I don't even wanna THINK about how much work it took to make a game like this even happen. How did the pitch even get far? A 1930s cartoon gauntlet of bosses? How do these ideas even happen? And more importantly how did they execute SO WELL on an idea like this??

The only things holding it back are a few RNG elements that are pretty damn unfair and the Run n Gun levels uh, stink. But everything else is SO STELLAR. The sublimely gorgeous visuals and soundtrack, the snappy and responsive gameplay, the endless creativity that's always on display. There were NO CORNERS cut to match their vision, and the fact that Cuphead's become such a financial success makes me so happy. I want more games to be completely willing to commit to their insane vision, and Cuphead standing as one of the most impressive indie titles of all time has surely helped bring that mission forward.

Moon Studios continues to pour years of talent and effort into developing some of the prettiest environments and smoothest controls in the entire industry. But they still CANNOT make an actually interesting Metroidvania. The world design isn't particularly memorable when it needs to incorporate Ori's movement, the enemy variety is still horribly lacking, the addition of quests was underwhelming, and exploration / backtracking is still as unrewarding as the original. The first game had an incredibly strong emotional hook carrying the player through while this one really stumbled to connect with me. But in the end it was still overwhelmingly pretty and quite fun to play so I guess I didn't mind?

The best parts of the game are practically linear anyway so hot take: the sequel to Blind Forest should have doubled down on a linear structure to really take advantage of the movement and combat first and foremost, rather than making a halfbaked 'vania. That may have been fine in 2015 but by 2020 so many better examples of the genre exist out there.

So in the end, many parts were drastically improved, some parts were worse, some aspects were underbaked or didn't deviate enough from the first title and as such kept many of its issues. It's fun and a brilliant visual spectacle, but five years in the oven for a game that's kind of "Ori 1, but again" is definitely a bit of a shame.

Because Pack 7 exists and is ultimately a better version of Pack 3 (Quiplash 3 over 2, Champ'd Up over Tee K.O.) with more complex and "stragetic" games, I thought there's not any real reason to play this one instead. But when I played the packs with my young cousins the simpler titles in here were probably their favorites! So I'd argue it's just about as good.

Quiplash is excellent as always, Trivia Murder Party did the impossible and made trivia actually fun for once, Guesspionage is REALLY BORING AND LAME, Tee K.O. is kinda flawed but the fact that you can buy the t-shirts you make means that it's goated, and Fakin' It seems really fun with the right group (bad liers kinda kill it).

I might prefer some games from 4, 9 (emphasis on SOME), and especially 7, but the simple nature of these makes this pack still one of the best in terms of what you're gonna get.

I love cinema. I love games! I don't love overtly cinematic games! I think a decent chunk of the AAA game industry, particularly Sony's studios these days, has leaned so far into this style that it's really limited their potential. Games shouldn't try to copy film; they should take advantage of games as a medium and use their interactive nature to enhance an experience rather than copying an existing format. With all that said, surely I'd think this is an overrated albeit good game, right? It's not exactly filled with depth, it has tons of slow walking and ladder "puzzles", and the exploration isn't exactly thrilling either. But, despite ALL of my feelings about this, I can't deny one essential fact.

This was an emotional experience that I have never felt before within the medium of games.

As much as the Uncharted series can pull off balls-to-the-walls action and make sure you have a blast, The Last of Us barrels into the far opposite direction. Games are "supposed" to be fun, but I'd argue this is the most powerful example of how games as a medium can explore other areas of your psyche. The tension, fear, and eventually calm relief you feel before and after every enemy encounter never ends. The bond you grow with your new daughter only grows stronger with every narrow escape or cute moment that can somehow come out of this desolate hellscape. The overwhelming peace as you and her look out into the landscape ahead of you, beautiful and serene despite the dangers you both know lie hiding.

There isn't anything super special about The Last of Us 10 years after it released. In 2013 I could easily see an argument made for it being one of the greatest games of all time, but the landscape has changed a bit since then, and its downsides have started to reveal themselves more too. But even then...does any of that matter? There are so many nitpicks and problems I can have but none of that even matters when my experience with this title was so unique. I think this might be experienced best as a story in the HBO show (which I haven't seen yet) but there's something not even Pedro Pascal can provide: Ellie is in YOUR care. It's YOUR job to keep her safe. The remaining scraps of humanity in this broken world, the last of US, need her to save us all. But in the end...who needs her more? The world...or you?

I do not envy the position of Metroid's developers after Super Metroid's release. How the hell do you possibly follow up one of the greatest video games of all time, a title so monumentally original and smart that it kickstarted an entire genre of games unto itself? With Fusion, they sook to flip Metroid on its head, creating a linear, cinematic, and railroaded experience. It was a little clunky but for the GBA it was easily the best solution. But how about the Nintendo Switch? What do you do when it's been 20 years since the last purely original title in the 2D entries and you have to bring this relatively obscure series to the limelight? Why, you simply mix the best of Super and Fusion.

The perfect balance of massively labyrinthine while linear to a T. The purification of the Dread (heh) and fear of Fusion's chase segments. The always-rewarding sense of item collection and expansive movement sandbox that Super had. Plus, to top it all off, the most BADASS presentation of Samus we've EVER had. OH AND ALSO, easily the hardest game in the series so far, because why not :P

Samus Returns wasn't anything to write home about but Mercury Steam COMPLETELY blew me away with this love letter to the franchise. They not only successfully showed that 2D AAA games CAN and SHOULD remain relevant this far into the 3D game sphere, but they also created the perfect end to this five-game narrative that Samus Aran has journeyed through. Sure, the level theming is kinda boring and the music genuinely sounds AI-generated, but does that even matter when the rest of the game goes so hard?? I'm so happy I played through these five titles and finally experienced this series that I've been SLEEPING ON for so long. MOVE OVER XENOBLADE, METROID IS MY NEW FAVORITE NINTENDO SERIES. LET'S GOOOOOOOOOOOOOOO

Edit: ok fine i brought it down half a star because the areas' visual designs stink, the soundtrack is a complete joke, and i can't remember a single area from this game a few months later. it still ROCKS to play, tho.