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Gradius IV: Revival
1999
Gradius IV Review
Intro
I cannot believe that Konami went from making a direct absolute masterpiece to an absolute dumpster fire of a Gradius Game. And it hurts for me to say this considering that most Gradius entries are absolutely goated. Just like the one before this game: Gradius Gaiden. I don’t need to explain any further why Gaiden was a masterpiece: The presentation alone upon looking at it for the first time is extortionary. The gameplay is a step up, the soundtrack is kicking. Fans wouldn’t imagine how well the next game could’ve been with all of the perfections that Gaiden have. This leads us to 1999’s Gradius IV: And boy, for a game that’s Gradius, there are a lot of bad things to cover. Strap in as you’re going to see me have things to say about this one.
Story
We revisit to the ending of Gradius II where Gofer was defeated by the almighty Vic viper. But, a fragment of Gofer’s merged into a planet, causing it to turn into a whole ship! Reminds me of the one from Gradius I somewhat. That's all there is though, other than you having to use the Vic Viper again to stop Gofer’s resurrection from happening, to save the world of Gradius all over again. Why can’t we have a Gradius game where the actual planet of Gradius is one that we can enter, and have a direct cause to it? Why are we going back into space again? I know that it would be out of place for Gradius, but at least you can cook something with that design of that, make it serious and such! The only game that I know that gets close to this concept is Parodius, which is a spinoff of Gradius, so that doesn’t realty count. Why are we revisiting Gofer again? How and why did an element of his get merged with a giant planet for it to be turned into a whole spaceship? none of this makes any sense to me, and I wished that I can ask the developers why they slacked off two year after the masterpiece of Gaiden. But at least the gameplay should be alright, right?
Gameplay
Where can I customize the slot bars? I want to have my shield first and options second... Where’s also the other shields that I can have like guard and limit? Why can’t I edit my weapons like Gradius III? Why are we going back to Gradius II in terms of the options you’re able to use? And don’t say that this is an arcade game, Gradius III WAS an arcade game and had the option to edit your ship parts! And they could’ve spared 30 seconds to switch the slot parts. Other arcade games at the time took longer of the game to acutally start! At least the graphics are okay, right...?
Liquid Metal
WHAT. AM. I. LOOKING AT. Seriously, the first time I looked at this game, I thought it was piss. It also kind of hurts my eyes for some reason. I guess it’s because of the rapidly switching colors within the “Liquid Metal.” And I still don’t know what it could possibly be. While this is technically unique to Gradius for the first time, the layout of the stage with dragons coming out was already featured in well.. Gradius II. (you’re going to see a bunch of similarities with this game and Gradius III.) And what’s worse about this one, is that it ends quicker than you think it does. I don’t know if it’s me, the fact that it ends very quickly beofre the boss says something imo. But the boss?
It’s a giant three headed dragon monster looking thing. Once again, this is a [boss] idea that was featured in another Gradius game (Arcade Gradius III). Apparently, its name was Yorogaton Chimera. I don’t know what that means, but it does change into 3 other forms: A weird crab infused turtle.. Looking,... monster? I don’t know what they were cooking. The other one is.. I can’t explain it. It has a shell, it has a giant looking teeth thing that are it’s eyes? And the final one, a fidget spinner spinning shooting projectiles. None of this makes sense to me.
Plant
Next stage might look like a unique stage, but all and all it’s just another traditional plant stage. It kinda looks like underwater plant life to me? I don’t know if that’s true and whatnot. The stage is also pretty easy just llik4e the others. Just get rid of the weird lines and head to a plant boss that also looks weird. The name for this one is Dendrodium, and while this is a pretty standard boss, it’s just the graphics that makes this boss look disgusting or just something else. It also dies faster than Yorogaton.
Bubble/Crytsal
They really thought that they can be unique with this stage making bubbles and crystal together, but the bubbles come from Gradius III, and the crystal comes form Gradius II. The reason I’m complaining about the reuse of the stages is because when they are presented within this game, it makes no effort to make things different and whatnot. Gaiden also reuses a bunch of things, but here’s the difference: It puts a twist in almost everything, making them feel familiar but unique. This stage just has floating bubbles, and floating crystals. The boss is the Bubble Core. The first core in this game. I’ll say that this is a pretty solid boss, shooting bubbles and lasers. Not too hard not too easy.
Life/Magma
This stage is a mixed bag for me. I was going to complain about the layout of the first part being like the life stage featured in Gradius II, but then the completely original lava part comes in just right after this! While completely volcanic stages aren’t oroiginal (the infamous stage in Gradius III), this is the only stage that actually makes things unique. I guess not everything in this game is not worth complaining about. However, this stage is also similar to III in how difficult it is! In this stage, you’ll be tasked with maneuvering through the fast-moving lava terrarian, with big rocks coming form both left and right. While this seems easy, this stage marks the intro to where I say that a large point of this game is rigged. The rocks are big and so as the moving lava, and i had a hard time passing this stage cause I kept on dying a lot especially when the volcano moves hard up and down. I forgot the type of animal Gillador, the boss is, but I do know that it’s related to sea animals and whatnot with having a giant strong shell, and a tail. That's this boss, which is also a first for Gradius.
Moai
As of writing this, I forgot that there was a whole Moai stage that came before the cell stage. This one isn’t unique, but it is a series staple of having multiple moai heads and whatnot. And just like all of them, there’s a harder part where they shoot more projectiles at you. Due to how typical this stage is, there's not much to say about it. The boss, Alpha/Omega (very original) is similar to the SNES Gradius III with how you have to fight two giant Moai heads attached to rocks, but what makes this one differ is that there’s small Moai heads that come out and shoot the circles, lasers and whatnot, making it harder to hit the giant moai heads. I like the extra challenge with this one, but I died a whole bunch because of the tiny Moai heads. The movements with the bosses are incoherent, and I end up dying because they don’t have a recognizable attack pattern for me to remember.
Cell
I don’t like what this stage looks like. The graphics make this stage look like it’s real. While also typical for Gradius, they make this this one disturbing be within with the stage moving as if the stage is real and whatnot. This stage also managed to be difficult with the organism vines (Dunno what to call them) and the multiple projectiles that come out after breaking them. Then there’s the little weird sticks that look at you which is also a staple enemy in organism like stages but there’s a bunch of them in a section of the stage. The boss is another core-looknig boss named Berial that also looks weird due to the 3D graphics of the game. It reminds me of a reborn version of Golem, the Slaamnader boss with the brain and the two hands that come out of it.
High Speed
And now it’s time for one of the worst stages in the entire game. After going through the hellhole that is the entire game, the High-Speed section of this game is the worst out of all of them. Not only that the stage is fast, but the background blends also well with the stage making it hard for me to see where to go, and there’s a bunch of big obstacles that get in the way of your path. The stage also starts off fast unlike the others in that it gradually gets fast. The paths are also more confusing than the other entries that I believe had a more coherent path to it. The core for this boss is another annoying one, but what am I supposed to say about how unique it is, it’s just like the other bosses in this game where they shoot a bunch of things at the player. If you die at all in this stage, just say goodbye to your progress which happened to me. Thank goodness for save states though, because I wouldn’t know how I would be able to finish not only this game, but Arcade Gradius III, too. This boss is also hard because it does like to turn it’s head a lot making the core hard to reach.
This boss also reminds me of another thing that I have to say about the game’s bosses: They. Drag ON. I took a while to beat this boss to the point that I believe that with my successful attempt, the boss self-destructed cause being an Arcade game, You can’t take too long with the boss. Almost all of the bossses take too long to beat not counting if you die mid-fight.
Boss Parade
Vanishing Core
The Gradius I ship comes in the background to send the boss cores to you. This first one gives me massive Gradius Gaiden vibes, what’s awesome about this one is the rainbow lights that it has. Although the circles along with the missiles and the listers are also projectiles to kill you.
Big Core MK III Kai
Gradius III’s Big Core Mk.III but with a vengeance. This one work like the original with the only addition being the fact that the parts that shoot the big lasers go up and down with the lasers in the missile shooing straighter beams. I don’t know how else to say it. Pretty solid remaster of the original Big Core Mk.III.
Covered Tetran
They made the Tetran from Salamander 2 a bit more annoying to fight with it’s arms going moving left and right faster than normal, with the ends also shooting lasers to keep you always moving.
Berserk Core
Two smaller ships that shoot big beams the bigger one shooting tiny ones only shooting big ones when the tiny ships are destroyed. I dunno what else to say.
Planet Core
Now the final one! This one is like a remaked version of the final core in the boss rush of Gradius II, but this one is harder with shooting i guess bombs? When the core turns, they turn along with it. The good thing about this boss is that it’s more coherent with it’s boss pattern but still difficult as it really is the final core from the boss ruhs.
Final Fortress
Now the mechanical base! We enter similar to Gradius II by shooting the opening, and this one is like Gradius III with the color choices of the base overall. Other than that, this one does take an interesting turn with how the base turns clockwise, but don’t get your hopes high it does go back to normal before. At least it doesn’t flash like the Arcade Gradius III one, and it’s not too long like that one either. The gate featured in this one is a bit harder to avoid than the others with moving parts coming down and up but other than that if you’re careful and destroy the turrets you’ll be done with this fight.
Now the walker. It’s the walker from Gradius II. I mean, you could say that because this game is related to Gofer and such, it can have a bunch of references to II and such, but why mark this game as a 4th entry if it’s more like a reimagining of the 2nd gradius game? This stuff is just confusing man. The onyl unique thing it does is move around harder but that’s about it.
And now we finally reached Gofer. WHAT. AM. I. LOOKING. AT?????? They have massacred Gofer’s design so badly that he now looks like a low budget golf ball literally sitting on the edge of a ship that looks like it has eyes. I am the center of the Universe, my ass. Thank goodness that they made you so pathetically weaker in this reincarnation. After defeating him, the ship turns back to normal, and credits play thereafter. Where is the awesome scene where you’re going back to normal? And while we talk about this, why has there been a bunch of people signing up for the cutscene that happens in the beginning of the game? It literally lasts less tha 30 seconds.
Soundtrack
Another thing that I have yet to discuss is the soundtrack for this game where most of them are name after Greek and Roman Gods. For example, the Life/Magma stage is called Cronos/Hades, and the Final Fortress has Prometheus/Athena respectively. I don’t know why they have done this considering that there are no roman/greek references within the stages themselves, but I already questioned too much of this game’s existence. As much as I like listening to the soundtrack within this game, this game’s music is off the trail with how it’s supposed to be serious and such. There’s no capturing of seriousness and such featuring lighter instruments, and the soundtrack is jazzier and more upbeat than the other Gradius games. The High Speed stage is an example of what I mean. It’s exciting, happy! And upbeat! You ready for a fast-paced stage? Here you go. Or how about the Bubble/Crystal one? It’s calm, and once again, has that Jazz riz. I don’t understand why most of the songs in this game are light considering that earlier entries had musicthat was too light in the scope of the developers.
Conclusion
So that was Gradius IV. A game that referenced stuff from past Gradius games and didn’t really seek to improve what has already been established. Honestly, for Gaiden which learning now literally translates to side story in English, I’d rather call that game the true Gradius IV as they put in a ton of more effort to it that makes it more of a love letter than a continued series down the line. Not to mention that, like the first 2004 SpongeBob Movie, the developers wanted to have Arcade Gradius III to be the final entry to the Gradius series overall, but none of the games after it made a great continuation as much as from 1 to salamander, to 2, and to 3. The graphics also don’t hold up much especially when comparing it to other games released in 1999. They should’ve stayed with the 2D designs even if games at the time were supposed to be all that 3D. But that’s it for another review off my list. I would’ve gotten more ruthless with this entry, but I’ve done the best that I could to explain things in greater detail than before.
Intro
I cannot believe that Konami went from making a direct absolute masterpiece to an absolute dumpster fire of a Gradius Game. And it hurts for me to say this considering that most Gradius entries are absolutely goated. Just like the one before this game: Gradius Gaiden. I don’t need to explain any further why Gaiden was a masterpiece: The presentation alone upon looking at it for the first time is extortionary. The gameplay is a step up, the soundtrack is kicking. Fans wouldn’t imagine how well the next game could’ve been with all of the perfections that Gaiden have. This leads us to 1999’s Gradius IV: And boy, for a game that’s Gradius, there are a lot of bad things to cover. Strap in as you’re going to see me have things to say about this one.
Story
We revisit to the ending of Gradius II where Gofer was defeated by the almighty Vic viper. But, a fragment of Gofer’s merged into a planet, causing it to turn into a whole ship! Reminds me of the one from Gradius I somewhat. That's all there is though, other than you having to use the Vic Viper again to stop Gofer’s resurrection from happening, to save the world of Gradius all over again. Why can’t we have a Gradius game where the actual planet of Gradius is one that we can enter, and have a direct cause to it? Why are we going back into space again? I know that it would be out of place for Gradius, but at least you can cook something with that design of that, make it serious and such! The only game that I know that gets close to this concept is Parodius, which is a spinoff of Gradius, so that doesn’t realty count. Why are we revisiting Gofer again? How and why did an element of his get merged with a giant planet for it to be turned into a whole spaceship? none of this makes any sense to me, and I wished that I can ask the developers why they slacked off two year after the masterpiece of Gaiden. But at least the gameplay should be alright, right?
Gameplay
Where can I customize the slot bars? I want to have my shield first and options second... Where’s also the other shields that I can have like guard and limit? Why can’t I edit my weapons like Gradius III? Why are we going back to Gradius II in terms of the options you’re able to use? And don’t say that this is an arcade game, Gradius III WAS an arcade game and had the option to edit your ship parts! And they could’ve spared 30 seconds to switch the slot parts. Other arcade games at the time took longer of the game to acutally start! At least the graphics are okay, right...?
Liquid Metal
WHAT. AM. I. LOOKING AT. Seriously, the first time I looked at this game, I thought it was piss. It also kind of hurts my eyes for some reason. I guess it’s because of the rapidly switching colors within the “Liquid Metal.” And I still don’t know what it could possibly be. While this is technically unique to Gradius for the first time, the layout of the stage with dragons coming out was already featured in well.. Gradius II. (you’re going to see a bunch of similarities with this game and Gradius III.) And what’s worse about this one, is that it ends quicker than you think it does. I don’t know if it’s me, the fact that it ends very quickly beofre the boss says something imo. But the boss?
It’s a giant three headed dragon monster looking thing. Once again, this is a [boss] idea that was featured in another Gradius game (Arcade Gradius III). Apparently, its name was Yorogaton Chimera. I don’t know what that means, but it does change into 3 other forms: A weird crab infused turtle.. Looking,... monster? I don’t know what they were cooking. The other one is.. I can’t explain it. It has a shell, it has a giant looking teeth thing that are it’s eyes? And the final one, a fidget spinner spinning shooting projectiles. None of this makes sense to me.
Plant
Next stage might look like a unique stage, but all and all it’s just another traditional plant stage. It kinda looks like underwater plant life to me? I don’t know if that’s true and whatnot. The stage is also pretty easy just llik4e the others. Just get rid of the weird lines and head to a plant boss that also looks weird. The name for this one is Dendrodium, and while this is a pretty standard boss, it’s just the graphics that makes this boss look disgusting or just something else. It also dies faster than Yorogaton.
Bubble/Crytsal
They really thought that they can be unique with this stage making bubbles and crystal together, but the bubbles come from Gradius III, and the crystal comes form Gradius II. The reason I’m complaining about the reuse of the stages is because when they are presented within this game, it makes no effort to make things different and whatnot. Gaiden also reuses a bunch of things, but here’s the difference: It puts a twist in almost everything, making them feel familiar but unique. This stage just has floating bubbles, and floating crystals. The boss is the Bubble Core. The first core in this game. I’ll say that this is a pretty solid boss, shooting bubbles and lasers. Not too hard not too easy.
Life/Magma
This stage is a mixed bag for me. I was going to complain about the layout of the first part being like the life stage featured in Gradius II, but then the completely original lava part comes in just right after this! While completely volcanic stages aren’t oroiginal (the infamous stage in Gradius III), this is the only stage that actually makes things unique. I guess not everything in this game is not worth complaining about. However, this stage is also similar to III in how difficult it is! In this stage, you’ll be tasked with maneuvering through the fast-moving lava terrarian, with big rocks coming form both left and right. While this seems easy, this stage marks the intro to where I say that a large point of this game is rigged. The rocks are big and so as the moving lava, and i had a hard time passing this stage cause I kept on dying a lot especially when the volcano moves hard up and down. I forgot the type of animal Gillador, the boss is, but I do know that it’s related to sea animals and whatnot with having a giant strong shell, and a tail. That's this boss, which is also a first for Gradius.
Moai
As of writing this, I forgot that there was a whole Moai stage that came before the cell stage. This one isn’t unique, but it is a series staple of having multiple moai heads and whatnot. And just like all of them, there’s a harder part where they shoot more projectiles at you. Due to how typical this stage is, there's not much to say about it. The boss, Alpha/Omega (very original) is similar to the SNES Gradius III with how you have to fight two giant Moai heads attached to rocks, but what makes this one differ is that there’s small Moai heads that come out and shoot the circles, lasers and whatnot, making it harder to hit the giant moai heads. I like the extra challenge with this one, but I died a whole bunch because of the tiny Moai heads. The movements with the bosses are incoherent, and I end up dying because they don’t have a recognizable attack pattern for me to remember.
Cell
I don’t like what this stage looks like. The graphics make this stage look like it’s real. While also typical for Gradius, they make this this one disturbing be within with the stage moving as if the stage is real and whatnot. This stage also managed to be difficult with the organism vines (Dunno what to call them) and the multiple projectiles that come out after breaking them. Then there’s the little weird sticks that look at you which is also a staple enemy in organism like stages but there’s a bunch of them in a section of the stage. The boss is another core-looknig boss named Berial that also looks weird due to the 3D graphics of the game. It reminds me of a reborn version of Golem, the Slaamnader boss with the brain and the two hands that come out of it.
High Speed
And now it’s time for one of the worst stages in the entire game. After going through the hellhole that is the entire game, the High-Speed section of this game is the worst out of all of them. Not only that the stage is fast, but the background blends also well with the stage making it hard for me to see where to go, and there’s a bunch of big obstacles that get in the way of your path. The stage also starts off fast unlike the others in that it gradually gets fast. The paths are also more confusing than the other entries that I believe had a more coherent path to it. The core for this boss is another annoying one, but what am I supposed to say about how unique it is, it’s just like the other bosses in this game where they shoot a bunch of things at the player. If you die at all in this stage, just say goodbye to your progress which happened to me. Thank goodness for save states though, because I wouldn’t know how I would be able to finish not only this game, but Arcade Gradius III, too. This boss is also hard because it does like to turn it’s head a lot making the core hard to reach.
This boss also reminds me of another thing that I have to say about the game’s bosses: They. Drag ON. I took a while to beat this boss to the point that I believe that with my successful attempt, the boss self-destructed cause being an Arcade game, You can’t take too long with the boss. Almost all of the bossses take too long to beat not counting if you die mid-fight.
Boss Parade
Vanishing Core
The Gradius I ship comes in the background to send the boss cores to you. This first one gives me massive Gradius Gaiden vibes, what’s awesome about this one is the rainbow lights that it has. Although the circles along with the missiles and the listers are also projectiles to kill you.
Big Core MK III Kai
Gradius III’s Big Core Mk.III but with a vengeance. This one work like the original with the only addition being the fact that the parts that shoot the big lasers go up and down with the lasers in the missile shooing straighter beams. I don’t know how else to say it. Pretty solid remaster of the original Big Core Mk.III.
Covered Tetran
They made the Tetran from Salamander 2 a bit more annoying to fight with it’s arms going moving left and right faster than normal, with the ends also shooting lasers to keep you always moving.
Berserk Core
Two smaller ships that shoot big beams the bigger one shooting tiny ones only shooting big ones when the tiny ships are destroyed. I dunno what else to say.
Planet Core
Now the final one! This one is like a remaked version of the final core in the boss rush of Gradius II, but this one is harder with shooting i guess bombs? When the core turns, they turn along with it. The good thing about this boss is that it’s more coherent with it’s boss pattern but still difficult as it really is the final core from the boss ruhs.
Final Fortress
Now the mechanical base! We enter similar to Gradius II by shooting the opening, and this one is like Gradius III with the color choices of the base overall. Other than that, this one does take an interesting turn with how the base turns clockwise, but don’t get your hopes high it does go back to normal before. At least it doesn’t flash like the Arcade Gradius III one, and it’s not too long like that one either. The gate featured in this one is a bit harder to avoid than the others with moving parts coming down and up but other than that if you’re careful and destroy the turrets you’ll be done with this fight.
Now the walker. It’s the walker from Gradius II. I mean, you could say that because this game is related to Gofer and such, it can have a bunch of references to II and such, but why mark this game as a 4th entry if it’s more like a reimagining of the 2nd gradius game? This stuff is just confusing man. The onyl unique thing it does is move around harder but that’s about it.
And now we finally reached Gofer. WHAT. AM. I. LOOKING. AT?????? They have massacred Gofer’s design so badly that he now looks like a low budget golf ball literally sitting on the edge of a ship that looks like it has eyes. I am the center of the Universe, my ass. Thank goodness that they made you so pathetically weaker in this reincarnation. After defeating him, the ship turns back to normal, and credits play thereafter. Where is the awesome scene where you’re going back to normal? And while we talk about this, why has there been a bunch of people signing up for the cutscene that happens in the beginning of the game? It literally lasts less tha 30 seconds.
Soundtrack
Another thing that I have yet to discuss is the soundtrack for this game where most of them are name after Greek and Roman Gods. For example, the Life/Magma stage is called Cronos/Hades, and the Final Fortress has Prometheus/Athena respectively. I don’t know why they have done this considering that there are no roman/greek references within the stages themselves, but I already questioned too much of this game’s existence. As much as I like listening to the soundtrack within this game, this game’s music is off the trail with how it’s supposed to be serious and such. There’s no capturing of seriousness and such featuring lighter instruments, and the soundtrack is jazzier and more upbeat than the other Gradius games. The High Speed stage is an example of what I mean. It’s exciting, happy! And upbeat! You ready for a fast-paced stage? Here you go. Or how about the Bubble/Crystal one? It’s calm, and once again, has that Jazz riz. I don’t understand why most of the songs in this game are light considering that earlier entries had musicthat was too light in the scope of the developers.
Conclusion
So that was Gradius IV. A game that referenced stuff from past Gradius games and didn’t really seek to improve what has already been established. Honestly, for Gaiden which learning now literally translates to side story in English, I’d rather call that game the true Gradius IV as they put in a ton of more effort to it that makes it more of a love letter than a continued series down the line. Not to mention that, like the first 2004 SpongeBob Movie, the developers wanted to have Arcade Gradius III to be the final entry to the Gradius series overall, but none of the games after it made a great continuation as much as from 1 to salamander, to 2, and to 3. The graphics also don’t hold up much especially when comparing it to other games released in 1999. They should’ve stayed with the 2D designs even if games at the time were supposed to be all that 3D. But that’s it for another review off my list. I would’ve gotten more ruthless with this entry, but I’ve done the best that I could to explain things in greater detail than before.
Shadow the Hedgehog
2005
I Am... All Of Me.
Shadow the Hedgehog has been my favorite Sonic character ever since Sonic Adventure 2, so naturally I was looking forward to trying out the one game, where he plays the main role - despite the overall divisive reception of Shadow 2005.
That being said, you know you're in for a ride when the very first level already leaves a sour taste in your mouth. Have you ever wondered how Shadow would control like if he was constantly ice-skating? Probably not, but Shadow 2005 takes that question off your mind by providing you with physics that feel floaty and entirely different from the previous 3D games. Even with those complaints in the beginnning, everything was still tolerable enough for me to keep my motivation to a certain point, but while playing through Iron Jungle, it dawned on me that this game was infamous for a reason. The cherry on top was the Egg Breaker boss afterwards though, who should have been named Camera Breaker, cause that's all he does while Shadow is running little laps around the base in the center of the arena ad infinitum. No offense to Lava Shelter though, it was the final level on the route I played and I actually enjoyed it a good amount after the mess that the previous stage was.
Enough talk about the gameplay, as the unique way of storytelling is also a key aspect of Shadow 2005. There are unironically 326 possible routes to play and they even have their own unique names - but it doesn't change the fact that the storytelling is nonsensical in many cases. So basically there's an alignment system in the levels, which you can advance through completing certain objectives towards your alignment. If you want to be evil, do Black Doom's requests. If you want to remain neutral, just run through the level and get the Chaos Emerald. This way of storytelling is actually an interesting concept for a game like Shadow the Hedgehog, as he is this morally ambiguous character, who can be easily interpreted as a player for both sides. Depending on which objectives you complete, the selection of levels across the stage flowchart changes accordingly and I'm sure the idea is that you don't have to play the same levels twice. Quite ironic, considering you have to play through Westopolis at least ten times in order to see the true ending, all while doing the same, repetitive tasks. Considering the amount of "kill [x] amount of enemy" challenges present, it would have been nice if you weren't required to kill every single enemy in the stage. You missed one? Good luck backtracking and finding them, cause the game surely won't tell you where to search. I couldn't really bring myself to do those challenges, so I went for a run that's mostly on the neutral side, but even that required me to play arduous levels like Iron Jungle to the end. Playing it several times would not be something on my priority list, so I only played a single route and called it quits for now.
Sorry for the amount of unorganized rambling in the second half. I still had my fair share of fun with Shadow the Hedgehog, even if some of it comes from a "so bad it's good again" perspective, cause there's something about it that sticks with me here, but I can't quite put my finger on it. Either way, if I have to give the game some credit where it's due, it's for the soundtrack - the remix for Eggman's theme and the title theme "I Am... All Of Me" are both bangers.
Shadow the Hedgehog has been my favorite Sonic character ever since Sonic Adventure 2, so naturally I was looking forward to trying out the one game, where he plays the main role - despite the overall divisive reception of Shadow 2005.
That being said, you know you're in for a ride when the very first level already leaves a sour taste in your mouth. Have you ever wondered how Shadow would control like if he was constantly ice-skating? Probably not, but Shadow 2005 takes that question off your mind by providing you with physics that feel floaty and entirely different from the previous 3D games. Even with those complaints in the beginnning, everything was still tolerable enough for me to keep my motivation to a certain point, but while playing through Iron Jungle, it dawned on me that this game was infamous for a reason. The cherry on top was the Egg Breaker boss afterwards though, who should have been named Camera Breaker, cause that's all he does while Shadow is running little laps around the base in the center of the arena ad infinitum. No offense to Lava Shelter though, it was the final level on the route I played and I actually enjoyed it a good amount after the mess that the previous stage was.
Enough talk about the gameplay, as the unique way of storytelling is also a key aspect of Shadow 2005. There are unironically 326 possible routes to play and they even have their own unique names - but it doesn't change the fact that the storytelling is nonsensical in many cases. So basically there's an alignment system in the levels, which you can advance through completing certain objectives towards your alignment. If you want to be evil, do Black Doom's requests. If you want to remain neutral, just run through the level and get the Chaos Emerald. This way of storytelling is actually an interesting concept for a game like Shadow the Hedgehog, as he is this morally ambiguous character, who can be easily interpreted as a player for both sides. Depending on which objectives you complete, the selection of levels across the stage flowchart changes accordingly and I'm sure the idea is that you don't have to play the same levels twice. Quite ironic, considering you have to play through Westopolis at least ten times in order to see the true ending, all while doing the same, repetitive tasks. Considering the amount of "kill [x] amount of enemy" challenges present, it would have been nice if you weren't required to kill every single enemy in the stage. You missed one? Good luck backtracking and finding them, cause the game surely won't tell you where to search. I couldn't really bring myself to do those challenges, so I went for a run that's mostly on the neutral side, but even that required me to play arduous levels like Iron Jungle to the end. Playing it several times would not be something on my priority list, so I only played a single route and called it quits for now.
Sorry for the amount of unorganized rambling in the second half. I still had my fair share of fun with Shadow the Hedgehog, even if some of it comes from a "so bad it's good again" perspective, cause there's something about it that sticks with me here, but I can't quite put my finger on it. Either way, if I have to give the game some credit where it's due, it's for the soundtrack - the remix for Eggman's theme and the title theme "I Am... All Of Me" are both bangers.
SAM LAKE, I DON'T WANT TO DO ANY MORE EXTENDED COMBAT SECTIONS, PLEASE LET ME GO, THIS IS MY OWN VERSION OF THE DARK PLACE
You Are Peter Shorts
2024
I really wanted to like this game, I've been eagerly anticipating its release ever since I saw it on Twitter, but man, I was kinda let down with this one. The game requires precise platforming while simultaneously having floaty, sluggish, unresponsive controls (the dev said they took influence from Melee so that checks out), the combat is confusing and unenjoyable, and it features that thing that old shitty NES platformers loved to do where when you get hit you get knocked back and stunned, leading to you falling all the way back down to the bottom of whatever platforming section you were doing, and because being one of the worst platformer design tropes of all time wasn't enough you also have to do a Smash-style landing tech in order to get up with any semblance of expediency which is just...GREAT for the gamefeel.
I imagine the game gets more bearable further on, it's a Metroidvania after all, and it's got a funny premise/vibe(?) but man, this was a huge disappointment.
I imagine the game gets more bearable further on, it's a Metroidvania after all, and it's got a funny premise/vibe(?) but man, this was a huge disappointment.
Kirby's Star Stacker
1997
I know I said Block Ball was close to being one of the best spinoff games I played in this Kirbyathon thus far, until it kinda shit the bed the bit in the endgame, however I think Kirby's Star Stacker actually is the best Kirby spinoff up to this point (behind Dream Course at least).
It's a puzzle game, like Kirby's Avalanche, except this game is way easier in general than Puyo Puyo. Because I suck at Puyo Puyo, I found this more fun. Instead of having to set up complex combos to defeat your opponent, you just have to clear lines with stars in them to beat each stage. Combos are a thing in this game, and they also give you stars depending on how long they are, but they are way easier to perform in this game and technically aren't necessary to beat a stage. Something I do like about these combos tho is, once you start racking up combos, it throws out stars that can get you more lines if your animal buddies are in the right spots. Speaking of them, that's who you're lining up with the stars. Kine, Koo and Rick along with the stars are the main "blocks" in this game. They have a sort of chibi look and it's super cute. There are other blocks too to mix the gameplay up, like bomb blocks that clear a whole row, these blocks you must clear in a line to unlock a star inside and blocks that act like stars but don't give you stars. Use all these blocks efficiently to get the required number of stars you need. It's honestly pretty fun.
Outside of this main mode, you have a VS mode you can play with a friend. Obviously, I didn't touch this, but the other two modes, I did a bit. Those are just clear as many stars as you can till you die, and clear as many stars as you can before time runs out. They're fun little time wasters and just add more content to the game.
This is yet again, another game I technically didn't beat. The game had four difficulties and I beat them all. It got pretty tough at the end of the fourth one, but I was able to complete it. Then a hidden fifth difficulty unlocked, and it had 50 levels! The other difficulties prior only had 16 levels each (besides the easy mode which had 8). I beat the first level of the "insane" difficulty and decided I had my fill, as I probably would start to dislike the game if I did all 50 levels lol.
Not much to say with this one, despite it being one of the better Kirby spinoffs. It's just a fun little time, and more fun than Puyo Puyo imo. I know there's a Super Nintendo version, so if it's just like this game but with improved graphics and music, I know I'll enjoy that too!
It's a puzzle game, like Kirby's Avalanche, except this game is way easier in general than Puyo Puyo. Because I suck at Puyo Puyo, I found this more fun. Instead of having to set up complex combos to defeat your opponent, you just have to clear lines with stars in them to beat each stage. Combos are a thing in this game, and they also give you stars depending on how long they are, but they are way easier to perform in this game and technically aren't necessary to beat a stage. Something I do like about these combos tho is, once you start racking up combos, it throws out stars that can get you more lines if your animal buddies are in the right spots. Speaking of them, that's who you're lining up with the stars. Kine, Koo and Rick along with the stars are the main "blocks" in this game. They have a sort of chibi look and it's super cute. There are other blocks too to mix the gameplay up, like bomb blocks that clear a whole row, these blocks you must clear in a line to unlock a star inside and blocks that act like stars but don't give you stars. Use all these blocks efficiently to get the required number of stars you need. It's honestly pretty fun.
Outside of this main mode, you have a VS mode you can play with a friend. Obviously, I didn't touch this, but the other two modes, I did a bit. Those are just clear as many stars as you can till you die, and clear as many stars as you can before time runs out. They're fun little time wasters and just add more content to the game.
This is yet again, another game I technically didn't beat. The game had four difficulties and I beat them all. It got pretty tough at the end of the fourth one, but I was able to complete it. Then a hidden fifth difficulty unlocked, and it had 50 levels! The other difficulties prior only had 16 levels each (besides the easy mode which had 8). I beat the first level of the "insane" difficulty and decided I had my fill, as I probably would start to dislike the game if I did all 50 levels lol.
Not much to say with this one, despite it being one of the better Kirby spinoffs. It's just a fun little time, and more fun than Puyo Puyo imo. I know there's a Super Nintendo version, so if it's just like this game but with improved graphics and music, I know I'll enjoy that too!
Featuring Knuckles from Sonic the Hedgehog 3 & Knuckles!
I love Sonic 3K, and I can see why it's widely regarded as one of the best games in the series, it really feels like the full package of 2D Sonic (...and Knuckles).
While Sonic 2 rewarded speed in the level design, 3K emphasizes exploration again in a similar fashion to Sonic CD; the player needs to track down hidden large rings in a level to gain access to the special stages, where Sonic navigates across a maze-like board to activate blue orbs, while steering clear of red ones. Simple in theory, but certainly tricky at times. I would absolutely recommend going out of your way to do these special stages, because you'll unlock the ability to transform into Super Sonic after getting all seven Chaos Emeralds, and blazing through later levels in the Super Saiyan form is a joy. That's enough talk regarding the special stages though, as the actual main level design is the meat of the game.
With over a dozen different levels with multiple acts, Sonic 3K is the longest entry from the classic 2D games, and it's very nice to see how consistent the quality remains throughout its runtime. I'm not going to bring up every stage here (like in my Sonic 1 review), as I don't have extensive thoughts on all of them. There will also be a bunch of inevitable comparisons to other (Sonic) games, as I bear the curse of only recently becoming a fan in 2024 and those games just happen to be fresh in my memory.
Angel Island Zone is an amazing opening level, as it introduces the player right to the design philosophy of 3K and has many easily accessible special stages and multiple of the newly introduced elemental shields. For those who don't know, the elemental shields replace the shield power-up from the previous games and all are special in their own way. The lightning shield allows Sonic to double jump and attract rings, the bubble shield provides a move similar to Bounce Bracelet in Sonic Adventure 2 and allows him to breathe underwater (so the bubbles aren't required), while the fire shield gives immunity to fire (including lava) and a mid-air dash. In Angel Island Zone no shield is particularly better than another, so it's a good place to try their abilities before using them in later levels which make extensive use of their specific traits. One of those levels is Hydrocity Zone, which follows directly afterwards - here the use of the bubble shield is encouraged, as the bubble placements in the levels are only at certain spots and the ability to freely navigate underwater is very important if you actually want to explore there to find special stages without a rush. Marble Garden is arguably the longest and most confusing stage in the game, but it's still enjoyable in its own way. Carnival Night is plenty of fun to rush through too and has some nice underwater segments, while Ice Cap Zone is one of my favorites in the game with the snowboarding intro and overall satisfying level structure - this is particularly cool, because I was already very fond of Ice Cap in Sonic Adventure 1. Meanwhile, Flying Battery Zone is the result of "what if we made Wing Fortress Zone but actually good", taking the airship aesthetic of that level and making it more fun and sightreadable and Sandopolis is an innovative desert level, where the second half reminded me a lot of Pyramid Cave in Sonic Adventure 2. Afterwards follows Lava Reef Zone, which felt very reminiscent of Celeste's Core to me, but also stood out from the rest with its more vertical level design and great soundtrack, causing it to quickly become a favorite. Everything is rounded off with the Death Egg Zone, which gave me huge SA2 vibes again, as the atmosphere felt quite similar to the ARK levels in that game, same with the gravity switching mechanic. The final boss for 3K was also surprisingly fun compared to the other classic 2D entries, and Doomsday Zone is a great bonus for players who got all the Chaos Emeralds. Man, I love Super Sonic, no matter how basic the idea behind him is.
Sonic 3's soundtrack is an interesting one to discuss, as I completed the game through Sonic Origins, which uses the prototype versions of a few songs, as I believe the licensing for Michael Jackson's songs ran out (don't quote me on this). I don't think those prototype versions are as horrible as some make them out to be, and I actually prefer Carnival Night's prototype rendition to the original. Can't say the same for Ice Cap though, the original song is iconic for a good reason and I love how it ties in with the snowboard section at the beginning. The prototype version just sounds a bit too upbeat for my taste here, considering the original track conveys the gloomy feeling of an icy cave perfectly fine. Putting the differences of MJ and prototype songs aside, some other songs I thoroughly enjoy are Angel Island Zone, Hydrocity Zone (Act 1) and Lava Reef Zone (Act 1).
Even 30 years after its original release, Sonic the Hedgehog 3 & Knuckles managed to provide me with a surprisingly good time and I hope that many more people will continue to play it over the years. I really wish I would have grown up with the Sonic games in my childhood...
I love Sonic 3K, and I can see why it's widely regarded as one of the best games in the series, it really feels like the full package of 2D Sonic (...and Knuckles).
While Sonic 2 rewarded speed in the level design, 3K emphasizes exploration again in a similar fashion to Sonic CD; the player needs to track down hidden large rings in a level to gain access to the special stages, where Sonic navigates across a maze-like board to activate blue orbs, while steering clear of red ones. Simple in theory, but certainly tricky at times. I would absolutely recommend going out of your way to do these special stages, because you'll unlock the ability to transform into Super Sonic after getting all seven Chaos Emeralds, and blazing through later levels in the Super Saiyan form is a joy. That's enough talk regarding the special stages though, as the actual main level design is the meat of the game.
With over a dozen different levels with multiple acts, Sonic 3K is the longest entry from the classic 2D games, and it's very nice to see how consistent the quality remains throughout its runtime. I'm not going to bring up every stage here (like in my Sonic 1 review), as I don't have extensive thoughts on all of them. There will also be a bunch of inevitable comparisons to other (Sonic) games, as I bear the curse of only recently becoming a fan in 2024 and those games just happen to be fresh in my memory.
Angel Island Zone is an amazing opening level, as it introduces the player right to the design philosophy of 3K and has many easily accessible special stages and multiple of the newly introduced elemental shields. For those who don't know, the elemental shields replace the shield power-up from the previous games and all are special in their own way. The lightning shield allows Sonic to double jump and attract rings, the bubble shield provides a move similar to Bounce Bracelet in Sonic Adventure 2 and allows him to breathe underwater (so the bubbles aren't required), while the fire shield gives immunity to fire (including lava) and a mid-air dash. In Angel Island Zone no shield is particularly better than another, so it's a good place to try their abilities before using them in later levels which make extensive use of their specific traits. One of those levels is Hydrocity Zone, which follows directly afterwards - here the use of the bubble shield is encouraged, as the bubble placements in the levels are only at certain spots and the ability to freely navigate underwater is very important if you actually want to explore there to find special stages without a rush. Marble Garden is arguably the longest and most confusing stage in the game, but it's still enjoyable in its own way. Carnival Night is plenty of fun to rush through too and has some nice underwater segments, while Ice Cap Zone is one of my favorites in the game with the snowboarding intro and overall satisfying level structure - this is particularly cool, because I was already very fond of Ice Cap in Sonic Adventure 1. Meanwhile, Flying Battery Zone is the result of "what if we made Wing Fortress Zone but actually good", taking the airship aesthetic of that level and making it more fun and sightreadable and Sandopolis is an innovative desert level, where the second half reminded me a lot of Pyramid Cave in Sonic Adventure 2. Afterwards follows Lava Reef Zone, which felt very reminiscent of Celeste's Core to me, but also stood out from the rest with its more vertical level design and great soundtrack, causing it to quickly become a favorite. Everything is rounded off with the Death Egg Zone, which gave me huge SA2 vibes again, as the atmosphere felt quite similar to the ARK levels in that game, same with the gravity switching mechanic. The final boss for 3K was also surprisingly fun compared to the other classic 2D entries, and Doomsday Zone is a great bonus for players who got all the Chaos Emeralds. Man, I love Super Sonic, no matter how basic the idea behind him is.
Sonic 3's soundtrack is an interesting one to discuss, as I completed the game through Sonic Origins, which uses the prototype versions of a few songs, as I believe the licensing for Michael Jackson's songs ran out (don't quote me on this). I don't think those prototype versions are as horrible as some make them out to be, and I actually prefer Carnival Night's prototype rendition to the original. Can't say the same for Ice Cap though, the original song is iconic for a good reason and I love how it ties in with the snowboard section at the beginning. The prototype version just sounds a bit too upbeat for my taste here, considering the original track conveys the gloomy feeling of an icy cave perfectly fine. Putting the differences of MJ and prototype songs aside, some other songs I thoroughly enjoy are Angel Island Zone, Hydrocity Zone (Act 1) and Lava Reef Zone (Act 1).
Even 30 years after its original release, Sonic the Hedgehog 3 & Knuckles managed to provide me with a surprisingly good time and I hope that many more people will continue to play it over the years. I really wish I would have grown up with the Sonic games in my childhood...
Resident Evil 2
2019
This review contains spoilers
Spoilers only discussed at the very bottom of the review
Resident Evil 2 is a magnificent feat- an example of how to remake a classic without alienating old fans. Take a look at any gameplay trailer and you’ll see exactly what I mean: AAA graphics, sharp gunplay, and quality-of-life features balanced against that old-school layout of tight corridors & inventory management. It remains a perennial paragon of authentic love, and should always be analyzed by those seeking to relaunch past titles.
And yet, I couldn’t help but be disappointed, a large part of that dejection admittedly having less to do with the game and more to do with core aspects of RE’s DNA that haven't aged well, the worst of these being the sheer amount of backtracking and lame puzzles galore. During the first 40-50% of the game, you’re forced to engage in multiple tedious fetch quests as you move between parts of a dilapidated police station in search of objects to use with other objects, and while retreading old ground isn’t inherently bad, what makes it particularly egregious here is the fact that nothing is ever changed - you’re going to see the exact same enemies in the exact same areas. Because you know where everyone is and how they act, there’s a diminished sense of tension akin to replaying a title for the second or third time, and it honestly ended-up getting very boring.
I might’ve been able to tolerate things had the item retrieval been fun, but as I alluded to above, it’s quite the opposite. In the first Resident Evil, a fair amount of objects were hidden behind puzzles you had to put some degree of thought into, like the light paintings, eagle statues, or needle wall room. Here, though, there’s nothing of the sort- minus one generator alignment, you’re literally just gathering glorified keys to put into glorified locks, and combined with the aforementioned enemy monotony, it ultimately wasn’t fun for me. To the game’s credit, a new foe is introduced halfway through this section as a means of spicing things up; however, given that they have their own slew of problems, it’s slim pickings at best(+).
Now, I did stress 40% as, once you leave the precinct for good, the game becomes significantly better: there’s less backtracking, a lot more zombie variety, and even the puzzle solving reverts to requiring an inkling of intelligence. Many fans will claim that things turn too linear compared to the station, and though that is true, I’d argue the change actually accentuates the horror since the devs are able to craft more-unique, scripted sequences compared to the prior areas of spammed zombies and extraneous jump scares.
It’s a shame it takes so long for the gameplay to get enticing because the shooting & running mechanics are actually quite good - guns respond well, and popping a headshot to slip past some braindead cretin never loses its edge. Really I’d argue the only dock against the enterprise arises in the form of the boss fights, wherein your character’s lack of a dodge renders plain encounters unnecessarily frustrating.
Speaking of the characters, they represent another latent issue with RE’s DNA that the remake simply couldn’t extract, that being the inherent campiness of the script. In a horror-themed video game set amidst a nightmarish outbreak, you’d expect a basic degree of humanism in the cast, yet what you get instead are traits more akin to an 80s action flick. I can only speak for Leon’s story since he was the one I chose, but I kid you not when I say the man shouts off more “cool” one-liners than Arnold in Batman & Robin. He has no reaction to the concept of zombies whatsoever, is hardly fazed by any of the crazy stuff he encounters, adopts a macho man approach to every ordeal, and boasts dramedic dialogue straight out of an action hero movie. I’d call this a case of Kagome Syndrome, but considering the game, as a whole, is full of campy moments beyond Leon (and considering too how heavily reminiscent everything is of Resident Evil 1), I’m convinced that this was deliberately done as a means of staying true to the OG game.
Of course, a horror comedy or satire isn’t intrinsically awful, but the problem is RE2 wants to have its cake and eat it too -- it wants to be a scary game about the aftereffects of corporate anarchy, yet can’t help undercutting these moments with inherently silly dialogue or situations (++). Leon’s a likable enough guy, but by the end I stopped caring about his overarching plot due to the writers clearly not having any interest in an atmospherically-cogent tale.
On the topic of atmosphere, RE2’s last big criticism has to go towards its sound scheme, which is flawed in two bigs ways: first the directional output is abysmal, with zombies screams reverberating so loudly, you can never tell where they’re originating from (I get that this was probably intentional, but if so, it comes across as heavily-manufactured fear). The second, arguably greater sin, though, involves the game being deliberately designed for headphone users (at least on PC). Now, it’s an objective fact that horror games are more immersive when played with earphones; however, it’s also an objective fact that a video game shouldn’t be reliant on such devices for the sake of engrossment, and that’s exactly the problem with RE2. If you don’t play with a pair of receivers, expect a general softness to everything but the footsteps and monster cries, with ambient noises, in particular getting diminished the hardest. Don’t get me wrong, RE2’s atmosphere is definitely nerve wrenching at times; it’s just not consistent unless you’re willing to self-induce long-term hearing damage (+++).
It’s disappointing as the overall sound design, besides those two caveats, is actually really solid, with the classic echoing of footsteps producing the most fear regardless of the surface you’re clamoring on. This diversity extends to every enemy archetype, all of whom you’ll be able to aurally-distinguish by virtue of their movements or calls alone (which you’ll become very intimate with in light of the constant backtracking).
Bullet impacts are a bit more erratic as, while impact variation does exist, it can be hit-or-miss whether or not the appropriate din plays. I shot at metal containers, for example, that sounded like stone, and glass, as a whole, lacks individuation. However, the burst of soft flesh never grows tiring, and when those aforementioned ambient noises do play (shattered windows, inclement weather, splashes, distant rumbles), they are absolutely riveting (zombie smashings against closed doors, in particular, being habitually haunting).
Voice acting unfortunately suffers from the tonal inconsistencies of the story: I don’t think any of the actors chosen were amateurs, but they can’t help coming across that way in light of the poor framing and direction surrounding their output. I’m not lying when I say some of the best performances derive from optional videos and tapes you stumble across, and that probably has to do with the directors treating those scenes seriously compared to almost everything else.
In terms of the main cast, though, I’d say Karen Strassman’s Annette Birkin ends-up the strongest of the bunch as every time she came on screen, it genuinely felt like she was in a completely different project from the rest of her mates. The worst offender, on the other hand, goes to Nick Apostolides’s Leon, who fails to nail both the “tough guy” and dry humor attitudes of his protagonist (not to mention him literally sounding Ed Norton if Ed Norton’s testicles never dropped).
Finally, the OST by Shusaku Uchiyama, Zhenlan Kang, and Masami Ueda is sufficient. It’s very much one of those Brown Noise-ridden scores that successfully underlines whatever is occurring in-game at the expense of not holding much resonance outside the work. There are times where the trio indulge in tracks beyond their normal scope, such as the synth-ridden bass of Black Impact, more-orchestral Third Demise, or Lorne Balfe-esque Mournful Pursuit, but overall it’s definitely not an album you’ll be listening to outside the game.
The next area to talk about are the graphics, which remain RE2’s most polished facet by far as this is a gorgeous specimen, with not a single area ignored in terms of texturing or general visilitude. Environments are liable to receiving the most praise courtesy of Capcom’s artisans doing a phenomenal job of not only lifting the sixth-gen style of the original game, but combining it with absolutely superb 3D modeling: from something as simple as a cracked desk to the specific placement of bloodstains, this is one of those games you can tell had strong art direction conveyed between the head designers and arthouse department. Every location resembles architecture straight out of hell, as though no one had a chance to evacuate courtesy of the T-Virus’s instant infection rate.
Unfortunately, I can’t really rave to you guys about any minor details the developers laid out due to a central problem core to RE2 - it’s ridiculously-dim lighting. I get that this is a horror game, but considering the plethora of similar genre fare that haven’t had to indulge in overly-dark settings, there was no reason why I had to strain my eyes every time I entered some ill-lit hallway. The flashlight itself shines fine; however, it’s a band-aid, not a cure, with the overarching darkness occasionally making it impossible to even see items in your vicinity (thankfully the new map system alleviates this, though more on that later).
Regarding graphical feats I could discern, I have to give an immense shout-out to the textile modelers as they went all-out. The T-Virus wasn’t isolated to singular demographics: you’ll run into innumerable populations reflecting the extent of Raccoon City’s damage, and the fact that I could discern what these victims used to do for a living solely by their attire is a testament to the design craft. Leon, especially, was fantastic - everything about his figure, from the placement of pouches to the seaming of the padding, was perfect, and seeing it sustain damage over time Arkham Asylum-style stood as an exquisite touch by the artisans.
Besides that, you’ve got some nice animation work implemented on various enemies and NPCs, including: falling zombie flesh contingent on damage, Leon raising his arms protectively against fire-and-rain, Claire’s hair physics, Leon shaking his arms to dry-off, undead “corpses” displaying subtle signs of movement, Leon exhibiting pain ala clutching his stomach, wincing, and grunting, and more I’m sure I’m missing due to the inherent umbra surrounding everything.
I’d say my only graphical complaints concerned two very minor minutiae: the first is the presence of trickling water on brick-based walls as it came across as a little too artificial-looking, and the second is the absence of destructible simulacra beyond scripted events (I know this is a largely-difficult facet to implement in video games, but to not even have breakable glass was disappointing).
Given the strong acclaim behind RE2, I do want to end this review on a positive note if only to highlight the quality-of-life features hinted at in the beginning. Anyone who read my review of REmake knows that I felt its minimal gameplay improvements from the original Biohazard significantly degraded the overall experience. Luckily, however, that kind of nostalgiabait didn’t guide the personnel behind RE2R as they’ve gone out of their way to make the game far more open to conventional players: objects can be dropped, ink ribbons are nonexistent, autosaves sprout after key storybeats, you periodically obtain upgrades to your inventory, the opening logos can be skipped, door loading screens have been removed, and, best of all, your map marks leftover items, obstacle names, and specific doorlocks for each and every room, providing some temperament to the backtracking.
But as a complete product, I do think the Resident Evil 2 Remake has been unduly praised beyond its tangible facets - it’s a good game, but unless you’re a fan of classic survival horror or Metroidvania titles, you’re not going to find as much enjoyment here as fans and critics would have you to believe.
NOTES
+++There’s literally an option called 3D Audio for headphones users.
-Absolutely hated whenever zombies would get stuck behind doors, giving you no choice but to get attacked by them.
-I liked that the devs redid the motion capture for the English voice actors, rather than simply having them dub over the Japanese cast.
-Reading notes, opening your inventory, and using items all stop the game clock. The first is perfectly fine since I don’t like to be pressured to read through integral lore quickly (a problem that plagued Alien: Isolation), but for the latter two, I do think something was lost by allowing players to essentially pause the game in the midst of any high-tension moment.
-Speaking of lore, once again whoever wrote the data entries deserves a raise for being able to combine enticing mystery with fascinating dives into a world run amok with mad science.
-The craftsmanship behind inventory items is exquisite, especially considering you can examine and rotate them in-full. I really liked, in particular, how keyheads had corresponding lock sigils with their targeted door.
-You get a flamethrower that reloads like a standard magazine, something I don’t think is realistic to the actual device.
-One thing I wasn’t able to naturally-orate in the review was the brilliance behind item placement. The devs were able to accurately glean what things players would need before & after set dilemmas (herbs, munitions, etc….).
-Is there a story reason behind why Leon and Claire don’t get infected from zombie bites? Or is this like the first Assassin’s Creed where, canonically, they were never actually attacked?
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SPOILERS
+Mr. X is the guy, and from what I understand they basically took aspects from the OG RE3 antagonist Nemesis and injected them into X, allowing him to randomly appear throughout the barracks. He has some scripted sequences following this portion of the game (for Leon), but most of the love you’ll see for the guy stems from this part due to it being universal for both MCs.
Unfortunately, he had the misfortune of debuting five-years after Alien: Isolation gave us a similarly-tuned Xenomorph that wowed (and continues to wow) gamers. Now, I generally don’t like to make comparisons between vastly-different games, but X’s flaws couldn’t help outlining them, the biggest one being the inconsistency behind his triggering - at first glance, sound would appear to be the obvious one, but relaunching the same save file multiple times, I found this to be untrue as running and shooting/alerting zombies only prompted him on some playthroughs.
That randomness would be annoying enough on its own, but what really got under-my-skin were the locations he’d appear in: sometimes he’d show his face in small chambers, other times the cramped corridors, and still others the more-open lobbies, and all these really illustrate just how poorly-designed he was in relation to the rest of the title. Maneuvering through claustrophobic interiors amidst hoards of zombies is of course what makes Resident Evil Resident Evil, but such schemes just don’t befit a mobile mammoth like X- one time the b#stard appeared when I was in a passageway with two Lickers, and I was forced to die due to the inability to get out of there without setting-off the adjacent zombies.
Compare this to Isolation, where you not only had tons of wiggle room and obstacles to navigate around the xenomorph, but rarely encountered it when facing the Working Joe androids.
Speaking of Lickers, these monstrosities are another attempt at spicing-up the game, and their AI is pretty hit-or-miss. You’re told via a note that walking slowly won’t alarm them; however, just like with X, that isn’t consistent - I got by some using this tactic, yet others would detect me and begin a slow crawl in my direction. It’s a case of not enough time being granted to sufficiently program them.
++Obviously the crocodile fight is the biggest one, but then you’ve got the gateway scene between Leon and Claire, the beat reporter who gets killed by X, all of the boss fights really, and, worst yet, anything involving Ada - a humorously bad remnant of that late-90s/early-2000s trope of a well-endowed women juxtaposed against suave dialogue as a way of making them stand “above” their blatant sex appeal purposes.
The thing these creators never realized is that the problem wasn’t that their females were sexy, it was that they were sexy amidst impractical scenarios (something the Charlie’s Angels movies, of all things, successfully avoided), and Ada is an anachronistic reminder of how dumb that looks in practice. Tell me why a spy, trying to extract a virus in a zombie-ridden locale, would be running around in a tight one-piece and heels(!) that would limit her mobility? Tell me why she’d boast juicy cleavage and sleeveless arms exposed to bullets and zombie bites alike?
The scenes between her and Leon aren’t inherently bad, but there’s no sense of a bond being built -- the conversational callbacks are cheesy, and the kiss loses all iconicness the second you realize they’re both drenched in sewer water. Don’t even get me started on her magical survival, something that even hardcore RE fans haven’t been able to provide a satisfactory answer to.
Despite adding some neat gameplay variation, narratively she is, without a doubt, the one sordid trait in an otherwise solid second half. Oh, and to add salt to the wounds, she initially engages in that irritating trope wherein an NPC will deliberately abstain from answering a question in order to “prolong” the mystery for the player.
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Resident Evil 2 is a magnificent feat- an example of how to remake a classic without alienating old fans. Take a look at any gameplay trailer and you’ll see exactly what I mean: AAA graphics, sharp gunplay, and quality-of-life features balanced against that old-school layout of tight corridors & inventory management. It remains a perennial paragon of authentic love, and should always be analyzed by those seeking to relaunch past titles.
And yet, I couldn’t help but be disappointed, a large part of that dejection admittedly having less to do with the game and more to do with core aspects of RE’s DNA that haven't aged well, the worst of these being the sheer amount of backtracking and lame puzzles galore. During the first 40-50% of the game, you’re forced to engage in multiple tedious fetch quests as you move between parts of a dilapidated police station in search of objects to use with other objects, and while retreading old ground isn’t inherently bad, what makes it particularly egregious here is the fact that nothing is ever changed - you’re going to see the exact same enemies in the exact same areas. Because you know where everyone is and how they act, there’s a diminished sense of tension akin to replaying a title for the second or third time, and it honestly ended-up getting very boring.
I might’ve been able to tolerate things had the item retrieval been fun, but as I alluded to above, it’s quite the opposite. In the first Resident Evil, a fair amount of objects were hidden behind puzzles you had to put some degree of thought into, like the light paintings, eagle statues, or needle wall room. Here, though, there’s nothing of the sort- minus one generator alignment, you’re literally just gathering glorified keys to put into glorified locks, and combined with the aforementioned enemy monotony, it ultimately wasn’t fun for me. To the game’s credit, a new foe is introduced halfway through this section as a means of spicing things up; however, given that they have their own slew of problems, it’s slim pickings at best(+).
Now, I did stress 40% as, once you leave the precinct for good, the game becomes significantly better: there’s less backtracking, a lot more zombie variety, and even the puzzle solving reverts to requiring an inkling of intelligence. Many fans will claim that things turn too linear compared to the station, and though that is true, I’d argue the change actually accentuates the horror since the devs are able to craft more-unique, scripted sequences compared to the prior areas of spammed zombies and extraneous jump scares.
It’s a shame it takes so long for the gameplay to get enticing because the shooting & running mechanics are actually quite good - guns respond well, and popping a headshot to slip past some braindead cretin never loses its edge. Really I’d argue the only dock against the enterprise arises in the form of the boss fights, wherein your character’s lack of a dodge renders plain encounters unnecessarily frustrating.
Speaking of the characters, they represent another latent issue with RE’s DNA that the remake simply couldn’t extract, that being the inherent campiness of the script. In a horror-themed video game set amidst a nightmarish outbreak, you’d expect a basic degree of humanism in the cast, yet what you get instead are traits more akin to an 80s action flick. I can only speak for Leon’s story since he was the one I chose, but I kid you not when I say the man shouts off more “cool” one-liners than Arnold in Batman & Robin. He has no reaction to the concept of zombies whatsoever, is hardly fazed by any of the crazy stuff he encounters, adopts a macho man approach to every ordeal, and boasts dramedic dialogue straight out of an action hero movie. I’d call this a case of Kagome Syndrome, but considering the game, as a whole, is full of campy moments beyond Leon (and considering too how heavily reminiscent everything is of Resident Evil 1), I’m convinced that this was deliberately done as a means of staying true to the OG game.
Of course, a horror comedy or satire isn’t intrinsically awful, but the problem is RE2 wants to have its cake and eat it too -- it wants to be a scary game about the aftereffects of corporate anarchy, yet can’t help undercutting these moments with inherently silly dialogue or situations (++). Leon’s a likable enough guy, but by the end I stopped caring about his overarching plot due to the writers clearly not having any interest in an atmospherically-cogent tale.
On the topic of atmosphere, RE2’s last big criticism has to go towards its sound scheme, which is flawed in two bigs ways: first the directional output is abysmal, with zombies screams reverberating so loudly, you can never tell where they’re originating from (I get that this was probably intentional, but if so, it comes across as heavily-manufactured fear). The second, arguably greater sin, though, involves the game being deliberately designed for headphone users (at least on PC). Now, it’s an objective fact that horror games are more immersive when played with earphones; however, it’s also an objective fact that a video game shouldn’t be reliant on such devices for the sake of engrossment, and that’s exactly the problem with RE2. If you don’t play with a pair of receivers, expect a general softness to everything but the footsteps and monster cries, with ambient noises, in particular getting diminished the hardest. Don’t get me wrong, RE2’s atmosphere is definitely nerve wrenching at times; it’s just not consistent unless you’re willing to self-induce long-term hearing damage (+++).
It’s disappointing as the overall sound design, besides those two caveats, is actually really solid, with the classic echoing of footsteps producing the most fear regardless of the surface you’re clamoring on. This diversity extends to every enemy archetype, all of whom you’ll be able to aurally-distinguish by virtue of their movements or calls alone (which you’ll become very intimate with in light of the constant backtracking).
Bullet impacts are a bit more erratic as, while impact variation does exist, it can be hit-or-miss whether or not the appropriate din plays. I shot at metal containers, for example, that sounded like stone, and glass, as a whole, lacks individuation. However, the burst of soft flesh never grows tiring, and when those aforementioned ambient noises do play (shattered windows, inclement weather, splashes, distant rumbles), they are absolutely riveting (zombie smashings against closed doors, in particular, being habitually haunting).
Voice acting unfortunately suffers from the tonal inconsistencies of the story: I don’t think any of the actors chosen were amateurs, but they can’t help coming across that way in light of the poor framing and direction surrounding their output. I’m not lying when I say some of the best performances derive from optional videos and tapes you stumble across, and that probably has to do with the directors treating those scenes seriously compared to almost everything else.
In terms of the main cast, though, I’d say Karen Strassman’s Annette Birkin ends-up the strongest of the bunch as every time she came on screen, it genuinely felt like she was in a completely different project from the rest of her mates. The worst offender, on the other hand, goes to Nick Apostolides’s Leon, who fails to nail both the “tough guy” and dry humor attitudes of his protagonist (not to mention him literally sounding Ed Norton if Ed Norton’s testicles never dropped).
Finally, the OST by Shusaku Uchiyama, Zhenlan Kang, and Masami Ueda is sufficient. It’s very much one of those Brown Noise-ridden scores that successfully underlines whatever is occurring in-game at the expense of not holding much resonance outside the work. There are times where the trio indulge in tracks beyond their normal scope, such as the synth-ridden bass of Black Impact, more-orchestral Third Demise, or Lorne Balfe-esque Mournful Pursuit, but overall it’s definitely not an album you’ll be listening to outside the game.
The next area to talk about are the graphics, which remain RE2’s most polished facet by far as this is a gorgeous specimen, with not a single area ignored in terms of texturing or general visilitude. Environments are liable to receiving the most praise courtesy of Capcom’s artisans doing a phenomenal job of not only lifting the sixth-gen style of the original game, but combining it with absolutely superb 3D modeling: from something as simple as a cracked desk to the specific placement of bloodstains, this is one of those games you can tell had strong art direction conveyed between the head designers and arthouse department. Every location resembles architecture straight out of hell, as though no one had a chance to evacuate courtesy of the T-Virus’s instant infection rate.
Unfortunately, I can’t really rave to you guys about any minor details the developers laid out due to a central problem core to RE2 - it’s ridiculously-dim lighting. I get that this is a horror game, but considering the plethora of similar genre fare that haven’t had to indulge in overly-dark settings, there was no reason why I had to strain my eyes every time I entered some ill-lit hallway. The flashlight itself shines fine; however, it’s a band-aid, not a cure, with the overarching darkness occasionally making it impossible to even see items in your vicinity (thankfully the new map system alleviates this, though more on that later).
Regarding graphical feats I could discern, I have to give an immense shout-out to the textile modelers as they went all-out. The T-Virus wasn’t isolated to singular demographics: you’ll run into innumerable populations reflecting the extent of Raccoon City’s damage, and the fact that I could discern what these victims used to do for a living solely by their attire is a testament to the design craft. Leon, especially, was fantastic - everything about his figure, from the placement of pouches to the seaming of the padding, was perfect, and seeing it sustain damage over time Arkham Asylum-style stood as an exquisite touch by the artisans.
Besides that, you’ve got some nice animation work implemented on various enemies and NPCs, including: falling zombie flesh contingent on damage, Leon raising his arms protectively against fire-and-rain, Claire’s hair physics, Leon shaking his arms to dry-off, undead “corpses” displaying subtle signs of movement, Leon exhibiting pain ala clutching his stomach, wincing, and grunting, and more I’m sure I’m missing due to the inherent umbra surrounding everything.
I’d say my only graphical complaints concerned two very minor minutiae: the first is the presence of trickling water on brick-based walls as it came across as a little too artificial-looking, and the second is the absence of destructible simulacra beyond scripted events (I know this is a largely-difficult facet to implement in video games, but to not even have breakable glass was disappointing).
Given the strong acclaim behind RE2, I do want to end this review on a positive note if only to highlight the quality-of-life features hinted at in the beginning. Anyone who read my review of REmake knows that I felt its minimal gameplay improvements from the original Biohazard significantly degraded the overall experience. Luckily, however, that kind of nostalgiabait didn’t guide the personnel behind RE2R as they’ve gone out of their way to make the game far more open to conventional players: objects can be dropped, ink ribbons are nonexistent, autosaves sprout after key storybeats, you periodically obtain upgrades to your inventory, the opening logos can be skipped, door loading screens have been removed, and, best of all, your map marks leftover items, obstacle names, and specific doorlocks for each and every room, providing some temperament to the backtracking.
But as a complete product, I do think the Resident Evil 2 Remake has been unduly praised beyond its tangible facets - it’s a good game, but unless you’re a fan of classic survival horror or Metroidvania titles, you’re not going to find as much enjoyment here as fans and critics would have you to believe.
NOTES
+++There’s literally an option called 3D Audio for headphones users.
-Absolutely hated whenever zombies would get stuck behind doors, giving you no choice but to get attacked by them.
-I liked that the devs redid the motion capture for the English voice actors, rather than simply having them dub over the Japanese cast.
-Reading notes, opening your inventory, and using items all stop the game clock. The first is perfectly fine since I don’t like to be pressured to read through integral lore quickly (a problem that plagued Alien: Isolation), but for the latter two, I do think something was lost by allowing players to essentially pause the game in the midst of any high-tension moment.
-Speaking of lore, once again whoever wrote the data entries deserves a raise for being able to combine enticing mystery with fascinating dives into a world run amok with mad science.
-The craftsmanship behind inventory items is exquisite, especially considering you can examine and rotate them in-full. I really liked, in particular, how keyheads had corresponding lock sigils with their targeted door.
-You get a flamethrower that reloads like a standard magazine, something I don’t think is realistic to the actual device.
-One thing I wasn’t able to naturally-orate in the review was the brilliance behind item placement. The devs were able to accurately glean what things players would need before & after set dilemmas (herbs, munitions, etc….).
-Is there a story reason behind why Leon and Claire don’t get infected from zombie bites? Or is this like the first Assassin’s Creed where, canonically, they were never actually attacked?
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SPOILERS
+Mr. X is the guy, and from what I understand they basically took aspects from the OG RE3 antagonist Nemesis and injected them into X, allowing him to randomly appear throughout the barracks. He has some scripted sequences following this portion of the game (for Leon), but most of the love you’ll see for the guy stems from this part due to it being universal for both MCs.
Unfortunately, he had the misfortune of debuting five-years after Alien: Isolation gave us a similarly-tuned Xenomorph that wowed (and continues to wow) gamers. Now, I generally don’t like to make comparisons between vastly-different games, but X’s flaws couldn’t help outlining them, the biggest one being the inconsistency behind his triggering - at first glance, sound would appear to be the obvious one, but relaunching the same save file multiple times, I found this to be untrue as running and shooting/alerting zombies only prompted him on some playthroughs.
That randomness would be annoying enough on its own, but what really got under-my-skin were the locations he’d appear in: sometimes he’d show his face in small chambers, other times the cramped corridors, and still others the more-open lobbies, and all these really illustrate just how poorly-designed he was in relation to the rest of the title. Maneuvering through claustrophobic interiors amidst hoards of zombies is of course what makes Resident Evil Resident Evil, but such schemes just don’t befit a mobile mammoth like X- one time the b#stard appeared when I was in a passageway with two Lickers, and I was forced to die due to the inability to get out of there without setting-off the adjacent zombies.
Compare this to Isolation, where you not only had tons of wiggle room and obstacles to navigate around the xenomorph, but rarely encountered it when facing the Working Joe androids.
Speaking of Lickers, these monstrosities are another attempt at spicing-up the game, and their AI is pretty hit-or-miss. You’re told via a note that walking slowly won’t alarm them; however, just like with X, that isn’t consistent - I got by some using this tactic, yet others would detect me and begin a slow crawl in my direction. It’s a case of not enough time being granted to sufficiently program them.
++Obviously the crocodile fight is the biggest one, but then you’ve got the gateway scene between Leon and Claire, the beat reporter who gets killed by X, all of the boss fights really, and, worst yet, anything involving Ada - a humorously bad remnant of that late-90s/early-2000s trope of a well-endowed women juxtaposed against suave dialogue as a way of making them stand “above” their blatant sex appeal purposes.
The thing these creators never realized is that the problem wasn’t that their females were sexy, it was that they were sexy amidst impractical scenarios (something the Charlie’s Angels movies, of all things, successfully avoided), and Ada is an anachronistic reminder of how dumb that looks in practice. Tell me why a spy, trying to extract a virus in a zombie-ridden locale, would be running around in a tight one-piece and heels(!) that would limit her mobility? Tell me why she’d boast juicy cleavage and sleeveless arms exposed to bullets and zombie bites alike?
The scenes between her and Leon aren’t inherently bad, but there’s no sense of a bond being built -- the conversational callbacks are cheesy, and the kiss loses all iconicness the second you realize they’re both drenched in sewer water. Don’t even get me started on her magical survival, something that even hardcore RE fans haven’t been able to provide a satisfactory answer to.
Despite adding some neat gameplay variation, narratively she is, without a doubt, the one sordid trait in an otherwise solid second half. Oh, and to add salt to the wounds, she initially engages in that irritating trope wherein an NPC will deliberately abstain from answering a question in order to “prolong” the mystery for the player.
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Breath of the Wild is like ice cream, a sweet treat that a majority of people love, but loses its allure when consumed in excess. Tears of the Kingdom, on the other hand, is like one of those cookie ice cream sandwiches. Just like plain ice cream, they’re pretty damn good, but they’re easier to get tired of and are arguably more divisive.
Tears of the Kingdom takes Breath of the Wild, slams some layers on either side of it and throws in some new stuff and story changes in the middle. It's great but it can certainly be a bit much. For example, the new layers - the sky islands and the depths - are massive additions to the game, but fall a bit flat when fully scoured. There’s a lot of cool stuff in both spots, but when the player delves deeper, they realize that it's a lot of the same cool stuff, making the whole experience a little less magical. Finding an underground coliseum challenge is cool the first time, but the second time? The third time? It's just not the same, and the first time isn’t as powerful as a result.
There’s certainly an argument to be made that the sky islands and depths should have either been fleshed out or shrunk, but maybe the excess isn’t so bad. After all, a vast majority of players aren’t going to be in the game long enough to see this repetition in the first place. Of course, unique content is always better than repetitive material, but in a game like Tears where the player is constantly getting new materials and tools, each new instance of a previously encountered situation or problem is a chance to experiment with new solutions, something that can’t be said for other games with repetitive content. Ideally, the new areas would just have new, unique puzzles, but a game like Tears is a case where it works, or at least can work depending on how the player approaches it.
Speaking of the tools Tears provides, gone are the Sheikah tools from Breath of the Wild, in are the new Zonai tools Link gained from his cool new arm. Rewind allows Link to move an object back in time, primarily utilized to solve puzzles and to gain elevation using fallen rocks, but also has uses in combat. Ascend is pretty simple, it allows Link to swim up through ceilings and pop out on the other side, very useful when exiting the caves, another new addition to Tears. Fuse lets Link attach items to his weapons, shields, and arrows, a cool way to strengthen Link early on, but almost a necessity to ensure fights with stronger enemies don’t take forever. Ultrahand is the big one, it lets Link build machines using his new arm to move things like magnesis did to metal items in Botw. It also allows Link to glue items together. It's a little clunky and the creations push the switch to its limits, but it's the selling point to the game for a reason, and gives the player more options than anything in Breath of the wild. Autobuild is the last new tool, and allows for the recreation of previous machines even without all the materials (at the cost of other materials of course). The camera also makes a welcome return, and works just as it did in Botw. Tears also incorporates most of the Sheikah abilities from Botw in some way. Bomb flowers work kinda like the Sheikah bombs, ultrahand does everything magnesis does and then some, ice flowers and ice weapons can create ice slabs on water, and rewind can freeze items temporarily if turned on and off right away (that one is a bit of a stretch).
The story is in the same format as Breath of the Wild: Link needs to explore the world and collect some memories to put together the whole picture. Unfortunately it doesn’t work quite as well in TotK. Because of how the memories are structured, seeing them out of order doesn’t work nearly as well as it did for the more disconnected ones in Botw. A shame, because the method of collecting dragon tears is far more interesting than simply looking at pictures and locating where they were taken. The order in which things are collected is actually a problem in other aspects of the game; the paraglider is missable now, as it is given after an interaction in lookout landing rather than when leaving the initial area. It's a baffling decision considering how important the paraglider is to exploration. Autobuild is also tied to a completely missable sidequest in the depths, another odd decision when building things is such a huge part of the game.
Tears unfortunately doesn’t fix some of Breath’s biggest issues, such as menuing which is even worse (especially the arrow fusing menu) and weapon durability is even more divisive considering how having good fusible items is almost as important as having weapons to fuse with in the first place.
However, this ice cream sandwich tastes kinda good actually.
For all the issues this game has, actually playing it makes them melt away, especially early on. Tears is not a game meant to be 100%, it's meant to be played as long as the player finds themself engaged. The sheer inventiveness on display here is staggering, Tears allows the player to do and try things that no other games do, and that's an accomplishment. Problems be damned, there’s plenty of fun to be had and memories to be made in Tears, and it deserves the recognition its garnered.
Tears of the Kingdom takes Breath of the Wild, slams some layers on either side of it and throws in some new stuff and story changes in the middle. It's great but it can certainly be a bit much. For example, the new layers - the sky islands and the depths - are massive additions to the game, but fall a bit flat when fully scoured. There’s a lot of cool stuff in both spots, but when the player delves deeper, they realize that it's a lot of the same cool stuff, making the whole experience a little less magical. Finding an underground coliseum challenge is cool the first time, but the second time? The third time? It's just not the same, and the first time isn’t as powerful as a result.
There’s certainly an argument to be made that the sky islands and depths should have either been fleshed out or shrunk, but maybe the excess isn’t so bad. After all, a vast majority of players aren’t going to be in the game long enough to see this repetition in the first place. Of course, unique content is always better than repetitive material, but in a game like Tears where the player is constantly getting new materials and tools, each new instance of a previously encountered situation or problem is a chance to experiment with new solutions, something that can’t be said for other games with repetitive content. Ideally, the new areas would just have new, unique puzzles, but a game like Tears is a case where it works, or at least can work depending on how the player approaches it.
Speaking of the tools Tears provides, gone are the Sheikah tools from Breath of the Wild, in are the new Zonai tools Link gained from his cool new arm. Rewind allows Link to move an object back in time, primarily utilized to solve puzzles and to gain elevation using fallen rocks, but also has uses in combat. Ascend is pretty simple, it allows Link to swim up through ceilings and pop out on the other side, very useful when exiting the caves, another new addition to Tears. Fuse lets Link attach items to his weapons, shields, and arrows, a cool way to strengthen Link early on, but almost a necessity to ensure fights with stronger enemies don’t take forever. Ultrahand is the big one, it lets Link build machines using his new arm to move things like magnesis did to metal items in Botw. It also allows Link to glue items together. It's a little clunky and the creations push the switch to its limits, but it's the selling point to the game for a reason, and gives the player more options than anything in Breath of the wild. Autobuild is the last new tool, and allows for the recreation of previous machines even without all the materials (at the cost of other materials of course). The camera also makes a welcome return, and works just as it did in Botw. Tears also incorporates most of the Sheikah abilities from Botw in some way. Bomb flowers work kinda like the Sheikah bombs, ultrahand does everything magnesis does and then some, ice flowers and ice weapons can create ice slabs on water, and rewind can freeze items temporarily if turned on and off right away (that one is a bit of a stretch).
The story is in the same format as Breath of the Wild: Link needs to explore the world and collect some memories to put together the whole picture. Unfortunately it doesn’t work quite as well in TotK. Because of how the memories are structured, seeing them out of order doesn’t work nearly as well as it did for the more disconnected ones in Botw. A shame, because the method of collecting dragon tears is far more interesting than simply looking at pictures and locating where they were taken. The order in which things are collected is actually a problem in other aspects of the game; the paraglider is missable now, as it is given after an interaction in lookout landing rather than when leaving the initial area. It's a baffling decision considering how important the paraglider is to exploration. Autobuild is also tied to a completely missable sidequest in the depths, another odd decision when building things is such a huge part of the game.
Tears unfortunately doesn’t fix some of Breath’s biggest issues, such as menuing which is even worse (especially the arrow fusing menu) and weapon durability is even more divisive considering how having good fusible items is almost as important as having weapons to fuse with in the first place.
However, this ice cream sandwich tastes kinda good actually.
For all the issues this game has, actually playing it makes them melt away, especially early on. Tears is not a game meant to be 100%, it's meant to be played as long as the player finds themself engaged. The sheer inventiveness on display here is staggering, Tears allows the player to do and try things that no other games do, and that's an accomplishment. Problems be damned, there’s plenty of fun to be had and memories to be made in Tears, and it deserves the recognition its garnered.
A Metroidvania Kirby exists?? And no one told me about this?? Well it it's a metroidvania in principle but it doesn't feel like it fully commits to being a fully fledged metroidvania.
At it's very core, this is another mainline Kirby game where you'll be doing the same exact things you do in other mainline Kirby games. You go through levels, you suck and copy enemies, you fight bosses rinse and repeat till you get to the end. What the big twist is here is how the game is structured. Yes it is structured like a metroidvania, but I wouldn't exactly consider it a metroidvania. The word "structure" is doing a lot of heavy lifting here as you are presented with an open world with branching paths, a map system and the ability to unlock more of the map screen by exploring and finding pages in treasure chests. You can also find health upgrades in some of those chests. But that is the extent of metroidvania this game gets as there isn't as much reward in exploring.
You don't unlock new areas of the world by exploring and finding new upgrades or tools to further help you through previously blocked pathways. Everything is already open to you, so in that sense the real core what makes a metroidvania a metroidvania is not here.
It is more fair to compare this to a Mega Man game with an open world. Because in reality the name of the game is to get to a boss in a certain section of the world, kill the boss, and move one step closer to the final boss. What makes it more Mega Man-ie is the fact that you can do these boss fights in any order. This is pretty cool for a Kirby game because I don't think there is another mainline Kirby that has this sort of structure. If you wanna tackle the "hardest" part of the map first, you can go do that. Unfortunately, and again what takes away from this being a true metroidvania, is the fact that there's no benefit to the order you do it in. Killing bosses don't reward with a cool extra move that is only tired to killing that boss. The only reward you get is an extra key (or mirror shard) that brings you one step closer to the final boss. So unlike a Mega Man game (or even Breath of the Wild) where choosing a boss order is a type of strategy, in Kirby and the Amazing Mirror there is no absolutely no strategy.
In a sense, if you are a metroidvania fan and come into this expecting a metroidvania, you will be severely disappointed. However if your expectations are set to "Kirby's Adventure, but non-linear" you will really enjoy this game. This is still a very good Kirby title that wish fully did commit to being a full fledged metroidvania as the potential is there as we've seen in Milky Way Wishes from Kirby Super Star.
I mean this is me just rambling but could you imagine if this game gave you the reward of unlocking permanent copy abilities by exploring and defeating optional bosses around the map? Honestly could have been one of the best Kirby games of all time.
At it's very core, this is another mainline Kirby game where you'll be doing the same exact things you do in other mainline Kirby games. You go through levels, you suck and copy enemies, you fight bosses rinse and repeat till you get to the end. What the big twist is here is how the game is structured. Yes it is structured like a metroidvania, but I wouldn't exactly consider it a metroidvania. The word "structure" is doing a lot of heavy lifting here as you are presented with an open world with branching paths, a map system and the ability to unlock more of the map screen by exploring and finding pages in treasure chests. You can also find health upgrades in some of those chests. But that is the extent of metroidvania this game gets as there isn't as much reward in exploring.
You don't unlock new areas of the world by exploring and finding new upgrades or tools to further help you through previously blocked pathways. Everything is already open to you, so in that sense the real core what makes a metroidvania a metroidvania is not here.
It is more fair to compare this to a Mega Man game with an open world. Because in reality the name of the game is to get to a boss in a certain section of the world, kill the boss, and move one step closer to the final boss. What makes it more Mega Man-ie is the fact that you can do these boss fights in any order. This is pretty cool for a Kirby game because I don't think there is another mainline Kirby that has this sort of structure. If you wanna tackle the "hardest" part of the map first, you can go do that. Unfortunately, and again what takes away from this being a true metroidvania, is the fact that there's no benefit to the order you do it in. Killing bosses don't reward with a cool extra move that is only tired to killing that boss. The only reward you get is an extra key (or mirror shard) that brings you one step closer to the final boss. So unlike a Mega Man game (or even Breath of the Wild) where choosing a boss order is a type of strategy, in Kirby and the Amazing Mirror there is no absolutely no strategy.
In a sense, if you are a metroidvania fan and come into this expecting a metroidvania, you will be severely disappointed. However if your expectations are set to "Kirby's Adventure, but non-linear" you will really enjoy this game. This is still a very good Kirby title that wish fully did commit to being a full fledged metroidvania as the potential is there as we've seen in Milky Way Wishes from Kirby Super Star.
I mean this is me just rambling but could you imagine if this game gave you the reward of unlocking permanent copy abilities by exploring and defeating optional bosses around the map? Honestly could have been one of the best Kirby games of all time.
SteamWorld Dig 2
2017
Long before I decided to become a reviewer, I used to jot down brief thoughts on the games I was playing in order to capture my feelings at the moment of completion for personal archival purposes. Since then, I’ve of course evolved my craft into full-fledged write-ups, but I do think there is enough merit to some of these earlier critiques to warrant their publication, especially for titles I do not intend on replaying (in the near future at least). I’ve thrown in some updates, but this is one of them.
STORY
-SteamWorld Dig 2 is a direct sequel to SteamWorld Dig, It follows Dorothy/Dot as she tries to find Rusty following his disappearance at the end of the first game.
-Fen is annoying, and his decision at the end (like with most of the game's emotional beats) comes off as contrived (much like how the ending of the first SWD wasn't sad).
GRAPHICS
-Graphically, it looks the same as the original but with more detailing and texturing. Not a huge difference, but it is noticeable and gives the game greater flare.
GAMEPLAY
-The transport system has been heavily streamlined. There are no more ladders and torches, and you now have access to multiple transport tubes which have to be discovered throughout the area, compared to the first game where you only had 1 and had to buy extras if you wanted to replace the preexisting one.
-Resources are more diverse, and I actually noticed a difference this time around compared to the first game where they all felt jumbled together.
-There are a lot more upgrades this time around. In fact, there are so many that you won't have enough money to buy them all, adding a little bit of strategy to the game. That said, I didn't like that mining was your only method of making money. For a game that puts a lot of effort towards building-up the town of El Machino, the buildings serve no purpose and it consequently would've been cool to have a renovation or task system for the different city inhabitants in order to procure cash beyond excavating.
-There are also cogs you can find (or buy, limited amount) throughout the world, which is far larger than the first Steamworld Dig’s. Cogs are usually found in caves (which serve as "side missions") and can be used to either give bonuses to your machines or Dot herself, such as increasing elemental orbs generated by killed enemies or making your weapons stronger.
-I was mixed on the cave aspect. They have secrets in them, but these secrets are usually discovered through uncovering a hidden pathway rather than solving puzzles (a good puzzle one being the mine cart button one), which wouldn’t be a bad thing were it not for those hidden pathways often having nonsensical locations.
-Completed caves have a green checkmark on them. However, you can only see that when you exit them, meaning you could end up restarting it despite not getting everything.
-The world at times feels too big for its own good. Things get grindy pretty soon, compared to the first where, because it was shorter, it didn't wear out its welcome. I also didn't like how you were forced to start off with the pickax again as it was annoying having to reupgrade Dot. The developers should've done something like Assassin’s Creed Rogue where, even though you had to reupgrade The Morrigan, you began with the charge ram and machine gun from the get-go. Here, Steamworld Dig 2 could've had you start off with the drill to alleviate extraneous farming.
-That's another thing, the drill (my favorite tool from the first game) is replaced with a jackhammer that just isn't as good or cool-looking as its forebearer.
-It was also dumb how, no matter how much you upgraded your armor, you still couldn't survive a falling boulder. Got really annoying, especially when you lose a cut of the game's already limited ores.
--Respawning enemies are tiring, especially those birds that make the irate noise.
-On the plus side, pools this time around last forever, meaning you don't have to worry about draining a source compared to the first game. This might be seen as a bad thing by some players, but it's not like SWD is an inherently strategic series (at least not until the third one).
VERDICT
-Took me about 6-7 hours to beat the story, and while there is a lot of extra stuff via the caves, they, as I said above, lack genuine puzzle elements. There's also no post-game playing, meaning you have to beat everything before doing the final boss, otherwise you'll have to rebeat them at the end.
-However, I didn't end up 100% the game because it just got tiring having to look for every secret. I wish there was a map or tracker you could unlock, because the game really doesn't have good exploratory incentives compared to true Metroidvania titles.
-I did end up putting in a total of 12-13 hours, meaning SteamWorld Dig 2 falls under my cost:gametime ratio formula. That said, because of the grinding, I ultimately had less fun with it than its predecessor, despite the tube and upgrade system improvements.
STORY
-SteamWorld Dig 2 is a direct sequel to SteamWorld Dig, It follows Dorothy/Dot as she tries to find Rusty following his disappearance at the end of the first game.
-Fen is annoying, and his decision at the end (like with most of the game's emotional beats) comes off as contrived (much like how the ending of the first SWD wasn't sad).
GRAPHICS
-Graphically, it looks the same as the original but with more detailing and texturing. Not a huge difference, but it is noticeable and gives the game greater flare.
GAMEPLAY
-The transport system has been heavily streamlined. There are no more ladders and torches, and you now have access to multiple transport tubes which have to be discovered throughout the area, compared to the first game where you only had 1 and had to buy extras if you wanted to replace the preexisting one.
-Resources are more diverse, and I actually noticed a difference this time around compared to the first game where they all felt jumbled together.
-There are a lot more upgrades this time around. In fact, there are so many that you won't have enough money to buy them all, adding a little bit of strategy to the game. That said, I didn't like that mining was your only method of making money. For a game that puts a lot of effort towards building-up the town of El Machino, the buildings serve no purpose and it consequently would've been cool to have a renovation or task system for the different city inhabitants in order to procure cash beyond excavating.
-There are also cogs you can find (or buy, limited amount) throughout the world, which is far larger than the first Steamworld Dig’s. Cogs are usually found in caves (which serve as "side missions") and can be used to either give bonuses to your machines or Dot herself, such as increasing elemental orbs generated by killed enemies or making your weapons stronger.
-I was mixed on the cave aspect. They have secrets in them, but these secrets are usually discovered through uncovering a hidden pathway rather than solving puzzles (a good puzzle one being the mine cart button one), which wouldn’t be a bad thing were it not for those hidden pathways often having nonsensical locations.
-Completed caves have a green checkmark on them. However, you can only see that when you exit them, meaning you could end up restarting it despite not getting everything.
-The world at times feels too big for its own good. Things get grindy pretty soon, compared to the first where, because it was shorter, it didn't wear out its welcome. I also didn't like how you were forced to start off with the pickax again as it was annoying having to reupgrade Dot. The developers should've done something like Assassin’s Creed Rogue where, even though you had to reupgrade The Morrigan, you began with the charge ram and machine gun from the get-go. Here, Steamworld Dig 2 could've had you start off with the drill to alleviate extraneous farming.
-That's another thing, the drill (my favorite tool from the first game) is replaced with a jackhammer that just isn't as good or cool-looking as its forebearer.
-It was also dumb how, no matter how much you upgraded your armor, you still couldn't survive a falling boulder. Got really annoying, especially when you lose a cut of the game's already limited ores.
--Respawning enemies are tiring, especially those birds that make the irate noise.
-On the plus side, pools this time around last forever, meaning you don't have to worry about draining a source compared to the first game. This might be seen as a bad thing by some players, but it's not like SWD is an inherently strategic series (at least not until the third one).
VERDICT
-Took me about 6-7 hours to beat the story, and while there is a lot of extra stuff via the caves, they, as I said above, lack genuine puzzle elements. There's also no post-game playing, meaning you have to beat everything before doing the final boss, otherwise you'll have to rebeat them at the end.
-However, I didn't end up 100% the game because it just got tiring having to look for every secret. I wish there was a map or tracker you could unlock, because the game really doesn't have good exploratory incentives compared to true Metroidvania titles.
-I did end up putting in a total of 12-13 hours, meaning SteamWorld Dig 2 falls under my cost:gametime ratio formula. That said, because of the grinding, I ultimately had less fun with it than its predecessor, despite the tube and upgrade system improvements.