Werty800
Replaying a short, clunky game like this is super satisfying when you know how to optimally get around it. Controls aren't smooth, but there is a lot of fun in flailing around like a baby if you're not particularly annoyed by unconventional movement.
The jump is so weird, I love it, it has two distinct versions, one for jumping while running and one while standing for short hops, and it's all very spring-like. You can do so many cool jumps with it in some levels or even one in the house. Lining up a perfect jump from the stairs to save all the time in the world is phenomenal. You don't really get things like this often anymore due to how standardized these sorts of things are. The camera is really bad though. There is a reset button but sometimes it can't put itself behind you properly.
As a kid, I loved all the little interactables. There's all these instruments laying around, you can play on the piano or throw a guitar to make a silly noise. You can walk outside and throw a stick to the dog. It's all completely inconsequential, but to me the essence of the best childhood games was the immediacy of gameplay. I would wake up and think "today I will bring all the toys upstairs to Tommy's room" or "today I wanna play this level", boot up the game and get to the thing I want in a matter of seconds. Each mechanic and place captures a memorable vibe or an aesthetic which I could replicate to help me little kiddie brain understand it better. There's a reason why everyone who played it as a kid remembers the spooky parts.
Part of the replayability might have been me thinking there's more to the game and maybe something will happen if I do this or that. Nothing ever happened of course. But I think this game among a few others instilled in me the love for weird controls, variety in a single game, as well as finding tricks to do things more optimally. It also did wonders for my imagination.
The jump is so weird, I love it, it has two distinct versions, one for jumping while running and one while standing for short hops, and it's all very spring-like. You can do so many cool jumps with it in some levels or even one in the house. Lining up a perfect jump from the stairs to save all the time in the world is phenomenal. You don't really get things like this often anymore due to how standardized these sorts of things are. The camera is really bad though. There is a reset button but sometimes it can't put itself behind you properly.
As a kid, I loved all the little interactables. There's all these instruments laying around, you can play on the piano or throw a guitar to make a silly noise. You can walk outside and throw a stick to the dog. It's all completely inconsequential, but to me the essence of the best childhood games was the immediacy of gameplay. I would wake up and think "today I will bring all the toys upstairs to Tommy's room" or "today I wanna play this level", boot up the game and get to the thing I want in a matter of seconds. Each mechanic and place captures a memorable vibe or an aesthetic which I could replicate to help me little kiddie brain understand it better. There's a reason why everyone who played it as a kid remembers the spooky parts.
Part of the replayability might have been me thinking there's more to the game and maybe something will happen if I do this or that. Nothing ever happened of course. But I think this game among a few others instilled in me the love for weird controls, variety in a single game, as well as finding tricks to do things more optimally. It also did wonders for my imagination.
This review contains spoilers
Please do not read if you have any intentions of beating the game, I think the non-spoiler experience is very worth it.
While I had my doubts as to how good of a game this is at many points, and perhaps I would still like this to be a part of a different medium, I think there are moments which do a great job with interactivity, and some really good puzzles once a chapter throws you into the deeper waters with its mechanics. There's also this great moment as you walk forward and fight against clones of yourself as the two godly cats duke it out in the background. That owned. There's also the great pixel-art and soundtrack that loops just perfectly. Rarely do we get such smooth loops.
A lot of this game is similar to the visual novels from the studio key and their anime adaptations. A cute girl that needs to be protected which possesses, or is a victim of mysterious powers beyond human comprehension. Usually, every character had something going for them, except the protagonist, who was usually a perfect hero, always making the right decision and saying the exact words the other person needed despite the problems being so complicated and vast. It never really worked for me. Atma is similar to this archetype. For a long time I was annoyed by how little character he had. But they made it work, in retrospect.
Atma, as the player knows him, was never real, which I thought was a fantastic twist that explained why he was the way he was. The only Atma we know is the one Nirmala perceived. He may have been real and died while caught up in that stream, in which case it shows how the sympathy and the kindness of a stranger can go a very long way. He may have had problems in his past life, he goes into them a tiny bit towards the end, but he may also not have been real, in which case it means our hopes for a person that understands us and cares for our vision of the future help us carry on.
A lot of this game is explained very openly at the very end, but I think a lot of the conclusions drawn are good ones and they are wrapped in a lot of good emotions. As sappy as it might sound, I hope whoever gets to that point grows to learn their worth, their place, their limitations. To look at things from a different perspective. Everything that this game tries to tell with sincerity.
And I hope others won't dismiss it because of its simple mechanics, its inability to fully commit to making some of them deeper, the cheesy "you were in a coma" conclusion, or a lack of a deeper perspective on bullying. I think all of those are valid complaints, but I still hope this game doesn't falter under them for everyone. There are some solid mechanics and puzzles in here, a great structure and the aforementioned great, ambigous twist about Atma's existence. It's not my ideal version of this game, but I am satisfied with what I got and glad it's out.
Finally, the award for best cats goes to this game. Not only is petting them a core mechanic, but you CAN NAME ALL OF THEM. Can you name all the cats in Stray and come back and say "you're as fluffy as ever Cherry"? That's what I thought. Top 1 cat mechanics. Undefeated.
While I had my doubts as to how good of a game this is at many points, and perhaps I would still like this to be a part of a different medium, I think there are moments which do a great job with interactivity, and some really good puzzles once a chapter throws you into the deeper waters with its mechanics. There's also this great moment as you walk forward and fight against clones of yourself as the two godly cats duke it out in the background. That owned. There's also the great pixel-art and soundtrack that loops just perfectly. Rarely do we get such smooth loops.
A lot of this game is similar to the visual novels from the studio key and their anime adaptations. A cute girl that needs to be protected which possesses, or is a victim of mysterious powers beyond human comprehension. Usually, every character had something going for them, except the protagonist, who was usually a perfect hero, always making the right decision and saying the exact words the other person needed despite the problems being so complicated and vast. It never really worked for me. Atma is similar to this archetype. For a long time I was annoyed by how little character he had. But they made it work, in retrospect.
Atma, as the player knows him, was never real, which I thought was a fantastic twist that explained why he was the way he was. The only Atma we know is the one Nirmala perceived. He may have been real and died while caught up in that stream, in which case it shows how the sympathy and the kindness of a stranger can go a very long way. He may have had problems in his past life, he goes into them a tiny bit towards the end, but he may also not have been real, in which case it means our hopes for a person that understands us and cares for our vision of the future help us carry on.
A lot of this game is explained very openly at the very end, but I think a lot of the conclusions drawn are good ones and they are wrapped in a lot of good emotions. As sappy as it might sound, I hope whoever gets to that point grows to learn their worth, their place, their limitations. To look at things from a different perspective. Everything that this game tries to tell with sincerity.
And I hope others won't dismiss it because of its simple mechanics, its inability to fully commit to making some of them deeper, the cheesy "you were in a coma" conclusion, or a lack of a deeper perspective on bullying. I think all of those are valid complaints, but I still hope this game doesn't falter under them for everyone. There are some solid mechanics and puzzles in here, a great structure and the aforementioned great, ambigous twist about Atma's existence. It's not my ideal version of this game, but I am satisfied with what I got and glad it's out.
Finally, the award for best cats goes to this game. Not only is petting them a core mechanic, but you CAN NAME ALL OF THEM. Can you name all the cats in Stray and come back and say "you're as fluffy as ever Cherry"? That's what I thought. Top 1 cat mechanics. Undefeated.
1999
What if Armored Core but arcadey and cool techno-fantasy combination setting. There's a total of, like, 5 unique, required fights or something, with the last one being a badass snake boss. If Armored Core's mecha fantasy is based around the limitations of a mech's movements and these clunky, chaotic battles, a shitton of missiles flying by at all times and all that, Frame Gride's mecha fantasy is about the dynamic gamefeel, where the technology feels perfected. That's because the mechs are more so knights... with guns.
This is one of those games where you are supposed to read the manual. It contains the descriptions of button combinations required to pull off certain moves. You have your standard mecha guns, melee and special laser/missile launcher in the form of, like, a spell. But the moveset also changes depending on the distance, for example the button you use for shooting turns into a punching button which breaks a shield stance, something the melee weapon cannot do. By holding both triggers, typically reserved for strafing, the player can combo or unlock special properties of his guns. It's honestly a very fun, exciting and snappy risk-reward system.
The final boss is tough as nails. You gotta figure out ways to dodge his attacks rather than tank his hits like you usually could with FromSoft's other mecha games. It's a boss formula that is much closer to their post-AC games, and it's very fun once you get a hold of it! I think this, more so than anything I played of Armored Core so far (the PS1 titles and Armored Core 2) will be what the series look like from 6 onward. The melee-gun balance works perfectly, and the battle tempo is excellent as well.
Losing so much against the final boss made me explore other parts, of course. It's very, very far from being as expansive as Armored Core, but they differ signficantly, which is more than enough for the length of the game. Some parts change how you need to position yourself, or when you can pull off a big move. Also, whenever you lose, a part gets removed and you have to make a new one before heading out. If you can't, you're screwed.
At the beginning of the game you answer a few questions, giving you parts that you might not know anything about, but they're all relatively simple and intuitive to use. If you played Armored Core that is. Otherwise, the manual is once again your best friend. You obtain other parts by combining crystals you obtain from winning fights. You can refight previous fights at any point in time to obtain more gems. Enemies, and you also, can spawn "squires" which are these smaller enemies. If you defeat them and subsequently destroy their bodies, you can get another gem. Another cool risk-reward factor, as the enemy can deal a lot of damage while you focus on their minions.
Really enjoyed this game. Ideal length (around 4 hours) for a retrospective, obscure title. Great game feel for a short, evening playthrough. Might replay down the line.
This is one of those games where you are supposed to read the manual. It contains the descriptions of button combinations required to pull off certain moves. You have your standard mecha guns, melee and special laser/missile launcher in the form of, like, a spell. But the moveset also changes depending on the distance, for example the button you use for shooting turns into a punching button which breaks a shield stance, something the melee weapon cannot do. By holding both triggers, typically reserved for strafing, the player can combo or unlock special properties of his guns. It's honestly a very fun, exciting and snappy risk-reward system.
The final boss is tough as nails. You gotta figure out ways to dodge his attacks rather than tank his hits like you usually could with FromSoft's other mecha games. It's a boss formula that is much closer to their post-AC games, and it's very fun once you get a hold of it! I think this, more so than anything I played of Armored Core so far (the PS1 titles and Armored Core 2) will be what the series look like from 6 onward. The melee-gun balance works perfectly, and the battle tempo is excellent as well.
Losing so much against the final boss made me explore other parts, of course. It's very, very far from being as expansive as Armored Core, but they differ signficantly, which is more than enough for the length of the game. Some parts change how you need to position yourself, or when you can pull off a big move. Also, whenever you lose, a part gets removed and you have to make a new one before heading out. If you can't, you're screwed.
At the beginning of the game you answer a few questions, giving you parts that you might not know anything about, but they're all relatively simple and intuitive to use. If you played Armored Core that is. Otherwise, the manual is once again your best friend. You obtain other parts by combining crystals you obtain from winning fights. You can refight previous fights at any point in time to obtain more gems. Enemies, and you also, can spawn "squires" which are these smaller enemies. If you defeat them and subsequently destroy their bodies, you can get another gem. Another cool risk-reward factor, as the enemy can deal a lot of damage while you focus on their minions.
Really enjoyed this game. Ideal length (around 4 hours) for a retrospective, obscure title. Great game feel for a short, evening playthrough. Might replay down the line.
2000
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
rmored core 2 is powerfully infuriating. I rarely left missions with any ammo remaining in both early and late game. I had to use specific, exact set of tools for certain missions because the game mechanics do not work well with the actual enemy design.
Every single time an enemy AC jumps or dashes, you just lose. You get an extremely short window to lock on, so that automatically makes 80% of the weapons not viable after a little bit. I don't believe you can beat the final boss using anything other than missiles, I tried for hours but I just couldn't do it. Not to mention the arena opponents, the last few I cheesed by forcing the AI to leave the designated battle area and winning by forfeit.
I cannot even begin to describe how infuriating it is to be thrown around like a toy by some of this game's enemies and their weapons, while also turning slower than a pregnant turtle, while also having the turning interrupted by an undodgable enemy shot, while also having an enemy move in hyperspeed behind you and blade you to death!
Was some of this present in the PS1 games? Yes! But it was much more manageable. For the arena, you were provided with a location specifically to counter the jumping fucks, ones with a low ceiling. The boosts would only propel them in one direction, not around you. Why push this system even further? It worked, and now it doesn't.
Are there some cool missions? Absolutely. A bunch of fantastic designs too, the robots have never looked cooler. The final boss looks so good, ohmigoodness. So many cool new parts. But the memories of pure frustration prevail. Moments where I had to stop playing from sheer anger, from the game continously removing my ability to do anything. I don't even rage at games, this is the first in years. The feeling of hopelessness, not knowing what you did wrong, what can you do to fix it, what opportunities you missed. All to be met with "just build this mech, otherwise you won't win." Just bad vibes.
rmored core 2 is powerfully infuriating. I rarely left missions with any ammo remaining in both early and late game. I had to use specific, exact set of tools for certain missions because the game mechanics do not work well with the actual enemy design.
Every single time an enemy AC jumps or dashes, you just lose. You get an extremely short window to lock on, so that automatically makes 80% of the weapons not viable after a little bit. I don't believe you can beat the final boss using anything other than missiles, I tried for hours but I just couldn't do it. Not to mention the arena opponents, the last few I cheesed by forcing the AI to leave the designated battle area and winning by forfeit.
I cannot even begin to describe how infuriating it is to be thrown around like a toy by some of this game's enemies and their weapons, while also turning slower than a pregnant turtle, while also having the turning interrupted by an undodgable enemy shot, while also having an enemy move in hyperspeed behind you and blade you to death!
Was some of this present in the PS1 games? Yes! But it was much more manageable. For the arena, you were provided with a location specifically to counter the jumping fucks, ones with a low ceiling. The boosts would only propel them in one direction, not around you. Why push this system even further? It worked, and now it doesn't.
Are there some cool missions? Absolutely. A bunch of fantastic designs too, the robots have never looked cooler. The final boss looks so good, ohmigoodness. So many cool new parts. But the memories of pure frustration prevail. Moments where I had to stop playing from sheer anger, from the game continously removing my ability to do anything. I don't even rage at games, this is the first in years. The feeling of hopelessness, not knowing what you did wrong, what can you do to fix it, what opportunities you missed. All to be met with "just build this mech, otherwise you won't win." Just bad vibes.
2022
Sat on this for a while, but despite its charms and fantastic ideas, I think I'd much rather just pick up and reread the many books I've read or was taught about from the period rather than force myself to find something more in Pentiment.
I have the benefit of being somewhat familiar with the setting, so much of that time period was taught to us at school. It is a big part of my country's history, it was our golden age after all. Name of the Rose comes up a lot when discussing Pentiment, one of the many books we had to read surrounding that period of time, and it is definitely very inspired by it, but there's also clearly a great deal of research that went into creating believable and exciting scenarios for the game to remain interesting throughout its entire runtime. I love the way this game looks and that strive for an enjoyable mystery within the framework it set for itself. For most I assume it would be the feeling of something unique and exciting, but for me it was the old, comforting familiar feeling that drew me into Pentiment.
The way you explore the gameworld is through a set of predetermined interactions that are available to you at a given time, you are supposed to select which one you want to spend your limited time on. Some interactions do not pass time, and it is usually indicated by a character specifically asking whether you want to spend it on this particular action. The game sets up these rules to make passage of time a very important narrative and gameplay element, making the most of the time and chances given, dealing with the consequences of the choices made under its constraints, etc.
So when any cracks start to show within the logic of the gameplay or the narrative, or when one begins to clash with another, the believability and investment begin to dwindle. Unfortunately, my playthrough led me to a few too many. The game taught me that walking and exchanging simple words with certain people isn't a time-consuming action, but when I needed one character to be outside in a certain time of day, not an unreasonable one like the middle of the night or anything, I was simply unable to. Said character knew we were supposed to meet and was supposed to pass me a cure for a person that was dying, who was unable to come and get it themselves. But I couldn't do that, the game blocked me from following up on that, even though I was promised earlier that I could come pick it up the same day. I couldn't save the life of a character I really enjoyed interacting with due to an artificial reason, not a narrative one or one that was necessarily the consequence of my actions. This situation arose because it was ultimately a game and didn't set up a proper trigger for me to interact with. What's worse, a completely unrelated trigger with a different character in the same area caused the character I needed to appear to join in this activity, but afterwards they were gone once more and I could not interact with them!
Plenty of other, similar moments began popping up. I uncover a lead that I could undoubtedly confront a person with, but the game didn't set up a trigger for me to do that. I walk up to a person, their family and loved ones and they cheerfully go "Hello!" and that's that, even though I have in my posession a damning piece of evidence that would undoubtedly end up with a death sentence. Pentiment too often clashes with any idea that might pop up in a player's head because its systems are so rigid. This ultimately ties to the story it tries to tell in a way, but it is done so artificially that I simply could not find enough investment or emotion in it.
Nothing but disappointment really sticks with me from my own playthrough, yet when I take a look at it I find it difficult to not feel generally positive towards Pentiment. A clear labor of love only made possible thanks to the GamePass, beautiful art, so many stories of other people going through it and having these fantastic realizations. I know that somewhere where I haven't gone myself there is a potential for an enthralling story, and that it is entirely possible to avoid the trappings I fell into. There are some profound moments that, should enough investment be built, I think will stick with others for a long time. I would lie if the praise it gets didn't bug me somewhat, I experienced a far different game than most, but even I find it to be very charming, so I understand what an amazing feeling a perfect run of this game must feel like. I, too, loved the early moments, when I was fully invested in the history of Tassing.
I have the benefit of being somewhat familiar with the setting, so much of that time period was taught to us at school. It is a big part of my country's history, it was our golden age after all. Name of the Rose comes up a lot when discussing Pentiment, one of the many books we had to read surrounding that period of time, and it is definitely very inspired by it, but there's also clearly a great deal of research that went into creating believable and exciting scenarios for the game to remain interesting throughout its entire runtime. I love the way this game looks and that strive for an enjoyable mystery within the framework it set for itself. For most I assume it would be the feeling of something unique and exciting, but for me it was the old, comforting familiar feeling that drew me into Pentiment.
The way you explore the gameworld is through a set of predetermined interactions that are available to you at a given time, you are supposed to select which one you want to spend your limited time on. Some interactions do not pass time, and it is usually indicated by a character specifically asking whether you want to spend it on this particular action. The game sets up these rules to make passage of time a very important narrative and gameplay element, making the most of the time and chances given, dealing with the consequences of the choices made under its constraints, etc.
So when any cracks start to show within the logic of the gameplay or the narrative, or when one begins to clash with another, the believability and investment begin to dwindle. Unfortunately, my playthrough led me to a few too many. The game taught me that walking and exchanging simple words with certain people isn't a time-consuming action, but when I needed one character to be outside in a certain time of day, not an unreasonable one like the middle of the night or anything, I was simply unable to. Said character knew we were supposed to meet and was supposed to pass me a cure for a person that was dying, who was unable to come and get it themselves. But I couldn't do that, the game blocked me from following up on that, even though I was promised earlier that I could come pick it up the same day. I couldn't save the life of a character I really enjoyed interacting with due to an artificial reason, not a narrative one or one that was necessarily the consequence of my actions. This situation arose because it was ultimately a game and didn't set up a proper trigger for me to interact with. What's worse, a completely unrelated trigger with a different character in the same area caused the character I needed to appear to join in this activity, but afterwards they were gone once more and I could not interact with them!
Plenty of other, similar moments began popping up. I uncover a lead that I could undoubtedly confront a person with, but the game didn't set up a trigger for me to do that. I walk up to a person, their family and loved ones and they cheerfully go "Hello!" and that's that, even though I have in my posession a damning piece of evidence that would undoubtedly end up with a death sentence. Pentiment too often clashes with any idea that might pop up in a player's head because its systems are so rigid. This ultimately ties to the story it tries to tell in a way, but it is done so artificially that I simply could not find enough investment or emotion in it.
Nothing but disappointment really sticks with me from my own playthrough, yet when I take a look at it I find it difficult to not feel generally positive towards Pentiment. A clear labor of love only made possible thanks to the GamePass, beautiful art, so many stories of other people going through it and having these fantastic realizations. I know that somewhere where I haven't gone myself there is a potential for an enthralling story, and that it is entirely possible to avoid the trappings I fell into. There are some profound moments that, should enough investment be built, I think will stick with others for a long time. I would lie if the praise it gets didn't bug me somewhat, I experienced a far different game than most, but even I find it to be very charming, so I understand what an amazing feeling a perfect run of this game must feel like. I, too, loved the early moments, when I was fully invested in the history of Tassing.
2016
I decided to play Inside despite never really meaning to after someone I know said that since its release, there is now "zero reason to play Limbo." I can now pretty conclusively say that that's not the case, not only does one enrich the other but there are elements one does better than the other and vice-versa.
Inside sacrifices some of the atmosphere for colors and particle effects. This works for setpieces, I would say that Inside has more consistently cool ones all throughout the game, whereas Limbo is frontloaded. The moments of walking from point to point, however, as well as the repetitive actions are more openly annoying. Whenever there isn't something happening, there is little atmosphere to speak of. The gray facility isn't a particularly picturesque location.
When I wrote about Limbo a little while back, I assumed that it is mostly supposed to be the same story as Inside, a facility for testing weapons and whatnot, where the player character goes inside to find someone. This seems to hold true. There are changes, sure, but it's like any other series of that type, there are plenty of elements that remain the same and plenty that are different. Think FromSoft's repertoire for an example.
I overall found Inside less challenging, both in terms of gameplay and in terms of challenging my preconceptions. There's no particularly difficult timing nor platforming moments like the spinning sections in Limbo. The game also shows more of the world and the mechanisms of the facility, so there's less for the player to fill in. And that is why the answer to the initial question is a no. The games coexist and there's stuff to get from each, both can provide satisfactory experiences in roughly the same amount of time. At this point, however, I feel like I, as a consumer, am preconditioned to expect these types of experiences every single year, numerous times at that. Limbo was among the early titles that led to this wave, and looking back, I think both it and Inside are falling behind. There are so many experiences per year with just as cool setpieces, but perhaps also, to me at least, a more interesting perspective. Seems like I'm in the minority though. Alas.
Inside sacrifices some of the atmosphere for colors and particle effects. This works for setpieces, I would say that Inside has more consistently cool ones all throughout the game, whereas Limbo is frontloaded. The moments of walking from point to point, however, as well as the repetitive actions are more openly annoying. Whenever there isn't something happening, there is little atmosphere to speak of. The gray facility isn't a particularly picturesque location.
When I wrote about Limbo a little while back, I assumed that it is mostly supposed to be the same story as Inside, a facility for testing weapons and whatnot, where the player character goes inside to find someone. This seems to hold true. There are changes, sure, but it's like any other series of that type, there are plenty of elements that remain the same and plenty that are different. Think FromSoft's repertoire for an example.
I overall found Inside less challenging, both in terms of gameplay and in terms of challenging my preconceptions. There's no particularly difficult timing nor platforming moments like the spinning sections in Limbo. The game also shows more of the world and the mechanisms of the facility, so there's less for the player to fill in. And that is why the answer to the initial question is a no. The games coexist and there's stuff to get from each, both can provide satisfactory experiences in roughly the same amount of time. At this point, however, I feel like I, as a consumer, am preconditioned to expect these types of experiences every single year, numerous times at that. Limbo was among the early titles that led to this wave, and looking back, I think both it and Inside are falling behind. There are so many experiences per year with just as cool setpieces, but perhaps also, to me at least, a more interesting perspective. Seems like I'm in the minority though. Alas.
I thoroughly enjoy the vibe and intrigue of the original more, but Master of Arena is an excellent sequel which improves on many aspects, adds plenty of replayability, perfects the arena mode and manages to set its own atmosphere within the framework of the classic Armored Core PS1 titles.
Gameplay remains largely the same, but the level design and plot structure are great! While a somewhat shorter game than the original, it expands on the mystery of the supercomputer and provides a new set of expansive missions, which are adjusted for stronger mechs much better than Project Phantasma. While not every level is particularly difficult, there's plenty of cool moments and visuals, like riding a submarine and destroying a chasing ship, facing off against a giant tank, or the arena mechs appearing at the end of missions.
That's right, the mechs you can fight in the arena are integrated into the story. They're not special, like the ACs encountered in the first title, but the way in which this game incorporates the arena into the missions and vice-versa makes up for it.
Aside from the arenas in the main story, there's also extra arenas included on the second disc. These include challenge leagues for specific type of mechs (or mechs with specific legs rather) as well as leagues where you face mechs designed by people who participated in a tournament for the previous game Project Phantasma, FromSoft employees and also guest journalists. That's right, you can own game journalists in this one. No Miyazaki in the FromSoft league though, this was way before his time unfortunately, as nice as it would be to kick Miyazaki's ass. Hopefully this mode returns in Armored Core 6. Some of these leagues are very tough and I haven't completed them all myself, but I played them a lot after beating the game because I genuinely enjoyed the customization and the challenge, and simply wanted to play more.
This game also includes the first actually difficult boss in the main story. The final encounter with an upgraded Nine-Ball is tough as nails, as he can stunlock you with his sword and destroy you in three hits. This, unfortunately, filters certain playstyles, but so is life, certain mechs will have advantages over others. By the time you reach that part you should basically have unlimited money to change up your mech anyway, and it's not nearly as restrictive as future final bosses in the series are.
Master of Arena comes highly recommended, and perhaps if you want to merely try out the PS1 titles, this one might be the way to go. You get a budget early on to play around with and the missions aren't as trivial as they were in Project Phantasma, nor is the equipment as strong.
Onto the PS2 era!
Gameplay remains largely the same, but the level design and plot structure are great! While a somewhat shorter game than the original, it expands on the mystery of the supercomputer and provides a new set of expansive missions, which are adjusted for stronger mechs much better than Project Phantasma. While not every level is particularly difficult, there's plenty of cool moments and visuals, like riding a submarine and destroying a chasing ship, facing off against a giant tank, or the arena mechs appearing at the end of missions.
That's right, the mechs you can fight in the arena are integrated into the story. They're not special, like the ACs encountered in the first title, but the way in which this game incorporates the arena into the missions and vice-versa makes up for it.
Aside from the arenas in the main story, there's also extra arenas included on the second disc. These include challenge leagues for specific type of mechs (or mechs with specific legs rather) as well as leagues where you face mechs designed by people who participated in a tournament for the previous game Project Phantasma, FromSoft employees and also guest journalists. That's right, you can own game journalists in this one. No Miyazaki in the FromSoft league though, this was way before his time unfortunately, as nice as it would be to kick Miyazaki's ass. Hopefully this mode returns in Armored Core 6. Some of these leagues are very tough and I haven't completed them all myself, but I played them a lot after beating the game because I genuinely enjoyed the customization and the challenge, and simply wanted to play more.
This game also includes the first actually difficult boss in the main story. The final encounter with an upgraded Nine-Ball is tough as nails, as he can stunlock you with his sword and destroy you in three hits. This, unfortunately, filters certain playstyles, but so is life, certain mechs will have advantages over others. By the time you reach that part you should basically have unlimited money to change up your mech anyway, and it's not nearly as restrictive as future final bosses in the series are.
Master of Arena comes highly recommended, and perhaps if you want to merely try out the PS1 titles, this one might be the way to go. You get a budget early on to play around with and the missions aren't as trivial as they were in Project Phantasma, nor is the equipment as strong.
Onto the PS2 era!
Though it differs so little from the original, Project Phantasma manages to showcase every weakness of the PS1 Armored Core titles while showcasing only few of the strengths.
All the new equipment is very overpowered, and you start with a budget here so every story mission becomes trivial incredibly fast. Not to mention all the weapons and money you get from the arena, they just shred everything to pieces, and the final one has a ridiculous 3000 bullets at that.
The arena, which from what I can tell became a staple and a very popular mode in these games, is very poor here in my opinion. All the competitor emblems and names (the Dill and Pickle combination for example) are fun and all, but having so many different named robots to fight removes the point of the first game, where each encounter with one was special and memorable, and entire levels were built around such encounters.
It also really showcases the shortcomings of this combat system. When the go-to tactic becomes choosing an arena with a very low roof so that the enemy doesn't fly into the stratosphere, you know it's not great. There's more ways to cheese stuff in a similarly unsatisfying way, but it's so effective and the opponents get so annoyingly fast and hard to track that it becomes tough to even consider anything else. They even give them a ridiculous sword that deals, like, half of my mech's 9000 armor damage. Also, certain explosions either stop or send sky high even the heaviest of mechs.
The story isn't that of a mercenary anymore, but a hero chasing an evil dude, whose only thing is that he calls you a nuisance every time he meets you. He gets progressively crazier to the point of merging with a superweapon. Who cares, I absolutely demolished him with a bajillion health to go each time I saw him. You also get a female robot companion you have to save and then protect, and you know it's a female robot because it's pink and slender. Aside from the voice of course. There's too few missions to really develop the story, none of them are particularly good or memorable anyway, some have a gimmick to them but I can't even come up with any standout one like I could with many of those from the original.
The music freaking slaps this time around, there's much more of it and the arena themes are great but because you have to do 50 fights, and even repeat some of them multiple times, they ultimately become tiring.
Big downgrade in my opinion, feels less like working with the core of what they have and instead slapping on new stuff which only shows the cracks in the foundation. It is shorter than the original, but I'd much rather replay that over Project Phantasma.
All the new equipment is very overpowered, and you start with a budget here so every story mission becomes trivial incredibly fast. Not to mention all the weapons and money you get from the arena, they just shred everything to pieces, and the final one has a ridiculous 3000 bullets at that.
The arena, which from what I can tell became a staple and a very popular mode in these games, is very poor here in my opinion. All the competitor emblems and names (the Dill and Pickle combination for example) are fun and all, but having so many different named robots to fight removes the point of the first game, where each encounter with one was special and memorable, and entire levels were built around such encounters.
It also really showcases the shortcomings of this combat system. When the go-to tactic becomes choosing an arena with a very low roof so that the enemy doesn't fly into the stratosphere, you know it's not great. There's more ways to cheese stuff in a similarly unsatisfying way, but it's so effective and the opponents get so annoyingly fast and hard to track that it becomes tough to even consider anything else. They even give them a ridiculous sword that deals, like, half of my mech's 9000 armor damage. Also, certain explosions either stop or send sky high even the heaviest of mechs.
The story isn't that of a mercenary anymore, but a hero chasing an evil dude, whose only thing is that he calls you a nuisance every time he meets you. He gets progressively crazier to the point of merging with a superweapon. Who cares, I absolutely demolished him with a bajillion health to go each time I saw him. You also get a female robot companion you have to save and then protect, and you know it's a female robot because it's pink and slender. Aside from the voice of course. There's too few missions to really develop the story, none of them are particularly good or memorable anyway, some have a gimmick to them but I can't even come up with any standout one like I could with many of those from the original.
The music freaking slaps this time around, there's much more of it and the arena themes are great but because you have to do 50 fights, and even repeat some of them multiple times, they ultimately become tiring.
Big downgrade in my opinion, feels less like working with the core of what they have and instead slapping on new stuff which only shows the cracks in the foundation. It is shorter than the original, but I'd much rather replay that over Project Phantasma.
2010
Thrown around for 0$ on multiple occasions by now, with it being free of any price tag Limbo is a pretty great 2-3 hour experience. There's a really thick atmosphere, plenty of great sound effects (love the rumbling) and build-up in presenting its dangers up to around mid-way, when the natural, living enemies completely switch to the mechanical challenges and puzzles.
Its greatest strengths lie the beginning—seeing the spider, the other kids hunting you, and eventually overcoming the big beast—and the transition into the human-made contraptions. You jumpstart a generator and boom: rainfall. Did you open up the ceiling or did you just create a natural phenomena?
There's always been a lot of theorizing about Limbo, but with the release of INSIDE, I'm pretty sure that this was supposed to be like that story: a testing facility for all these different weapons or contraptions, but in here you, the kid the player controls, are breaking in and out of the intended areas in order to find your missing sister. There are some very situational moments, such as only being able to cross a pond because a kid controlled by the bug (the mind-controlling bug returns in Inside) walks into it, allowing you to jump on the dead body, which have me thinking that there is some controlled aspect to it, like something is watching, or that there is an element of "you shouldn't be here."
The later parts are just not as engaging as the opening act. The game should have stuck with the more nature-based dangers. Those were the most tense moments, and if you expect more of that then you are just simply not gonna get it. The bug sections are cool but they don't hold a candle to the spider sections, and I don't think the team behind Limbo really succeeded in telling this story, and that's why Inside reimagines many of its beats but takes it in different directions, for many much more interesting ones. I'm still more into the atmosphere found here, but I will be giving Inside another shot soon, so who knows, maybe I, like everyone else, will just forget Limbo.
For now, I still want to remember it. I think its simple style of presentation and its gameplay were very inspirational for future games, even AAA ones. And there's still ideas worth revisiting in here. Maybe Inside really is a better package for them and I am yet to really appreciate that, but I feel like some stuff is yet to be touched, and as such it comes with a recommendation. Even its worst parts, just like its best parts, are super short, so even if just for stats padding, Limbo is still worth playing.
Its greatest strengths lie the beginning—seeing the spider, the other kids hunting you, and eventually overcoming the big beast—and the transition into the human-made contraptions. You jumpstart a generator and boom: rainfall. Did you open up the ceiling or did you just create a natural phenomena?
There's always been a lot of theorizing about Limbo, but with the release of INSIDE, I'm pretty sure that this was supposed to be like that story: a testing facility for all these different weapons or contraptions, but in here you, the kid the player controls, are breaking in and out of the intended areas in order to find your missing sister. There are some very situational moments, such as only being able to cross a pond because a kid controlled by the bug (the mind-controlling bug returns in Inside) walks into it, allowing you to jump on the dead body, which have me thinking that there is some controlled aspect to it, like something is watching, or that there is an element of "you shouldn't be here."
The later parts are just not as engaging as the opening act. The game should have stuck with the more nature-based dangers. Those were the most tense moments, and if you expect more of that then you are just simply not gonna get it. The bug sections are cool but they don't hold a candle to the spider sections, and I don't think the team behind Limbo really succeeded in telling this story, and that's why Inside reimagines many of its beats but takes it in different directions, for many much more interesting ones. I'm still more into the atmosphere found here, but I will be giving Inside another shot soon, so who knows, maybe I, like everyone else, will just forget Limbo.
For now, I still want to remember it. I think its simple style of presentation and its gameplay were very inspirational for future games, even AAA ones. And there's still ideas worth revisiting in here. Maybe Inside really is a better package for them and I am yet to really appreciate that, but I feel like some stuff is yet to be touched, and as such it comes with a recommendation. Even its worst parts, just like its best parts, are super short, so even if just for stats padding, Limbo is still worth playing.
1997
I am a simple human being, I see a new FromSoft sequel announced, I go back to replay the series even though there will most likely be very little continuation to be found.
I greatly enjoyed the first title though. Fantastic vibes. Running through open spaces, on water, grass or sand, or crawling through these corridors of abandoned military facilities, never knowing when something will jump out, or something BIGGER will jump out. Sounds of long-damaged technology, warning messages cutting in and out, clicking of organisms or heavy footsteps of robots filling the silence or the darkness ahead.
I actually really enjoyed the story and the individual moments were just awesome. Two dueling coporations, a destroyed world, underground cities, human experimentation, independent mercenary group, jumping between contracts for groups with different interests, uncovering the mysteries of your own organization, betrayal, the truth about humanity's future. There's a lot of clever missions with little tidbits of information in each, making for great worldbuilding. FromSoft always had it. They even have the Moonlight Greatsword and a group called "Dark Soul" here. Crazy how deep the rabbit hole goes.
Since you spend so much time in the menus crafting your robot, which seemed complicated until I just smashed all the best parts together, I would like for that part of the game to be better. It's just an UI after all. I'd love to not have to buy and resell items every time I realize something doesn't fit. You sell for the same price so what's the point, if I have enough money just let me pick it from the menu and use up my money when I head out for a mission. Second, invest in more music, or at the very least a longer loop. It's not terrible, has its charm and all, but it's just impossible for it to not get annoying after so much time.
And this is a yet another very good game with an awful final level. It's very interesting thematically and if you paid attention you'll be hit with one surprise after another, as well as some existential crisis-type beat, but the actual structure is awful. The amount of precise platforming you have to do in that level is nuts, and the main enemy is so fast that putting it in a room with a lot of obstacles in the way makes it impossible to follow with a camera. Running away is an even less valid option, its damage output is insane. So, cheesing it is, bait it into a hole you come out of or leave out of and spam your strongest weapon for close quarters. Unfortunate, because it's a great finale and would feel super tense if it wasn't so annoying. And they were doing such an excellent job of avoiding all these problems too in each and every level. Blegh.
Hopefully this is merely a blueprint of what's to come, and it turns out that Armored Core, as a series, was truly overlooked and underappreciated at the time. Mecha games are never easy to get into, but the satisfaction from a good mission in this chonky, hard to control beast is sublime.
I greatly enjoyed the first title though. Fantastic vibes. Running through open spaces, on water, grass or sand, or crawling through these corridors of abandoned military facilities, never knowing when something will jump out, or something BIGGER will jump out. Sounds of long-damaged technology, warning messages cutting in and out, clicking of organisms or heavy footsteps of robots filling the silence or the darkness ahead.
I actually really enjoyed the story and the individual moments were just awesome. Two dueling coporations, a destroyed world, underground cities, human experimentation, independent mercenary group, jumping between contracts for groups with different interests, uncovering the mysteries of your own organization, betrayal, the truth about humanity's future. There's a lot of clever missions with little tidbits of information in each, making for great worldbuilding. FromSoft always had it. They even have the Moonlight Greatsword and a group called "Dark Soul" here. Crazy how deep the rabbit hole goes.
Since you spend so much time in the menus crafting your robot, which seemed complicated until I just smashed all the best parts together, I would like for that part of the game to be better. It's just an UI after all. I'd love to not have to buy and resell items every time I realize something doesn't fit. You sell for the same price so what's the point, if I have enough money just let me pick it from the menu and use up my money when I head out for a mission. Second, invest in more music, or at the very least a longer loop. It's not terrible, has its charm and all, but it's just impossible for it to not get annoying after so much time.
And this is a yet another very good game with an awful final level. It's very interesting thematically and if you paid attention you'll be hit with one surprise after another, as well as some existential crisis-type beat, but the actual structure is awful. The amount of precise platforming you have to do in that level is nuts, and the main enemy is so fast that putting it in a room with a lot of obstacles in the way makes it impossible to follow with a camera. Running away is an even less valid option, its damage output is insane. So, cheesing it is, bait it into a hole you come out of or leave out of and spam your strongest weapon for close quarters. Unfortunate, because it's a great finale and would feel super tense if it wasn't so annoying. And they were doing such an excellent job of avoiding all these problems too in each and every level. Blegh.
Hopefully this is merely a blueprint of what's to come, and it turns out that Armored Core, as a series, was truly overlooked and underappreciated at the time. Mecha games are never easy to get into, but the satisfaction from a good mission in this chonky, hard to control beast is sublime.
2021
I loved the first Psychonauts the most for its weird movement system which revolved around circus acrobatics and the psychic levitation ball. It was perfectly weirdo. But I grew to appreciate so much more on my replay before this game. I got to see every interaction the game has to offer, and noticed just how clever it all is. I've seen how easily replayable the game is and how effortless going through all the interactions is, how fast things just fly by. And they're all incredibly clever, from dialogue to collectible placements, their shapes, colors, just everything. So much is explained in-universe too. It's just such a fantastic world, one of the best video games have to offer. It deserved a sequel so much.
Playing this game, I couldn't help but be disappointed by the changes made to the levitation ball and to how the minds were structured. So much of this game is just room after room with collectibles placed for you to see without much effort, rather than these big, open spaces. It was a whiplash. But the more I went on, the more engrossed I got by the story. Once again, everything is so well thought out. The direction they took this world is so compelling. The art style is so well preserved. They're doing weirdo camera and perspective stuff, as they should for a new title in this franchise. This is Psychonauts.
I disagree with the statement that this is less weird of a game. Sasha seeing his father's thinking about his dead wife is perhaps undefeated, but, I mean, one of the greatest Psychonauts ever only becoming one because he blew up an entire animal shelter? It's up there. There's this great line that this game rides, where it is unabadeshedly open about death, suffering, even mass murder in this case, but it doesn't stray away from humor for a minute. It grabbed me in the first game and it grabbed me here again, it's still such a fresh approach in the world where players expect games that "don't break immersion." This game owns. Absolutely loved the story and the cutscenes and the emotion when it did come through.
The writing is not as clever in the moment-to-moment, and there is simply too much of it to be honest. I could totally do without the dialogue system, there's either too many jokes or too little of anything interesting in each dialogue tree. The comedic pacing is largely killed in them. Cutscenes are still largely very good, but it only shows that the best stuff comes from not what you select, but what the characters say on their own, without your input. Let them talk damn it.
I really undervalue the combat in this because I just don't care much, it wasn't much of a challenge and I really just wanted to get to the next segment, but I feel this need to say that it is very good platforming combat. You use the exact same stuff in the exact same way as you do when platforming, it's snappy, it works ideally, there is never a disconnect between the combat and the rest like there is in the first game. It owns, perhaps the best platformer combat ever.
And while there aren't that many true exploration segments, the ones that are here are genuinely fantastic. The movement system, though different and less suited for my preferences, absolutely shines when it is allowed to. When you can set a task for yourself and go at it, rather than follow a predestined path, it is so, so, so good. And the collectibles are best hidden in those. There's more of these as time goes on, and it only makes me wish the entire game was like that.
But, so many years have passed. This is no longer a tiny critical darling, this is an Xbox Studios-published game with Jack Black and Elijah Wood voice acting in it. In the time between the two games, indie 3D platformers have rose to the occasion, and there's plenty of those with weirdo movement systems and even more weirdo geometry. But there are still moments where Psychonauts can hang with the best of them, I kept thinking about Sephonie which I played a few months back, how I approached collecting and exploration in a similar way, and that is one of the best games of that type I've had the pleasure of playing.
There might have been some changes that must have been made to accomodate the status that Psychonauts now holds within gaming, but among its AAA platformer peers, to me, there is no rival. Perhaps those things had to happen to accomodate this particular story, and if that's the case, then I am totally fine, I managed to adapt to this style at some point without even realizing how drawn in I was. I still have not only the first game to come back to at any time, but the dozens, perhaps hundreds of platformers that it inspired. The key emotional beats from the story of the Aquato family are strong enough to be worth anything, honestly.
Playing this game, I couldn't help but be disappointed by the changes made to the levitation ball and to how the minds were structured. So much of this game is just room after room with collectibles placed for you to see without much effort, rather than these big, open spaces. It was a whiplash. But the more I went on, the more engrossed I got by the story. Once again, everything is so well thought out. The direction they took this world is so compelling. The art style is so well preserved. They're doing weirdo camera and perspective stuff, as they should for a new title in this franchise. This is Psychonauts.
I disagree with the statement that this is less weird of a game. Sasha seeing his father's thinking about his dead wife is perhaps undefeated, but, I mean, one of the greatest Psychonauts ever only becoming one because he blew up an entire animal shelter? It's up there. There's this great line that this game rides, where it is unabadeshedly open about death, suffering, even mass murder in this case, but it doesn't stray away from humor for a minute. It grabbed me in the first game and it grabbed me here again, it's still such a fresh approach in the world where players expect games that "don't break immersion." This game owns. Absolutely loved the story and the cutscenes and the emotion when it did come through.
The writing is not as clever in the moment-to-moment, and there is simply too much of it to be honest. I could totally do without the dialogue system, there's either too many jokes or too little of anything interesting in each dialogue tree. The comedic pacing is largely killed in them. Cutscenes are still largely very good, but it only shows that the best stuff comes from not what you select, but what the characters say on their own, without your input. Let them talk damn it.
I really undervalue the combat in this because I just don't care much, it wasn't much of a challenge and I really just wanted to get to the next segment, but I feel this need to say that it is very good platforming combat. You use the exact same stuff in the exact same way as you do when platforming, it's snappy, it works ideally, there is never a disconnect between the combat and the rest like there is in the first game. It owns, perhaps the best platformer combat ever.
And while there aren't that many true exploration segments, the ones that are here are genuinely fantastic. The movement system, though different and less suited for my preferences, absolutely shines when it is allowed to. When you can set a task for yourself and go at it, rather than follow a predestined path, it is so, so, so good. And the collectibles are best hidden in those. There's more of these as time goes on, and it only makes me wish the entire game was like that.
But, so many years have passed. This is no longer a tiny critical darling, this is an Xbox Studios-published game with Jack Black and Elijah Wood voice acting in it. In the time between the two games, indie 3D platformers have rose to the occasion, and there's plenty of those with weirdo movement systems and even more weirdo geometry. But there are still moments where Psychonauts can hang with the best of them, I kept thinking about Sephonie which I played a few months back, how I approached collecting and exploration in a similar way, and that is one of the best games of that type I've had the pleasure of playing.
There might have been some changes that must have been made to accomodate the status that Psychonauts now holds within gaming, but among its AAA platformer peers, to me, there is no rival. Perhaps those things had to happen to accomodate this particular story, and if that's the case, then I am totally fine, I managed to adapt to this style at some point without even realizing how drawn in I was. I still have not only the first game to come back to at any time, but the dozens, perhaps hundreds of platformers that it inspired. The key emotional beats from the story of the Aquato family are strong enough to be worth anything, honestly.
2022
Takes about an hour to complete, but it does a good job at incentivizing different styles of play: exploration, no-death and speed. You also unlock two new characters which play differently after you beat the game.
The controls are pretty smooth, though the level design can be hit or miss. In theory, the two-level structure for each world is great! One level for introduction of a new mechanic, and one level to go all out with it and make the best possible level. However, there are certain small elements that I don't think work super well with this game's moveset.
For example: there is a section with a fixed camera, going up a tower around it, side-scroll style. Problem is, the camera is positioned in a way where it is not easy to tell whether you're above the platform, and the shadow, which normally indicates that, is not visible for the same reason. Another thing is there are a few spots where you can do this triple jump to extend your airtime and skip certain sections. But it's so precise, way too precise compared to literally everything else the game throws at you. In my opinion, it's too simple of a game for me to angrily retry a jump twenty times in the middle of a level, trying to get it consistently to shorten my time.
Also, the rhythm platforms aren't great. Probably a complaint you'll see a lot about this game. Similar issue to the long-jump, just too finnicky for how casual of a game this is.
So that's what's largely holding it back. But, overall, the different styles of play made it a pleasant experience. I just focused on exploration during levels, finding secret letters which unlocked the story and collecting paper cranes scattered throughout. It's perfectly viable to take your time during your first time around, and just collect all of them, as there are seperate ranks for both no-death and crane collecting, meaning you can focus on one or the other each run through. And once you get in a groove for any type of a run, especially on the later stages, the smoothness of movement begins to shine.
Short games keep winning. Totally worth it at this price, perhaps you can get hooked enough to start speedrunning it. To me it was just a fun, casual game for an evening.
The controls are pretty smooth, though the level design can be hit or miss. In theory, the two-level structure for each world is great! One level for introduction of a new mechanic, and one level to go all out with it and make the best possible level. However, there are certain small elements that I don't think work super well with this game's moveset.
For example: there is a section with a fixed camera, going up a tower around it, side-scroll style. Problem is, the camera is positioned in a way where it is not easy to tell whether you're above the platform, and the shadow, which normally indicates that, is not visible for the same reason. Another thing is there are a few spots where you can do this triple jump to extend your airtime and skip certain sections. But it's so precise, way too precise compared to literally everything else the game throws at you. In my opinion, it's too simple of a game for me to angrily retry a jump twenty times in the middle of a level, trying to get it consistently to shorten my time.
Also, the rhythm platforms aren't great. Probably a complaint you'll see a lot about this game. Similar issue to the long-jump, just too finnicky for how casual of a game this is.
So that's what's largely holding it back. But, overall, the different styles of play made it a pleasant experience. I just focused on exploration during levels, finding secret letters which unlocked the story and collecting paper cranes scattered throughout. It's perfectly viable to take your time during your first time around, and just collect all of them, as there are seperate ranks for both no-death and crane collecting, meaning you can focus on one or the other each run through. And once you get in a groove for any type of a run, especially on the later stages, the smoothness of movement begins to shine.
Short games keep winning. Totally worth it at this price, perhaps you can get hooked enough to start speedrunning it. To me it was just a fun, casual game for an evening.
2005
An earnest, easily captivating story set inside a very alive city. The protagonist is just this absolutely perfect person without a flaw, except maybe that he is in the Yakuza, which is presented as a cutthroat, ruthless organization, full of betrayal and deception. Same for the police. Both of its main representatives are outlaws, who actively escape them.
Though, admittedly, there is a certain hope that both will work, somehow, an inevitability. Other than that, my only complaint is the fact that villains often get introduced the moment you have to go face them, rather than letting the feelings of anger towards them simmer.
But the main story beats are so simple to get behind. A helpless child, a person's sense of duty and honor. Kazuma is such an idealistic character that he goes to prison for 10 years on false accusations to protect those closest to him. And you'd think at some point he'd break, and he does for like a split-second I guess, but other than that he just doesn't. It's, well, inspiring to be honest, to have a protagonist like this, almost as if he's taken straight out of Kamen Rider or something like that. Just a bit more presentable to older audiences; though, in reality, there's little difference. And that's admirable, I thought it was brilliant.
All the ridiculous characters really shine in combat, though. Fighting Majima, Nishiki, or that fucking red-coat gunman. The fighting system is full of these high-impact hits and animations, but it has a solid enough depth too for the game's length.
The way you improve is through gathering EXP or finding people who can teach you techniques. This is where the living city comes in. Aside from being an excellent backdrop to this crime thriller, there's all these individual stories, which are even more ridiculous. The main story and the side-content were actually written by different people, and several, even crazier ones were rejected because they would just go too far with how silly they were. Imagine that.
Somehow, despite the fact that traveling takes a good while, I did feel inclined to check the side-activities out from time to time. Not enough to complete the game 100%, but enough to get immersed in the setting. The game really shows just how effective side-content can be when it is able to complement the core gameplay. The game is very heavy-handed and has these crazy high-stakes scenarios one after another. So go play baseball for a little while. Go visit a girl, spend some of that money you've gathered up.
Overall, even in this first entry, I'm entirely captivated by this series. I honestly can't believe how many of these games exist, and it makes me so glad to know how much more is in store. It's a game I'll need every once in a while. And maybe you will too.
Though, admittedly, there is a certain hope that both will work, somehow, an inevitability. Other than that, my only complaint is the fact that villains often get introduced the moment you have to go face them, rather than letting the feelings of anger towards them simmer.
But the main story beats are so simple to get behind. A helpless child, a person's sense of duty and honor. Kazuma is such an idealistic character that he goes to prison for 10 years on false accusations to protect those closest to him. And you'd think at some point he'd break, and he does for like a split-second I guess, but other than that he just doesn't. It's, well, inspiring to be honest, to have a protagonist like this, almost as if he's taken straight out of Kamen Rider or something like that. Just a bit more presentable to older audiences; though, in reality, there's little difference. And that's admirable, I thought it was brilliant.
All the ridiculous characters really shine in combat, though. Fighting Majima, Nishiki, or that fucking red-coat gunman. The fighting system is full of these high-impact hits and animations, but it has a solid enough depth too for the game's length.
The way you improve is through gathering EXP or finding people who can teach you techniques. This is where the living city comes in. Aside from being an excellent backdrop to this crime thriller, there's all these individual stories, which are even more ridiculous. The main story and the side-content were actually written by different people, and several, even crazier ones were rejected because they would just go too far with how silly they were. Imagine that.
Somehow, despite the fact that traveling takes a good while, I did feel inclined to check the side-activities out from time to time. Not enough to complete the game 100%, but enough to get immersed in the setting. The game really shows just how effective side-content can be when it is able to complement the core gameplay. The game is very heavy-handed and has these crazy high-stakes scenarios one after another. So go play baseball for a little while. Go visit a girl, spend some of that money you've gathered up.
Overall, even in this first entry, I'm entirely captivated by this series. I honestly can't believe how many of these games exist, and it makes me so glad to know how much more is in store. It's a game I'll need every once in a while. And maybe you will too.
Very good game. Very important game. Sparked a lot of discussion that was very positive to gaming at large. Resides in my head in the same spot as Limbo and Journey. All these smaller games are deceptively influential when it comes to modern gaming discourse. You can see the development of setpiece design by playing these three. How certain ideas become increasingly commodified by bigger titles, which is very cool.
It's certainly a less exciting game compared to the others of its time, as we were already tapping into these sensibilities in a more refined way, but by utilizing a gimmick of controlling both brothers at once it tapped into a unique idea that is very well explored. This is some people's biggest gripe: the controls. I don't really get it, the game doesn't require their mastery or anything, it's not challenging and the punishment is miniscule (except the glider, I guess, that's definitely just too buggy).
But I personally love weirdo control schemes, and the way the final moments work with it. I don't know how that doesn't make up for maybe a total of a minute of lost time as compared to having standardized controls. Not that anyone has to be emotionally invested at that point or anything, I wasn't, but even without it it's just a very nifty little moment that was and still is an interesting talking point in game design. Worth the 3 hours.
It's certainly a less exciting game compared to the others of its time, as we were already tapping into these sensibilities in a more refined way, but by utilizing a gimmick of controlling both brothers at once it tapped into a unique idea that is very well explored. This is some people's biggest gripe: the controls. I don't really get it, the game doesn't require their mastery or anything, it's not challenging and the punishment is miniscule (except the glider, I guess, that's definitely just too buggy).
But I personally love weirdo control schemes, and the way the final moments work with it. I don't know how that doesn't make up for maybe a total of a minute of lost time as compared to having standardized controls. Not that anyone has to be emotionally invested at that point or anything, I wasn't, but even without it it's just a very nifty little moment that was and still is an interesting talking point in game design. Worth the 3 hours.
2017
Definitely give it a try without reading anything else about it and see how you feel. Rain World has that potential of eliciting very unique reactions that shouldn't be soiled by any previous experience.
Play it, drop it, play it again, drop it again, play it again, ask someone how to get through the area that's literally just pitch black, play it with them, beat the game.
Ask such existential, heavy-hitting questions as: "why is there an enemy right outside my spawn location that I cannot get past?" and "how was I supposed to know that ever?"
Realize that, honestly, who cares? Watch two lizards chase a zappy bug for 10 minutes. Die to the rain. Lose an hour of progress. Stop playing for a few days. Realize that "that was pretty cool." Go back. Get help. Grow, get better. Realize that, maybe, a part of the game is also the human interaction which arises through discussing this experience.
I hated parts of it. Absolutely despised them. Irredeemable stuff in my mind. It owns.
And to throw epic cool buzzwords because how else could I gain credibility
"Masterclass of storytelling without dialogue" (screw you Playdead)
"Dark Souls of platformers"
"Game journalists am I right?"
Play it, drop it, play it again, drop it again, play it again, ask someone how to get through the area that's literally just pitch black, play it with them, beat the game.
Ask such existential, heavy-hitting questions as: "why is there an enemy right outside my spawn location that I cannot get past?" and "how was I supposed to know that ever?"
Realize that, honestly, who cares? Watch two lizards chase a zappy bug for 10 minutes. Die to the rain. Lose an hour of progress. Stop playing for a few days. Realize that "that was pretty cool." Go back. Get help. Grow, get better. Realize that, maybe, a part of the game is also the human interaction which arises through discussing this experience.
I hated parts of it. Absolutely despised them. Irredeemable stuff in my mind. It owns.
And to throw epic cool buzzwords because how else could I gain credibility
"Masterclass of storytelling without dialogue" (screw you Playdead)
"Dark Souls of platformers"
"Game journalists am I right?"