzzle can be summarized as ‘’you need x ability to break x block’’, it’s true that it borrows a ton from Adventure, and all of that matters, but it also matters just how much of a fun and well-thought out adventure this is. I’ve used the word ‘’charm’’ a couple of times, but it’s the word that defines it best….

Also, if the three animal fellas don’t appear in the next 3D Kirby game (If there is one) I will RIOT, I NEED MORE OF THESE ADORABLE MACHINES OF DESTRUCTION AND THEIR SILLY DANCES, DAMMIT!

I’ve never watched Twin Peaks. Not for any particular reason, mind you — I’m bad at watching episodic things and there sure are a lot of them out there — though, given just how many things it’s influenced, perhaps I should get around to it. If, in part, so I can see just how much it influences Alan Wake. It’s not like the game is lost to me just because I didn’t do the required reading — it’s not solely beholden on its references, and even if it was it still draws from other things (like Stephen King, House of Leaves, The Twilight Zone, etc.) that are far more in my wheelhouse — but it does feel like I’m missing a piece of the puzzle, knowing that it’s an influence yet not knowing how it impacts the work in question. Is it merely how the game is set in a small town with a dark secret? Is it the cast of offbeat, often kooky, often exaggerated townspeople? Is it the way the game often calls its framing into account: how it frequently calls into question whether the events depicted are real, or representative of something else entirely? I can guess, but I can only guess — I don’t even know whether that last one is something Twin Peaks even does. I suppose it doesn’t super matter, but, like, usually when I go through something I wanna learn alllllllll about it. And in the case of something like Alan Wake — where it’s operating on multiple different narrative layers, where it’s in some ways actively seeking analysis and interpretation from the audience — I liked it enough to feel like I should maybe do my homework. At least before I delve into the series further.

I’ll start with the easiest thing to talk about, if, mainly, for the sake of getting a foothold: I wasn’t expecting this to be as combat-heavy as it was. I knew there was combat, of course — that the game carried a balance between walking-sim-esque segments where you explored the town/chatted with the inhabitants vs. pretty direct gameplay segments where you fought against The Darkness — but I didn’t think, going in, that the ratio would veer so heavily towards the latter. It’s fun, though! It’s certainly much more action-oriented than survival horror — much like a Resident Evil 4, even down to the way your flashlight functions as a laser pointer for your weapons — yet sticks the landing much more than a non-zero amount of its contemporaries do. What I think sells it is its simplicity. Near every encounter comes down to shining some sort of light on them to remove their defences before using some sort of weapon to kill them dead. You don’t even need to aim for the head — bodyshots do the same damage, it’s just mostly a matter of getting them weak in the first place, making sure you have enough ammo on hand, then letting rip. There are remarkably few enemy types (you have your normal guy, your tough guy, your fast guy, your chainsaw guy, but nothing much more than that) — the diversity primarily lies in the type of encounter: are you getting intercepted from point A to point B? Do you have to battle your way through the hoard? Do you have to hold out against the horde? There are a lot of different situations you find yourself in, and through that a lot of situational tools that make each encounter feel unique, from your environment, to the things around you, to the tools you have with you.

Which, speaking of? By and large? Fun to use! Your pistol is shockingly capable: it’s accurate, it has a fun kick to it, it kills enemies in three hits, but if you don’t have the time or the ammo, you can instead use the shotgun or hunting rifle to obliterate the enemy where they stand. If that’s not enough, if you’re in the middle of being overwhelmed… man I love love love how the game just gives you its equivalent of the rocket launcher. And lets you choose how to manage its resources! Do you choose to use it now or later? If you do it now, do you know if you’re going to get more ammo for it later? If you don’t use it now, do you know if what’s down the road is even worth using it later? Of course, you can bypass all these problems by just finding enough treasure chests to make sure you have ammo forever, which…

Leads me to another thing I love: how much the game rewards exploration. The environments you explore are huge, and oftentimes have much more than the player ever has to cover. You can keep going down the path you’re meant to, and the game’s compass (once you notice it) does a good job at delineating what’s “the path” and what’s comparatively more optional, but should you want to look around, you’re rewarded in a variety of ways. If you want a little more extra story content, you can find radios lying around, pages you can read, even little Twilight Zone knockoff TV episodes the game allows you to watch in full. If you want gameplay advantages for going the extra mile, the chests/lootboxes give you more flare gun ammo and flashbangs than you’re ever going to need - and often give you one of the shotgun/hunting rifle before the level would otherwise let you have it. And if you just like exploring for exploring’s sake, you can sate Alan Wake’s addiction to coffee by finding it in the most unlikely of places. The game lets you go above and beyond, as well. Near the beginning, you’re at the bottom of a chasm, a rope bridge across from the cabin you’ve been heading to. You can go across like the game directs you to… or you can instead climb all the way back up the cliff… just to get a coffee thermos. You never have to go up there, and you never get the chance to go up there again. The game, in general, really encourages you to go off the beaten path - offering multiple incentives to entice you to do so, but not only that, the game and the level design lets you go to so many nooks, so many side routes, so many places you never otherwise need to go just to facilitate all these collectables. The world is way bigger than it has to be. To some extent, that’s commendable.

And it’s so fascinating how much focus there is on how it plays, given, ostensibly, that it's a game that’s… primarily all about its story. Perhaps it’s a remnant of when Alan Wake was initially meant to be an open-world game with a day/night cycle — much like, of all things, Deadly Premonition — though this then makes the result… feel somewhat imbalanced, where often it feels like you’re going through looooong gameplay segments and the narrative is being left by the wayside. Not to say the latter isn’t effective, though! As… little as it feels like we spend our time in the town, I liked the glimpses of it that we got! Specifically I loved a lot of the bit characters/NPCs. They lean a little off-beat, a little eccentric, but yet never so much that they don’t feel like real people — more in that sense of, like, that one person from your hometown everybody knows who's a liiiiiiitle bit off their rocker. They’re cute, they’re fun, and I like how they turn Alan into a straight man for whatever antics they force upon him — waitress Rose's obsession with him immediately blowing his cover the moment he enters town, or FBI Hemingway's referring to him solely by other American writers. There’s other little things I like too: the Twilight Zone parodies you find on TVs around the place are fairly on point (and made me realize just how much it kind of is a more adult Goosebumps episode lmao), and the radio shows do a lot to let the world around you feel lived in, and let the writing seep in even during sections where you’re just traversing from one place to another. The manuscript pages are fun for this too: sometimes they recap what just happened, sometimes they tell you what’s about to happen, sometimes they let you know what’s happening beyond your immediate scope, and sometimes they’re just really cute bits of narrative, like the one where Alan picks up a page about him picking up a page and it enters a recursion loop. Every person you talk to, every sign you walk past, every little thing around you helps build up the world around you. To some extent this game could be a case study in how much the micro-level stuff matters in building up a greater picture.

On a macro level — the overarching narrative — it’s… certainly ambitious, but ultimately I reckon sticks the landing. The game draws from pulp novels: not just from the novels themselves, but also how the personal lives of the authors would impact their work — how a lot of these novels had writers/some-form-of-self-insert as the main character, Stephen King not even remembering writing Cujo because he was on so much coke at the time, etc. It’s metatextual, as much a story about itself, and the writing process, as much as it is about a story about Alan Wake fighting against The Taken. The in-universe manuscript the plot of the game is forced to follow is as much of a first draft as anything written, in, say, NaNoWriMo, and the game has so much fun with that: plot holes, kibble, deux ex machinae are present yet accounted for. The story will often turn on a dime, often into stock plots or cop-out endings, much in the way someone would if they’re writing to get words out with no idea of where they’re actually going. Characters or things appear, are professed as important, then will drop out of the plot entirely the moment their scene ends. Even some of the kooky characters will make sense from that lens — an author having to write something fast rather than write it well, relying on cliches that seem much less true to life once those characters start walking and talking in a 3D space. I also enjoy how much the writer makes his way into the work. I’m… not necessarily familiar with Sam Lake’s works, nor do I know much of Remedy as a whole, but I like what I see: the way Alan’s attempt at writing something other than a noir thriller results in a total nightmare of a creation process, how the game stops at a halt so that the in-universe version of a band whose members Sam Lake is friends with can play a few of their songs. To some extent, every work of writing has a bit of the author in it — their experiences, their way of thinking, the specific things they’re a fan of — and often by going through these works one gets to learn about the one who created it along the way. Metatext (or, rather, metafiction) often brings this relationship to the forefront through its continual self-analysis, and Alan Wake, narratively, shines at its brightest on this front, presenting a story that is as much about the process of writing as it is about its literal events, and in turn letting us see just a little about the mind behind it.

There’s… a couple things that bring this game down, mostly on the gameplay end. The game’s use of vehicles leaves… something to be desired: they’re often required for traversal/combat within certain sections, yet trying to use them for their intended purpose is oftentimes clunky, accidentally getting the car stuck on a surface when trying to U-turn it in the direction of the enemies, accidentally drifting it off a cliff trying to make a simple turn. Not even going into how easily it is for the camera to make you motion sick going into certain cars. While I do know that survival horror isn’t meant to be ‘fun’ by definition, a lot of the sections where the game takes away your items I felt were rather the lowlight, often feeling as if they were total crapshoots as to whether I could run through before I got wombo combo’d to death. Some levels — again, perhaps, because of the game’s initial premise as open world — feel rather too long, and often seem to be there to fill time, more than anything. The final level, in particular, has almost nothing story-wise between beginning and end, and while you can pick up pages/listen to Alan’s thoughts the plot doesn’t actually progress until you’ve reached the final section, leaving like, two hours of combat for combat’s sake in-between. I guess it’s a good thing they were able to use all those assets from when it was originally open world? It just… maybe could’ve benefited from being a little more streamlined. Or at least, in the final level’s case, having a bit more between A and B.

As a whole, though, that doesn’t fully detract from near everything this game has going for it. From how well the gameplay does the action horror formula — doing a lot from what little it has, and just from how much the game world encourages and rewards random exploration — to how well the story functions both as a metafiction and as a narrative in its own right, to even the most minor of things: I legit did the Leo pointing meme when I heard, of all Nick Cave songs, Up Jumped the Devil playing on a radio in the woods. It’s not quite a tour de force, and it was much more of a cult classic than a blockbuster when it released (given it released right next to Red Dead Redemption), but… to an extent, that feels appropriate. Something that goes in as many different directions as this does I think works best as an unsung darling. Besides, Twin Peaks, as beloved as it was, didn’t do too well in the ratings either.

…I think. Don’t quote me on that.

(8/10.)