My brother and I used to mess around with Pikmin as kids, and I always loved the little guys, but I think I was not prepared for the level of challenge it brings when I was 8 years old - I'm not sure we got past the second world. Pikmin 3 is one of my favorite games of all time, and Pikmin 4 is not far behind, so I thought I'd head back to the roots of this franchise now that they've made their way to Switch.

Pikmin is held back only by the AI, which I am sure is the best we had available back in 2001. The fact that you can effectively control 100 soldiers on a map for an RTS game with a controller was already a miracle. Pikmin 1 is best described as a well-executed proof of concept - over time, this basic idea blossomed into a masterpiece in later titles. I was thoroughly addicted and stuck to the screen for the 8 hour adventure, looking for new strats and racing the clock to retrieve all my rocket parts. I'm so glad this game exists and existed when it did, and it holds up quite well on its own.

Pikmin 1 is brutal and tests your survival abilities in a way that has faded out of the series, and it's something I think I can live without. The racing clock is stressful, with the threat of permadeath looming over you, but I managed to escape with all 30 parts on day 28 due to careful planning and knowing when to replay the day once or twice (or eight times). I wish the Pikmin were smart enough not to constantly drown themselves, or know when to pick up items, or even know the shortest way back to camp, or understand they can't dive into pits of fire, but that's just life innit. It's interesting to see how Pikmin evolved in this game from mindless, expendable drones that you're expected to lose hundreds of to cherished friends you'll die protecting in Pikmin 4. I can't wait for Pikmin 2! Coming soon.

The creators of this were smoking and eating something, probably simultaneously. The gameplay is non-existent, with trivial platforming and constantly moving right, holding down the dedicated Shred button. What you are treated to, though, is an absolute deluge of sights and sounds. There are regular sections in the game where you must follow button prompts, but luckily, these don't require rhythmic timing. You never know what to expect or how everything will react to your sci-fi riffs from the space opera of your soul.

I think a lot of people have that game from childhood. The one that we immersed ourselves in without really understanding it, stumbling around in the dark but still so enthralled that we weren’t ready to give up. We threw ourselves at the same things over and over again, weathering down the barrier between us and story, experience, and understanding, until only a sharp bond remained - one strong enough that after all this time, it still cleaves through years and cuts to the marrow of childhood fascination. That game for me is Baldur’s Gate.


Sitting in a sea of game materials - a pc game box designed like an ancient tome, a map of the sword coast, a manual that might as well have been written in a different language - I remember installing the game for the first time, and even that seemed like an epic adventure. It’s silly, but an installation that spanned over five discs and several hours was an event. I could not take my eyes away from the drawings on the screen while I sat and stared at the loading bar slowly journeying its way across the bottom of the screen.

I had always wanted to play Dungeons and Dragons, but there was no one to play with. My step-dad had told me stories of his campaigns, epic and funny stories of exploration and fighting grand battles. I remember one in particular was about a wizard who stopped an entire army in their tracks by stopping a catapult through simply holding up his hand and casting a spell. The boulder smashed against the wall of force that he had conjured, but to the opposing army, it just looked like this wizened old man smashed a boulder with the heel of his hand, so they fled. I wanted so badly to partake in stories like this, and Baldur’s Gate was my first chance.

With this wizard in my mind, I rolled up a Mage without understanding how the stats worked, and ventured forth from Candlekeep only to be killed almost instantly. I honestly can’t remember what I died to anymore, but I know that rather than being upset, I just kept making characters. I didn’t really understand the rules. I read the manual, but couldn’t quite figure out everything it was telling me, so I just put it aside and kept playing.

The Sword Coast had swallowed me up and I could not escape. Around every corner was a new adventure - an artist who just wanted to finish his final masterpiece, a troupe of silly monsters that offered me an autograph, a chance encounter with one of the heroes from a book series I loved, a cranky wizard in his tower, and more. I didn’t even care or know what was going on with the main story. I just kept playing because I wanted to experience more of the world and the characters within.

I had been offered freedom in a video game that I had not known at the time, and I think that freedom and richness still holds up today. It’s why I’ve kept playing these games now for over 25 years. Eventually, I did figure out the mechanics. I did learn the story beats. I did save the Sword Coast. There was no definitive moment, but rather just a gradual deepening of understanding over time, which I think is primarily what makes this series so special to me. My progress mirrored the protagonist. At level 1 leaving Candlekeep, they have no idea of what is going on. They are fragile and disoriented, but piece by piece they begin to understand and grow in strength, and by the end of it (and the saga at large) they are ready to take on any challenge thrown at them.

Baldur’s Gate was truly an amazing adventure for me, and remains that way after all this time. I think this is its biggest strength and triumph as a saga. It manages to weave together small vignettes of stories that are rich and interesting through a large overarching plot, allowing every moment to feel grounded and important while still servicing a grand narrative that leads from childishly fleeing in the night out of terror to challenging nations, powerful sorcerers, terrible dragons, and even gods themselves. Humanity and character expression remain the forefront of the writing in Baldur’s Gate regardless of the stakes, which makes these games timeless, and continues to make me fall in love all over again each time I play. I hear those first words, “Nestled atop the cliffs that rise from the Sword Coast, the citadel of Candlekeep," and I'm 10 years old again, ready to begin my adventure.

With its cute visuals, chill music, and goofy dialogue, Bear and Breakfast attempts to present itself as a charming, wholesome hotel management sim to get cozy with, but it misses the mark in just about everything it attempts.

The character art used for the dialogue and short character introduction scenes is fantastic. That style is what got me through the front door, but it didn’t take long to realize that the game underneath is not very fun. That art that I showed up for is great in the dialogue scenes and all but the actual in-game assets are designed to such a low resolution that the entire game just looks muddy. Blurry lines could be excused if they nailed the aesthetic, but the visual design is messy. Colors don’t pop, foreground objects blend into the background, and half of the environments are just dark ugly forests. It’s not a world I really wanted to explore, but the game forces you into exactly that because, when you’re not working on your hotel, it’s making you do boring fetch quests or endless amounts of material collecting in the woods. When the game actually does let you work on your hotel, it’s kind of fun to decorate your own little place, but that joy is short-lived because it quickly just throws you back into another boring side quest. When you’re not wandering around collecting junk, you’re literally just standing around waiting for guests to check in and out of your hotel so you can finish some quest or get enough money to move on. Most of my time in this hotel management sim is spent doing random other shit so I can earn the privilege of working on my hotel while I wrestle with the game’s bafflingly-bad controls.

I refuse to believe that the person who designed the controller support for Bear and Breakfast has ever played a video game using a controller in their entire life. It is wild how bad this game plays with a controller. I’ve played some rough PC to console ports that do dumb things like just mapping the cursor to a thumbstick and, honestly, I think I would’ve preferred that execution over Bear and Breakfast’s completely unintuitive control scheme.

If the bizarre console controls was Bear and Breakfast’s greatest sin, I feel like I could push through it, but the game itself is sadly just not very good. All I want to do is make and decorate my cute little hotel, but this damn game keeps making me run around dark forests, do fetch quests, play its terrible cooking minigame, and scrounge for resources. For a cute-looking little hotel sim, this game sure spends a lot of time making me do boring, tedious shit.

+ Really cute character art
+ Chill soundtrack
+ Decorating your hotel is kind of fun?

- Horrible console controls
- Terrible UI/UX
- Everything between the actual hotel stuff is boring
- Too much time spent waiting around
- Gets repetitive quickly
- Annoying inventory management
- Muddy, blurry graphics
- Bad environmental/world design

As a first time player in 2023, it is impossible for me to truly understand just how astonishing Final Fantasy VII was back in 1997. But it is perhaps the highest mark of praise I can give it that even over 25 years later, much of that wonder still bleeds through. From its story and the way it's told, to the incredible pacing and eclectic progression pathways through the game and its myriad of enjoyable (and often obtuse) side content, Final Fantasy VII now stands tall as a monolith to everything JRPGs spent the NES and SNES generations building toward. A pinnacle achievement that will probably impress forever. Even a decade from now, some of the visual abstraction FFVII uses to tell its story won't be commonplace in its industry.

In short, a game that stands the test of time as well as any PS1 game can. Thank god for the 3X speed in the PS4 port tho.

Tears of the Kingdom is a really weird game to talk about, because I feel like I should enjoy it a lot more than I do. I ended up playing the game for 150 hours, I ended up getting all the shrines (though definitely not 100%ing...), but I don't know that I fully enjoyed those 150 hours. There was a lot of the game that was just downtime where I was going through the motions, and it was never straight up unenjoyable, but I also don't know if I'd say that the game has 150 hours worth of content - rather that's just how long it took me to go through it.

I feel like ToTK 's content gets less interesting as you play through it. Exploring the depths was fun at the start, when fog busting was novel and it hadn't gotten tedious yet, but it got tedious by the end of the game. While there are vehicles you can use, all it does is make boring content go by faster, as there's very little interesting to discover in the depths. It's basically just currency to upgrade your battery, armor you're never going to use, and resources. It overstayed its welcome. The same can be said of exploring the sky. It was novel at first, and then the sheer amount of copy pasted islands with similar puzzles got a little tiring. Even the labyrinths suffer from the same problem. The first time I found one, and explored it from start to finish, I was amazed. It was a super novel experience. And then all three are formated the exact same way, which eats away at how interesting it was to explore them.

Building stuff was interesting in theory, but in practice I found it took way too long. You could use autobuild, but even that isn't perfect since you needed to either spend zonite or take the parts out of your inventory ahead of time, which was a little tedious. Building anything new took forever, too. The time between finding a solution, and actually executing that solution, was too long. A lot of the time I just found myself finding other ways to travel (gliding, spamming the same plane model, horse) rather than building anything novel. That aside, I don't like that it allows you to clear puzzles in such a wide variety of probably not intended ways. The feeling of "Eh, definitely not the intended solution, but good enough." is just not one that I actually enjoy, especially when that solution is so often "just use a rocket/just use a generic fan + control stick vehicle/just build a long stick or bridge."

Combat is just as fundamentally broken as it was in Breath of the Wild. I enjoy it more, because I don't feel like it's a dark hole of resources I'll never get back thanks to the fusion system, but Zelda combat should just not be about RPG numbers, at least defensively. Offensively it's mostly fine since they mix in goobers alongside the big boys, so you still get to feel yourself becoming more powerful, but defensively it's just ridiculous. You can just upgrade the hylian set for nearly no materials and just... take no damage from enemies. And conversely, it means that whenever you're wearing something other than your hylian set, you take a ton of damage, more than is probably reasonable. And since it takes forever to upgrade armor outside the hylian set, I just end up not bothering. Hell, a lot of the utility ones barely feel like they matter. The one that lets you climb in the rain barely feels like it does everything, even with the full set.

Shrines were OK. Not much to say about them, there was a lot of them, most of them had creative ideas, but they were often too short to scratch the same itch as a dungeon would. Likewise, I don't really care for the dungeons in this game. I liked the approach and build up to the dungeons almost universally more than I enjoyed the dungeons themselves. The Divine Beast style of just finding 5 things then going back to the central room to fight the boss just isn't interesting to me. At least there's more variety aesthetically than there was with divine beasts.

Story wise, it feels like the game is being held back by the way that the game is set up. The story can be found out of order when it comes to stuff like Zelda's tears or the master sword, and then conversely they're so obsessed with the idea that they have to make sure you get the story in order-ish that the cutscenes for all temples are copy pated. It's not a bad story, I like it conceptually, I like elements of it, but I hate how it's told because of the open world nature of the game.

All in all, TOTK is just a really weird game for me. I had a really good time early on, and while it never fully lost its steam (I still completed it), I also feel like I'd have enjoyed it more if I just ended the game early rather than actually going for all shrines and map completion. There was just a lot of the time where I was coasting through the game rather than fully enjoying myself.