So I've been playing the original Majora's Mask directly after playing this and I must say that the mod is incredible, just so many big and small changes that really transform the experience and make it so much more seamless and just plain better. Compared to the original MM's 20 fps MM3D runs at 30 which is real nice and I am a huge fan of the added gyro aiming, I've loved gyro aim ever since I first used it in OoT 3D. But I think the original is still better. For one, while the graphics are a lot less technically impressive, they are way more atmospheric, just a lot more dark when appropriate. There's also something to be said about the lower poly models making you use your imagination more to fill in the blanks. Gyro aim again I love you but man just taking the old challenges and slapping gyro on them makes them a joke. They really should've redesigned aiming challenges for the new aiming style. That's a big thing in general, even tho Project Restoration makes the game harder as it should be as MM3D's difficulty has been nuked from orbit, the original is still much more challenging without ever feeling unfair. Another thing is the notebook, which is extremely important to making optimal use of the 3 day time loop and therefore extremely important to the entire game. It's completely different in the remake: the original simply tells you at what time a person has an event, nothing else, it's up to the player to figure out how to trigger said event. Meanwhile MM3D can't help itself and bombards the player with countless hints so that the actual puzzle portion of these side quests is many times lost entirely. There's also a lot new, added or replaced dialogue in 3D and I find it significantly weaker than the fantastic writing of the base game, going for this weird, quirky tone that just doesn't feel right and feels super forced.

4.5 stars because I wish there was more unlockables and stuff, this game rules

edit: nvm it deserves 5

edit 2: you know what I wanna talk some more about it because I keep thinking of it. I really love everything about it. the gameplay is great needless to say but even the story is class, like reading into it and finding out what is going on is a great time and the game tells it in a really smart way where it doesn't ever feel like it just wastes your time with cutscenes and actively makes you want to find out more about the world the game is set in. the old school N64 ass voice acting is beyond charming. it really works great with the models too, I love the look of it all. I always struggle with defining what gives a game replayability outside of with roguelites of course, but this game sure as fuck has it. it's probably just a combination of the short run time and non stop spectacle of it all, it really feels like rewatching a great movie you love. the arcade style scoring probably contributes to it too.

In platformers there's usually two types of games: the ones where you just wanna get to the goal as soon as possible and the ones where you wanna spend extra time in every level to discover collectables and whatnot. So these guys took Wario Land 3 which was very much the latter of the two and infused it with god tier movement options thanks to the most satisfying dash move in any game ever. But then to really put the cherry on top and make the player take full advantage of Wario's new movement they had the absolutely brilliant idea of forcing the player to run back to the entrance of the level within a certain time limit which, in tandem with the amazing music and warping visuals, not to mention the huge timer that's now constantly on screen, leads to an exhilerating, stressful experience. This gets amplified even further by a combination of mandatory and optional collectables in every level which is a great combination. Sometimes when you reach the end of a level you don't have all the collectables you need and/or want yet so you're still trying to find them while the game is practically screaming at you to hurry the fuck up, it's glorious. Special shoutouts to the amazing sound design and especially how dynamic the music is. The pitch and tempo of the song playing is dependant on Wario's current status. If he goes fast, it goes fast and if he's crouching, it goes slow. Some of Wario's reactions, making their return from Wario Land 3, also add additional filters to the music on top of that. My favorite bit is that when ground pounding the next sample gets all screwed up. It's barely noticable due to it overlapping with the ground pound sound effect but once you hear it you cannot un-hear it.

Metroid (1986) is one of the most interesting video games ever made. Its hero is Samus Aran, a rule-bending cop who only answers to her own moral code. There are flashes of Nietzsche in her - Samus lives to fight. Over 7 seasons, she wages war with our modern world 👇


Samus's take on evil: This is an amoral world with some truly terrible people in it. But nature abhors a vacuum - even a vacuum of evil. You can't eliminate the bad guy without someone else taking his place. Best you can do is manage evil, slow it down, contain it.


Rules are for people who can't think on the spot, who can't separate the the-best-possible-good from the most-avoidable-evil when faced with the critical moment of choice, who freeze up when the stakes get high. But Samus Aran is not that gal.

For Samus, the supreme virtue is loyalty. She leads not a team but a warband, soldiers and not mere men. They are tight - they stick together & can crack cases that the thinkers, bureaucrats, politicians can't. But the preconditions for such a warband are gone, they're an anomaly.

And the world is never kind to the anomalies of the age. The nerds hate Samus because she's too smooth, the rule-lovers hate her because she flaunts the laws that govern their life, the politicians because she only cares for truth, results, and her personal code.

Samus Aran gets results, more results than anyone else; but the zeitgeist isn't hers, she sticks out like a sore thumb. In life, our actual jobs are secondary. The primary job foisted on all is to not disturb the morality of our society and to help extend it. Samus isn't interested.

Metroid is a tragedy not because our heroes get hurt, get shot at, and receive nothing but condescension from a system that wouldn't work without them. Metroid is a tragedy because our heroes betray their brothers. The world manages to crush the warband.

Samus is betrayed, can't protect the ones she's supposed to, and the final knife-twist is when she's forced to choose between her loyalty to her ex-wife and one of her brothers. She chooses wrong - she chooses loyalty to the one who already sold her out, she betrays the one who didn't.

What happens to Samus? Watch the show. The world tries to impose a fate worse than death on her - to separate her not just from her men and family but from her way of life. But I like to imagine that she would one day slip through the chains, face the ones who wronged him, and go: "You want to tell me with your teeth or without?"

To submit, comply, go with the system? Or to bet everything on your soul guiding you right? For women like Samus Aran, the question itself never comes up. Let woman's deep instinct clash with the weight of the world, and see who's the last woman standing.

Extremely charming and lovely and just look at it and listen to the music and so on and so forth. This game suffers from early 3D syndrome like crazy though: every animation is just so damn long with multiple frames of wind-up on actions that were instant in every Kirby game before and after. Additionally in order to get the actual ending you need to find every crystal shard. A lot of them require using the ability combination mechanic which is brilliant but the game doesn't tell you beforehand which abilities you will need and sometimes doesn't even give you the necessary abilities in the level you're in so it's a real drag. I also find it very weird how every level just kinda ends, like you just walk through a door that looks like every other door except this one all of a sudden takes you to the end of level mini game so it never feels super satisfying to clear a level, it's always just kinda out of nowhere.

Just pure fun. It definitely feels a little scrappy, like it's incredibly easy to go flying in a random direction with all the momentum you have built up and the camera to go insane but I genuinely think these are things that add to the sheer insanity that is this game instead of detracting from it. These stages are insane as well, like with all of them if you wanna play them as Sonic stages and just rush through go ahead but at the same time these stages have so, SO much more content in them. It's mind blowing. Game straight up turns into a collect-a-thon if you want it to be. Add the absolutely wild story and you got a banger game.

god giggly goo god damn. god fucking jiggle goo ga goo god. you got all the bitches, you got small bitches, you got big bitches, you got shy bitches, you got angry bitches, sometimes you even got not absurdly sexualized bitches so if the pastor finds you playing nikke in church he won't get mad at you.
gameplay is fine. it's simple and satisfying but of course it's being held back by the usual gacha bullshit like 20 different currencies and power levels and management shit outside of the actual game. got some quite nice quality of life tho like being able to raise other characters to the level of your highest characters automatically.
the main problem with the game is that you need at least two people at all times to get the most out of it. it's real hard to focus on the ass while still aiming at enemies so optimally you'd grab your favorite bozo and rotate every 5 seconds or so, have one aim and the other stare and repeat that process until one of you cums

This is a compilation title. As someone who has already played every other game in the series, this is immediately rather disheartening. They did do a nice job remaking all the old mini games and making them feel right in line with those from Rhythm Heaven DS and Fever but it still doesn't make them very exciting. What is very exciting are the new mini games. Sadly, there aren't too many of them, but those that there are are all absolutely fantastic, some of my personal favorites in the entire franchise even. The remix stages are also all entirely new and also blow it out of the park, even if largely based on mini games from the previous games. However, they also put focus on this game's weakest aspect: its structure.
Rhytyhm Heaven Megamix is the first time a Rhythm Heaven game has a story with cutscenes and dialogue put between the mini games. Quite frankly, I am not thrilled about the writing here. All of the prior games have writing in them through the descriptions, tutorials, and most importantly the unlockables and throughout these three games all of those are written impeccably. They're full of heart, hilarious, and short and to the point. The writing in Megamix is really convoluted, the characters just keep talking in the cutscenes and its a real pace breaker. The things I mentioned earlier have equally suffered in quality, with the writing for descriptions etc. simply not being anywhere near as funny or endearing as its predecessors.
The game also does something rather interesting that I am not at all a fan of: each of the mini games played for the first 1-2 hours are bastardized, shorter, and easier versions of their original counterparts. There's no remix stages for these either. Only a couple hours in does it feel like the game is actually starting, providing the original versions of the old mini games, which are far more enjoyable. That's where remixes are introduced back into the game too and as mentioned, these are lovely.
If you're a Rhythm Heaven fan you've probably already played this but if not, and you're asking yourself whether this is a good entry point, I would wholeheartedly recommend you to seek out any of the other titles.

So the first game was on the GBA which mean they couldn't really do any very interesting kinda inputs so it just uses very simple inputs which is perfectly fine but then the sequel on the DS used the DS's screen in such a brilliant way, consiting entirely of tapping and flicking. The brilliant part is not the input itself but how its contextualized. Flicking the screen to the beat is such an unbelievably satisfying action when put in the right context, like strumming a guitar.
Why am I bringing all this up? Well you'd expect the devs to use the motion controls for this one similarly to how they used the touch screen of the DS but they didn't. Rhythm Heaven Fever is played with even less buttons than Rhythm Tengoku on the GBA. You have exactly two input variations: A and A+B. I'm sure it was decided that there were gonna be two inputs based on Rhythm Heaven on the DS also having exactly two, and the decision not to use the motion sensor for the rhythm games must've stemmed from the devs realizing that the motion simply wasn't precise enough in a game as timing sensitive as this. So why is it A+B and not just B like in Rhythm Heaven Megamix? Well it comes down to the placement of the buttons. The Wiimote has the A button in front and the B button trigger-style on the back. Basically, what I am thinking is that by asking the players to always press those two buttons simultaneously they want to simulate the feeling of squeezing the remote as a new, creative way of input. Sadly it just doesn't compare to the sheer joy of flicking the touch screen of the DS. I will give bonus points though for once again, doing a great job of contextualizing squeezing the remote like this.
[Post game spoilers for Rhythm Tengoku and Rhythm Heaven DS ahead]
Sadly Rhythm Heaven Fever lost something quite special in its transition back to such a simple control style. In Rhythm Tengoku, you could play several different drum kits with a much higher level of complexity than any other mini game. In Rhythm Heaven DS you could play the guitar to several songs from other mini games, which is a lot less complex than the drums are in Tengoku but just as much, if not more fun, once again because of how greatly it is contextualized. I know I'm talking about that ad nauseum but like. Flicking the DS screen and seeing your little dude flick their guitar just feels fucking orgasmic. At the very end of Tengoku and DS you could even play multiple concerts consisting of multiple songs from across the games played in a row, which is an amazing way to end these insanely memorable games.
Rhythm Heaven Fever doesn't have this.
I assume the developers realized that with the A and the A+B button, there simply aren't any instruments they could do a very interesting job of portraying. They try to make up for this by letting you play a handful of remakes of mini games from Rhythm Tengoku, now in English for the first time (at least officially). It just doesn't cut it. It simply isn't anywhere near the hype levels of the first two games.

just play bayo 1 man like fuck visually it's nicer yknow like you got colors going on and somehow even more super impressive animations but god man the enemy design in this game is the fucking worst dude, like on normal they're annoying and on either of the harder difficulties they're pretty insufferable, same goes for the bosses of which I'd say a good 90% at least suck complete wiener. still tho this is a 3/5 cause a) the combat is still bayo combat and bayo combat fucking rules and b) the new weapons, like all of them are great, in bayo 1 a lot of weapons felt like repeats but here you got a ton of them that feel very unlike the others