jushajod
1987
Understandably terrible. (Used save states)
1994
Then, what can we do next?
Earthbound's design revolves around this run-of-the-mill question.
It was playing this game that I came to realize that Shigesato Itoi never trod the line of conformity, not out of a desire to avoid convenient creative stasis, but rather to adamantly push what makes a video game truly great: Sincerity elevated by a wealth of personality and bravado.
From the sudden, brash noise collages in its soundtrack to its cheeky yet gripping meta-commentary on larger topics that weren't supposed to be in a kid's playthings in 1994, it just never stopped making me stand on my toes. Even the subversive aspects in its dungeon layouts, narrative parallels, and thematically blended gameplay mechanics still caught me off guard, even after playing most modern games of today.
Being brave enough to experiment and turn it into a timeless classic supersedes a difficult feat. And Itoi just seemed to have so much fun making this game.
It's not always about the drive to innovate; sometimes, it's also about the heart-rending capacity to create.
And most of all, it's about mothers. As a proud mama's boy, I'm in.
Earthbound's design revolves around this run-of-the-mill question.
It was playing this game that I came to realize that Shigesato Itoi never trod the line of conformity, not out of a desire to avoid convenient creative stasis, but rather to adamantly push what makes a video game truly great: Sincerity elevated by a wealth of personality and bravado.
From the sudden, brash noise collages in its soundtrack to its cheeky yet gripping meta-commentary on larger topics that weren't supposed to be in a kid's playthings in 1994, it just never stopped making me stand on my toes. Even the subversive aspects in its dungeon layouts, narrative parallels, and thematically blended gameplay mechanics still caught me off guard, even after playing most modern games of today.
Being brave enough to experiment and turn it into a timeless classic supersedes a difficult feat. And Itoi just seemed to have so much fun making this game.
It's not always about the drive to innovate; sometimes, it's also about the heart-rending capacity to create.
And most of all, it's about mothers. As a proud mama's boy, I'm in.
2009
It's pretty difficult not to smile when nostalgia hits the hardest.
No one can deny the bafflingly obvious truth that Tetris stands as one of the few perfect videogames. Even Effect understands this so well that it extends its brilliance on a cerebral level with just some light yet largely impactful tweaks on the gameplay.
The mix of euphoric visuals, some harkening back to the classic Tetris backgrounds, along with an adaptive collection of syncopated soundscapes may appear quite simple in this one string of statements. But believe me, an effect must be felt not articulated.
The mix of euphoric visuals, some harkening back to the classic Tetris backgrounds, along with an adaptive collection of syncopated soundscapes may appear quite simple in this one string of statements. But believe me, an effect must be felt not articulated.
Tim Rogers (2).
1997
Is this even a PS1 game? The whiplash of awe when this game released must be so big.
1995
I prefer to play Tekken 1 over this.
1994
Mishima's damage is too powerful. But I did persevere just to witness that smile.
As much as it revived my love for Pokémon, it also greatly frustrated me to know that Game Freak constantly stumbled in a lot of areas because of a clear lack of impassioned care, therefore reducing my overall impression of the game. The gameplay loop was addictive, but that doesn't mean it had substance; the presentation was also lackluster in its narrative beats and art direction. I had fun because of my connection with the series, but in a vacuum, it's just too weak of an experience.
I am tired of hearing that Pokémon is moving in the right direction again and again. Please be better rather than being reluctantly incompetent.
I am tired of hearing that Pokémon is moving in the right direction again and again. Please be better rather than being reluctantly incompetent.
2017
This is Star Fox 1 if it was more conceptually interesting.
2009
Tim Rogers.
1993
I didn't know that I'd have fun in a low FPS blocky gunner or whatever it's called.
Having become familiar with Fumito Ueda's infamous 'design by subtraction' through numerous online discussions where many people are assertive of its artistic merit, my expectations for Shadow of the Colossus, his 'magnum opus', skyrocketed with every review I read and watched, gushing about its glory. I immediately took the chance to buy its remake on PS4, and I did not regret it.
The game is bleakly calm; all of the cutscenes and camera pans out over the gorgeous landscapes were blissful. Indeed, it is an empty and vast expanse, but it adds to the overall experience because it is thematically coherent with the plot. The meat of SotC is the plenitude of memorable bosses. Each of them is a puzzle coated with a dash of spectacle and a stirring soundtrack. It was purposefully a striking contrast with the exploration; that's why they were deeply felt and evocative. However, there were several bothersome head scratchers, ambiguous puzzles, and camera issues. But it never outweighed the experience.
It's exhilarating, brief, and, most of all, beautiful.
The game is bleakly calm; all of the cutscenes and camera pans out over the gorgeous landscapes were blissful. Indeed, it is an empty and vast expanse, but it adds to the overall experience because it is thematically coherent with the plot. The meat of SotC is the plenitude of memorable bosses. Each of them is a puzzle coated with a dash of spectacle and a stirring soundtrack. It was purposefully a striking contrast with the exploration; that's why they were deeply felt and evocative. However, there were several bothersome head scratchers, ambiguous puzzles, and camera issues. But it never outweighed the experience.
It's exhilarating, brief, and, most of all, beautiful.
2019
Slide your way into the hazy waves of neon and electro-pop mania with a brief yet enticing story of a woman finding back her groove through different heartbreaks.
It immediately pulls you in with its excellent presentation, seamless choreography and captivating eye candy. Although, it's mechanically simple, you'll embrace its maximalist aesthetics and beg for it to never stop. It is just that good.
No sayonaras.
It immediately pulls you in with its excellent presentation, seamless choreography and captivating eye candy. Although, it's mechanically simple, you'll embrace its maximalist aesthetics and beg for it to never stop. It is just that good.
No sayonaras.
2016
It was a forgetful experience, but a decent one.
I love surrealism when it's done right, but I honestly felt that Inside epitomizes the contrary. It's a game that has ambiguity as its players' primary driving force to progress and as a tool to mask its bland puzzles and gameplay loops. Its opaque nature in world-building and tone-setting is intriguing but not effective; I was not fully invested rather, I was just engaged by the imageries.
Press the right D-pad, pause, then continue.
Crack one puzzle, then solve another one that has a similar design but a different skin later on.
And finally, dark absurdities!
The intent is convincing but its execution is evidently subpar.
I love surrealism when it's done right, but I honestly felt that Inside epitomizes the contrary. It's a game that has ambiguity as its players' primary driving force to progress and as a tool to mask its bland puzzles and gameplay loops. Its opaque nature in world-building and tone-setting is intriguing but not effective; I was not fully invested rather, I was just engaged by the imageries.
Press the right D-pad, pause, then continue.
Crack one puzzle, then solve another one that has a similar design but a different skin later on.
And finally, dark absurdities!
The intent is convincing but its execution is evidently subpar.