1999
i wish more people to play a mario 64 level and like it so much that they just go and develop a videogame masterpiece based on a star mission.
disaster report 4: summer memories is a game which, at a moment, you are navigating on a lifeboat with your friend, through water that looks way more like hair gel than, actually, real water and got inside a sinking building, wearing your funny and Totally-Not-Appropriate-At-All clothes - that you found next to someone who probably needed them - and just helps a woman that needs medicine to her son. you go up stairs, find the medicine, the woman, thankful for what you did, asks you if you want to stay that night at her Almost Boat house and you say “yes” (or just an answer that actually doesn't change anything except you being mean) and sleep. in the middle of the night, the water level is rising and then you propose to all of you - both you and your friend and the family - to escape. everyone agrees, the mother says to go first because she needs to take some stuff. you do it and . . . the building just completely sinks. without a dramatic soundtrack, without any close-ups on character faces, the building just sinks with the mother, their two children and some other residents. you can’t do anything but think about what you couldn’t do.
you see, despite this dramatic presentation of the nature of disasters and the feeling of impotence in the middle of one, this game is pretty silly. you can, as i already said, wear funny clothes (at some point my girl (the only possible choice of character. if you choose the man you are a COWARD) was wearing a highschool uniform with a tengu mask) on serious cutscenes or talking with firemen while wearing firemen’ clothes and no one asking about it. is very videogame-ish. even the answers that you can give are very funny, you can be mean for free - like, at the first 20 minutes, there’s a man that dropped his launch and you hear his story, how he was fired and couldn’t tell his family and was, for months, just going to the park eat his launch and cry and you can say things like “yeah, you are a horrible person, man!”
but, even being silly as it is, the game utilizes his sillines very well. disaster report 4: miracle water, just as every good japanese disaster narrative, is about people. better saying, a videogame about how people react in this kind of situation. at the beginning, the game even questions how YOU would react in this kind of situation. and people do it in very different ways: they can be good, mean, silly, horny, exaggerated . . . so many things can happen in a person’s head at those times. and you, as the protagonist, have to take care of it. you sometimes are recruiting people to a very suspect cult, others are giving miracle “dirty from the wall” water to sick children . . . is very absurd, actually, but way more absurd how they just trust and follow some nonsense things that, in normal situations, they also do, but in the middle of a massive earthquake, things just turns out to be more apparent. and here enters the comedy! the weirdness + ps3 graphics just makes those scenes more absurd, makes you laugh but also think about how . . . realistic this is. and the game can also be an heartbreaking emotional soap opera when he wants to. is great!
yeah . . . maybe is not a Technical Masterpiece. the camera gave me motion sickness sometimes, the framerate is bad etc etc. but even with those problems, disaster report 5? is a very good video game! a really special one! i mean, even talking about “gamey” stuff, it's very competent! you have a food and water system, a stress bar that minimizes your health bar when a quake happens and the geometry is amazing: seriously, destroyed cities are an amazing setting to videogames, is something that scares us (even more here, since some buildings and bridges fall off in real time!!!) but also make us fascinated . . .
at the end, disaster report 4 is Not A Game For Everyone But If You At Least Don’t Try It (Because There’s A Demo) You Are A Very Fussy Person, With All Due Respect. play it now!!!
you see, despite this dramatic presentation of the nature of disasters and the feeling of impotence in the middle of one, this game is pretty silly. you can, as i already said, wear funny clothes (at some point my girl (the only possible choice of character. if you choose the man you are a COWARD) was wearing a highschool uniform with a tengu mask) on serious cutscenes or talking with firemen while wearing firemen’ clothes and no one asking about it. is very videogame-ish. even the answers that you can give are very funny, you can be mean for free - like, at the first 20 minutes, there’s a man that dropped his launch and you hear his story, how he was fired and couldn’t tell his family and was, for months, just going to the park eat his launch and cry and you can say things like “yeah, you are a horrible person, man!”
but, even being silly as it is, the game utilizes his sillines very well. disaster report 4: miracle water, just as every good japanese disaster narrative, is about people. better saying, a videogame about how people react in this kind of situation. at the beginning, the game even questions how YOU would react in this kind of situation. and people do it in very different ways: they can be good, mean, silly, horny, exaggerated . . . so many things can happen in a person’s head at those times. and you, as the protagonist, have to take care of it. you sometimes are recruiting people to a very suspect cult, others are giving miracle “dirty from the wall” water to sick children . . . is very absurd, actually, but way more absurd how they just trust and follow some nonsense things that, in normal situations, they also do, but in the middle of a massive earthquake, things just turns out to be more apparent. and here enters the comedy! the weirdness + ps3 graphics just makes those scenes more absurd, makes you laugh but also think about how . . . realistic this is. and the game can also be an heartbreaking emotional soap opera when he wants to. is great!
yeah . . . maybe is not a Technical Masterpiece. the camera gave me motion sickness sometimes, the framerate is bad etc etc. but even with those problems, disaster report 5? is a very good video game! a really special one! i mean, even talking about “gamey” stuff, it's very competent! you have a food and water system, a stress bar that minimizes your health bar when a quake happens and the geometry is amazing: seriously, destroyed cities are an amazing setting to videogames, is something that scares us (even more here, since some buildings and bridges fall off in real time!!!) but also make us fascinated . . .
at the end, disaster report 4 is Not A Game For Everyone But If You At Least Don’t Try It (Because There’s A Demo) You Are A Very Fussy Person, With All Due Respect. play it now!!!
1993
echo-commentary, cyberpunk platformer. really good, even if odd designed - very labyrinthine levels that may seem strange if you play this after 2 and "worse" when thinking about it on 3. turns out, though, that it is way better replaying it than playing for the first time - some levels that may seem gigantic, after recognition, you can finish them pretty quickly. the future/past mechanics are very well implemented, because it not only sustains the environmentalist message but also the levels has big linear spaces and loops for you to use or creates challenge where losing your momentum is losing the time-travel. love the bosses!! they are fast and smartly designed. the music rocks too!! really a sonic masterpiece and after replaying, thinking if it could be my new favorite . . .
2002
completely different design philosophy from the one seen in super metroid, but still it feels like not a sequence that does better or worse, but a complementation to metroid 3. it is less aesthetically oppressive but then samus don't have the amount of gadgets you used to have at the end of super metroid - but a virus does have and it is searching you. you don't have that amount of freedom in its level design, too, feeling way more like millimetric calculated segments. what this could be considered a "loss", i find pretty interesting and it is what made the game so special for me: it allows the player to feel full tension while being chased by SA-X and some exits and interconnections are very smartly implemented. the geography logic does less sense than super metroid but still, thinking in-universe, are just a bunch of different habitats in a research facility - by that, it does makes sense. also, i like the bosses! nightmare did live up to his name, probably the most difficult fight in the game but it is so well-made: the hitbox is horrendous but propositally, to make you feel really claustrophobic; as you shoot him, he'll cry until he reveals his gross face. i guess that this boss can say a lot of what metroid fusion search and, to me, accomplishes
1994
some things never change: there will always be politicians jumping in each other throats to gain power and domain the people, however will always be ninja androids fighting again this fascist scheme and taito will always be one of the greatest publishers of all times.
shame that the last boss sucks, tho!!
shame that the last boss sucks, tho!!
This review contains spoilers
you know, i understand now why we're twins. it's because... because we were born without souls. this world is too lonely for one without a soul. there's too much... emptiness. our souls are missing, but our tears still work.
devola’s last words are a resume of the entire game. vessels without souls and souls without vessels. they fight, but they have something in common: they are empty. they, in theory, need one another. but they can’t. replicants now have sentience, they see gestalts as menaces, they fight them, they kill them. the two of them, however, have one more thing in common: they get together to fill themselves. the conscious beings in nier replicant’s world all have their own problems that go beyond the “replicants vs gestalt war”. they suffer, searching desperately for acceptance, for meaning in their lives, for identity - and this search is seen by the game itself, constantly changing its shape, as if something was missing (it's the game body or the game soul?), but in the end, this search is what brings hope, is what brings meaning. the characters in nier replicant may be selfish (i mean, the boy kills the shadowlord and basically the entire humanity together), looking further into their own objectives without thinking in the whole picture, but, at the end of the world, would you try to save it or just be together with the ones you love?
devola’s last words are a resume of the entire game. vessels without souls and souls without vessels. they fight, but they have something in common: they are empty. they, in theory, need one another. but they can’t. replicants now have sentience, they see gestalts as menaces, they fight them, they kill them. the two of them, however, have one more thing in common: they get together to fill themselves. the conscious beings in nier replicant’s world all have their own problems that go beyond the “replicants vs gestalt war”. they suffer, searching desperately for acceptance, for meaning in their lives, for identity - and this search is seen by the game itself, constantly changing its shape, as if something was missing (it's the game body or the game soul?), but in the end, this search is what brings hope, is what brings meaning. the characters in nier replicant may be selfish (i mean, the boy kills the shadowlord and basically the entire humanity together), looking further into their own objectives without thinking in the whole picture, but, at the end of the world, would you try to save it or just be together with the ones you love?
1994
is your girlfriend blonde, tall, wears a power suit, turns into a morph ball, run fast, grapple in walls, shoots ice beam and shoots beams at: giant lizard aliens, flying brains and ghosts octopus? then sorry, she's not your girlfriend, she's mine!
13 sentinels: aegis rim is a megalomaniac mess of a game. actually, it is two games: a narrative adventure with gorgeous 2D art style where you control 13 different protagonists, seeing facts under others interpretations, zigzagging and crossing paths with each other and a real-time strategy with a messy UI, frame rate drops and an overall feeling that it seems disconnected from the “first game”.
well, that’s my first problem with 13 sentinels aegis rim: you have two completely different games, not thirteen. oh, did you think that i was gonna tell you that the “destruction mode” seems off? that’s a plot twist, huh? and that game has many! but that’s not the time to talk about it, i would like to first apologize for my metalinguistic mistake of communicating so directly with you who are reading this. being honest, i actually prefer to type a text this way, makes me feel more comfortable, you know? anyway, the second thing that i would like to do is share some thoughts about this “destruction mode”: yeah, it is messy and yeah seems off but actually isn’t. in the game, there’s a reason for that happening, a really good contextualization out of the “yeah, we fight with mechas” that made me smile for how canny this narrative is, but i would prefer not spoil the entire game, you know? i may talk a bit too much already, even without revealing the plot, so i will not explain my point - if you’ve already played it, you may know and if you haven’t, please trust me.
talking about the combat: i like it! it is like playing league of legends except you are controlling 6 characters at the same-but-not-real time, there’s other 6 defending your tower and you have to fight with all the bots, many of them, some with a real amount of HP. controlling the characters is like playing final fantasy 12 without gambits, having to constantly choose their actions and wait for your ATB bar charge. you can upgrade your mechas, your tower and level up your characters, like in a rpg, but it is a messy playground where everyone plays war. it is fun but can get a little sickening if you play like i have played: all the stages in a row until i could go back to the story again. the game suggests a really good order to experience its ideia: in the prologue, you do two paths and then play one round of the “destruction mode”. maybe this is the best way? it is up to you, of course.
and oh yeah, the paths. the narrative. 13 sentinels: aegis rim feels like if hideo kojima had put the whole metal gear lore in one game - the first one - and mixed it with different characters: you play 1 with solid, 2 with raiden, 3 with naked etc. and shows what connections it has with each other: you fight ocelot in 1? let’s show how big boss met him in 3. of course, is only an analogy, aegis rim is not something that kojima would make, it is written completely differently. 13 sentinels: aegis rim does not have the “everything is a metaphor” thing that kojima’s games have or such an impactful message about our society, individuality or language. actually, my real first problem with 13 sentinels: aegis rim was that it is a really good story but… it kind of lacked a message of its own.
george kamitani is a sci-fi fan, as well as an anime fan and you don’t need to read any interviews to notice that. the totality of the 13 sentinels: aegis rim narrative feels like something written by a nerd, however, i don’t think that it is necessarily bad. i’ve finished persona 5 this year and something that really bothered me is how each character seemed so flat. it is not a problem using anime tropes but, since persona 5 is a character-driven story, i was expecting the characters to have some personality aside from it’s tropes and maybe they tried, but i genuinely don’t think that persona 5' dialogues are good enough to make me feel so emotionally connected with it characters. 13 sentinels characters’ are tropes, too, but they are not exactly the focus and i believe that this is both a blessing and a curse: while george could make a zigzagging-ly sci-fi story utilizing, also, sci-fi tropes (oh God, i typed “tropes” so much, didn’t i? sorry for that) without having to care too much as persona 5 probably cared, i believe that it also prejudiced the chances of having an message so impactful on me?
look, the characters are important. things happen because they do stuff. this stuff may be good, may be bad, may be questionable, but they are the cause. you see their motivations, their interactions, their relationships, but you do not seem who they are inside and i’m really conflicted about it: while i genuinely think that it is a work of a genius utilizing anime character tropes in such smart way as 13 sentinels does, i also feel that… they just looks like plot-inducers, you know? i do love all of them and i do care about all of them, but i would like to see a more introspective development and maybe >certain thing< would be more impactful to me. but i also feel that it couldn’t be that way. the game being a non-linear narrative, with 13 different stories taking placing at different times and crossing each other, having a lot of plot twists and explanations after those (in different paths, of course) to, in the end, just wrap it up brilliantly… there wasn’t a way to do it. it would be too long and less cohesive.
maybe i’m just nitpicking? yeah, but i just want to get those feelings out. by the way, saying one more time about tropes: the sci-fi tropes are good! it uses it more as an ignition point to do what the game does and the game being a non-linear narrative makes all those tropes more like knots to connect the 13 narratives, and those knots, generally, are the plot twists. it is fun that while you do have the “Oh My God, Did It Actually Happened?”, you also have the “Oh, And They Utilized It?”. it is better when you see that the whole trope-y things and nerd references actually… makes sense to the narrative. it is self-conscious without breaking the fourth-wall or being ironic. that makes me happy.
i’ve said earlier that the game lacked of a message of it’s own, since it is trope-y as it is and many commentaries are just sci-fi commentaries in general, but in the end, it actually summarizes the adventure into a point: humans can try again. we have the determination to do so. as long there’s life, there’s hope. it is beautiful and adequate. “why were you criticizing it, then?” - you may ask. well, what i’m trying to say is: is george kamitani saying what he wants to say or he is doing what he is supposed to do? it feels more like a proper conclusion to the game as fiction than to the game as an channel for it’s creator.
i could be wrong, too. maybe george kamitani wanted to pass the message before completing the story. he’s probably more smart than me and he probably knew that someone would notice it. it happens. my certainty is that, if i am wrong, at least 13 sentinels: aegis rim teached me that i can try again - and this is probably the proof.
ps: i want SO BAD to eat yakisoba pan!!!
well, that’s my first problem with 13 sentinels aegis rim: you have two completely different games, not thirteen. oh, did you think that i was gonna tell you that the “destruction mode” seems off? that’s a plot twist, huh? and that game has many! but that’s not the time to talk about it, i would like to first apologize for my metalinguistic mistake of communicating so directly with you who are reading this. being honest, i actually prefer to type a text this way, makes me feel more comfortable, you know? anyway, the second thing that i would like to do is share some thoughts about this “destruction mode”: yeah, it is messy and yeah seems off but actually isn’t. in the game, there’s a reason for that happening, a really good contextualization out of the “yeah, we fight with mechas” that made me smile for how canny this narrative is, but i would prefer not spoil the entire game, you know? i may talk a bit too much already, even without revealing the plot, so i will not explain my point - if you’ve already played it, you may know and if you haven’t, please trust me.
talking about the combat: i like it! it is like playing league of legends except you are controlling 6 characters at the same-but-not-real time, there’s other 6 defending your tower and you have to fight with all the bots, many of them, some with a real amount of HP. controlling the characters is like playing final fantasy 12 without gambits, having to constantly choose their actions and wait for your ATB bar charge. you can upgrade your mechas, your tower and level up your characters, like in a rpg, but it is a messy playground where everyone plays war. it is fun but can get a little sickening if you play like i have played: all the stages in a row until i could go back to the story again. the game suggests a really good order to experience its ideia: in the prologue, you do two paths and then play one round of the “destruction mode”. maybe this is the best way? it is up to you, of course.
and oh yeah, the paths. the narrative. 13 sentinels: aegis rim feels like if hideo kojima had put the whole metal gear lore in one game - the first one - and mixed it with different characters: you play 1 with solid, 2 with raiden, 3 with naked etc. and shows what connections it has with each other: you fight ocelot in 1? let’s show how big boss met him in 3. of course, is only an analogy, aegis rim is not something that kojima would make, it is written completely differently. 13 sentinels: aegis rim does not have the “everything is a metaphor” thing that kojima’s games have or such an impactful message about our society, individuality or language. actually, my real first problem with 13 sentinels: aegis rim was that it is a really good story but… it kind of lacked a message of its own.
george kamitani is a sci-fi fan, as well as an anime fan and you don’t need to read any interviews to notice that. the totality of the 13 sentinels: aegis rim narrative feels like something written by a nerd, however, i don’t think that it is necessarily bad. i’ve finished persona 5 this year and something that really bothered me is how each character seemed so flat. it is not a problem using anime tropes but, since persona 5 is a character-driven story, i was expecting the characters to have some personality aside from it’s tropes and maybe they tried, but i genuinely don’t think that persona 5' dialogues are good enough to make me feel so emotionally connected with it characters. 13 sentinels characters’ are tropes, too, but they are not exactly the focus and i believe that this is both a blessing and a curse: while george could make a zigzagging-ly sci-fi story utilizing, also, sci-fi tropes (oh God, i typed “tropes” so much, didn’t i? sorry for that) without having to care too much as persona 5 probably cared, i believe that it also prejudiced the chances of having an message so impactful on me?
look, the characters are important. things happen because they do stuff. this stuff may be good, may be bad, may be questionable, but they are the cause. you see their motivations, their interactions, their relationships, but you do not seem who they are inside and i’m really conflicted about it: while i genuinely think that it is a work of a genius utilizing anime character tropes in such smart way as 13 sentinels does, i also feel that… they just looks like plot-inducers, you know? i do love all of them and i do care about all of them, but i would like to see a more introspective development and maybe >certain thing< would be more impactful to me. but i also feel that it couldn’t be that way. the game being a non-linear narrative, with 13 different stories taking placing at different times and crossing each other, having a lot of plot twists and explanations after those (in different paths, of course) to, in the end, just wrap it up brilliantly… there wasn’t a way to do it. it would be too long and less cohesive.
maybe i’m just nitpicking? yeah, but i just want to get those feelings out. by the way, saying one more time about tropes: the sci-fi tropes are good! it uses it more as an ignition point to do what the game does and the game being a non-linear narrative makes all those tropes more like knots to connect the 13 narratives, and those knots, generally, are the plot twists. it is fun that while you do have the “Oh My God, Did It Actually Happened?”, you also have the “Oh, And They Utilized It?”. it is better when you see that the whole trope-y things and nerd references actually… makes sense to the narrative. it is self-conscious without breaking the fourth-wall or being ironic. that makes me happy.
i’ve said earlier that the game lacked of a message of it’s own, since it is trope-y as it is and many commentaries are just sci-fi commentaries in general, but in the end, it actually summarizes the adventure into a point: humans can try again. we have the determination to do so. as long there’s life, there’s hope. it is beautiful and adequate. “why were you criticizing it, then?” - you may ask. well, what i’m trying to say is: is george kamitani saying what he wants to say or he is doing what he is supposed to do? it feels more like a proper conclusion to the game as fiction than to the game as an channel for it’s creator.
i could be wrong, too. maybe george kamitani wanted to pass the message before completing the story. he’s probably more smart than me and he probably knew that someone would notice it. it happens. my certainty is that, if i am wrong, at least 13 sentinels: aegis rim teached me that i can try again - and this is probably the proof.
ps: i want SO BAD to eat yakisoba pan!!!
1988
do you know what makes super mario bros.3, almost unanimously "one of the best videogames of all-time"? it isn't its short, inventive, well-made level design or its theatrical aesthetic or even its remarkable original soundtrack.
it just feels so good to play. the other things come along, but is just a fun game to pick up and play, you know?
it just feels so good to play. the other things come along, but is just a fun game to pick up and play, you know?
there's a moment in moon where the "HERO" is drunk at a restaurant, doesn't knowing how to advance. after killing all those "Bad Monsters", "helping" all those people, entering without invite in all those houses and taking possession of all those objects, he's lost. he is at the maximum level that he can obtain, but what then?
the "HERO" lacks of love.
in fact, everyone in moon's world is searching for love: consciously or not; for know what it is, what is for and who can possess it. love is a mystery and everyone wants to know how to discover it. you, the protagonist, is the one who help those thirsty for love by... living your life. you see, There Is Someone(s) that indeed knows what love is and want you to collect it - but i won't tell who! you do it by helping people in different ways: fishing, listening, catching their souls, telling that they actually are a robot (do technopolis habitants dreams about MOON: REMIX RPG ADVENTURE?) and all sort of different things.
they say you find love in small things, and perhaps someone would say that moon is a game about finding love in the minor aspects of our day. i wouldn't say they are incorrect, but a letter of love is A Big Deal to the one who sent it, as well to the one who received it. the size of what we love is measure by our heart perspective.
moon: remix rpg adventure is a small, old, indie game, but in my heart, is a gigantic thing that i love.
the "HERO" lacks of love.
in fact, everyone in moon's world is searching for love: consciously or not; for know what it is, what is for and who can possess it. love is a mystery and everyone wants to know how to discover it. you, the protagonist, is the one who help those thirsty for love by... living your life. you see, There Is Someone(s) that indeed knows what love is and want you to collect it - but i won't tell who! you do it by helping people in different ways: fishing, listening, catching their souls, telling that they actually are a robot (do technopolis habitants dreams about MOON: REMIX RPG ADVENTURE?) and all sort of different things.
they say you find love in small things, and perhaps someone would say that moon is a game about finding love in the minor aspects of our day. i wouldn't say they are incorrect, but a letter of love is A Big Deal to the one who sent it, as well to the one who received it. the size of what we love is measure by our heart perspective.
moon: remix rpg adventure is a small, old, indie game, but in my heart, is a gigantic thing that i love.
baby's first immersive sim¹
wonderful game. loved it way more than i thinked i would -- not a big fan of open world games. best princess zelda, love the history and THAT ENDING was really emotional.
made me think how good zelda actually is, not only as a franchise, but as a mythos.
¹i am baby
wonderful game. loved it way more than i thinked i would -- not a big fan of open world games. best princess zelda, love the history and THAT ENDING was really emotional.
made me think how good zelda actually is, not only as a franchise, but as a mythos.
¹i am baby
whipping enemies so well positioned in its many places - with wonderful in-game-universe gothic architecture and amazing in-our-universe level design, with secret paths leading to alternatives levels and a lot of verticality, causing the sensation that you are exploring dark places and fighting hideous monsters. you can also play as maria, a girl that ritcher rescue in stage 2! some people say that playing with her is the "easy mode": not exactly. while ritcher is a lot more weighty and slow, turning the game into a strategic action where you must react with cautious while positioning yourself in the level's geometry, maria is a lot more agile and light, turning the game in a platformer action where you kill monsters with a cute girl - she can even double jump! however, the difficulty is more about controlling your jumps and agility to not suffer from your mistakes. the bosses and enemies itself are great! it's a little frustrating deal with flying enemies - as well with bosses' projectiles - but the patterns aren't hard to learn. the sound direction is suberb, creating hype and tension with amazing songs - i love the VA too!!
rondo of blood is not only the best classicvania - and probably the best castlevania? but also one of the greatest videogames of all time!
rondo of blood is not only the best classicvania - and probably the best castlevania? but also one of the greatest videogames of all time!
trying to understand the many buildings vertical architecture you are walking to localize yourself and survive to the many guys shooting you. the act of shooting, itself, is an act of surviving: the one who shoots first is the one who gets to live, just like the old west. this concept of "shooting before your opponent gets the hands in his weapon" creates a cinematic experience way better than many today's cinematic shooters - probably because the one doing the scene is you, with your reflexes, paying attention to enemies animation, not the game, desperately, screaming "look at me".
this isn't "bad designed", it's actually a very interesting game. it's the true super mario bros.2 and it's basically a game made for the nerds that can finish the first smb. without dying. "oh so you think there's gonna be a mushroom in this block? yeah, but it's a poison one!"
yes, it is a cruel and very punishing game and whatever some "Game Design Fan" dude says to you but it has a very creative level design, creating some trends that today's platformers such celeste would use.
it is very limited by the first super mario engine - and perhaps it's 'cause of this that is so punishing - but it's worth playing, even using save states or rewind, just to aprecciate the level design geniality and the "in your face" nonsense.
also i don't vibe with puzzles levels where you should discover the path or then you start it again. hate them!!
yes, it is a cruel and very punishing game and whatever some "Game Design Fan" dude says to you but it has a very creative level design, creating some trends that today's platformers such celeste would use.
it is very limited by the first super mario engine - and perhaps it's 'cause of this that is so punishing - but it's worth playing, even using save states or rewind, just to aprecciate the level design geniality and the "in your face" nonsense.
also i don't vibe with puzzles levels where you should discover the path or then you start it again. hate them!!
imagine someone just waking up some day and thinking "what if i made a game about a small guy with a ball than can go big with the many things it collects? all of the objects having it's own kind of collision, causing that crispy sensation? and, logically, the ball itself getting slower with the amount of things you collect? oh, and of course, the art style being so colorful and caricatured in a humurous - but never offensive - way? having one of the best soundtracks of the medium? man, it's gonna be awesome"
well, someone actually thinked. thanks to keita takahashi, now we have katamari damacy, the greatest videogame production since super mario bros. (1985).
at least for me!
well, someone actually thinked. thanks to keita takahashi, now we have katamari damacy, the greatest videogame production since super mario bros. (1985).
at least for me!