chopSuey
2023
The game is beautiful, but it raises the question of whether we've reached a point where the PS5 appears underpowered. Texture loading delays are becoming more noticeable, there are numerous glitches, and many other issues that don't seem apparent on PC (well, I did play a pirated version for a while). The gameplay, honestly, can be frustrating due to the survival horror elements, which entail a lack of ammo, health packs, etc. Additionally, the spongy monsters with high damage feel more suited for playing with a mouse and keyboard for precise headshots compared to a controller. That said, the art direction is extraordinary, with a quirky Twin Peaks-like atmosphere and characters. The story truly keeps you engaged, despite the frustrations encountered during gameplay.
Dragon Quest XI S (PS4) has finally wrapped up after 120 hours, although there's plenty of side content left unfinished. To me, DQ XI feels like a comforting retreat for those seeking a straightforward adventure to save the world after a long day at the office, without the need for complex storylines or frustrating gameplay mechanics. It's pure escapism into high fantasy that feels refreshingly charming and heartwarming, with a well-paced gameplay and story progression that you can feel even if you only have 2-3 hours to spare each day.
I highly recommend playing the Definitive Edition for the enhanced quality of life features. The improvements are substantial, from the orchestrated soundtrack to the ability to fast forward through battles and craft anywhere, significantly enhancing the game's pacing. The story and character arcs also feel more fleshed out and complete, with elements that would feel sorely lacking if absent. Unlike some other re-releases like Ni No Kuni, Persona 4 Golden, and Persona 5 Royal where additional content can feel shoehorned in, DQ XI's additions seem more like cut content that should have been there from the start, making it truly deserving of its "definitive" title.
However, I do have several criticisms, particularly regarding Act 3. While it offers insights and interesting moments, it often undermines the dramatic writing and character arcs established in Act 2 for the sake of a premature and overly tidy closure. There's also a noticeable amount of reused areas with minimal cosmetic changes for post-content, and the spread of recipes right before the endgame forces players into a last-minute scavenger hunt for ingredients. Additionally, the forced grinding towards the end feels rather unnatural and disrupts the flow of the narrative.
One other disappointment is the lack of vocal OSTs during scenes where characters are shown singing. It's a missed opportunity considering how memorable such moments can be in games like Grandia 2 and Ar Tonelico.
Overall, DQ XI is a JRPG that "overstays its welcome" in some aspects, but it's also undeniably complete and packed with content that justifies its full price. My score: 4/5.
I highly recommend playing the Definitive Edition for the enhanced quality of life features. The improvements are substantial, from the orchestrated soundtrack to the ability to fast forward through battles and craft anywhere, significantly enhancing the game's pacing. The story and character arcs also feel more fleshed out and complete, with elements that would feel sorely lacking if absent. Unlike some other re-releases like Ni No Kuni, Persona 4 Golden, and Persona 5 Royal where additional content can feel shoehorned in, DQ XI's additions seem more like cut content that should have been there from the start, making it truly deserving of its "definitive" title.
However, I do have several criticisms, particularly regarding Act 3. While it offers insights and interesting moments, it often undermines the dramatic writing and character arcs established in Act 2 for the sake of a premature and overly tidy closure. There's also a noticeable amount of reused areas with minimal cosmetic changes for post-content, and the spread of recipes right before the endgame forces players into a last-minute scavenger hunt for ingredients. Additionally, the forced grinding towards the end feels rather unnatural and disrupts the flow of the narrative.
One other disappointment is the lack of vocal OSTs during scenes where characters are shown singing. It's a missed opportunity considering how memorable such moments can be in games like Grandia 2 and Ar Tonelico.
Overall, DQ XI is a JRPG that "overstays its welcome" in some aspects, but it's also undeniably complete and packed with content that justifies its full price. My score: 4/5.
Completed Project Metafalica ROMhack (retranslation, bugfixes, scaling, hard mode, etc.) clocking in at over 80 hours, 100 IPD with 92 Cloche fan club members, acquiring all crafts, and completing routes for both Cloche and Jakuri. I hesitated to delve into Luca's route, touted as excellent on forums, as I wasn't keen on gathering IPD again and crafting from scratch. Maybe another time.
Here are some (messy) notes after finishing this:
+ The story and setting feel more mature and well-developed compared to its predecessor. The world's conflicts are urgent, with resource depletion, overpopulation, the IPD epidemic, conflicts from the past impacting the present, political intrigues against the goddess, conspiracies, and more, making the setting feel vibrant and alive.
+ I enjoyed the character drama of the two main heroines, Cloche and Luca. They are truly flawed and far from typical heroine material, which initially put me off. Cloche with her ojou-sama demeanor and Luca in the infamous prison scene. The momentum for these two characters starts building afterward, dissecting their banter, entering the Infelsphere to empathize with each other, delving into their psyches in the Cosmosphere, and culminating in moments where both heroines shine in the climax, which deeply moved me. This, in my opinion, is an improvement from the first installment where Aurica and Misha lacked chemistry.
+ Jakuri's introduction as the third main heroine adds a fresh dynamic, especially for those who played the first game, evoking sympathy and endearment through her motivations in this game. Her "gap moe" is quite pronounced.
+ The story's ambitious and optimistic message is packaged more concisely and effectively than the segmented and awkward feel of the first installment. The conflicts' urgency is palpable, making the villains' conflicts in Ar Tonelico 2 feel more compelling. I genuinely sympathize with the main villain.
+ The OST is a masterpiece. It's incredible—I thought the music could stand alone and be appreciated even by those who haven't played the game. Yes, it's that good.
+ The gameplay is more active, incorporating rhythm game elements for defense and allocating time during the attack phase to raise four graphical stats with increasingly intense and rapid gameplay over several turns.
+ NPCs like Cynthia, Sasha, Skycat, and Spica (from the first game) are more than just crafting stations; they have their own events, character arcs, and are truly memorable. I can still remember their names as I type this, without needing to check the wiki.
= The crystal build process, which I initially thought would make the game more challenging, turns out to be quite overpowered. Once you can equip IPD imprints, even the final boss couldn't damage me, and random dungeon enemies were easily dispatched.
= Replekia is incredibly broken but epic with the Method_Replekia OST, making battles feel exhilarating. Unfortunately, Replekia is too easily obtained, unlike Harmonic Sync, which is more challenging to build and often prematurely overshadows other gameplay mechanics.
= Installing crystals has become a dual stall scene, akin to soaking in a bath with crystals (the music is addicting, by the way). I honestly don't enjoy this process as it feels random, and baiting characters for crystal effects, coupled with conversation points, makes me less invested.
= Honestly, it's more ecchi than its predecessor, especially in Cloche's route, with just one scene, albeit not sexualized like the first game's CGs and fetishistic events. Jacqli has only one short scene as well.
- The game's storytelling doesn't work as well as the first installment. Because it builds its drama on flawed characters, you have to endure at least 2/5 of the game before reaching moments where you can truly enjoy and appreciate the character aspects. I imagine watching anime series like Mushoku, Re:Zero, and Tower of God without prior knowledge or liking for the art style; I wouldn't continue past three episodes.
- The difficulty curve in this game is problematic. I felt intense battles at the beginning, where no enemy could withstand me for more than three turns, though for story purposes, this wasn't a big issue.
- Crafting is limited to the main NPCs, and the item crafting system is underutilized due to poor UI display and functionality. Spamming crafting becomes tedious as you have to scroll through item descriptions, which are often confusingly named. Imagine crafting a bomb with 9999 damage and never using it because it's too much hassle.
- Gathering 100 IPDs is ridiculously exhausting.
- Dive Frelia is poorly executed, relegated to a sidequest with minimal rewards, meant to increase the player's familiarity with a character trait introduced too late in the game to be impactful.
- The main character lacks a strong presence; I wouldn't mind if Cloche and Luca dominated the narrative. His lack of defining character traits, clear motivations, or notable flaws, and his passive role in many scenes make it difficult to see him as the protagonist. His spotlight scenes (protecting Cocona, facing the prince) are not compelling enough to establish him as the MC, while scenes with heroines delving deeper into the dive feel out of place. His "talk no jutsu" moments feel forced, lacking the enlightenment and clear character arc seen in Lyner from the first installment. It's akin to Vaan in FF XII.
- The gameplay pacing is exhausting. After three phases focusing on the story (about 25 hours), players are bombarded with numerous side quests (IPD hunting, dive therapy, diving, main NPC events, etc.), easily leading to player fatigue. The game lacks breathing room and small moments to prevent player burnout.
- Non-main NPCs feel lifeless; they don't react or update based on recent events. It's odd in a world on the brink of destruction to encounter NPCs talking about trivial matters instead of the impending doom, reminiscent of FF or Legend of Heroes series.
- The reward for defeating Raki 15 times is disappointing—a mere promotional art. I expected more, perhaps CGs or something similar.
Overall, I consider this one of the best JRPGs I've played on the PS2. The story, themes, and messages are more ambitious and well-developed than the first installment. The characters are charming, their chemistry palpable, with solid character arcs and closures. And finally, the OST, which I consider a masterpiece. There are many flaws, but they didn't hinder my enjoyment of the game (perhaps aided by patches from the ROMhack), and I'm genuinely satisfied with my experience. My Score: 9/10.
Here are some (messy) notes after finishing this:
+ The story and setting feel more mature and well-developed compared to its predecessor. The world's conflicts are urgent, with resource depletion, overpopulation, the IPD epidemic, conflicts from the past impacting the present, political intrigues against the goddess, conspiracies, and more, making the setting feel vibrant and alive.
+ I enjoyed the character drama of the two main heroines, Cloche and Luca. They are truly flawed and far from typical heroine material, which initially put me off. Cloche with her ojou-sama demeanor and Luca in the infamous prison scene. The momentum for these two characters starts building afterward, dissecting their banter, entering the Infelsphere to empathize with each other, delving into their psyches in the Cosmosphere, and culminating in moments where both heroines shine in the climax, which deeply moved me. This, in my opinion, is an improvement from the first installment where Aurica and Misha lacked chemistry.
+ Jakuri's introduction as the third main heroine adds a fresh dynamic, especially for those who played the first game, evoking sympathy and endearment through her motivations in this game. Her "gap moe" is quite pronounced.
+ The story's ambitious and optimistic message is packaged more concisely and effectively than the segmented and awkward feel of the first installment. The conflicts' urgency is palpable, making the villains' conflicts in Ar Tonelico 2 feel more compelling. I genuinely sympathize with the main villain.
+ The OST is a masterpiece. It's incredible—I thought the music could stand alone and be appreciated even by those who haven't played the game. Yes, it's that good.
+ The gameplay is more active, incorporating rhythm game elements for defense and allocating time during the attack phase to raise four graphical stats with increasingly intense and rapid gameplay over several turns.
+ NPCs like Cynthia, Sasha, Skycat, and Spica (from the first game) are more than just crafting stations; they have their own events, character arcs, and are truly memorable. I can still remember their names as I type this, without needing to check the wiki.
= The crystal build process, which I initially thought would make the game more challenging, turns out to be quite overpowered. Once you can equip IPD imprints, even the final boss couldn't damage me, and random dungeon enemies were easily dispatched.
= Replekia is incredibly broken but epic with the Method_Replekia OST, making battles feel exhilarating. Unfortunately, Replekia is too easily obtained, unlike Harmonic Sync, which is more challenging to build and often prematurely overshadows other gameplay mechanics.
= Installing crystals has become a dual stall scene, akin to soaking in a bath with crystals (the music is addicting, by the way). I honestly don't enjoy this process as it feels random, and baiting characters for crystal effects, coupled with conversation points, makes me less invested.
= Honestly, it's more ecchi than its predecessor, especially in Cloche's route, with just one scene, albeit not sexualized like the first game's CGs and fetishistic events. Jacqli has only one short scene as well.
- The game's storytelling doesn't work as well as the first installment. Because it builds its drama on flawed characters, you have to endure at least 2/5 of the game before reaching moments where you can truly enjoy and appreciate the character aspects. I imagine watching anime series like Mushoku, Re:Zero, and Tower of God without prior knowledge or liking for the art style; I wouldn't continue past three episodes.
- The difficulty curve in this game is problematic. I felt intense battles at the beginning, where no enemy could withstand me for more than three turns, though for story purposes, this wasn't a big issue.
- Crafting is limited to the main NPCs, and the item crafting system is underutilized due to poor UI display and functionality. Spamming crafting becomes tedious as you have to scroll through item descriptions, which are often confusingly named. Imagine crafting a bomb with 9999 damage and never using it because it's too much hassle.
- Gathering 100 IPDs is ridiculously exhausting.
- Dive Frelia is poorly executed, relegated to a sidequest with minimal rewards, meant to increase the player's familiarity with a character trait introduced too late in the game to be impactful.
- The main character lacks a strong presence; I wouldn't mind if Cloche and Luca dominated the narrative. His lack of defining character traits, clear motivations, or notable flaws, and his passive role in many scenes make it difficult to see him as the protagonist. His spotlight scenes (protecting Cocona, facing the prince) are not compelling enough to establish him as the MC, while scenes with heroines delving deeper into the dive feel out of place. His "talk no jutsu" moments feel forced, lacking the enlightenment and clear character arc seen in Lyner from the first installment. It's akin to Vaan in FF XII.
- The gameplay pacing is exhausting. After three phases focusing on the story (about 25 hours), players are bombarded with numerous side quests (IPD hunting, dive therapy, diving, main NPC events, etc.), easily leading to player fatigue. The game lacks breathing room and small moments to prevent player burnout.
- Non-main NPCs feel lifeless; they don't react or update based on recent events. It's odd in a world on the brink of destruction to encounter NPCs talking about trivial matters instead of the impending doom, reminiscent of FF or Legend of Heroes series.
- The reward for defeating Raki 15 times is disappointing—a mere promotional art. I expected more, perhaps CGs or something similar.
Overall, I consider this one of the best JRPGs I've played on the PS2. The story, themes, and messages are more ambitious and well-developed than the first installment. The characters are charming, their chemistry palpable, with solid character arcs and closures. And finally, the OST, which I consider a masterpiece. There are many flaws, but they didn't hinder my enjoyment of the game (perhaps aided by patches from the ROMhack), and I'm genuinely satisfied with my experience. My Score: 9/10.
The game that turned me into a weeb back in the 8th grade, and now I've decided to revisit it after YouTube recommended me its soundtrack, giving me chills with its excellence. I completed it in 40 hours and here are my thoughts:
+ The OST, especially the hymn songs, is top-notch. The opening alone is amazing.
+ I love Nagi's character design in this game, blending fantasy, sci-fi, and steampunk elements. Back in middle school, I was fascinated by Aurica's design (particularly her thighs, lol), but now Misha and Shurelia are just adorable.
+ The Cosmophere delves deep into the psychological aspects of the female characters. I used to see it as a galge/fanservice element, but now I truly appreciate character development through gameplay.
+ You can feel Akira Tsuchiya's passion project in every aspect, from terminology, world-building mechanics, to the practical language and writing, as well as its application to the game's music.
= The gameplay is average and broken, easily exploitable (selling Grathnode Crystals at Firefly is ridiculously overpowered, solving money issues by selling crafted items), and damage output can become excessively high, rendering song magic useless in random encounters.
= Many crafted items in the game are overpowered and easy to make, but as a casual player, I don't mind.
= The recrystallization mechanism for turning items into Grathnode Crystals is underutilized, although it becomes powerful in the endgame (Grathnode Crystals, S-rank items, have exceptional effects).
= The branching paths create plot holes when the story converges, skipping major character development arcs, which could easily be watched on YouTube.
- Honestly, I never reached maximum harmonic output until the end; the game ends prematurely due to its simplicity.
- I hate that at the end, I couldn't fully craft some endgame items because of rare enemies (after an hour of searching in vain), and sometimes the recipes are in unexplored areas, forcing me to backtrack, which is infuriating (no escape items, backtracking in this game is a pain).
- The plot, honestly, is weak. I particularly despise how Misha's character is handled, constantly sacrificing herself only to have it undone by the plot. The three-phase structure feels like the story ends, then suddenly a new problem arises, and it repeats. I even thought DQ XI from yesterday was better. Luckily, the message and character arcs in this story are charming enough.
- There's no memorable villain; everyone is too good.
- Each ending to the story arc is disappointing and unsatisfying; it would be better if it were depicted with CG or a slideshow for the aftermath. It's evident the creators were confused about what to do with the characters. Thankfully, the epic music at the end compensates for it.
- Aurica's character is severely underused in the game, even in her own route, feeling overshadowed by Misha or Shurelia (who enters the story arc at the end).
- The game's world isn't well-exposed; it feels small and lacks organic elements. The scale is narrow, NPC dialogues rarely update regarding conflict changes, and the factions—church, tenba, platinia, and I forgot the last one—are irrelevant because they lack valid motivations that make them interesting and alive.
Solid 7/10 from me; without the nostalgia factor, it'd be a 6.
+ The OST, especially the hymn songs, is top-notch. The opening alone is amazing.
+ I love Nagi's character design in this game, blending fantasy, sci-fi, and steampunk elements. Back in middle school, I was fascinated by Aurica's design (particularly her thighs, lol), but now Misha and Shurelia are just adorable.
+ The Cosmophere delves deep into the psychological aspects of the female characters. I used to see it as a galge/fanservice element, but now I truly appreciate character development through gameplay.
+ You can feel Akira Tsuchiya's passion project in every aspect, from terminology, world-building mechanics, to the practical language and writing, as well as its application to the game's music.
= The gameplay is average and broken, easily exploitable (selling Grathnode Crystals at Firefly is ridiculously overpowered, solving money issues by selling crafted items), and damage output can become excessively high, rendering song magic useless in random encounters.
= Many crafted items in the game are overpowered and easy to make, but as a casual player, I don't mind.
= The recrystallization mechanism for turning items into Grathnode Crystals is underutilized, although it becomes powerful in the endgame (Grathnode Crystals, S-rank items, have exceptional effects).
= The branching paths create plot holes when the story converges, skipping major character development arcs, which could easily be watched on YouTube.
- Honestly, I never reached maximum harmonic output until the end; the game ends prematurely due to its simplicity.
- I hate that at the end, I couldn't fully craft some endgame items because of rare enemies (after an hour of searching in vain), and sometimes the recipes are in unexplored areas, forcing me to backtrack, which is infuriating (no escape items, backtracking in this game is a pain).
- The plot, honestly, is weak. I particularly despise how Misha's character is handled, constantly sacrificing herself only to have it undone by the plot. The three-phase structure feels like the story ends, then suddenly a new problem arises, and it repeats. I even thought DQ XI from yesterday was better. Luckily, the message and character arcs in this story are charming enough.
- There's no memorable villain; everyone is too good.
- Each ending to the story arc is disappointing and unsatisfying; it would be better if it were depicted with CG or a slideshow for the aftermath. It's evident the creators were confused about what to do with the characters. Thankfully, the epic music at the end compensates for it.
- Aurica's character is severely underused in the game, even in her own route, feeling overshadowed by Misha or Shurelia (who enters the story arc at the end).
- The game's world isn't well-exposed; it feels small and lacks organic elements. The scale is narrow, NPC dialogues rarely update regarding conflict changes, and the factions—church, tenba, platinia, and I forgot the last one—are irrelevant because they lack valid motivations that make them interesting and alive.
Solid 7/10 from me; without the nostalgia factor, it'd be a 6.
2011
Finished Rance Quest. Honestly, in terms of gameplay, it's lackluster, and the post-game content doesn't match up to the sixth installment (or maybe because I cleared all the side content before finishing the game).
I'll list the points as I'm feeling a bit lazy to write neatly:
+ Rance Quest features a plethora of characters from the entire Rance series.
+ It's a significant series for me due to the lore development, particularly the insights into the nature of the Rance world and the introduction of the character Crook (though already explored in Kichikuou Rance, this is the canon version).
+ Rance is portrayed in a more humane light here, especially with his adorable daughter, Reset. The wholesome moments whenever she appears are delightful.
+ While the artwork might not be as stunning as Sengoku, it's still one of the best eroge in terms of visual CGs and character designs that I've come across.
= The castle events (yes, Rance has a castle here) that you can access after completing quests (and later there's a moment where you don't need to quest anymore), along with the random events in the town with a slice-of-life vibe post-quest, featuring random characters. Initially enjoyable as we get to interact with our party, but with dozens, even hundreds of characters, clicking through their events gets tiresome when you just want to finish quickly.
= The gameplay is basic, similar to the sixth installment, a dungeon crawler with skill points, but viewed from the top rather than the RPG-style ala Might and Magic in the sixth series. It's a matter of taste; personally, I'm not a fan.
- The quests are of the "take whatever you want as long as the main requirement is met" type. Most of them are comedic, but the main story events are quite linear, which I consider a step backward from Sengoku Rance.
- There are hundreds of quests with unclear quality. Sometimes they deliver humorously, sometimes they're just random and silly.
- There's a lack of new memorable characters. Sachiko, the new sidekick, is meant to replace Sill, but in my opinion, she doesn't quite fill the gap.
- There's no grand-scale plot that truly stands out here; the conflicts feel small compared to what we experienced in the sixth and seventh installments. Even though there are two significant plots intertwined (Rance Quest and the Magnum main story), the conflicts still feel minor.
- I found the antagonists to be underwhelming, with minimal presence throughout the story. Their characterization and plot execution when their actions are revealed also felt lacking.
- Half of the game lacks any impactful moments, the Kalar story arc (Rance Quest main story) follows the typical comedic random storyline of Rance, and the story only becomes engaging during the Magnum main story conflict, but that's only in the final sessions of the game. Imagine playing a 60-hour game just to experience a good plot in the last 10 hours.
- Grinding in this game... exhausting. There are places to farm, but are you really going to farm XP when there are dozens of characters here? And sometimes it's necessary because the gameplay is typical old-school RPG where your attacks depend on spent skill points. Eventually, there comes a time when you have to swap characters (which has a limit depending on your charisma points accumulated through completing quests). Oh, and they have a level cap, and Rance has to sleep with them, and their level cap increases, but then you have to grind again because their level drops to 0 again (and then it was updated to drop 4-5 levels after sleeping together once). Most of this game can be considered grinding, something I despise in JRPGs. If it weren't for the Rance brand, I would have dropped this game.
- There's a lack of things to discover, and sometimes random requirements are needed to trigger events/characters (like having to bring specific characters that you wouldn't know unless you consulted a guide).
- The environments are typical of low-budget RPGs, with assets being reused to the fullest extent.
Overall, this game favors quantity over quality, with hundreds of shallow quests and characters who only have 1-2 events before becoming irrelevant. It's linear and a significant decline from Sengoku Rance, which excelled in gameplay loop, discoverability, replay value, and grand storylines in the sixth and Sengoku series. If it weren't for Rance and Reset, this game wouldn't have been salvaged.
My rating: 6/10.
I'll list the points as I'm feeling a bit lazy to write neatly:
+ Rance Quest features a plethora of characters from the entire Rance series.
+ It's a significant series for me due to the lore development, particularly the insights into the nature of the Rance world and the introduction of the character Crook (though already explored in Kichikuou Rance, this is the canon version).
+ Rance is portrayed in a more humane light here, especially with his adorable daughter, Reset. The wholesome moments whenever she appears are delightful.
+ While the artwork might not be as stunning as Sengoku, it's still one of the best eroge in terms of visual CGs and character designs that I've come across.
= The castle events (yes, Rance has a castle here) that you can access after completing quests (and later there's a moment where you don't need to quest anymore), along with the random events in the town with a slice-of-life vibe post-quest, featuring random characters. Initially enjoyable as we get to interact with our party, but with dozens, even hundreds of characters, clicking through their events gets tiresome when you just want to finish quickly.
= The gameplay is basic, similar to the sixth installment, a dungeon crawler with skill points, but viewed from the top rather than the RPG-style ala Might and Magic in the sixth series. It's a matter of taste; personally, I'm not a fan.
- The quests are of the "take whatever you want as long as the main requirement is met" type. Most of them are comedic, but the main story events are quite linear, which I consider a step backward from Sengoku Rance.
- There are hundreds of quests with unclear quality. Sometimes they deliver humorously, sometimes they're just random and silly.
- There's a lack of new memorable characters. Sachiko, the new sidekick, is meant to replace Sill, but in my opinion, she doesn't quite fill the gap.
- There's no grand-scale plot that truly stands out here; the conflicts feel small compared to what we experienced in the sixth and seventh installments. Even though there are two significant plots intertwined (Rance Quest and the Magnum main story), the conflicts still feel minor.
- I found the antagonists to be underwhelming, with minimal presence throughout the story. Their characterization and plot execution when their actions are revealed also felt lacking.
- Half of the game lacks any impactful moments, the Kalar story arc (Rance Quest main story) follows the typical comedic random storyline of Rance, and the story only becomes engaging during the Magnum main story conflict, but that's only in the final sessions of the game. Imagine playing a 60-hour game just to experience a good plot in the last 10 hours.
- Grinding in this game... exhausting. There are places to farm, but are you really going to farm XP when there are dozens of characters here? And sometimes it's necessary because the gameplay is typical old-school RPG where your attacks depend on spent skill points. Eventually, there comes a time when you have to swap characters (which has a limit depending on your charisma points accumulated through completing quests). Oh, and they have a level cap, and Rance has to sleep with them, and their level cap increases, but then you have to grind again because their level drops to 0 again (and then it was updated to drop 4-5 levels after sleeping together once). Most of this game can be considered grinding, something I despise in JRPGs. If it weren't for the Rance brand, I would have dropped this game.
- There's a lack of things to discover, and sometimes random requirements are needed to trigger events/characters (like having to bring specific characters that you wouldn't know unless you consulted a guide).
- The environments are typical of low-budget RPGs, with assets being reused to the fullest extent.
Overall, this game favors quantity over quality, with hundreds of shallow quests and characters who only have 1-2 events before becoming irrelevant. It's linear and a significant decline from Sengoku Rance, which excelled in gameplay loop, discoverability, replay value, and grand storylines in the sixth and Sengoku series. If it weren't for Rance and Reset, this game wouldn't have been salvaged.
My rating: 6/10.
2023
Completed FF XVI.
After looking at FF 14, I consider XVI to be the type that learns from the mistakes of its predecessors (FF 13, FF 15), incorporating what works in the current gaming industry while focusing on aspects that core fans desire, elevating them to over-the-top levels as goals, rather than just adding too much without delivering. Ultimately, when discussing core gameplay, character moments, lore, spectacle, and music, FF XVI stands out as one of the best in the series.
+ The Eikon fights are mind-blowing spectacles. The grandeur they present makes FF XVI the pinnacle of the entire FF series in this aspect. I'd even go as far as to say that experiencing this game on PS5 is a must for the Eikon scenes alone.
+ The music is an eargasmic experience. I've been listening to FF 14's OST daily, and in FF XVI, Soken has truly taken it to the next level. If the album were to be released, I'd definitely buy it.
+ The action is enjoyable, solid, and satisfying. The skill rotation is relatively easy, the parrying feels smooth, and staggering combos can deal hundreds of thousands of damage. As someone who isn't a fan of the action genre, I find the gameplay quite solid. The accessories also greatly enhance the game's accessibility, even though the game itself is quite manageable without them.
+ I like the characters, especially Clive, whose voice acting deserves commendation. Jill, Cid, Mid, and even the NPCs are all well-written.
+ The character moments are well-executed. They all deliver exceptionally well. The ending is tear-jerking, and I'm quite satisfied with the impact that Clive's actions have shown after the credits.
+ Torgal, the good boy.
= I honestly don't mind some characters being underexplored, but I hope there will be DLCs addressing the relationships between Cid, Barnabas, and Benedikta.
- I still feel that FFT and Tactics Ogre are the true mature RPGs from SE (outside of the aspects of sex and blood). The political intrigue in FF XVI feels shallow and gimmicky, lacking dynamism.
- The hate crime bearer isn't relatable, and its message regarding slavery seems to miss the point. The game also mishandles this theme and how it's used as a narrative motivator. I have my own thoughts on this matter.
- The story's motivations feel somewhat messy and lacking depth, with some reveals discarding interesting aspects of the story's motivations.
- The sidequests... 😪 but you miss out on a lot if you don't follow them, especially towards the end. I even had to turn off my PS when I was hyped to face the final boss, just to complete them.
- Many elements feel like they're just ticking the checkboxes of modern RPGs, such as side quests, item shops, world areas, crafting, equipment, evolving hideouts, etc., which I believe have a lot of potential but aren't taken seriously.
Overall, I consider FF XVI to be one of the best FF games I've ever played, though my list may be unique (currently, my top four are FFT, FF XIV, FFXVI, and FFXII, with the development teams being related to one another). In my opinion, this game is a must-play if you own a PS5; it's a spectacle that I haven't experienced since Shadow of the Colossus and God of War 3.
My rating: 4/5.
After looking at FF 14, I consider XVI to be the type that learns from the mistakes of its predecessors (FF 13, FF 15), incorporating what works in the current gaming industry while focusing on aspects that core fans desire, elevating them to over-the-top levels as goals, rather than just adding too much without delivering. Ultimately, when discussing core gameplay, character moments, lore, spectacle, and music, FF XVI stands out as one of the best in the series.
+ The Eikon fights are mind-blowing spectacles. The grandeur they present makes FF XVI the pinnacle of the entire FF series in this aspect. I'd even go as far as to say that experiencing this game on PS5 is a must for the Eikon scenes alone.
+ The music is an eargasmic experience. I've been listening to FF 14's OST daily, and in FF XVI, Soken has truly taken it to the next level. If the album were to be released, I'd definitely buy it.
+ The action is enjoyable, solid, and satisfying. The skill rotation is relatively easy, the parrying feels smooth, and staggering combos can deal hundreds of thousands of damage. As someone who isn't a fan of the action genre, I find the gameplay quite solid. The accessories also greatly enhance the game's accessibility, even though the game itself is quite manageable without them.
+ I like the characters, especially Clive, whose voice acting deserves commendation. Jill, Cid, Mid, and even the NPCs are all well-written.
+ The character moments are well-executed. They all deliver exceptionally well. The ending is tear-jerking, and I'm quite satisfied with the impact that Clive's actions have shown after the credits.
+ Torgal, the good boy.
= I honestly don't mind some characters being underexplored, but I hope there will be DLCs addressing the relationships between Cid, Barnabas, and Benedikta.
- I still feel that FFT and Tactics Ogre are the true mature RPGs from SE (outside of the aspects of sex and blood). The political intrigue in FF XVI feels shallow and gimmicky, lacking dynamism.
- The hate crime bearer isn't relatable, and its message regarding slavery seems to miss the point. The game also mishandles this theme and how it's used as a narrative motivator. I have my own thoughts on this matter.
- The story's motivations feel somewhat messy and lacking depth, with some reveals discarding interesting aspects of the story's motivations.
- The sidequests... 😪 but you miss out on a lot if you don't follow them, especially towards the end. I even had to turn off my PS when I was hyped to face the final boss, just to complete them.
- Many elements feel like they're just ticking the checkboxes of modern RPGs, such as side quests, item shops, world areas, crafting, equipment, evolving hideouts, etc., which I believe have a lot of potential but aren't taken seriously.
Overall, I consider FF XVI to be one of the best FF games I've ever played, though my list may be unique (currently, my top four are FFT, FF XIV, FFXVI, and FFXII, with the development teams being related to one another). In my opinion, this game is a must-play if you own a PS5; it's a spectacle that I haven't experienced since Shadow of the Colossus and God of War 3.
My rating: 4/5.
"No more shall man have wings to bear him to Paradise. Henceforth, he shall walk."
"As fragmented, imperfect beings, yours is a never-ending quest.
A quest to find your purpose, knowing your end is assured.
To find the strength to continue, when all strength has left you.
To find joy, even as darkness descends...
...and amidst deepest despair, light everlasting."
"As fragmented, imperfect beings, yours is a never-ending quest.
A quest to find your purpose, knowing your end is assured.
To find the strength to continue, when all strength has left you.
To find joy, even as darkness descends...
...and amidst deepest despair, light everlasting."
2024
Completed Unicorn Overlord, 43 hours in, on normal difficulty, finished post-game side quests, explored 100% of the map, and somehow managed to recruit the missable character at the end.
The developer seems to be a fan of Ogre Battle and pondered how to bring Ogre Battle gameplay into the modern world. They sped up the gameplay, improved the quality of life, and added more anime girls. No wonder Yasumi Matsuno (the creator of Ogre Battle) invited people on Twitter to buy the game, hoping Square Enix would realize there's a market for this genre and remake Ogre Battle (SNES) and Ogre Battle 64.
I slowly grew to like the character designs, and the gameplay loop got me hooked. The preparation feels like tuning a car in a racing game, constantly swapping components to fit the situation of the arena and opponents, from formations to unit roles, weapons, and accessories with additional skills, even setting up gambit-like strategies for skill usage that can drastically turn a losing situation into a victory. The game itself is quite easy, especially with the universal item access and lack of delay in item usage, which I find quite broken (additional note: formations can be adjusted when withdrawing, which helps when NPCs become part of the crew, and weapons can be changed mid-game!). And what I liked the most in this game is that grinding is easy; trials can be spammed, exp books are given, and grinding during battles feels satisfying in terms of progress, although I feel there's a level cap.
The rest, in my opinion, is average. The story and writing are below standard, with many unexplored potentials here and there, which is surprising considering how amazing 13 Sentinels was (and apparently, they were developed in parallel, so it seems they had different writing teams). The music isn't memorable, although there are some good OSTs during the prologue/final boss stages. It's funny because Hitoshi Sakimoto (Ogre series, FFT & 12) was the lead composer in 13 Sentinels, but not here (although it's still Basiscape, Hitoshi's company, that's handling it). For a war game, I feel the enemies are too passive, watching us snowballing until the end. And this passiveness is also felt in the game, as when we can station guards in towns, it turns out to be just for collecting resources around the town without any resistance/invasion from enemies. As for resources, they're mostly for delivery, and the only resource I find worth collecting is Fevrite, which makes all weapons in the game relevant in the late game.
I think a big minus is also the choices that are too black and white, kill or mercy? If you kill, you sometimes get a reward, but with mercy, you definitely get a unit. So, mercy it is! This is without any interesting consequences to the story, etc., something I was really hoping for when I first played the demo.
Despite the drawbacks, this game is full of charm, and I truly got addicted to playing it nonstop until I finished it during the holidays, which rarely happens. My score: 8/10.
The developer seems to be a fan of Ogre Battle and pondered how to bring Ogre Battle gameplay into the modern world. They sped up the gameplay, improved the quality of life, and added more anime girls. No wonder Yasumi Matsuno (the creator of Ogre Battle) invited people on Twitter to buy the game, hoping Square Enix would realize there's a market for this genre and remake Ogre Battle (SNES) and Ogre Battle 64.
I slowly grew to like the character designs, and the gameplay loop got me hooked. The preparation feels like tuning a car in a racing game, constantly swapping components to fit the situation of the arena and opponents, from formations to unit roles, weapons, and accessories with additional skills, even setting up gambit-like strategies for skill usage that can drastically turn a losing situation into a victory. The game itself is quite easy, especially with the universal item access and lack of delay in item usage, which I find quite broken (additional note: formations can be adjusted when withdrawing, which helps when NPCs become part of the crew, and weapons can be changed mid-game!). And what I liked the most in this game is that grinding is easy; trials can be spammed, exp books are given, and grinding during battles feels satisfying in terms of progress, although I feel there's a level cap.
The rest, in my opinion, is average. The story and writing are below standard, with many unexplored potentials here and there, which is surprising considering how amazing 13 Sentinels was (and apparently, they were developed in parallel, so it seems they had different writing teams). The music isn't memorable, although there are some good OSTs during the prologue/final boss stages. It's funny because Hitoshi Sakimoto (Ogre series, FFT & 12) was the lead composer in 13 Sentinels, but not here (although it's still Basiscape, Hitoshi's company, that's handling it). For a war game, I feel the enemies are too passive, watching us snowballing until the end. And this passiveness is also felt in the game, as when we can station guards in towns, it turns out to be just for collecting resources around the town without any resistance/invasion from enemies. As for resources, they're mostly for delivery, and the only resource I find worth collecting is Fevrite, which makes all weapons in the game relevant in the late game.
I think a big minus is also the choices that are too black and white, kill or mercy? If you kill, you sometimes get a reward, but with mercy, you definitely get a unit. So, mercy it is! This is without any interesting consequences to the story, etc., something I was really hoping for when I first played the demo.
Despite the drawbacks, this game is full of charm, and I truly got addicted to playing it nonstop until I finished it during the holidays, which rarely happens. My score: 8/10.
2017
Prey (2017) wraps up after 23 hours on PS4. Its gameplay stands out as the gem of the experience, drastically transforming your playstyle and strategies from slow-mo gunfights to embodying a fascinating alien persona, stealth mechanics (which are surprisingly engaging), to full-on brawls, among others, making other RPGs pale in comparison. The simple deconstruction and crafting system is also noteworthy. Its top-notch level design allows for non-linear approaches, rewarding experimentation that often feels ingenious.
However, the game does have a couple of significant issues that prevent it from shining brightly. Firstly, its backtracking system is flawed, with long loading times between hubs and unenjoyable fast travel mechanics that involve floating through space to find an airlock, leading to excessive backtracking. Moreover, some side objectives cannot be completed immediately, requiring you to wait for story developments or consult guides to know when they become accessible, which can be mentally taxing.
Secondly, its enemies lack iconicity. For a game inspired by titles like System Shock and Bioshock, one would expect memorable adversaries akin to SHODAN or Big Daddies. However, Prey only offers Typhoons, typical formless alien entities and their variants, lacking a definitive antagonist and resulting in a somewhat forgettable experience.
Other than that, the game's difficulty curve is uneven, starting off challenging and frustrating, becoming too easy towards the end once you're fully equipped with neuromods, chips, and an arsenal of weapons. The game's best moments are found in the mid-game, and its gunplay, while serviceable, lacks the impact expected in an FPS, with weapons feeling somewhat underwhelming.
My score: 3.5/5. (Would have given 4, but oh, the dreaded backtracking with loading screens).
However, the game does have a couple of significant issues that prevent it from shining brightly. Firstly, its backtracking system is flawed, with long loading times between hubs and unenjoyable fast travel mechanics that involve floating through space to find an airlock, leading to excessive backtracking. Moreover, some side objectives cannot be completed immediately, requiring you to wait for story developments or consult guides to know when they become accessible, which can be mentally taxing.
Secondly, its enemies lack iconicity. For a game inspired by titles like System Shock and Bioshock, one would expect memorable adversaries akin to SHODAN or Big Daddies. However, Prey only offers Typhoons, typical formless alien entities and their variants, lacking a definitive antagonist and resulting in a somewhat forgettable experience.
Other than that, the game's difficulty curve is uneven, starting off challenging and frustrating, becoming too easy towards the end once you're fully equipped with neuromods, chips, and an arsenal of weapons. The game's best moments are found in the mid-game, and its gunplay, while serviceable, lacks the impact expected in an FPS, with weapons feeling somewhat underwhelming.
My score: 3.5/5. (Would have given 4, but oh, the dreaded backtracking with loading screens).
2019
Short Review of Control: Completed in 27 hours, All Side Quests, DLC AWE and The Foundation
The beginning was frustrating, but the game gradually became addictive, especially from a combat perspective. Some set-pieces and segments are truly artistic (like the Ashtray Maze and Altered Item quest). The world lore is fascinating, and I appreciate the David Lynch-style dialogue and characterizations. However, the ending of the main story felt a bit underwhelming, leaving me with a sense of 'Is that it?' Instead, it was the second DLC that provided a proper ending segment.
Overall, I'd give it a 7.5/10.
The beginning was frustrating, but the game gradually became addictive, especially from a combat perspective. Some set-pieces and segments are truly artistic (like the Ashtray Maze and Altered Item quest). The world lore is fascinating, and I appreciate the David Lynch-style dialogue and characterizations. However, the ending of the main story felt a bit underwhelming, leaving me with a sense of 'Is that it?' Instead, it was the second DLC that provided a proper ending segment.
Overall, I'd give it a 7.5/10.
2016
Tales of Berseria, 70 hours played, although it's 90 hours on Steam due to occasional interruptions such as meetings and sometimes falling asleep when I planned to finish it over the weekend.
I distinctly remember playing Tales of Zestiria during my college days, and it's the only JRPG I intentionally dropped midway through. I despised the cast, the story, and its execution, finding it so cringe-worthy and boring that I often found myself banging my head on the table. However, a few months ago, I decided to purchase Berseria on a whim since it was on sale. To my surprise, I got hooked on the story immediately, playing for 20 hours straight without switching games, and I couldn't believe it was crafted by the same team and writer.
Tales of Berseria boasts a strong story and cast, possibly one of the best in the Tales series based on my experience. It's refreshing to play as a protagonist who isn't purely good from the start, with significant character development potential. The pacing and execution are spot-on, making it thoroughly enjoyable. The game is also incredibly emotional, taking us on a rollercoaster of emotions, from tearful moments to mind-bending twists and hilarious scenes, all perfectly balanced in tempo. Velvet's character is psychologically and morally complex, especially as her revenge motive is questioned, making her fascinating to play. Even the antagonists are portrayed sympathetically towards the end.
Unfortunately, the game's strengths lie primarily in its story and characters. The gameplay is decent, with AI that's an improvement over Zestiria but not particularly engaging to delve into further. Playing as Velvet on hard difficulty feels effortless, so there's little incentive to learn the intricacies of other characters' gameplay. Equipment management and modification are simpler than Zestiria but still cumbersome and tiring to deal with. The most disappointing aspect is the weak setting and environment. It's even worse than Zestiria; I didn't feel like the world of Berseria truly came alive, felt real, or was believable. The world-building is lacking, and the blandness of each dungeon, major city, etc., fails to evoke any sense of wonder. Despite the need for constant backtracking to familiar locations, there's no "wow" factor while playing. The music is also forgettable, a significant downside compared to Zestiria.
Overall, I'm more of a story-driven person who prefers reading visual novels for hours rather than playing games with minimal or poor storytelling. Berseria, however, satisfied me in terms of its narrative, although I must admit I wasn't too fond of the ending.
My score: 4/5.
P.S. Learn the Mystic Chain art (spam R2 and d-pad during Mystic Art) that the game never tells you about; it makes boss fights a breeze.
I distinctly remember playing Tales of Zestiria during my college days, and it's the only JRPG I intentionally dropped midway through. I despised the cast, the story, and its execution, finding it so cringe-worthy and boring that I often found myself banging my head on the table. However, a few months ago, I decided to purchase Berseria on a whim since it was on sale. To my surprise, I got hooked on the story immediately, playing for 20 hours straight without switching games, and I couldn't believe it was crafted by the same team and writer.
Tales of Berseria boasts a strong story and cast, possibly one of the best in the Tales series based on my experience. It's refreshing to play as a protagonist who isn't purely good from the start, with significant character development potential. The pacing and execution are spot-on, making it thoroughly enjoyable. The game is also incredibly emotional, taking us on a rollercoaster of emotions, from tearful moments to mind-bending twists and hilarious scenes, all perfectly balanced in tempo. Velvet's character is psychologically and morally complex, especially as her revenge motive is questioned, making her fascinating to play. Even the antagonists are portrayed sympathetically towards the end.
Unfortunately, the game's strengths lie primarily in its story and characters. The gameplay is decent, with AI that's an improvement over Zestiria but not particularly engaging to delve into further. Playing as Velvet on hard difficulty feels effortless, so there's little incentive to learn the intricacies of other characters' gameplay. Equipment management and modification are simpler than Zestiria but still cumbersome and tiring to deal with. The most disappointing aspect is the weak setting and environment. It's even worse than Zestiria; I didn't feel like the world of Berseria truly came alive, felt real, or was believable. The world-building is lacking, and the blandness of each dungeon, major city, etc., fails to evoke any sense of wonder. Despite the need for constant backtracking to familiar locations, there's no "wow" factor while playing. The music is also forgettable, a significant downside compared to Zestiria.
Overall, I'm more of a story-driven person who prefers reading visual novels for hours rather than playing games with minimal or poor storytelling. Berseria, however, satisfied me in terms of its narrative, although I must admit I wasn't too fond of the ending.
My score: 4/5.
P.S. Learn the Mystic Chain art (spam R2 and d-pad during Mystic Art) that the game never tells you about; it makes boss fights a breeze.
46 hours. The game got me hooked badly, but honestly, I got bored halfway through. The long travel time from point A to B, the shrines requiring puzzles beforehand (which can take 5 - 15 minutes if your brain isn't sharp), and the repetitive nature of the shrines themselves, not quite like dungeons or anything. The lack of enemy variation is also a major downside for me, and I think the biggest minus is giving legendary weapons or shields that can break (imagine the Hyrule shield breaking!). Also, I hate that buffs don't stack (there should be a separation between which buffs can and cannot stack). Imagine I'm using a buff to stay warm, then I eat something that gives me another buff (like attack++), and the warm buff disappears.
But it's the golden standard for exploration games. For instance, when you're traveling from point A to B, you check the map, and there's a location that looks interesting. You decide to visit that spot, and there's always something happening, a chest, etc., that truly rewards your exploration in this game. It makes the open-world feel rich with content.
In terms of difficulty, the game felt challenging at the beginning, but there are many exploits as you progress. Fairies can be stacked for multiple revives (even without Mipha), and I like crafting food because it's easy to make and the buffs are quite broken (perhaps that's why they can't be stacked). During boss fights, with full stamina, just two laps, slow motion, and spamming elemental arrows can kill the boss in minutes, even the final boss feels underwhelming. As a casual player, I don't have a problem with these exploits.
As for the story... I actually like the concept. It starts off bleakly. Zelda, desperate to activate her powers and resenting her destiny, Link as a failed savior, and the backstory of the champions who lost their lives. A hundred years later, it feels like saving the world for whom, when the kingdom and loved ones are already gone? The start is just so tragic. Unfortunately, I didn't feel very connected or moved by it because it's told in random flashbacks, making the chronology messy (unless you use a walkthrough).
There's still plenty of content like the DLC story Champion's Song (which I found ridiculously difficult, to be honest, it's where I truly felt the challenge), dozens of unexplored shrines, and more that could take hundreds of hours to complete all the content. But I'm not really interested in 100% completion; maybe if I'm bored and there's no other game, I'll try out some of the side content.
My Score: 8/10.
But it's the golden standard for exploration games. For instance, when you're traveling from point A to B, you check the map, and there's a location that looks interesting. You decide to visit that spot, and there's always something happening, a chest, etc., that truly rewards your exploration in this game. It makes the open-world feel rich with content.
In terms of difficulty, the game felt challenging at the beginning, but there are many exploits as you progress. Fairies can be stacked for multiple revives (even without Mipha), and I like crafting food because it's easy to make and the buffs are quite broken (perhaps that's why they can't be stacked). During boss fights, with full stamina, just two laps, slow motion, and spamming elemental arrows can kill the boss in minutes, even the final boss feels underwhelming. As a casual player, I don't have a problem with these exploits.
As for the story... I actually like the concept. It starts off bleakly. Zelda, desperate to activate her powers and resenting her destiny, Link as a failed savior, and the backstory of the champions who lost their lives. A hundred years later, it feels like saving the world for whom, when the kingdom and loved ones are already gone? The start is just so tragic. Unfortunately, I didn't feel very connected or moved by it because it's told in random flashbacks, making the chronology messy (unless you use a walkthrough).
There's still plenty of content like the DLC story Champion's Song (which I found ridiculously difficult, to be honest, it's where I truly felt the challenge), dozens of unexplored shrines, and more that could take hundreds of hours to complete all the content. But I'm not really interested in 100% completion; maybe if I'm bored and there's no other game, I'll try out some of the side content.
My Score: 8/10.
2020
Hades was completed in over 20 hours (plus, I once spent a whole day without internet, unsure if it counted towards gameplay hours or not), but I'm confident that dedicated players could extract 30-50 hours of content from it. For a rogue-like, this marks the first time I've played a game where the story and characters take precedence over the gameplay loop.
Some insights from my playthrough:
+ The story starts with a metal vibe but ultimately delves into family drama, which I found quite compelling.
+ The action is swift-paced and visually satisfying.
+ The array of weapons and boons ensures that each loop feels distinct, akin to typical rogue-like games. If I were to draw a comparison, it's reminiscent of Wizard of Legend.
+ Upon defeating Hades for the first time, the Pact of Punishment introduces additional challenges and gameplay variations. Extreme Measure, in particular, alters boss encounters, adding depth to the experience.
+ Every loop, regardless of victory or defeat, presents intriguing dialogues from each character, offering insights into their lives and struggles. Sometimes, I found myself playing solely to witness the fate of characters like Orpheus and Eurydice or to observe the romance between the main character and Megaera.
+ The game is rich in detail, from character reactions to carried items to subtle arena elements during boss fights, which enrich the overall experience.
+ The music is exceptional, with tracks like "In The Blood," "Lament of Orpheus," and "Good Riddance" standing out. Supergiant Games consistently delivers in the music department.
= For those seeking a more narrative-focused experience, the game offers God Mode (a discovery I made towards the end), significantly reducing enemy damage without compromising the challenge.
= Additionally, there's an option to "give up," automatically recovering any losses incurred during a run. Although I personally never utilized this feature, it could be beneficial for those facing particularly challenging runs.
- While initially engaging, the game can become frustrating if its charm fails to resonate. Repetitive encounters with familiar enemies and areas can lead to boredom, despite the Pact of Punishment's attempt to inject excitement.
- After defeating Hades multiple times, I found myself growing weary of experimentation. Certain weapon and boon combinations became exploitable, and boss patterns became predictable. Increasing Extreme Measure's difficulty could mitigate this, injecting fresh challenges into boss encounters.
- Events in the game can feel somewhat reliant on RNG. Encountering characters like Eurydice or obtaining secret weapons is not guaranteed, and even accessing the epilogue post-True Ending is subject to RNG.
Objectively evaluating Hades as a rogue-like game, it excels in all aspects, boasting polished gameplay, detailed world-building, outstanding music, and compelling storytelling. However, despite its many strengths, the magic of each loop gradually waned for me, culminating in a somewhat exhausting experience upon completing Hades with level 3 extreme measure. At that point, I even contemplated taking a break from the genre, but eventually, the game's allure proved too strong to resist.
My Score: 75/100.
Some insights from my playthrough:
+ The story starts with a metal vibe but ultimately delves into family drama, which I found quite compelling.
+ The action is swift-paced and visually satisfying.
+ The array of weapons and boons ensures that each loop feels distinct, akin to typical rogue-like games. If I were to draw a comparison, it's reminiscent of Wizard of Legend.
+ Upon defeating Hades for the first time, the Pact of Punishment introduces additional challenges and gameplay variations. Extreme Measure, in particular, alters boss encounters, adding depth to the experience.
+ Every loop, regardless of victory or defeat, presents intriguing dialogues from each character, offering insights into their lives and struggles. Sometimes, I found myself playing solely to witness the fate of characters like Orpheus and Eurydice or to observe the romance between the main character and Megaera.
+ The game is rich in detail, from character reactions to carried items to subtle arena elements during boss fights, which enrich the overall experience.
+ The music is exceptional, with tracks like "In The Blood," "Lament of Orpheus," and "Good Riddance" standing out. Supergiant Games consistently delivers in the music department.
= For those seeking a more narrative-focused experience, the game offers God Mode (a discovery I made towards the end), significantly reducing enemy damage without compromising the challenge.
= Additionally, there's an option to "give up," automatically recovering any losses incurred during a run. Although I personally never utilized this feature, it could be beneficial for those facing particularly challenging runs.
- While initially engaging, the game can become frustrating if its charm fails to resonate. Repetitive encounters with familiar enemies and areas can lead to boredom, despite the Pact of Punishment's attempt to inject excitement.
- After defeating Hades multiple times, I found myself growing weary of experimentation. Certain weapon and boon combinations became exploitable, and boss patterns became predictable. Increasing Extreme Measure's difficulty could mitigate this, injecting fresh challenges into boss encounters.
- Events in the game can feel somewhat reliant on RNG. Encountering characters like Eurydice or obtaining secret weapons is not guaranteed, and even accessing the epilogue post-True Ending is subject to RNG.
Objectively evaluating Hades as a rogue-like game, it excels in all aspects, boasting polished gameplay, detailed world-building, outstanding music, and compelling storytelling. However, despite its many strengths, the magic of each loop gradually waned for me, culminating in a somewhat exhausting experience upon completing Hades with level 3 extreme measure. At that point, I even contemplated taking a break from the genre, but eventually, the game's allure proved too strong to resist.
My Score: 75/100.
2019
Sakura Wars (2019) serves as a soft reboot with the theme of passing the torch to a new generation. Honestly, I found this game to be rather average, with characters that felt somewhat clichéd compared to the charm of the previous series (which I've only experienced through comics, to be fair). The action felt lackluster and somewhat like an afterthought, and there was quite a bit of filler content that dragged on, making it a bit challenging to finish. However, I must acknowledge that the game possesses charm and is rich in details, particularly in its 3D character designs, environments, music, scene direction, and other trivial elements that demonstrate the developers' love for the franchise. Looking towards the future, I hope this series doesn't end with just this game.
P.S.: I was particularly bothered by the variety in character design here. It reminded me of Ao no Kiseki when they used character designs by Katsumi Enami from the previous series alongside new designs by Falcom's in-house artists, which felt somewhat jarring. A similar situation occurred here, with Tite Kubo handling the main cast while other characters had distinct designs, diverging from Kubo's artistic style. Additionally, the bromide system still evokes nostalgia with Kōsuke Fujishima's designs.
My Score: 7/10
P.S.: I was particularly bothered by the variety in character design here. It reminded me of Ao no Kiseki when they used character designs by Katsumi Enami from the previous series alongside new designs by Falcom's in-house artists, which felt somewhat jarring. A similar situation occurred here, with Tite Kubo handling the main cast while other characters had distinct designs, diverging from Kubo's artistic style. Additionally, the bromide system still evokes nostalgia with Kōsuke Fujishima's designs.
My Score: 7/10
Compared to other Monster Hunter games, Monster Hunter World embodies a profound essence in every aspect – whether it's the majestic monsters, the richly detailed world, or the exhilarating combat dynamics. Its gameplay loop is undeniably captivating: encounter a formidable monster, gather essential materials, craft necessary items to confront the beast, learn its intricate mechanics, emerge victorious through skillful execution, and then repeat the cycle with newfound challenges.
However, the post-game content can prove excessively challenging and somewhat monotonous when tackled solo. Furthermore, the multiplayer experience often devolves into a focus on pure damage output, lacking distinct dedicated roles despite the potential for such strategic depth.
Personally, I find the Guiding Lands content to be somewhat tiresome, resembling an endless grind devoid of clear direction or purpose.
Nevertheless, Monster Hunter World stands as one of the most exceptional gaming experiences I've ever had. Its immersive world, thrilling gameplay, and deep mechanics make it a standout title in the Monster Hunter series and in gaming as a whole.
However, the post-game content can prove excessively challenging and somewhat monotonous when tackled solo. Furthermore, the multiplayer experience often devolves into a focus on pure damage output, lacking distinct dedicated roles despite the potential for such strategic depth.
Personally, I find the Guiding Lands content to be somewhat tiresome, resembling an endless grind devoid of clear direction or purpose.
Nevertheless, Monster Hunter World stands as one of the most exceptional gaming experiences I've ever had. Its immersive world, thrilling gameplay, and deep mechanics make it a standout title in the Monster Hunter series and in gaming as a whole.