ludzu
incomprehensibly fast, sfx and voice acting all come from the single devs mouth, everything looks like it was drawn in paint (god's medium), can spam specials every 3 seconds in the games funnest mode, and has the best win screens ive ever seen.
just remember this all you fighter gamers out there...the only """tiers""" that are real...are the ones you shed after the laughs and fun you share....
just remember this all you fighter gamers out there...the only """tiers""" that are real...are the ones you shed after the laughs and fun you share....
2016
my fav of the three ueda has directed so far. all of them are miracles in their own special ways but this is the one i had the strongest emotional connection with. the one where i didn't just simply contend with characters enacting stories about love and how they love but where i myself contended with love, every time i looked into trico's face during some quiet moment. i dont care abt the framerate or annoying tutorial prompts or the camera or occasionally weird puzzle design or whatever. i love you trico
This review contains spoilers
for all of the more infamous criticisms abt the game the worst thing for me is how it ends and what it shows about how swery thinks of deadly premonition. was expecting them to actually do /something/ with aisha, i really believe she had unexplored potential as a younger parallel to york that i was hoping, if nothing else, that they'd follow through on it. but they had to play it safe and make only york the one who really mattered at all.
i really couldve been a defender of this game in some sense (if we arent counting that most of the characters feel more like quirky tourist curiosities than people with human relationships to each other, i.e. anna's mother, becky and quint, nick and olivia from the first game) if it didnt feel like it was leading me on to not just seem like....fanfic for york. but as it is, i feel either like they ran out of steam bc of budget/time, or swery doesnt understand that dp was more than just banking on its protagonist, or both.
i really couldve been a defender of this game in some sense (if we arent counting that most of the characters feel more like quirky tourist curiosities than people with human relationships to each other, i.e. anna's mother, becky and quint, nick and olivia from the first game) if it didnt feel like it was leading me on to not just seem like....fanfic for york. but as it is, i feel either like they ran out of steam bc of budget/time, or swery doesnt understand that dp was more than just banking on its protagonist, or both.
get off the internet
the class system is horribly flawed and the academy shit makes me want to tear my hair out bc i hate dating sim-like mechanics but edelgard is a revolutionary in the realest sense. most of the other students are far better characters than 2010's fire emblem games deserve too, the way the sociopolitical world enters their lives in these insidiously interconnected ways just makes el's cause more just. and i enjoy that the protagonist expresses herself only through choices, makes her feel both more like a PLAYER-character and a weird endearing robot woman at once somehow.
when taking into account all the flaws and masterstrokes in each game touched by the love-de-lic spirit, their totality making every one of them interesting in their own ways, let it be said that this game is kinda incoherent in how its constituent parts are stitched together. i like chulip more for making the town and its residents the center of the world, and how it feels more grounded of a story. even the ways chulip is a mess are more compelling to me than the ways in which moon is a mess.
that being said, in terms of raw passion of its developers and the heat of the moment in which it was made, moon hasnt been touched. its strange, insular kind of innovation came out of testing the hypothesis that video games must be worth /something/, its developers (a fucking SUPERGROUP of a team) expressing their love for the artform by changing the rules so drastically, to surpass everything holding them back. by changing an RPG into an adventure game, by having the player practice patience with the flow of time to understand others, by having the world's characters all driven by this thematic force that the designers desperately wanted to impart on you as something that must exist both inside AND outside the game, despite what other games in its time would have you believe. its "what if games were nice instead of mean" type message may come off as precious and hokey but i think the history around its development as a console game in 1997, and the genre-ambiguous space it establishes—built on later by other love-de-lic games, chulip, endonesia, nishi-directed games at skip—gives moon this mysterious and captivating aura, as well as a radical sincerity to explore into the core of what games really are and what they could be. the final sequence is incredibly poignant to me with this in mind
basically there is no other game that just...radiates heart as glowingly as moon, you can see it and hear it and read it and feel it. this game is the untold spark of so much, as the root of highly creative game design legacies from the names attached to this project. they can possibly make better games in different settings, but moon only could happen this one time.
that being said, in terms of raw passion of its developers and the heat of the moment in which it was made, moon hasnt been touched. its strange, insular kind of innovation came out of testing the hypothesis that video games must be worth /something/, its developers (a fucking SUPERGROUP of a team) expressing their love for the artform by changing the rules so drastically, to surpass everything holding them back. by changing an RPG into an adventure game, by having the player practice patience with the flow of time to understand others, by having the world's characters all driven by this thematic force that the designers desperately wanted to impart on you as something that must exist both inside AND outside the game, despite what other games in its time would have you believe. its "what if games were nice instead of mean" type message may come off as precious and hokey but i think the history around its development as a console game in 1997, and the genre-ambiguous space it establishes—built on later by other love-de-lic games, chulip, endonesia, nishi-directed games at skip—gives moon this mysterious and captivating aura, as well as a radical sincerity to explore into the core of what games really are and what they could be. the final sequence is incredibly poignant to me with this in mind
basically there is no other game that just...radiates heart as glowingly as moon, you can see it and hear it and read it and feel it. this game is the untold spark of so much, as the root of highly creative game design legacies from the names attached to this project. they can possibly make better games in different settings, but moon only could happen this one time.
2006
that little tune became a lullaby.
and why?
the singer's voice was honey-love.
and why?
the singer's voice was honey-love.
2001
(i like the psp version more)OHHHHHHH GO AHEAD MAKE LOVE TO MEEEEEE
AND THE MASK IT FREES US FREEEEEEE
WITH YOUR RINGLET METRONOMMMMMMMMME
AND I KNOWWWWW WITHOUT THE SLIGHTEST DOUBTTTTTTT
THE CYBORG AND ANDROIDDDDDDDDD
WILL MAKE THE PERFECT MATCHHHHHH
OH BABY, BABY
AND THE MASK IT FREES US FREEEEEEE
WITH YOUR RINGLET METRONOMMMMMMMMME
AND I KNOWWWWW WITHOUT THE SLIGHTEST DOUBTTTTTTT
THE CYBORG AND ANDROIDDDDDDDDD
WILL MAKE THE PERFECT MATCHHHHHH
OH BABY, BABY