I now have two big regrets when it comes to gaming. The first is that I have gone through life having never owned a PlayStation 2, and the second is that I didn’t support and play Tango Gameworks’ Hi-Fi Rush before the studio was unfairly axed by Microsoft in 2024. The year prior was a crazy year in terms of the amount of quality game releases, and it was quite frankly, a tad overwhelming keeping up with them all. Despite all of the praise being given to Hi-Fi Rush, there were just so many other games that were coming out, or games that I wanted to get to, that I just threw it on the backlog thinking that I’d get to it eventually. Unfortunately, 2023 was also a year with a heartbreakingly large amount of game studio closures, and this is something that is continuing in 2024, with Tango Gameworks themselves being a recent victim at the time of writing this review, despite all of the success that Hi-Fi Rush had achieved the year prior. Coincidentally, the game also had gone on sale as part of a Humble Bundle around the same time the studio was shut down, and fellow Backloggd user duhnuhnuh had an extra key for the game that they were offering (huge shoutouts to him by the way, I’m extremely grateful). Given the timing of everything and an opportunity to play the game in a way that doesn’t directly support Microsoft, I leapt at the chance to give this game its due diligence, and I was absolutely floored at how much the game truly lived up to all of the praise people had given it.

Hi-Fi Rush is a rhythm-based action game that takes place in a city in the far future. It stars Chai, a sarcastic and oblivious slacker dude with a disabled arm who really wants to become a rockstar. He volunteers for a cybernetic limb replacement program being run by Vandelay Technologies on their very own campus. Shortly before the process begins, CEO of Vandelay Technologies: Kale Vandelay, a callous CEO stereotype, observes Chai’s records. Unimpressed, he harshly dubs him a loser before he carelessly tosses Chai’s music player away, causing it to fall into the testing site onto Chai’s chest. During the limb replacement process, the music player becomes embedded within Chai, giving him electromagnetic powers while also causing his environment to sync up with the music itself. However, this causes him to be labeled as a defect by Vandelay Technologies, whose security forces attempt to bring him in. As he flees, he meets up and makes a deal with Peppermint, a robotics prodigy with a grudge against the corporation, who helps him escape in exchange for helping her investigate them. Together, the two team up to uncover the shady secrets behind the scenes of Vandely Technologies so that they can expose them to the world and stop their plans from unfolding.

The gameplay is that of a character action game like Devil May Cry and Bayonetta, but with rhythm game elements that supplement the combat and platforming. Before I played the game, I heard a lot of people comparing it to Devil May Cry, but I wrote those comparisons off as an over-exaggeration, since I feel like a lot of people will compare any action game with combat they really like to Devil May Cry. I was delightfully surprised to learn that no, the game really is essentially Devil May Cry, but with rhythm game elements. You can perform a variety of combos that are dependent on the timing of your button presses, you’ve got a stiff yet highly vertical jump, you’ve got short platforming segments to serve as variety in-between the combat, you’ve got a ton of different upgrades and additional combos you can purchase with the game’s currency, and you’re graded on your performance after every battle and level with a letter ranking system.

Everything in the game is tied to the beat of the song that’s currently playing, and I do mean everything. The attacks and movements of your enemies, platforming hazards, sound effects, and even animations in the background are all tied to the music, and the game tests you on your ability to not only perform well while in battle, but doing so while also staying on beat with the music. I did find it a bit difficult to get used to timing my attacks to the beat at first, but I got better and better at it as time went on. I can’t tell you how satisfying it feels when you’re able to successfully perform attacks in sync with the rhythm. Just like in Devil May Cry 5, the music will add additional layers of instrumentation the higher your letter score, and the game will also play the sound of an audience chanting Chai’s name as well. The better you do, the more ecstatic the game feels, and performing really well during a fight can feel genuinely euphoric.

The rhythm game elements don’t stop at syncing your attacks to the beat, however. There are a number of quicktime events where you need to press the correct buttons at the correct timing, such as during certain special attacks Chai can perform. Additionally, when close to death, more powerful enemies and certain bosses can force you into a one-on-one segment where you’ll need to successfully parry or dodge their attacks, which are telegraphed to a series of specific beats that you need to replicate with your button presses, and successfully doing so allows you to finish them off with one final strike. As someone who is a big fan of character action games, it’s extremely surprising how fresh and satisfying adding rhythm elements to this genre’s gameplay makes the game as a whole feel. This melding of the genres works fantastically. There is a great sense of cohesion between the two, and for the most part, elements of one genre don’t overshadow the other.

There’s only one element of combat that I have some small issues with. As the game progresses, you will meet additional characters who become allies that you can call upon during combat to aid you in battle. They’ll perform a special attack that has a cooldown once it’s executed. Your allies become a pretty key part of combat, as these special attacks are needed in order to make certain enemies or bosses vulnerable. The issue is how inconsistently your allies’ attacks function. You can’t manually target enemies, so when you call on your allies to use their attack, they can sometimes use it on the wrong enemy, or they’ll miss entirely. If this happens, then you’ve just wasted that summon and you now have to wait for the cooldown to finish before you can summon your ally to attack again. This was especially annoying with Macaron, who needs to use his ability twice in order to break the shields of certain enemies, and whose cooldown takes twice as long compared to your other allies. If he misses or targets the wrong enemy, then you’re basically a sitting duck until his ability recharges, which can be very frustrating. You can purchase some upgrades to make the cooldown slightly better, but they do cost a lot of currency, currency I’d rather spend on other things that can enhance the gameplay experience for myself, like additional combos I can perform, or items that increase my health or special attack gauge.

The game’s tone is very playful, upbeat, and fun, complimented by a gorgeously colorful artstyle that’s inspired by a combination of western and eastern comic books/manga. It tells a story that is a not at all discreet criticism regarding how the leaders of corporations frequently interfere with, mismanage, and ruin the lives of those who work under them. It also goes into demonstrating how much this hurts when the job is something that people have aspired to do for much of their lives, and are very passionate about. The story is extremely straightforward, but you can tell it’s one that comes from very real experiences that I’m sure the folks that have worked on the game have gone through, and considering what ended up happening with Tango Gameworks, it’s a story that resonates now more than ever.

The characters are decent, they serve the story well enough. I will say I’m not the biggest fan of Chai, but he did eventually grow on me. He’s a huge dork who’s very self-serving, unmotivated, and oblivious to those around him. He does get better as he starts to take the situation at hand more and more seriously and comes to care more about the people he meets and works with to take down Vandaley, though his ego remains pretty big still by the end of the game. He’s not at all a bad character or protagonist, he’s just a little too white bread for my tastes. The other characters don’t get much of a focus during the game’s main story, but talking to them in-between missions at the hideout allows you to learn more about them and how they feel about the unfolding events of the narrative. I think I might’ve developed a stronger attachment to them if they had a larger presence in the main plot, but this is still a fine and fun cast of characters.

While I personally would’ve preferred the tone be a bit less playful and to have had a little more edge to it, like the old school Guitar Hero games or Brutal Legend, I feel that would’ve made the game somewhat of a harder sell, not just to general audiences but to get approval to make the game in the first place. The exaggerated, Saturday morning cartoon-esque personalities of the game’s characters (the villains in particular), really manage to offset how personal, and in a way, sad the message that’s being communicated under the surface is. The villain Zanzo in particular is an excellent demonstration of this. His manically over-the-top demeanor and constant Jojo posing, to a certain degree, masks the very real, outrageous, and constant demands the person in charge of a team may have, and how their ego can get in the way of seeing the project to completion, making the efforts of the overworked people underneath them all for naught. The game’s current tone isn’t at all a bad one either. I can see some folks not jiving with the comedy, and I can also see certain people writing it off as “reddit humor”, but even if the game didn’t necessarily make me laugh out loud, I still found it to be endearing.

I’ve really enjoyed the rhythm games I’ve played, but I don’t play too many of them because the vast majority of them don’t appeal to my taste in music, so I’m really glad this game exists. I played the game with its original soundtrack instead of the licensed music (in case I decide to one day stop being a coward and start making YouTube videos), and I gotta say, it was pretty fantastic. I’m more of a metalhead than a rock guy, but this game’s music is still really good. The soundtrack has a lotta groovy riffs and decent solos that are never tiresome or boring to listen to.

Hi-Fi Rush was truly a surprise for me. I went into this without much in terms of expectations, but its fluid and immensely satisfying combat and complete banger of a soundtrack kept me hooked the entire time. I’m heavily debating doing a quick second playthrough of the game even though I’ve finished it because I was just that hooked and enamored by its gameplay. If the game had a different tone and a heavier soundtrack, I genuinely think it would’ve ended up being my dream video game, but even as it currently stands, it’s a brand new favorite of mine. The irony of a game condemning the actions of corporate dickheads becoming a massive success while the studio that made it gets shut down a year after it launches is honestly extremely tragic. It’s not like my $30 was the $30 that would’ve kept Tango Gameworks from shutting down, but I still feel really bad after finally playing this game that I didn’t purchase it and support Tango while they still existed. If you haven’t played Hi-Fi Rush, I implore you to, and I also implore you to learn from my mistake and actually support those games that don’t get AAA marketing, yet gain an outstanding reputation via word of mouth. Don’t just put them on your wishlist forever and wait. I can’t stress enough how much we need more games like Hi-Fi Rush, and if we don’t make our voices heard with our wallets, we hurt the chances of these games being made in the future.

Forever and always: Fuck You, Microsoft.

Ill prefix that I played this through the Master Chief collection on Xbox Series X. Similarly as to what I did with the Metal Gear collection I will review each game individually and then talk about the collection at the end.

Despite growing up with an Xbox 360 I have never played a Halo game properly. So I figured while i'm on a bit of a break from playing through the Zelda franchise I would play through some of the Halo games to cleanse the pallet a bit. While overall I did enjoy this game, there is no question that it is showing its age in the modern day

Story is simple enough, the humans versus the covenant, which I think is theme I can expect from each game. This game of course introduces Master Chief, without a doubt one of the most iconic gaming characters of all time. I actually believed that Master Chief was a silent protagonist in this game as he literally doesn't speak for the first half of the game and then just starts talking randomly which I thought was funny. I really liked Cortana, I like that they didn't make her just a tutorial voice and had her speak like a real human. No missions really standout as most are just the same environments repeated over and over again, which cant really be knocked in this case due to the games age.

The gun combat hasn't aged amazingly but is still playable. I do quite like the large crosshair aiming feature which gets rid of a ADS button as it makes mowing down enemies a lot easier. Ammo I found was quite scarce in places especially for the non covenant guns which are the ones that you start with normally. I really did not like the driving controls, a big pet peeve of mine is when driving controls use the joystick instead of the triggers, obviously age plays a factor here so ill let it slide. Also some missions were very hard to navigate even with the floor arrows but normally I would end up finding my way accidentally. I feel like a simple mini map would of fixed that issue.

My biggest gripe is the checkpoint system. Not that there are too many or too few, its that it is extremely inconsistent. I found that there would be times when I was walking through random hallways and hitting checkpoints at a usual pace but then almost entire missions would go by and I wouldn't hit a single one. Two biggest moments I saw this was in mission 9 & 10, in mission 9 there is a cutscene where a big spoiler takes place, you would think there would be a checkpoint after the cutscene right, nope, it put me back to well before the cutscene which I found very weird. Lastly in mission 10 during the driving segment, there were no checkpoints at all even during the moment the timer is paused. I get it a bit more in this sense as it is the games climax but its still something that is very annoying especially paired with janky driving controls.

Visually the anniversary edition makes a massive change up in graphics. I really like the feature where you can switch between the old Xbox graphics and the new remastered ones. This game saw the first use of the Iconic Halo theme so it gets good points here for that.

Overall not a horrendous first instalment. It is definitely starting to show its age but that is to be expected. I'm looking forward to playing through the rest of this series as its one that's been on the backlog for a long time.

It's not a meme review this time I swear!!!

I've been wanting to do a full-fledged Luigi's Mansion review for awhile because its a game that has a special place in my heart. Since this will total out to be my 190th review, I figure now would be the perfect time to do so.

One random day in my early childhood not too long after I began playing video games, I was at Target checking out the video games section. Upon doing so, I discovered one particular game that caught my eye, Luigi's Mansion for the Nintendo GameCube. Despite not owning a GameCube or having the cognitive abilty to realize not every single game was on the Ps1, I begged my parents to get me this game. Alas I never did until years later when I began collecting GameCube games. I probably got about halfway finished with the game until I dropped it along with 95% of the other games I owned. Since then I've beaten this game & its 3ds remake about 3 times in total. With every time I finish this game, I grow more fond of the game that was most likely underappreciated during its initial release.

Usually its Mario that gets the spotlight and saves the day, but not this time. Mario got scammed and turned into a painting by King Boo. To help save his brother, Luigi, with the help of a scientist named Professor E.Gadd, ventures into King Boo's mansion. To assist Luigi on his quest to rescue Mario, E.Gadd gives him the Poltergust 3000, a machine that will allow Luigi to do some Ghostbusting.

The game is split into 4 parts consisting of a variety of different portrait ghosts to collect. The first part of the game serves mostly as a tutorial for the remaining 3 parts of Luigi's adventure. During part 1, E.Gadd teaches you how to use the Poltergust and the first few rooms & portrait ghosts serve as a way to getting use to the game's controls & mechanics. Overall, the game feels incredibly well-paced and each part doesn't overstay its welcome.

Atmosphere aside, the gameplay is probably the best part of the game. You explore each room looking carefully for ghosts & money by sucking up everything around you. Once you find a ghost, you need to hit it with your flashlight. If the light connects, it will play a sound that prompts you to suck up the ghost. Sucking them up is pretty much like a game of tug-of-war as you will need to maintain a grip on your controller as the ghost will attempt to escape. It is not only something unique that hasn't really been done before previously, but it also makes the gameplay incredibly addicting. The money hunting isn't super important to the game and you can skip collecting coins if you so choose, but if you want to get a better ending then you will need to collect as much cash possible.

There are really only a couple of minor issues I have with the game overall. The main issue being how frustrating Boo collecting can be sometimes. Thankfully, there are no soft-locks in regards to it, but there will be plenty of times that a Boo will run into a room you can't access if you fail to immediately get it in your Poltergust. You can always go back and get it once you progress further, but it's one of those things that really bothers me during my playthroughs since I tend to struggle with getting them in one try. The only other thing I take issue with is the controls taking a little bit to get used to, but overall its not that big of a deal.

Luigi's Mansion is a game with fun, addicting gameplay, phenomenal atmosphere & aesthetics, and great pacing. It's a one-of-a-kind game that can't be replicated.

Another Crab's Treasure feels like it was made as a psyop to get me specifically to buy and play a video game.

A mechanically competent souls-like with a vivid, super-cute art style featuring a ton of great jokes and some genre-best platforming? I've been following this game since its announcement and I'm so pleased that Aggro Crab pulled this off. To be all these things while managing to tell an interesting story is massively impressive for the small studio's sophomore title.

As much as I love the game, I can't dismiss the significant bugs and other performance issues. ACT is magnitudes more technically ambitious than the studio's first game and it comes close to buckling under that pressure at times--particularly on console. What should be seamless transitions into new areas had me wishing for a AAA-style "squeezing through a crack in the cave wall hidden loading screen." There are other moments and monsters that can completely wreck the game as well. At the time of this writing, there's a blue pufferfish in the late game that the dev is requesting no one kill because it can crash the game (I killed it twice and it made things super crunchy until I reset the game but don't tell anybody). I played on Series X and experienced these issues. Apparently the Switch version of the game is notably worse with some folks feeling scammed by the markedly poor experience.

So if you're on the fence, give this one more time to cook. The dev is actively putting out patches and hot fixes for the big things and I'm hopeful bigger fixes will come with the game's success. In spite of all that, I was enamored for my entire playtime.

Aggro Crab has become one of my day one purchase developers.

Mobile games are, as an art form, pretty under-discussed and greatly under-valued. If you're my age (or a little younger) and grew up with parents not interested in indulging their child's burgeoning interests in things that genuinely brought them great joy, then it's very likely mobile games were a large part of your early time with gaming. Nowadays any child has a low-grade supercomputer in their pocket perfectly capable of running Final Fantasy X better than the PS2 could, and the major mobile games are poor imitations of AAA releases with embarrassing gacha mechanics. It can be pretty hard now to place yourself into the context of a point in history where mobile gaming was an entire medium unto itself. But I was there. I saw the rise and fall of Angry Birds, I saw that brief window of genuine critical acclaim for Monument Valley. Most of all, I was on the ground floor when a young puzzle game developer decided to dip their toes into the burgeoning market of mobile games.

Once upon a time, Popcap were masters of their chosen field. As far as browser-based, low-bar-for-entry desktop puzzle games go, entries like Peggle remain some of the best. Light entertainment is deceptively difficult to make. It's easy to set a skill floor low enough for literally anyone to start playing, but it's far harder to match it with a skill ceiling high enough to be genuinely compelling for those who want to sink their teeth further in. Popcap could consistently make these ridiculously charming and polished games that you and your grandmother could play and have equal amounts of fun with. You and I may not understand it, but Bejewelled is still being downloaded by millions of folks every year. In their prime Popcap paved the way for mass-market casual gaming as we know it today to exist.

Seeing their potential after Bejewelled 3's enormous success on mobile devices in late 2010, EA purchased Popcap. They then ordered sequels to the company's big-name IPs, included a bunch of annoying microtransactions in them, and sold out Popcap's integrity for a big old chunk of change. Popcaps's made nothing but drivel since, and the rest is history. Or so the stories go.

Look. Plants vs Zombies is a great tower defence game. It's dripping with charm, the levels are delightfully designed, and it's a perfectly sized experience with a nice smattering of side content that makes the whole meal feel fuller. It's a damn fine game. But, if you can ignore the microtransaction hell that EA hath wrought (which, despite all odds, you legitimately can), PvZ 2 is better. I feel like it's a bit of an open secret with PvZ die-hards, but as far as tower defence games go it's a consistently fun and very charming experience with an onslaught of exciting gimmicks. I like the diversity of the worlds, I like the continually increasing challenge, and I even liked that art style change! On whole it's a deeper and more diverse experience than the first game. I have little doubt in my mind that a PC port removing the microtransaction-based features of 2 would shift public perception completely over which game is better. Popcap was still ahead of the pack when it came to these kinds of games come 2013.

But it's not 2013 anymore. In the intermediary, Popcap has spent almost all of its time trying to figure out what to do with this franchise. They sandwiched surprisingly solid major-budget console shooters around a less-than-successful stab at a mobile card game (in a sort of Clash Royale vein), and while I have no doubt the coffers remained plenty stuffed, it's clear the creatives were never really clear on what they should be doing. So, they return to the golden goose. It's time to bring back Plants vs Zombies, in earnest.

This conversation happened years ago. Anyone paying attention knows this game has been to development Hell and back many times since its initial announcement. Now it's allegedly released, for realsies, and it stinks of a money grab pushed out as quickly as possible. Whatever charm was originally present, in the diversity of plants, in the personal customisation of builds, in the mission design, in the art direction, in the dialogue or the characters themselves, in the goddamn World Map! It's gone! Eviscerated in place of a Funko-ian aesthetic and the blandest soundtrack known to man. Of course, 2 was swimming in predatory practices, but the key to it was that they were genuinely optional. Whether by intent or miracle, progression was still satisfying, unlockables felt vital and exciting. 3 completely removes player customisation from the equation, and embraces the dead-on-arrival mechanic of the 'lives' system, restricting you to 5 attempts on a level if you were to lose. You probably won't, no real challenge or puzzle is present in any levels I've seen (from what I can tell about 1/4 of the game's total), but they've just included a way to segment access for kids so that the gameplay becomes more addictive to their developing brains. PvZ 2 was addictive to my little kid brain. You wanna know why? Because it was fun as hell! We've forgotten the effectiveness of that method!

No one on planet Earth should be surprised by this. PvZ 2 and the Garden Warfare games were enjoyable despite the monetary practices built around them. I was just hoping we'd get that. I only wanted to glimpse the studio that once upon a time was the bastion of its own micro-industry. We don't even get a peak. I'm not sorry that this game is bad. I'm sorry that I care. That I genuinely see the value in these games as an art form. That I know what this team was once capable of. That I expect better. But I do.

If ever there was a genuine artistry to the casual gaming experience, if ever there was integrity to those who made the games that define the early experiences of this medium for millions, I know deep down it's long gone. And that little version of me blasting through ancient Egypt on his iPad mini at the ripe old age of 10 is never quite going to be able to live with that. PvZ 3 might as well be the definitive documentation of the downfall of mobile gaming.

But the greatest injustice, the final mockery, is that it's still a little fun. The gameplay loop is fundamentally there, and sparks of the original appeal remain. In a way, that's worse. If this was truly nothing at all, I'd be happy to ignore it completely. But I can't. I know this could have been a real game, but it refuses to be. For that, it is all the more actively depressing.

Cancer is a group of diseases involving abnormal cell growth with the potential to invade or spread to other parts of the body.[2][7] These contrast with benign tumors, which do not spread.[7] Possible signs and symptoms include a lump, abnormal bleeding, prolonged cough, unexplained weight loss, and a change in bowel movements.[1] While these symptoms may indicate cancer, they can also have other causes.[1] Over 100 types of cancers affect humans.[7]

Tobacco use is the cause of about 22% of cancer deaths.[2] Another 10% are due to obesity, poor diet, lack of physical activity or excessive alcohol consumption.[2][8][9] Other factors include certain infections, exposure to ionizing radiation, and environmental pollutants.[3] Infection with specific viruses, bacteria and parasites is an environmental factor causing approximately 16-18% of cancers worldwide.[10] These infectious agents include Helicobacter pylori, hepatitis B, hepatitis C, human papillomavirus infection, Epstein–Barr virus, Human T-lymphotropic virus 1, Kaposi's sarcoma-associated herpesvirus and Merkel cell polyomavirus. Human immunodeficiency virus (HIV) does not directly cause cancer but it causes immune deficiency that can magnify the risk due to other infections, sometimes up to several thousand fold (in the case of Kaposi's sarcoma). Importantly, vaccination against hepatitis B and human papillomavirus have been shown to nearly eliminate risk of cancers caused by these viruses in persons successfully vaccinated prior to infection.

These environmental factors act, at least partly, by changing the genes of a cell.[11] Typically, many genetic changes are required before cancer develops.[11] Approximately 5–10% of cancers are due to inherited genetic defects.[12] Cancer can be detected by certain signs and symptoms or screening tests.[2] It is then typically further investigated by medical imaging and confirmed by biopsy.[13]

The risk of developing certain cancers can be reduced by not smoking, maintaining a healthy weight, limiting alcohol intake, eating plenty of vegetables, fruits, and whole grains, vaccination against certain infectious diseases, limiting consumption of processed meat and red meat, and limiting exposure to direct sunlight.[14][15] Early detection through screening is useful for cervical and colorectal cancer.[16] The benefits of screening for breast cancer are controversial.[16][17] Cancer is often treated with some combination of radiation therapy, surgery, chemotherapy and targeted therapy.[2][4] Pain and symptom management are an important part of care.[2] Palliative care is particularly important in people with advanced disease.[2] The chance of survival depends on the type of cancer and extent of disease at the start of treatment.[11] In children under 15 at diagnosis, the five-year survival rate in the developed world is on average 80%.[18] For cancer in the United States, the average five-year survival rate is 66% for all ages.[5]

In 2015, about 90.5 million people worldwide had cancer.[19] In 2019, annual cancer cases grew by 23.6 million people, and there were 10 million deaths worldwide, representing over the previous decade increases of 26% and 21%, respectively.[6][20]

The most common types of cancer in males are lung cancer, prostate cancer, colorectal cancer, and stomach cancer.[21][22] In females, the most common types are breast cancer, colorectal cancer, lung cancer, and cervical cancer.[11][22] If skin cancer other than melanoma were included in total new cancer cases each year, it would account for around 40% of cases.[23][24] In children, acute lymphoblastic leukemia and brain tumors are most common, except in Africa, where non-Hodgkin lymphoma occurs more often.[18] In 2012, about 165,000 children under 15 years of age were diagnosed with cancer.[21] The risk of cancer increases significantly with age, and many cancers occur more commonly in developed countries.[11] Rates are increasing as more people live to an old age and as lifestyle changes occur in the developing world.[25] The global total economic costs of cancer were estimated at US$1.16 trillion (equivalent to $1.62 trillion in 2023) per year as of 2010.

Despite being a Nintendo fan since forever, I just recently played the OG, that many still consider a title that holds up

And in a sense yeah, it still is kinda decent, definitely not a bad time.
But as a platformer especially considering what will come up later... the original SMB is weird.
If we have to compare it to something I wanna say that Super Mario Bros is like..... the Formula 1 car of Mario Games.... lemme explain.

Racing cars tend to go all out: they tend to reach victory as quickly as possible, while also try to make riskier moves to give it all... but once they try to turn around they feel slower than anyone else, meaning that changing direction is kinda stiff, since turning a high speed going car is tough and may take some time.

I know it is a weird comparison, but Mario in SMB feels really similar to me: he is fast and you feel tempted to go forward at higher speed. The game kinda makes you want to sprint forward with less hesitation, for different reasons: you can't go back on the left side of the screen so going forward is your only option: whenever you exit pipes, piranha plants step where you were, as an indirect signal to suggest you to go forward; running at higher speed means you can potentially find hidden passages like the infamous pipes in 1-2, that makes you literally jump worlds. Jumping Cheep cheeps and Lakitus can be completely skipped if you just keep on running,

The issue is that the moment you hesitate..... ehhhh mario feels like a car that is struggling stopping: it's not and immediate top but it's slippery and extremely janky. I feel that enemies like Hammer Bros and Bloopers are so hated mainly because they tend to stop your flow and more likely kills you because of the wackier way you turn around.

Most of the levels are also linear, with the only exception being the castles with labyrinth like paths (which kinda sucks, I can't believe these have been brought back in some instances of NSMB Wii), meaning that you barely get this feeling of turning a car on the highway, but it doesn't mean I felt it kinda too much. I ain't sure if this is because of the version present on the NSO, or the fact I grew up with later titles before jumping on SMB, but regardless I felt the jankier controls way harder.

Not to mention that the variety of the levels, while of course revolutionary at the time, today ust feel too samey. I swear I remmeber playing a level in world 7 and being pretty sure it was the same I found in world 2 or something. Having all levels not changing that much compared to other titles also bland the whole mushroom kingdom together, and you feel kinda like you saw everything the game has to offer around the fourth world or something.

Overall of course SMB is a mile stone that everyone should try at least once, its importance cannot be overstated and so on,... but I feel it didn't age as well as other people may claim. Sorryyy.