Silva Saga is one of the most “fine” RPGs I’ve played in my life. What’s crazy is despite releasing in 1992, this game feels outdated. It’s like the developers only resource for RPGs was games like Mother and especially Dragon Quest II. There isn’t really too much to hate here but the game’s difficulty is so easy that I get bored doing random battles. So much of my playthrough was using speedup and 99% of the time not being punished for being lazy.

My only real gripe was trying to find places using the boat as it feels hard to find late areas. This game also loves to use the day and night system for late areas and it doesn’t really add much to the game. There’s a whole mechanic of adding mercenaries to be part of a separate party following you that have wages for each day and I never once hired one because the game is so easy. There’s even idols that also can help you out as a separate party. You can even combine them and level them up but again I just couldn’t care to use them since the game uses so little strategy.

Another weird thing is how party members work. You have the one you name and one that’s all about attack power and one that does more magic than you. The game will constantly have you replacing the two with look-alikes for the sake of passing roadblocks and it feels so unnecessary. There’s only one time a replacement has a different sprite and she stays in the team for like five minutes. So you really only have three but you’ll just see different names and portraits if you look at the Data section. They also for the most part have barely any character.

You do at least not have to worry about grinding because this game gives you a lot of EXP and money for you to savor when beating the enemies. You might have to grind a small bit for money for armor but it’s so easy to get it that it’ll take you like three minutes. It feels like a polar opposite to the usual tropes of a Famicom RPG. You even move pretty fast and the game even refills chests that I’m still unsure if this is a bug with the fan translation or not since I did have one bug where the main character went invisible twice when getting an item.

The game looks nothing impressive for 1992 as it feels the usual for an RPG on the Famicom. Though I will give it one huge compliment. The big sprites for many enemies and bosses are pretty impressive. So impressive that I’d argue they’d be in the top 10 for enemy sprites for the system. It’s weird to praise this of all things but it is how it is. The music is hit or miss as some songs are pretty decent but a lot of them are forgettable or so repetitive it gets annoying after a while. There’s not even a single good battle theme which is a shame.

I can’t in good faith recommend Silva Saga. Sure it is easy so it wouldn’t take long to beat but you have much better options out there nowadays. It isn’t bad but something like this made in 1992 feels a little disappointing. Like I said, it’s fine. I hope whenever I get to Silva Saga II, I’ll enjoy that one more or even the previous game Minelvaton Saga which I didn’t realize was related to this one until an oomf pointed it out to me. Crazy thing is I was considering playing it this year too. Honestly I’m wondering how long it’ll take till I forget about this game, I’d give it a month.

El doblaje es el mismo que tenía la serie de dibujos animados. Rejugarlo me ha traído taaaantos recuerdos y risas. Tantas situaciones que no recordaba. Voces como la de Constantino Romero en el Súper...

Y me ha hecho recordar porque amo tanto el retro. Como un juego con unos escenarios comic/cartoon tan sencillos, con una interfaz sencillísima de Point and click. Me ha hecho pasar unas horas con mi yo de 9 añitos tan divertidas.

Como siempre he dicho, este juego marcó para mí un antes y un después en los juegos de ordenador.
Descubrí lo que eran las aventuras gráficas con esta historia. Historia que me tuvo todo el verano entretenida. Había más juegos aparte de los de Mates y Disney... Había mucho más aparte de esos juegos de novelas interactivas como Pocahontas. Y Mortadelete me abrió los ojos.

Ibañez es parte de mi infancia, no lo puedo negar. Me siguen gustando sus cómics. Y me gustaría que al menos alguien siguiera la estela de Alcahofa Soft. Bien adaptando cómic a videojuegos o inventándose historias totalmente nuevas como" El escarabajo de Cleopatra"...
Pero es más un sueño de mi niña interior. La niña que os recomienda que si no habéis jugado nunca a un juego de Mortadelo, o desconocíais su existencia, lo hagáis.

Sin duda alguna si mi yo de 9 añitos supiera lo que es un GOTY, habría hecho GOTY 1998 a El Sulfato Atómico

Un Inciso, guardad mucho la partida, porque en Win10 a veces se crashea y tienes que empezar desde el principio.
Reseña completa en http://www.orgullogamers.com/2017/11/el-sulfato-atomico.html y en https://www.devuego.es/blog/2020/09/14/mortadelo-y-filemon-el-sulfato-atomico/

"El escarabajo de Cleopatra" es a "Operación Moscú" lo que "Dos vaqueros chapuceros" fue a "Terror, Espanto y Pavor": otra aventura complementaria que podría jugarse de manera independiente o bien a continuación de la primera, logrando así llegar a un final que podría considerarse como una tercera aventura ("La sexta secta"). Alcachofa Soft sacó la aventura a la luz en 2001 y en esta ocasión traslada a Mortadelo y Filemón al lejano Egipto, donde nuestros agentes deberán desplazarse allí para hacerse con un escarabajo sagrado ubicado en el museo local. La misión entrañará muchas dificultades, entre las que destaca la visita a una gran pirámide llena de laberintos. Tras superar la aventura (y solo si hemos jugado y terminado "Operación Moscú") llegaremos la extensión "La sexta secta" en la que deberemos luchar contra Apoteosis para rescatar con vida a la hermosa Yafar, aniquilando así la secta.

La Sexta Secta es la aventura completa que nos permite viajar primero a Moscú, después al caluroso Egipto y, por último, a los tres capítulos que se añaden si instalamos los juegos juntos.
Si hemos jugado antes "Una aventura de cine" muchos de los escenarios, nos recordarán, ya que se reciclaron para este juego.

if theres one thing to take away from ico, its that it accomplishes a lot with very little.

its clear ico was designed to be as immersive as possible. this manifests as an absence of any non-diagetic elements such as an onscreen hud, button prompts, and music. to counteract the lack of a display, interactable elements are always visually consistent. boxes, levers, chains, and climbable ledges straddle the line between standing out enough to be immediately obvious while also fitting well into the overall aesthetic of the area.

the world of ico feels real in the sense that nothing about the areas looks like it was specifically designed for the player to traverse. everything about the castle looks functional and its only the degradation of it that presents the challenge of moving forward.
interiors are often large and empty, with pulled back camera angles and unsettling ambient noise. in contrast, the outside is sunlit with gentle breezes and signs of life, and its only in these areas will the player find spots to rest and save their game. this serves to align the players motivation with ico and yordas motivations of escaping the castle into the green forest thats constantly teased in the distance. this is taken even further during one of the final areas when the environment suddenly becomes metallic, harsh and unwelcoming, representing the urgency of the current situation.
ico is also a masterclass of environmental storytelling. the ending recontextualizes everything about the environment that the player has seen up until that point, eliciting a profound feeling of melancholy that other games could only ever hope to come close to.

if youve ever played either god of war 2018 or ragnarok, you would know that jumping onto a wall or into a boat causes atreus to immediately be right there behind you. its clear that your companion is teleporting all over the place for the sake of the players convenience. compare this to yorda in ico and the difference is obvious. the player has to wait for yorda to physically move between locations. she wanders off on her own sometimes. it feels like shes a real person bound by the rules of the world in the same way the player is, not only furthering the sense of immersion but also the connection the player feels between the two.
it feels as though the game was created with a distinct goal in mind: immerse the player into the world and make them feel a connection between themselves and yorda. any element or mechanic that didnt directly contribute to this goal was ultimately cut, resulting in one of the most focused and flawless experiences ever seen in gaming.

theres not much more i can say about the genius of this game without spoiling it. if youre a game developer or at all interested in game design it would be irresponsible not to play ico.

As much I love what this game is going for and it's satisfying as a rail shooter, the dialogue is just this:

FUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCK
PENIS PENIS
PUSSY PUSSY
DICK DICK