So people complain (rightfully) that these games are formulaic and soulless, but when this one, the first in the series, actually establishes the main conventions that the other ones would eventually follow albeit in a more refined way, is picked as the worst of the bunch? I repeat, the first one? The one with actually decent writing and purposeful direction? The one whose design wasn’t “make the same game, only bigger and in another place, and make it prettier… and put an historical figure or two” but tried something kinda new and exciting? The one with this, like, menacing aura that despite its many flaws it succeeded in telling a compelling story both with Altair and Desmond?

I don’t believe you.

Good if a bit shallow outside of the consistently excellent combat, albeit a little long given how small the world is. Some problems with the game; the sidequests are, for the most part, utterly garbage, and while the post game presents a unique challenge, the idea of repeating the same dungeons and overworld areas one more time is infuriating. One last thing, there’s a mission that seems to be mandatory in the post game that is the worst designed piece of content in maybe any game I’ve played in my life, in which you have to kill two enemies in a fight using one finishing move that requires one specific character to be in super saiyan mode, a status effect that happens seemingly at random which you LOSE once you use said move, so, you basically need to be very precise while using it and pray to the gods that you get that status twice in the same fight, which feels impossible, or force it through a very expensive item, in any case is a fucking waste of time and the main reason why I didn’t completed the post game.

Fascinated with the cycle this game bestows on the player; the initial contempt after the first time facing an opponent, utterly unable to read their particular style and timing and blaming the game for not adequately explaining how to do it and then, after a few failed attempts, the joy of actually realizing that those first fights were the game teaching you, preparing you for the satisfaction of beating such a fierce fighter and doing it the hard way. The thing is, that’s how is supposed to work, even the strongest and more skilled boxers have to rely on not so different practices to study and prepare for future fights, mere reflexes, ability and talent insufficient to win against the very best. And Super Punch-Out!! Not only gamifies this preparation, but accurately depicts the in ring experience of desperation that boxers can feel even in great performances when their rival manages to land a big punch or two, making them lose focus, and risk their plan for what it seems to me, very human reactions after taking damage. I had several of those instances while playing this game, were I knew hot to beat my opponent, and I was doing it perfect, but one misstep and suddenly my palms are sweaty, and my mind is succumbing to its worst tendencies. And it still looks and feels great, even after almost 30 years. A masterpiece, really.

A gorgeous and deeply intimate game about growing up in a small suburban japanese town. Some people complain that it is boring… And I mean, it is, but it’s one of those games were that’s intended, and as purposely numbs you through its gameplay it transports you to the banality of its characters lives, with nothing really important to do and not much more on the horizon, seemingly trapped in this monotonous existence forever.

I think the story just works well with the mechanics, your day to day being occasionally interrupted by a couple handcrafted events that don’t really change anything but it kinda give you new perspectives of Ringo’s friends and acquaintances. Again, is not much, but is not meant to be much.

And as you fight your way through meaningless opponents, and discuss the books you read in class (you can read James Joyce’s Ulysses!) I was reminded of the uber famous first page of Blood Meridian “and in him broods already a taste for mindless violence”, and it just clicked with me in a way I wasn’t expecting, it became a more vivid experience. Also, McCarthy’s also commonly criticized for being boring, granted in part in the sheer brutality of what he depicts but also because even his elaborated, epic, almost biblical prose tends to get repetitive, but, as with this game, that’s also by design. Hell, The Road is, in my opinion, an extensive exercise on repetitiveness.

Any way, even if it can be dull, I really think thad adds to the experience, and the writing and visuals are good enough to justify it.

It manages to stay fun 30 years after its release, which is impressive for such a game. Like, play most action games of the era, even the well remembered ones, and they kinda suck, and almost always are on the cheaper side of difficulty. Not this one, tho. It’s harder than a game like this would be nowadays, but not by a whole lot, and it’s snappy great to control. It lacks a little bit of craziness to me, it just looks to ordinary, and while it is a good deal of fun, it misses just a bit of balance here and there and some checkpoints are really punishing, particularly in an early game stage. A late game stage (you’ll probably know which one), however, is absolutely trash, a convoluted mess that I didn’t enjoy in the slightest.

I could probably play the first two levels blindfolded. It is safe to say a really like this game. They even did the Dark Souls thing where they make a level everybody hates but there’s a reason for it, like it is bad and hard and kind of a chore for a purpose (and they will do it again!).

The first five levels are truly phenomenal, but the second half of the game shows that Bungie was running out of money, time or ideas, even when they introduce a new type of enemy. This is an evolution of the genre, at least on consoles, and should be recognized as important and historically relevant. The original Xbox version is lacking content, unless you had like 3 other Xboxes and 15 spare controllers or whatever, and an absurd amount of friends.