“An American tragedy. An odyssey of debt, of grief, of broken promises, of hope. A painful, melancholic fable composed of fables and more fables, spreading out and weaving in and out of itself. A dream ebbing back and forth between memory and fantasy. A plea for you to care about something.”

...This was my original review for Kentucky Route Zero. I still think it’s a good description. But on consideration, I feel as though I need to be bold and say it: Kentucky Route Zero is not only one of my favorite games, but one of my favorite things ever made.

This is not an assessment of quality. I am not telling you what to feel. I am telling you how I feel. And Kentucky Route Zero makes me feel a way.

I specifically say “Favorite Thing”, because Kentucky Route Zero doesn’t affect me like a game. When I think about many of my favorite games, I often think of them as games. They are full of mechanics, of challenges, of systems. That’s certainly not all games are, and games can be many things, but in the capacity that they affect me, enchant me, or fascinate me, it is often within this vague category of “game”. But Kentucky Route Zero is different. To call it “my favorite game” and leave it at that misses something. It’s certainly a game, but it doesn’t make me feel the way games usually make me feel. First and foremost, Kentucky Route Zero is a story. It’s unlike most. The main body of this story is a game, but it’s also a multimedia saga. There’s something quintessential permeating my experience of Kentucky Route Zero that transcends that category.

It is a hauntological melancholy. It conjures a world more like a memory than a reality. Kentucky Route Zero tells the story of people who seem familiar but you’ve never met, with jobs that were never really secure, in situations that could never happen, in a version of Kentucky that has never existed. Magical realism constructs a vision not of reality, but of memory, of a sensate fabric that you swear could have been but never was. Americana is a mythic entity made visible, standing in front of me within Kentucky Route Zero, and it’s on its last breaths.

It’s a hopeful story. That doesn’t mean it’s happy. The world around you is a wasteland. Everyone is dying. Everyone is suffering. Everything is weighed down by debt, pulled deep down into pools of darkness. To live is to work, work, and die. But there are other ways to live. There always have been. Should we move on? I think the answer is clear. But that doesn’t make the pain go away. We have to be willing to feel both grief and hope in the same breath.

All of its blemishes are dismissable. Fleeting problems with UI, incidentally clunky writing, weird mechanical tangents, overwhelming scope, these melt away when I take a moment to remember what Kentucky Route Zero is and feel the frisson travel up and down my skin. I'm trying to not be too longwinded here, but it's hard. I can't get into specifics. So I wax poetic instead. I could write thousands of words on every minute I spent with Kentucky Route Zero and still feel like I was forgetting to say something. It is a multitudinous masterpiece, refracting and reflecting endlessly, timelessly, quietly.

Kentucky Route Zero is one of my favorite things.

I love that this game has zero text or voice narrative. It is all visual and audio experience with wonderful puzzle design.

The infinite nature of the levels never ceased to amaze me. Portal has situations where you can fall infinitely, but I've never experienced anything like this.

I love high-concept puzzle games and this is one that commits completely to its vision and executes perfectly. This feels like a "AAA" game to me.

Extra bonus points for a wonderfully realized and free-upgrade PS5 version.

~ Juegos que Hay que Jugar Antes de Morir ~
Parte 1 — Los 70: Los Orígenes

Juego 11: Lunar Lander (1979)

Simple, pero funcional. Tampoco da para mucho.

A nice expansion on the same basic ideas of Mini Metro, without feeling overly complicated. I especially like the splashes of color to make everything very readable at a glance, instead of the sea of tiny black symbols in its predecessor.

Still, the basic mode of play here— where you make compromise after compromise until the uncaring city grinds you into dust— leaves me with a feeling of dissatisfaction and melancholy after every session.

Ultimately ends up being one of those city-builders that seems like it’s trying to convince me that cities are a mistake.


\ [Apple Arcade ranked \]

Un clásico de una saga tan clásica. El tercer Zelda que juego y sigue teniendo esa sensación tan mágica. Me encantan los elementos que lo rodean. Incorpora muy bien todo lo grande que hace al viaje de un héroe. Además, es acompañado por un gran elemento, la ocarina. La música, cómo todo Zelda, es una delicia. Permite que una mecánica se vuelva tan memorable.

La historia, como en toda la franquicia, toca los mismos elementos, pero juega con ellos de una manera muy especial. El poder viajar en el tiempo y conocer la evolución del lugar permite que el jugador conozca las consecuencias del gran poder que Ganondorf tiene. Ante esto, es indispensable utilizar la ayuda de Sheik, Navi y la espada maestra para regresar el orden a Hyrule.

Siempre me parece hermoso poder ver la dinámica de Zelda y Link en cada juego. Un amor que persistirá por el tiempo en sus distintas iteraciones.

En general, Ocarina of Time me parece una gran forma para entender la gran evolución de los videojuegos, a nivel tecnológico, y como pudo aprovecharlo para contar esta historia que, después de 24 años, sigue cautivando a muchos y que, paga varios, se corona como uno de los más grandes del videojuego. En mi opinión personal, veo ciertas cosas que no han envejecido tan bien y que juegos como Breath of the Wild han mejorado; sin embrago, mi total respeto y admiración siguen ahí para esta obra que, en 1998, deslumbró a todos y que les permitió tocar la Ocarina y viajar en el tiempo.

¡Hasta luego bosque de los Kokiri! Te extrañaré.