It is absolutely depressing how much lower Valve gets in my personal view year after year, I spent most of my childhood being a diehard Valve fan and they do nothing but repay their customers with NOTHING.

We're talking milking a game with cosmetic drops made by community members for months, taking a majority profit off of those, and not producing any actual meaningful content updates, they did this somewhat for CS:GO during its many long hiatus periods, and they do this incredibly for TF2, It is genuinely insane that this is okay, these games generate massive amounts of profit, any other dev would be bending over backwards to support it, at the very least hiring a crew just to support it, but they do nothing, but they'll gladly continue screwing community content creators with bad cuts, and pushing people into gambling, causing high tier items to become stupidly rare, going to hundreds and sometimes even thousands of dollars.

Why? Because Valve's management, are the dumbest fucks on the planet, rivalling some of the worst in any other industry, Coyote VS ACME cancellation level, they've got some of the best talent in the industry but they're so mismanaged due to their shitty corporate structure that all they're ever incentivized to do is work on new projects, new projects you'll never see, outside of the blue moon chances, like a VR Half-Life game that barely made it past the finish line and was totally reworked from the bottom up a year before release, and an update to Valve's second biggest cash cow, Counter-Strike: Global Offensive.

Onto that disgrace, we have Counter-Strike 2, the Counter-Strike you knew, but now everything is worse.

To start the game, you have this gross sleek competitive style they're trying to go for, that looks like complete and total dogshit, 2011 called, they want their art designers back, and it's piled on with the shitty menu design that prioritizes you seeing your shitty ugly agent skins and gloves before anything else, great!

You fire up a game, but oh no, what's this? They've removed short and long matches, now you can only play this middle of the road medium length match that appeals to nobody, Yay!
Oh well, at least the gameplay isn't that much different, all they did was add the smokes, and to start off the gameplay just feels like shit now, something changed and everything feels floaty and imprecise, it's gotten a lot better than what it launched at, but the fact that this was a replacement for one of the biggest competitive games in the world, and it launched like this, after months of beta, is nothing short of a colossal embarrassment.
And what's this? The buy menu, it's shit now!
You have to pick a small selection of weapons in this Valorant styled menu list, effectively dooming most off-meta weapons to be never picked again, and thanks for just reinventing the wheel to blur together with your vastly superior competition.
And to top it all off, there's been a gigantic cheater problem, bigger than I've ever seen when I was playing CS:GO, Multiple times when I infrequently play in friends in low rank lobbies, you will run into blatant wallhackers, the ones you can check in replay and see them staring at people through walls, fucking fantastic, and the matchmaking isn't much better either, did I mention that there were multiple bugs of innocent users getting VAC banned for extreme things like using a console command to look like you're spinbotting, or simple things like, using certain AMD software?

And guess what? Several fucking things from the original were just completely dropped in the transition, Arms Race was removed, only to be reintroduced months and months later and advertised as a content update, thanks for bringing back the thing you took away, dipshits!
Danger Zone was removed, though I doubt anyone will miss it.
Wingman lost like most of its map pool.
Riot Shield was removed from Casual hostage playlists, no fun allowed I suppose.
Multiple console commands stopped working, like net_graph, left-handed viewmodels, and the anti view bob commands.
Achievements were removed for no reason.
And to top it all off, now all the maps use the same default operators, incase you were worried that they weren't shoving the awful agent skins down your throat enough.
I'm pretty sure it didn't launch with community server support, so thanks for pissing in the face of what your companies games were built on, douchebags.

But here's the good part of the game, they update3d the graphics.
That's it.
That's all there is to this.
There's the interactive smokes I guess, but they're a pretty minor thing and it's nothing that couldn't have been done on the old engine.
Onto those graphics, it just looks... bad.
Sure, CS:GO's graphics weren't great either, ranging from oversaturated to too dirty and gritty, one looking like a fashion show model and the latter looking like a Call of Duty NPC.
But this? This is fucking awful, Half-Life Alyx is one of the prettiest games I've seen in my entire life, and this just looks like complete and total dogshit, like the models were just sloppily ported from source 1 to 2, and then hiding any imperfections with their new shading.
Sure, the shading is pretty, but it makes the aesthetics of the game wildly inconsistent, realistic guns, colorful shiny pseudo-cartoonish characters, oversaturated world, realistic blood, disgustingly ugly bloom coated fire, etc.
It just makes the whole thing look like a visual mess, and a sloppy attempt at converting the game to a clean visual ala Valorant.
Sorry Valve, as much as I love you, your art team is no match for Riot in terms of aesthetics mixed with readability, they're placing your teeth on the curb and jumping on your head from a second story window, and the viscera left from the aftermath is in the shape of a shiny Phoenix Terrorist Model.

All there is to know about Valve at this point is that you just should not interact with their live service games after like 3-5 years of release, that's around the time they just totally give up and stop giving a fuck and start screwing their customers.
And all there is to know about their upcoming products is that their upcoming game that is basically a total blur at this point, Neon Prime is rumored to be dropping the sci-fi aesthetic because some idiot at Valve got spooked by sci-fi games not doing so hot lately, mainly in context to Starfield, which is a game that sold well and only bombed due to being a shitty Bethesda game.

To all of the people fucking their customers day in day out on the live-service areas of Valve, Fuck you. Except Eric on what's left of the TF2 team, love you man.
To all the Valve devs slaving away at new single-player titles? Bless your heart, as your monetization pisses your customers respect for your company away, thank you for constantly reminding them what Valve was built for, making quality games that don't ask for anything more than the entry ticket price, Half-Life Alyx is one of the best games Valve ever made, and Counter-Strike 2 is going to live in the pits of hell next to Ricochet.

I’ll confess: I’ve never beaten a single Zelda game in my life. Sure, I grew up a Nintendo kid playing almost nothing but Mario and Pokemon, but for some reason I never really felt enticed to give Nintendo’s most critically acclaimed series a serious shot. I’ve tried out the opening hours of Wind Waker (something that I desperately need to finish one of these days) and have played plenty of scattered hours of Ocarina of Time at a friend’s house, and yet it wasn’t enough considering the series has eluded me until now. So, it felt like a solid challenge to cap off 2023, given my recent run with time loop adventure games… and that poyfuh recommended the game to me over a year ago. It took a while to muster up the commitment, but I finally got there! Feel free to take my readings here with a grain of salt given my lack of nostalgia for Zelda, but hopefully I can bring something different to the table by focusing on what impact it had upon a relative newcomer.

For lack of better words, The Legend of Zelda is an adventure game series. Maybe the adventure game series. Quite a few good friends and users I closely follow have commented about how Zelda is really a mish-mosh of different genres, which in essence forms the adventure game. Innuendo Studios has defined this as “games that tell stories using puzzles,” though this is a very loose definition as both narratives and puzzles take many different forms. Essentially, the genre has become a blanket term that has come to incorporate many different types of games. Zelda, as the platonic encapsulation of adventure games, has as a result, come to include many different types of genre-specific gameplay in one cohesive product. To sum this up, here’s a bit that I’ve jokingly brought up with friends: every game is basically Zelda, because Zelda is basically every game.

What I’m trying to say here, is that Majora’s Mask, much like the rest of Zelda, is not so much about any one single game mechanic so much as the coalescence of them all. No one particular element is going to stand out as exceptional because many games before and after have surpassed them, but the whole is certainly greater than the sum of its parts. Much like how a classic adventure game is a fusion of different game mechanics, Majora’s Mask focuses on the intersection of different narratives and activities to evoke “the adventurer’s spirit.” It’s very easy to be critical of specific mechanics and ideas presented within the game in isolation (and I absolutely will be due to my point of reference), but they nevertheless come together to create a game unlike any other.

I suppose the easiest way to explain the premise of Majora’s Mask is to describe it as a cross between a metroidvania (item/ability gating) and a mystroidvania (knowledge gating). The time loop facilitates both of these aspects: as Link repeats the three-day cycle to gather information regarding Termina’s workings, he also gains new key items (both classic Zelda tools like the Hookshot and masks to wear/transform), learns new songs for his ocarina, and gains access to new areas and allies that can further aid his progress. The pressing issue then, is that Majora’s Mask doesn’t fully lean into the strengths of either genre.

Majora’s Mask feels underwhelming when compared to traditional metroidvanias, because key items feel underutilized. Much of this is due to the lock-and-key nature of the puzzles. Classic Zelda games focused on items with multiple facets via both dealing damage in fights and traversal/exploration: one classic example is the hookshot, which can let Link grapple up towards wooden surfaces/chests while also acting as a ranged weapon capable of pulling items and enemies towards him. However, Majora’s Mask focuses on the collection of masks as the vast majority of key items, and most are used for one exact situation (i.e. Don Gero’s mask lets you talk to frogs) and nothing else. Additionally, the masks aren’t very balanced in terms of utility, as some masks are useless once obtained (i.e. the Troupe Leader’s mask) while some are so conventionally strong that you’ll be constantly relying upon them (i.e. the Bunny Hood increases Link’s running speed and agility, so it’s a godsend for general traversal and boss fights).

On the other hand, Majora’s Mask also feels a little lacking as a mystroidvania, because there’s relatively little observation involved when compared to similar titles. The Bomber’s Notebook is your main tool is your main tool to keep track of everyone’s schedules across the three-day time loop, but it’s a bit limited in scope. There’s only twenty inhabitants recorded with schedules, and of those twenty, at least a fourth of them can be stamped as resolved by simply speaking to them once at the right time with the right item/mask. In fact, there’s only two side-questlines that force Link to commit to strict and specific time limits across the three-day cycle (Kafei and the main Romani Ranch quest). As a result, completing the Bomber’s Notebook is surprisingly straightforward, and usually doesn’t require more than one iteration of the time loop to follow and solve each case, given that Link has the appropriate items on hand when necessary.

That's not to say that the time loop is a net negative in the scope of Majora’s Mask, but rather that in comparison to other time loop games since then, it doesn’t capitalize as much in its execution. For example, there is very little usage of the time loop in regards to its four main dungeons. As Scamsley has pointed out, the presence of a time loop should lend naturally to speedrunning (via both knowledge gating to clear the dungeon faster with skips and ability-gating to use obtained items for shortcuts), but this is more or less made redundant by beating the dungeon’s boss, as the game is content giving you a direct teleport to refight dungeon bosses in subsequent resets instead. Additionally, almost all of the time-sensitive content is located within Clock Town; while it’s quite satisfying figuring out how schedules play out in the main hub, it feels like a squandered opportunity to not include enough specifically timed events elsewhere to fully utilize the three-day cycle. The presence of owl statues throughout the map sort of speaks to this; rather than have the player spend time traversing on foot and potentially stumble upon other time sensitive events, the developers would prefer for players to jump to whatever destinations they had in mind as to avoid wasting time in areas where these time-sensitive quests didn’t exist.

On top of all of this is a general clunkiness that exists between many of the game’s various systems. There’s just enough quality-of-life to where the game feels thoughtful for its time, but also plenty of wasted time here and there that made me wonder if the developers could have gone a little further. The sheer number of key items in the menu is a huge culprit; with only three key item slots accessible at any time (and the ocarina/three transformation masks constantly taking up slots), the player is constantly roaming through the four menu screens to select the appropriate item for each situation, and it’s made worse because most items are used once and then immediately replaced as a stream of inventory puzzles. There’s also a ton of downtime from having to watch the same cutscenes over and over even if you’ve seen them in previous loops, and from being subjected to the same non-skippable Song of Soaring animation every time you teleport to an owl statue. At the very least, you can skip the mask transformations once viewed for the first time. Parsing through the three-day cycle can also be a bit annoying; the Song of Double Time does at least let you skip a full twelve hours ahead to the start of each day/night cycle, but oftentimes the timed events in question begin at midnight or midday, meaning that you’ll have to wait around for a few in-game hours since the Song of Double Time plants you at 6 AM/PM. Finally, I think it’s an interesting idea resetting the player’s rupee and general ammo count (i.e. bombs, arrows, Deku Nuts, etc) with each new loop while allowing the player to farm pre-existing Rupee chests that have been opened in previous cycles. However, while there is a bank that allows the player to store Rupees between loops, there’s no item storage facility to stockpile ammo between loops, meaning that the player will likely spend a few minutes at the start of each loop whacking bushes and enemies for basic resources (or at least eat into the player’s account to buy supplies at shops, if they don’t spend time farming chests for the Rupees instead).

Honestly, this is just the tip of the iceberg when trying to judge Majora’s Mask against today’s standards of what we consider a “good” adventure game. I do have other scattered complaints, such as boss fights being generally underwhelming (I might have legitimately spent more time fighting dungeon mini-bosses than the four main masked bosses themselves), certain tedious side-games like the RNG-heavy Dampé grave digging or the Goron race with rubber-banding AI, a few overused mini-bosses such as having to fight Wizzrobe six different times, and how outside of the Stone Temple, mask abilities are never satisfyingly blended together in puzzles/quests. The cherry on top of all this is the presence of the Stone Mask, which I’d say is a bit too good since it lets you completely ignore most dungeon enemies. That in itself made me question the quality of that one forced stealth section in Great Bay; if the optimal solution is to wear a mask which lets you outright ignore the entire system, then should it even exist? Even from the perspective of someone who’s never cleared a Zelda game before, I find myself nodding in agreement when others claim that Majora’s Mask shows its age a bit more than Ocarina of Time.

But that’s not really why we play Zelda games, right? Despite the clunkiness of some mechanics and the many areas of potential improvement, many of us are willing to sit through and accept these flaws because the general experience is the selling point. The obvious argument to be made is that while plenty of MM’s mechanics feel undercooked, the actual mechanism of gameplay is constantly shifting about to suit the specific context. In a sense, Majora’s Mask can be viewed as an antecedent to the modern possession game: the basic control scheme remains the same regardless of the mask worn, but the functionality of the basic control scheme differs. This allows the game to stick to a grounded and consistent formula even though Link’s toolkit is constantly evolving on the fly, and while there are occasional moments of jank from certain side-games, most are over in a flash and still contribute positively towards the final goal of gaining enough knowledge and utility to prevent the impending crisis.

Essentially, many of the previously mentioned shortcomings end up inverting in on themselves. While Majora’s Mask has plenty of rough edges due to its rushed development and heavy re-use of assets, it’s these rough edges that lend so much towards its personality. I love how absolutely absurd and deranged the writing becomes, and the adventure game structure lets Majora’s Mask take complete advantage of the situation. One minute you’re tracking down a circus performer so he can spill his life story about joining an animal troupe since humans are also animals, then the next minute you’re fending off these zombie lantern alien ghosts with searchlight eyes so they don’t kidnap your new friend and her cows before the sun rises. The seeming lack of focus with the constant barrage of minigames and side-quests keeps the player constantly guessing what the next twist of events will bring, and the game is more than happy to ask rather than answer questions.

The backing time loop connecting all of these events together is really what drives the message home. Even though it’s absolutely tedious having to watch the same cutscenes over and over again, nothing illustrates the plight of Termina more starkly than forcing players to endlessly relive the day’s events and realizing that they are the only chance this world stands at reaching a new timeline. The ending credits bring such a gratifying emotional rush because the game deliberately withholds any semblance of permanent catharsis until you finally break through. You can’t help everyone in a single time loop, and they will never be free of their troubles until the moon stops falling. Until then, they’ll be hopelessly repeating the same tasks three days at a time, waiting for the dawn of a new day that will never come.

At the end of the day, I could keep finding things to nitpick about Majora’s Mask, but I also can’t imagine the game without these shortcomings since they form an integral part of the game’s identity. The masks might be glorified gimmicks, but they’re fantastic symbolism that are forever carried with you upon your journey even as time is constantly erased, and ultimately strengthen the adventure game aspect by assigning you new tasks to peruse. The time loop might not be fully utilized outside of Clock Town and contain extended gaps of waiting to get to important events, but it’s the forced repetition of the three-day cycle’s events that enforces the gravity of the situation upon the player. Individual characters aside from Skull Kid might not have the fleshed-out backgrounds that I had hoped for, but it’s a non-issue when Majora’s Mask is ultimately the story of Termina itself, formed from the intersecting schedules of all the different characters and elements at play. Separately, I think all of these elements are easily picked apart, but meshed together, they contribute to this pervasive nightmare of abject misery where even in the face of imminent death, fleeting moments of joy and comfort are enough to humanize the fantastical elements of Termina and keep the player moving forward towards a better future.

The story of and surrounding Majora’s Mask fascinates me, especially when learning that director Eiji Aonuma has since expressed regrets regarding its development. I and many others, however, see nothing to be ashamed of with their final product. If anything, Majora’s Mask is classic Nintendo at its core: instead of making a product that was visibly better than its competition, the developers took a chance and sought out to make something that was visibly different. The Wii is often cited as the most prevalent example of this “blue ocean strategy," though I firmly believe that Majora’s Mask was Nintendo’s first notable crack at it. Having to follow-up a game considered by many as the greatest of all time with an even shorter development period was a daunting ask, but as far I’m concerned, they absolutely succeeded. It doesn’t matter that other time loop adventure games have since outclassed their grandfather; there’s simply nothing like Majora’s Mask, and I doubt there ever will be.

Ys IV Part II : The Dawn of Peak Fiction

In the 80’s there were few developers who actually knew what they were doing more than Hudson Soft, these guys are probably single handedly responsible for Nintendo opening itself to third party developers to make the NES/Famicom the legendary console we know today. Hudson Soft first and foremost were people who didn’t just like video games as a way to make money on a newly expanding market, these guys were very passionate about new technology and the wonders of gaming as a whole.

But eventually, when you enjoy making games so much, you start to become ambitious and soon Hudson Soft will partner with NEC the prime micro-computer manufacturer (and creator of the famous “porn game machine” known as the PC-98) under a share common interest of building the game console of the future : The PC-Engine otherwise known as the Turbografx 16 outside of Japan. The PCE was a really impressive machine for the time and even today, I’m still kind of blown away by the technical capabilities of the console which only has an 8 bit processor but packs a lot of punch otherwise especially with the CD Add-on that they’ve adopted earlier than many other companies at the time.

However, they were releasing a new console on an highly competitive market, Sega and Nintendo were fiercely competing for domination and other companies who dared venture on hardware territory knew that it was complicated to stand out amongst the crowd and that’s when Hudson had a brilliant idea, they will partner with Falcom to port their classic Ys title to their console. Ys 1 and Ys 2 were already considered classic of NEC micro-computers system and they have already existed many ports of the game to pretty much all available platforms at the time including the NES and the Master System but Hudson’s version on their PC-Engine was going to be different, it wasn’t just going to be a port, it was going to be a full-on REMAKE !

Ys Book 1&2 took the first two games in the series and combined them together into a single one like it was originally planned for the first time and the game will receive the most premium treatment imaginable ! A graphical overhaul which put new life into the game, touched up gameplay that made the experience smoother to play, smoother leveling curves which mitigated the grinding, new tracks to accompany certain important moment with new remixes on the absurdly insane sounding PCE soundchip which was able to make freaking miracle happened, it had animated cutscenes and full fucking voice-acting for a game released in 1989 and they did it both in Japanese and in English as this was the first game in the series to be shipped internationally (not counting the weird European port of Ys 1 on the Master System) !

Everyone’s mind was freaking blown away by how much love and care was put into this new iteration, gamers who were alive to see it happen before their very eyes as children couldn’t believe their eyes ! It was a true epic adventure with all the proper care put into its presentation to heightened that sense of wonder. It’s clear that probably the reason why Ys even got so popular in the first place and managed to stay relevant was because of this port right there, the game was well received pretty much everywhere and magazines sang the tales of how Hudson made Ys 1 & 2 a legendary game going beyond its simple ambition !

And all of this before Zelda or any other company was able to release their next-gen titles !
The PC-Engine version of Ys 1&2 was a massive success and single-handedly was enough of a reason for people to even buy a PC-Engine in the first place. It was clear that Hudson Soft didn’t just enjoy Ys, they didn’t just like Ys heck they didn’t even love Ys ! THEY WERE TRULY PASSIONATE ABOUT YS ! So much so that Hudson was allowed to port Ys III for the PC-Engine too with the same level of care and polish as what they did for Ys 1&2 even tho no amount of polish managed to make the game any good in the end and they botched the localization of it but oh well…

So when Falcom couldn’t make Ys IV themselves, Hudson seemed like the obvious choice to direct and create a new entry in their series ! But making a game from scratch with only a design document full of concept arts, a few guidelines and no lines of code or any prototype was a vastly different task than just taking an already existing game and polishing it to completion but unlike Tonkin House who was this small no-name company playing with their turds trying to make a barely playable game to satisfy the guideline, Hudson had something that they didn’t, they had experiences with making successful cult classic games but most importantly they had PASSION

https://www.youtube.com/watch?v=sCmsS8eD_XY

From the moment you boot up the game you understand that the level of production value here is through the fucking roof ! You ain’t playing some dinky ass, poopy ass, budget ass, Tonkin Ass, Cold Steel Era Falcom ass “product” ! YOU ARE PLAYING A REAL VIDEOGAME ! MADE BY REAL DEVELOPERS ! WITH REAL TALENT ! REAL PASSION AND A REAL BUDGET TO GIVE THEM THE MEAN TO PRODUCE A MASTERPIECE AND YOU BET YOUR ASS THEY WERE GONNA TAKE THE CHANCE ! THERE IS NO BRAKE ON THIS TRAIN ! DAWN OF YS IS A GAME THAT’S GOING TO SHOW MODERN FALCOM PLAYERS HOW WE USED TO DO IT BACK IN THE 9 TO THE TIES ! A PRODUCT MOLD IN THE VOLCANO OF LOVE AND FORGED BY THE FINEST SOUL-MAKER IN THE INDUSTRY !

What made Ys 1&2 so legendary already was the visual presentation of it all, it made the original script of those games popped even more than they originally did in spite of the limited presentation and the added animated character portrait, voice acting and even cutscenes really added a lot of flair to the original two games. But Ys 1&2 Hudson was merely adding on top of the original game. With Dawn of Ys, they had full control over the game's presentation and how it would fit inside of the game ! And I’m happy to report they did a phenomenal job on just the visual presentation and scene direction level !

The first few minutes of Dawn of Ys already introduce the game in a much better way than Tonkin's version did. After coming back from one of their travels, Adol and Dogi stop by Esteria. It's been 2 years since the event of their adventure there and everyone is waiting for them ! A lot of things have changed already, Goban has opened a shop, Lilia now lives among the people of Esteria and is constantly waiting for Adol’s return and her health got better too ! Sarah is alive and managed to survive the assault of Dark Fact and his army after mysteriously disappearing in Ys 1 ! As you walk toward the city, the title of the game fades on top of the screen, everyone is celebrating Adol’s return ! This section feels like a genuine victory lap and a great way to welcome us back to the world of Ys after so long and I love every single minute of it and it’s all done really well !
One thing that’s clear from the game’s visual presentation is that the game will put more of an emphasis on its narration and especially how it’s going to be told through its visuals, you have much more scripted events the likes of other RPGs at the time where you lose control of Adol’s character for a moment to witness dialogues and scenes ! The general artstyle of the game oozes of that timeless 90’s anime charm, the character design is pretty damn excellent and on par with the striking designs of the original game, many characters from the first two games even got a face lift for the occasion, each of the game’s portrait and cutscenes are superbly animated and full of details ! That recreation of Ys II final battle is only a technical flex before the game bombards you with an avalanche of colors which pops out of your screen and invites you to live the adventure of a lifetime !

While the in-game graphics might be less impressive than the anime style portrait, cg’s and animation I just love how colorful the game looks which complimented by the extremely varied environments the game make you go through from lush forest to snowy mountains to a creepy abandoned mansion and even more, the visuals manage sometimes to pull off some really cool things with the environment and it definitely make the journey feel more alive than ever !

One particularly impressive thing about Dawn of Ys is that while text boxes are still the norm for dialogues with regular NPC’s most of the big story scene are entirely dubbed with animated character portraits popping on the screen and sometimes even CG’s much like in visual novel to highlight some of the more important moments, the original Japanese performance is honestly pretty stellar and I’m still shocked at how cleanly the voice acting sound on such an old hardware.

However this raised an issue when it came to the availability of the game for the longest time as much like Mask of the Sun, Dawn of Ys remained a Japanese exclusive and in the case of Dawn while an english fan translation already existed for a while most of the important dialogue remained untranslated simply because they couldn’t display subtitles during the game numerous voiced only segments. Thankfully nowadays this is no longer an issue thanks to a group of talented but amateurish voice actors who banded together with the goal to bring a fandub of the entire game !

While it’s not quite as professionally well made as the official dub of Ys 1&2 with the only professional voice actor here being Alan Oppenheimer, third cousin of THE Oppenheimer and voice of Skeletor in the He-Man series giving his voice to Darm in the intro of the game. That doesn’t mean that the rest of the crew delivered a hack job and I think that on average, they did manage to at least capture the feel of that era of voice-acting. I think it was probably something the dubbing team wanted to transmit with their performance, something that sound like it was recorded by a bunch of voice actors going off way too much in a at times goofy, at times overly serious and badass tone and I just think it works really well and definitely feel like the game actually did came out in the west. The only issue with the English Dub however is that the general audio mixing is rather poor, you can feel each member of the team had different mike quality and the voice acting can sometimes be a bit muffled by the music or sound effect playing in the background and with no option to arrange the audio mixing yourself in the settings you’ll have to sometimes open your ear wide to understand what the hell are they saying. Be sure to check their website at : https://www.ysutopia.net/downloads/ys4/Ys%20IV%20Dub%20Readme/readme.html
But back to the story, as Adol is celebrating with his friends, Sara the local fortune teller tells him about the distant land of Celceta. While she was escaping the forces of Dark Fact she discovered a connection between the black pearl and some ruins recently found on the mainland and she asked Adol to investigate it ! Without losing a single minute, Adol answered the call to adventure and in the dark of night set out to Celceta the mysteries of this ancient land ! But in the shadows, a sinister group of individual are trying to perform a dark ritual shown in a metal as fuck way too fucking gory for this franchise animated cutscenes before the game starts off with this absolute BANGER !

https://www.youtube.com/watch?v=tK9JTh0gAXs

GODDAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAMN MY DUDE THESE SAXOPHONES ARE MAKING MY ASS WETTER THAN A FOUNTAIN ON A SUNDAY AFTERNOON JESUS CHRIST !

One of the strongest aspect of the Ys series ever since its infancy has always been its amazing soundtrack, baring some exceptions, you know that an Ys game is going to own several asses just going by the soundtrack alone and I must report that the soundtrack for Dawn of Ys is once again completely out of this world ! For the first time in the history of the franchise, it’s the Falcom Sound JDK team handling the soundtrack. The Falcom JDK team is Falcom's very own personal rock-band. Composed of many prominent members joining in and out as the company evolve with time, the JDK team was originally founded to make CD quality audio version of Falcom’s soundtrack to sell them as promotional material but eventually, the JDK team took a more prominent role in development and as the advent of technology and sound quality went on, the JDK team now started actually composing for Ys as well as other Falcom titles.

Ys IV soundtrack was composed before the game ever began development and most of the music were made on CD’s that were later released as the “Ys IV Perfect Collection” but while the original album is freaking phenomenal on its own, that doesn’t take away the excellent instrumentalisation that went into translating the original composition into something that could be played by the PCE absolutely insane sound chip ! It’s simple, the soundtrack for Dawn of Ys might be my favorite soundtrack in the entire series ! While Yuzo Koshiro’s soundtrack for the original 2 Ys games was already an absolute joy for the ear, his departure didn’t mean that the JDK team couldn’t up the ante and provide a soundtrack which tells a million words with only a few notes !

The synths, the guitars, the FREAKING SAXOPHONE in the intro of the game, everything about this OST oozes from pure 90’s funk and pop with a lot variety in the composition, of course you get your adventure tracks that make you pump to rush into battle like this https://www.youtube.com/watch?v=aWYZDs0ARqg but you also get more ambient music that makes you feel like you’re adventuring in a scary yet sacred place and you don’t belong there with ominous sound reverberating through the room https://www.youtube.com/watch?v=-QRx_ZBoSrE then you fight a boss and the music goes : https://youtu.be/4HNEPXbNEK4?si=oaBREVaNcJIG7zqj !


There is so much variety and energy to the soundtrack that to me it easily rivals some of the greats like Final Fantasy, Megaman, Castlevania or even Donkey Kong Country with which Dawn of Ys shares its sense of harmony and insane instrumentalisation which seems impossible to do on such ancient hardware but yet it does !

And I even like a lot of the creative choice they make when remaking old tracks, Fountain of Love, Tears of Sylph and the Syonin for example is composed with an instrumentalisation closer to that of the PC-98 instead of how it was in the PCE version of Ys 1 to clearly separate the homely, familiar and old-school feeling of Adol’s quasi home-town which contrasts with the rest of the adventures which uses more elaborate instrumentalisation as Adol dives into the unknown, the same way Adol evolves and his adventure get more grandiose and epic, the soundtrack get crazier and more complex in return !

Heck at some point in the game, you return to Darm Tower which is about to crumble and fall, they could’ve done some weird melancholic version of the tune but nah, your return to Darm Tower is accompanied by some funky, jazzy upbeat version of the original tune, what once used to be the base of operation of a great evil and Adol’s greatest challenge yet is now a freaking dance party !!! You’re dancing to the beat of your old enemies main theme and desecrate their corpses because that’s how strong and confident Adol became through his adventure and to him the Darm Tower isn’t a place of challenge to him but a leisurely walk to the DANCEFLOOR BABY : https://youtu.be/hMnq4RSmZtI?si=mxLh4IP0a_1t2QcR

Theme of Adol 1993, Field, A Great Ordeal, Temple of The Sun, Karna, A Kiss from Eldeel, so many great tracks henched into my brain thanks to Ryo Yonemitsu exquisite arrangements of the JDK’s masterclass of a soundtrack for the PC-Engine ! I’m not a music theorist so I can’t really explain with technical terms how and why these tracks work for me but the vibes are genuinely immaculate !

The Ys franchise is first and foremost about adventure, about this intoxicating feeling of wanting to give everything up, grab our bags and journey to places unknown ! Pushing with relentless motion through the different places Adol visits on his journey and a soundtrack this energetic and varied only emphasize that feeling even more !

But fear not my friend because Dawn of Ys isn’t just a really cool aesthetic served on silver platter of banger tracks, it’s also first and foremost an EXCELLENT videogame ! Once again, we’re back to Bump Combat and I know that after everything I’ve just said that might’ve gotten you a little bit too excited you’ll probably say something of the likes of : “Oh really ? We’re doing this ancient ass, clunky ass, stupid ass bump system again ?” and ladies and gentle straw men who live in my head, I’ve heard your plight !

After all, Bump Combat is such an acquired taste that I had to spend two whole reviews talking about the strengths of a well executed version of such a system as well as its merits when it comes to the flow and the momentum of the game and the cracks that shows when this balance isn’t respected by badly coded hitboxes, stilted movement, terrible boss design and so forth. But Ok I know this can be a turn-off to some people but once again put your bias aside because Dawn of Ys took Bump Combat and made it EXCELLENT ! It’s easily the best game featuring bump combat in the entire series (it’s also the last one if we don’t count all of the countless ports of Ys 1&2 for modern platforms).
Dawn of Ys, much like Mask of The Sun, decides to take the same basic moveset as Ys II, with the same sets of magic to unlock too. One might think of this decision as lazy since the game doesn’t really offer much novelty from a strict gameplay sense but while your toolkit may be the same, the way Hudson uses that toolkit is much more different and the game is full of surprises at every turn. The only real difference now is that you now possess the power of DIAGONAL movement which is an actual god sent for fighting enemies or just traversing the map and offers a greater degree of freedom when it comes to positioning and even puzzles !

Unlike Tonkin House who understood so little of the appeal of the bump combat system they implemented elements of game design which came in contradiction to it, Hudson decided to play with that element of constant motion with sometimes really clever movement based puzzle making almost each dungeon in the game pop with creativity and flair they couldn’t really achieve back then. Like I said in my first review, the secret of the early Ys games was their simplicity and ease of access but also its constant sense of motion which made you rush into battle to the tunes of power metal ! But while simplicity is indeed charming, ambition is definitely more enthralling !

While Ys II chose the route of streamlining the game to be more accessible and focus more greatly on its narration by designing their game in a more linear fashion, Hudson decided to take the freedom of Ys 1 and the varied setpieces of Ys 2 to create the perfect synthesis of the Ys formula imaginable. Dawn of Ys is a game which never stops going and always comes up with new and exciting ideas for your adventure !

When you arrive on the mainland to start your adventure, boom you’re confronted by the Romun Empire and sent to prison where they take your cool ass equipment from your adventures in Ys II and you’re mad as shit about this but you break-out with the help of cool characters such as Durgen and Karna and you realize that sometimes the game will make you fight with ally who also deals with enemies the same as you ! One time you’re on a raft and have to survive an onslaught of enemies, one time you’re in a volcano ! One time you’re turned into a monster and have to find a way to turn back to normal ! One time you’re in Esher Space and the gravity is flipped upside down and so much more !

What about the bosses tho ? Well Hudson also pushed themselves on that front, Dawn of Ys possesses more than 15 bosses compared to Mask of The Sun mere 9 and it’s one more boss than both Ys 1&2 combined (proving once again that Dawn of Ys is the true Ys II if the first two games are combined into one complete experience). With bump combat and magic available much like in Ys II we can imagine that there would be an imbalance between the two mechanics but nope, each boss of Dawn of Ys is extremely well designed and fun to fight !

All of the bosses strike a good balance between having to use bump combat and magic to defeat them and when it comes to pattern and all, I have absolutely nothing to complain about here, some of the later bosses are true marvel of boss design which fully plays into the strength of the somewhat simple yet effective battle system of the series so far ! A friend of mine once told me that the Twin Head boss in Ys 1 was the best they could do with Bump Combat and he was immediately proven wrong upon playing Dawn of Ys for the first time and realizing that even the first boss of that games tops any boss from either Ys 1 or Ys 2. Dawn of Ys is a game of constant wonder that always finds a way to surprise you at every turn with its setpieces, and each one of them go by so fast that you don’t get to see the time pass ! This game's sense of flow and pacing is so immaculate that not a single moment of it is boring and you feel like you’re living a really epic adventure with twists and turns and revelations at every corner ! The game may be short, it can be completed in a little over 10 h but these 10h are so intense and filled with stuff that you feel like the adventure is 10 times more epic and grand than what you can imagine !

And this proves that a game can make us feel and experience many things with more intensity no matter the actual game time, something that Falcom seems to have forgotten with time ! It’s not about how long and how stuffed with content a game is, it’s not about how much you can pad out a game to give the illusion of something richer, deeper and more interesting. It’s about making the most of what the content you have to truly impact the minds of the player who experiences your art ! And if length and only length was a determining factor some medium like films wouldn’t be so successful and Hudson understood it perfectly.

The story of Dawn of Ys is also one that I wanted to give a lot of credit towards. While Mask of The Sun followed the guideline of the design document to a T without attempting anything fancy (and with how awkwardly the story was told here, they didn’t attempt to even follow it right imo), Hudson took the idea of a direct sequel to Ys 1&2 further and did a lot of really cool things with the continuity and the established lore at the time ! The game is called “The Dawn of Ys” because more than just a new adventure in a brand new land, Adol was about to discover the secret of what he went through in the first two games ! It seems that Celceta holds the answers to all the events that lead to the corruption of the Black Pearl and the fall of Ys before Adol’s arrival in the first game and as you explore Celceta, you find yourself uncovering these answers and I absolutely love the connections they made here !

From the relationship the twin goddesses had with the inhabitant of Celceta, to the origins of Darm and the Black Pearl, to how certain things in Esteria and Ys relate to things in Celceta and how everything played into one another. One of my absolute favorite moment of the game is when during one of the game many info-dump flashbacks, you not only learn the real name of Dark Fact but also it’s revealed to you that one of the items you’ve been using in Ys 1 is actually a super important item in the global lore of the series ! Meaning that you now have to depart for Esteria and revisit the map of Ys 1 now free of all the demons ! Can you imagine the absolute flex that it is ? They didn’t have to do this and yet they did ! And it’s so good seeing all the characters from the first two games but also the different places and what they became after Adol’s departure, Ys 1 which used to be so simple, is now relegated to a small chapter inside of a much more ambitious whole ! Sure, it’s not on the level of say, the second half of DQ3 or the Kanto reveal in Pokemon Gold and Silver to name a similar exemple but man I’m a sucker for that type of stuff !

Everything about Dawn of Ys to its presentation, to its music, to its story, to level design, to the way the game builds on the basis of Ys 1&2 and plays with its continuity make the game feel like a non-stop constantly moving grand epic to which we never see the time passes ! They took everything that made Ys 1&2 so iconic and perfected it, Hudson didn’t just want to create yet another title in the prestigious Ys saga, they wanted to create the Ultimate Ys game !

The game is a love letter to the series and what Masaya Hashimoto and Tomoyoshi Miyazaki, now too busy to work on their own project accomplished years ago and in many ways they managed to surpass them (well at least as far as making a Ys game goes !) and I believe that no one understood the appeal of Ys more than the team at Hudson Soft.

However, Falcom had other plans for the franchises and didn’t want to let go of Adol and the series and with Hudson hopping a bit too much above the initial guidelines to make a conclusion to the series instead of yet another episode, they decided that the game would now be considered not canon and Mask of The Sun will therefore be the version of reference for every subsequent Ys title. On one hand, I get it, this isn’t Hudson’s series, it was Falcom’s and if they wanted to continue with this series they just couldn’t let something like the ending of Dawn of Ys happen and give the series the proper closure it deserves.

Personally speaking, while what Hudson Soft did can be compared to mere fanfiction, it’s really good fanfiction and aside from coming into conflicts with the modern lore of the series and offering an epilogue that could have easily been acknowledged by Falcom without actually hurting the continuity, I think that what Hudson did here is phenomenal, the ending of Dawn of Ys is perhaps my favorite ending in the series despite and never fail to make me emotional. So many of Hudson’s ideas for the lore and continuity of the series at least in my opinion could’ve been reworked into the main timeline as I do think that some ideas here are actually better than what Falcom will eventually do with them !

Much to my dismay, that means that for how excellent Dawn of Ys is, its legacy is now forgotten, even Falcom seems to be really keen on ignoring the game’s existence or any influence Hudson might’ve had on the franchise (in fact : in the modern port of the older titles, you can play every OST’s of each version of Ys 1,2 and 3 but not the PC-Engine version but I bet it’s due to copyright issues rather than pettiness) and I think this is a great injustice.

I really do implore you, if you enjoy Ys especially Ys 1&2, I urge yourself to try out Dawn of Ys even more so if you were disappointed by Falcom’s own take on the game they did 20 years later with “Memories of Celceta” (but that will be a story for another time !). It’s really a masterpiece and easily amongst the best the series has to offer, a true labor of love and passion made by people who probably loved and understood Ys more than its original creators.

The next game in the series will be handled by Falcom themselves and who knows, maybe they won’t fuck it up… right ?

See you next time, as we take a look at “Ys V” the game, the game which almost killed the Ys franchise !

I was the one who added it to the database.
The best mod I've ever played, amazing how it improves the already very solid combat of the best ARPG I've ever played (Kingdom Hearts II), although it can get even better.

I love the combat, it's Kingdom Hearts II with x2 speed with a lot of Devil May Cry inspiration, allowing a higher combo bar.

What I liked most about the original was how magic was used compared to others in the franchise, in this mod it's much improved, giving the ability to alternate magic between using it on the ground, in the air and as a finisher.

The Drive Forms are very fun although it lacks a greater amount, there are only 3 in the Alpha, which I understand for being an Alpha that allows you to play the game from start to finish that even plan to add much more extra content.

This mod is not saved from negative things, but being an Alpha can be solved in the future, for example it is very easy even if you play it in Critical Mode, if you play in level 1 you will not have an experience as good as KH2 OG, because here the amount of enemies increases a lot, it is a mod more planned to be played with level up.

The only bosses that are difficult are Larxene and Zexion, Zexion is really horrible in this mod, he has a lot of HP and you can't avoid being trapped by the book like in the original, even if you continue a combo he will escape.

Also the lack of Limit Summons, you only have 3 forms available in the Alpha and a Limit which is a healing with Vergil's spinning swords, I hope they increase it in the future.

And finally you are not a lion, you go very slow in that world and boss fights are cut because of it (they have 1HP), I hope they change or directly remove it from the game.

I had a lot of fun with this mod, I totally recommend it, especially if you want to explore KH2 again.

somehow they did the impossible and made me tear up a bit with adol

being the latest in the chronology, it makes sense the game felt like an absolute payoff to the series up to date. not only when it comes to making your overall investment in previous games worth it narrative-wise (something i never thought i'd say about Ys), but also as an emotional climax for our adventure, specially for all the games with a deeper character-focus story as it has been with all the party-system games from Seven onwards.

it's not the perfect Ys however, there's a lot of stuff that bothered me when it comes to combat complexity, the repetitive nature of the scenario and the enemies/bosses, and as usual with those games even if i really like them a lot, i rarely ever LOVE them.

for me, this was an absolute improvement coming from Lacrimosa of Dana. i understand why most people will prefer VIII, but the changes for me weren't a detriment, i think they actually makes the experience more enjoyable - a deeper focus on what they expect from you as player, and less filler territory to explore. for once, i'm glad an Ys game was less about the land you explored, and more about the place you live in.

For the longest time, I thought that the prevalent issue weighing down roguelites/likes was excessive RNG. Later on, I slightly adjusted my stance: RNG was okay, but a lack of player control to combat any unexpected changes as a result of RNG was not. In one fell swoop, Mosa Lina has neatly proven both of those issues to be mere symptoms of the root cause: modern roguelites/likes overemphasize the macro over the micro.

This problem I think, stems from the genre's overreliance upon meta-progression and run investment. While these would at first appear to be opposite ends of the spectrum (after all, meta-progression often relies upon you throwing away successive runs to gain some kind of advantage/pass certain checks), they both point to the same core issue of ultimately not respecting the player's time. In the former case, the moment-to-moment gameplay often isn't interesting enough to sustain a run. In the latter, the player either succeeds with the "god-run" and has to chase the high through more grinding all over again, or throws it all away due to mistakes/RNG and feels like absolute shit, lamenting what could have been with their hours spent, just inches away from the finish line.

Mosa Lina doesn't fall victim to this, because it was never about winning in the first place. There's no end to the game: the core concept infinitely loops and you'll never hit the credits roll unless you decide to manually mash through them in the pause menu. There's a scoring system in place, but the descriptions themselves often mock how points are handed out arbitrarily. On top of this, there's no meta-progression whatsoever because practically everything is unlocked and randomized from the start: you've got three randomized toys to play with out of a pool of nine randomly selected for the particular loop out of 21 possible toys, and if nothing works (which the game outright warns you will happen), just reroll until something sticks.

As a result, the game solves two problems at once: the aforementioned issue of filling up a player's time with weak moment-to-moment gameplay, and the classic issue of "lock-and-key" solutions creating linear puzzles that lack replayability. Although the game characterizes itself as "a hostile interpretation of the immersive sim," I find it to be more indifferent if anything. It doesn't guide you towards solutions, it never provides any incentives for finding solutions, and it never even bothers to explain its underlying mechanics aside from listing the control scheme and being forthright with its unpredictability. Yet by doing so, it sets itself up as the perfect player-driven sandbox. The difficulty and learning curve is entirely up to you; sure the types of tools are randomized, but half of the battle is figuring out what to do with the tool combinations given and exploiting the game's floaty gravity and set pieces with your heavy character and tight jump. If you can't succeed, a refresh is just seconds away!

I don't think I've yelled so much at a video game since my high school days of grinding Dota 2 (a very dark period in my life, I'm aware). However, these were not yells of frustration or exasperation in the slightest. No, this was me shouting in excitement every time something batshit crazy happened on screen (read: pretty damn often). Sometimes the game really does ask for the seemingly impossible with huge gaps to cross/jump and absolutely garbage or ill-fitting tools that I can't even say feel balanced at times; I swear the fish have been useless in 80% of their appearances. That's what makes it so damn enthralling though: savoring the thrill of discovery when I learned how to bomb-jump in mid-air by properly timing my placements, or somehow finagling a solution by pushing and juggling around some crazy contraptions made of dead frogs, some wire, and a ladder. The possibilities felt endless, and while I do have some critique for the initially unintuitive aiming (you shoot upwards/downwards at a 75 degree angle from the horizontal and can't fine-tune your trajectory any further), this game really is the full and realized package it claims to be despite (or perhaps as a result of!) its lack of excessive streamlining. With Level Editor updates on the way, I can 100% see myself returning to mess around more in the future. I'm nothing but pleased as punch that a game which wasn't even on my radar has sufficiently blown me away: in a year of flashy major releases and tired conventions, Mosa Lina pulls back the curtain to reveal that the basics are all you need for a good show after all.

Gregory Horror Show is basically the best budget cartoon Resident Evil to ever exist. I say this out of admiration more than anything else: in a year where Capcom Production Studio 3 appeared to have mixed success with the ambitious but ultimately hollow Glass Rose and the infamous Mega Man X7, it was this overlooked horror-mystery title based on a Japanese CGI anime that thoroughly proved that they still had the sauce. Not only was it a solid return to their roots, it logically expanded off of Resident Evil’s base model in ways that are seldom realized even to this day.

The story goes like this: you’re a kid lost in a foggy forest, finally finding shelter at Gregory House, only to realize in a dream with Death that you’ve ended up in videogame purgatory along with a slew of other troubled inhabitants. Death proceeds to strike you a bargain; if you can bring him the twelve lost souls carried by the various inhabitants, he’ll show you the way out. To do so, you must discover every inhabitant’s weak point and expose them, taking their souls when vulnerable while staving off insanity during the endlessly looped day.

However, there’s a catch. Gregory Horror Show intentionally disempowers the player: there’s no combat to be found, and every guest is capable of running faster than you. They don’t particularly appreciate being spied on, and will immediately take notice if they’re alerted to your presence and skedaddle. As such, the player must rely upon sneakily gathering information by chatting up non-hostile helpers, and spying upon cagey guests by peeping through door keyholes, hiding around furniture/corners, and carefully creeping behind them as they roam around the hotel. This results in a surprisingly intimate experience despite Gregory Horror Show’s brevity: you really get to know the habits and quirks of each guest, carefully marking down your observations in a journal, before finally going in for the kill.

This is where the game really starts to come into its own: after robbing a guest of their soul, they immediately become hostile and if they catch you, will subject you to a “Horror Show” that significantly cuts into your health. It’s no simple task to evade capture once spotted by a hostile, because the player has to duck into other rooms unspotted and take cover in safe rooms or hide in closets/under tables to escape detection. Furthermore, as your cache of purloined souls builds up, more and more guests check into the hotel, further complicating traversal and observation. Thus, while most horror games become safer and easier to manage due to mastery of environments and clearing out enemies along the way, Gregory Horror Show instead organically escalates its difficulty by enforcing tighter timeframes and more meticulous planning to evade angered inhabitants while still gathering information upon new guests, resulting in an increasingly tense and unsettling experience. This is all while the player must also manage their constantly depleting mental health gauge from the simple act of staying awake and scour for items around the mansion in order to trade for necessary health and key items in Gregory’s Horror Shop. All these systems work together to hold the player accountable for plotting out constantly evolving routes throughout the hotel as more rooms/passages and guests are thrown into the mix, alongside the need to keep track of how these guest schedules interact, with their positions constantly shifting over the course of the 24-hour cycle. In particular, it becomes crucial to ensure that the player can safely make it to fortune-telling rooms (only two of which exist in the mansion) to save the game and sporadically return to the player’s guest room to swap/store items, check the player’s journal for recorded guest actions, and take naps to progress time, cure exhaustion, and secure the capture of lost souls. The latter presents a risk-vs-reward exercise in-itself: the player can temporarily keep captured souls on them in any given day to reduce the rate of mental health deterioration, but if the original owner should find them, they’ll lose the lost soul and will have to repeat the process anew.

The result of this intersection between stealth, observation, and horror is perhaps one of the most intricate exercises of sheer patience and planning in any video game I’ve ever played. Granted, Gregory Horror Show is not a masochistic game by any means, but it nevertheless forces players to consider the totality of their actions at any given time while paying dividends if they're willing to do their homework by nailing down the who, where, and when. In this sense, it’s one of the best evolutions of survival-horror, because despite how much it differs from its influences, it understands that time itself is the most important resource to conserve. Failing to perceive exactly how the different elements of the haunted mansion interact can feel quite punishing, not just due to drastic drops in stamina but also likely resulting in significant time losses that can cause the player to miss their striking window of opportunity. The player must then find alternative methods to effectively waste time through costly "Fruits of Time" (that damage your Mental Gauge)/occasionally sleeping and potentially encountering more hostiles until the events of the time loop roll around for another try.

I’ll concede that Gregory Horror Show isn’t an obvious contender for the greatest horror game of all time. There are a couple elements that could be construed as superfluous since they don’t add anything to the stealth-observation premise, such as a Mario Party-esque board game that the player must win for a lost soul, as well as a “boss-battle” amongst many other scripted events during the final night. That said, they’re mere blemishes in the overall scope of things, and are easily forgiven considering the game can be beat in about five to seven hours. Although Gregory Horror Show doesn’t quite rise to REmake's level of resource management mastery, it remains one of the most distinctly charming and succinct takes on the survival-horror genre that accomplishes exactly what it sets out to do in its brief runtime, while daring to innovate upon an already revolutionary and tightly packaged standard. I’ve never seen or heard of its source-material prior to this game, but I’ll be damned if this isn’t one of the most effective ways to spark my curiosity. Perhaps that speaks for itself more than anything: even if you’re not a fan of the franchise, you owe it to yourself to check out what I’d say is outright one of the best titles on the PS2 in an already stacked era of exciting and wildly creative works.

"I just wanted to be with… you rei and you, ryu… my family…"

after putting more than the hour counter can actually count (it maxes at 99:59) I can finally review this fucking game

there's absolutely nothing that feels quite like breath of fire III it sits right there into the classic JRPG genre and cornucopia of titles and still it's one of the most unique and innovative title in the scope of the genre legacy and its so weird to me that a game filled with love talent and professionality for a game that is sure to leave an impression may it be good or bad but you WILL remember bof3 for something even the most minuscule detail

breath of fire has always been sitting there as one of those really interesting series that I wanted to check out but never really gotten into because of reasons i guess

ive tried bof1 many years ago and it was honestly kind of an underwhelming experience i never finished it because it seriously got to be a fucking chore just after a couple of hours into the game and I can't honestly really say im that excited to get back to it

bof2 was an interesting step up from the predecessor but still it wasn't THAT gripping to make me insanely enthusiastic in continuing the journey so it got dropped really fast im so sorry

now bof3 is the one bof3 is the super hot mysterious guy sitting in the corner that gives you all kinds of emotional ecstasy and turmoil and this is probably now one of my favorite games not only in the franchise but in general as a whole in the wider sense like I'm completely hooked on this I just cannot begin to tell you how emotionally attached I am to the story to the characters and to each and every single aspect of the game

still having the skeleton of the first 2 games bof3 delivers an experience that feels true to the series in itself and yet tries something completely new in all departments

gameplay wise this is the usual jrpg experience youre gonna find everywhere you get a simple battle system you get some party members you level up and you defeat god as usual but of course its done with incredible care and love I cannot overstate enough how good this shit is

the battle system is something that blew me away for how simple it is but also for how customizable it can be when you know what you're doing apart from the usual stuff like leveling up skills shit like that you're also gonna get some nuance that the game DOESNT even tell you about like theres the ability to examine enemies and this will give you some additional skills like the blue mage in final fantasy and you have the possibility to make your party members study under masters now this master mechanic is fucking amazing you can basically change the level progression and points attribution making the character study under a physical master or a magical master you can do whatever you want AND after some levels you can learn some skills from the master itself and thats where it all shines PLUS you can also use some skill ink to move the skill from one character to the other so the possibility of customization is beyond what I was expecting forreal

that being said the battles are pretty uneventful and straightforward if it weren't for another mechanic which is the dragon genes . your protagonist being a dragon breed is able to turn into a dragon and throughout the game you can acquire something like 20 something genes and you can mix them up however you want theres genes with elemental values theres genes that change the attributes of the character and genes that make things that I genuinely don't know because I didnt experiment enough honestly also my ryu build was mainly physical so I didn't have that much AP to do enough dragon breed play

and what's interesting is that most of these have different sprites ??? THATS SO FUCKING COOL UGHHHHH

understandably enough this is actually gonna add a lot to the gameplay which is already pretty rich and that means that you can tackle the main bosses of the game in so many different combinations of abilities skills tactics and party members that the possibilities are rightfully endless you can do whatever you want and the game always rewards a little curiosity here and there

allegedly this was dubbed as one of the hardest jrpgs around and honestly after playing smt3 (which isn't the hardest jrpg by any means anyway) I can tell you that this is a breeze to go through maybe this is the SMT aficionado DNA doing all the work during this game but I didnt have that many issues apart from the final boss which is honestly pretty tough

apart from that maybe the real difficulty spike is during the beginning of the game where you don't really know what is happening and how to actually exploit the main mechanics of the game but after that it's pretty chill not really a surprise because of the BIG difference that makes leveling up (this is no +1 atk the difference is pretty massive and youre gonna finish the game at around level 40 or something and at least as I managed to understand by watching levels go up every level counts)

that being said the exploration aspect is also interesting but it's more about treasure hunting than real exploration the main traveling you will have to do is strictly entwined with the main quest and youre not going to have the entire map available to you until you actually get pretty late in the game and you're gonna get there through the story events so yeah the real exploration is gonna be like scavenging for treasures here and there until you find new equipment new items or even new masters sometimes

there's a fishing minigame which is pretty great I was purposefully ignoring it but a main quest requires you to actually fish so I went there and actually had a lot of fun what the hell I was NOT expecting that but ideally im not one of those "I love fishing minigames" guys so i cannot really give this minigame a rating of course it didn't make me change my opinion on these ones but at least it didn't bring me to mental anguish

and another thing that I didnt actually MIND that much but it made me kind of confused and weirded out is the fact that during the second part of the game which is obviously the climax of the story in itself youre stuck with doing a lot of minigames and a lot of puzzles here and there now as I said I don't think this is inherently an issue but when you're going after the true bad ™ and the games says OK but actually why don't you just do a "getting water from a well" minigame or a "tug of war" minigame or like 10 others like this its actually pretty anticlimactic and it broke down the pacing but whatever this game is still perfect im not gonna say a single bad word about it

another shit that absolutely FUCKS ASS is the art direction and music department

now yknow I'm a sucker for art style and art direction more than I am of graphics because everybody can get a 4k texture or model from the web and put it into your game development engine but most of the people here don't actually know how to work IN FAVOR of these aspects you can't just put RTX on graphics with zero sense of design and call it a day cmon and thats also why sometimes old games shine brighter than some games releasing nowadays NOW PLEASE dont say shit like "UGHHJ BOOMER YOURE SAYING ALL MODERN DAY GAMES SUCK" no im saying either old or modern games with no sense of art direction are doomed to suck AT LEAST in the art department maybe they're gonna be the best fps you'll ever play but I won't be here to praise it one bit

and this game UGHHHH the pixel art is GORGEOUS every single expression and action is animated not only during the cutscene segments but the animations during battles are absolutely fucking insane when you cast a spell with garr his necklace is gonna break and hover around him making a circle and when you cast a spell with momo her rifle is gonna make some fleshy enchanting lights

and the bosses have some bomb ass sprite work and the animation pushes them to their limit like the dragon lord is hot as fuck the gazer blew me the fuck away and then myria being myria she's absolutely gorgeous incredible to the end and to top all of this kaiser dragon form is the hunkiest transformation for ryu like it made me sweat like crazy this guy8

like this is not the best pixel art ive ever seen in the entirety of my life and doesnt even compare to the one in bof4 but the sheer amount of love put into every single character design every single animation every single pixel can be felt through the screen and right in front of your fucking face theres nothing that feels quite like this and it would amount to nothing if it werent for the jawdropping character designs

and also the character portraits in the menu are so cute im sorry I love each and every one of my kids

the 2d sprites also have a 3d background the entirety of the world youre gonna traverse is made up of 3d models that make such a great contrast with the characters this is something that I also saw in xenogears and yknow that game is also gorgeous as fuck the ps1 jrpgs are absolutely out of this world I cannot believe this

all of this accompanied by such a great OST that it still really surprises me by how different and unique it is from the usual jrpg flare you get in other games songs

some people say this soundtrack is not really memorable and I have to both agree and disagree . people when say a soundtrack isn't memorable they probably mean there isn't a strong score in the repertoire and to that I have to agree theres not really a song that shines brighter than the other or a song that's catchier or bouncer and to that I have to say that EVERY SINGLE ONE OF THESE SONGS IS GOOD SO OF COURSE ITS NOT GONNA BE "MEMORABLE" UGHHHHHHHHHH this score is full FULL of amazing tracks theres not a single track that made me go "ugh this again" and they also have such a nice vibe most of them are jazzy moody tunes with simple and straightforward instruments but also a lot of variety in the genre and every single one of them pumps like they're absolutely fucking incredible this cannot be a coincidence this is masterfully done by a composer that lives and breathes my same air in this planet its pretty insane if you think about it (unless they're that and at that point im really sorry)

so yeah tracks like the main battle theme which is already pretty incredible and the boss battle theme which is absolutely fucking insane honestly I just vibed to the tune every single time tutututuuuuutu stuck in my head for weeks and weeks to come theyre amazing

also theres something so hypnotic about the cedar woods theme I can't really explain it it feels so familiar and so nostalgic at the same time to the point that even if you just encountered rei and teepo they feel like family already and possibly the greatest game over theme ever like this has such a nice vibe to it its amazing and also one of the saddest theme ever created in the universe thrown at you in the most unexpected moments ever and yknow many other different soundtracks that I'm not gonna talk about or else I'm gonna just link the whole ost here ong

so now we're gonna get to the juice of the game and the main reason why I think this is actually such a strong addition to the jrpg catalogues out there

the characters are perfect I care for them I love each and every one of them I absolutely enjoy seeing them smile and having fun and shit like that and to talk about them I'm gonna get into SPOILER TERRITORY SO HERES THE TIME FOR YOU TO GO BACK

ryu is a silent protagonist so there's really nothing incredible to say about him apart from the fact that most of his motivations are pretty straightforward and clear and he's kind of a hotty when he grows up seeing him go from powerless little baby to godslayer is a recurring them in the industry and yet here it's treated with so much care to the point that you also grow up with him when you see how he changed through the timeskip and what the world has come to you suddenly get a sense of scale and responsibility that wasnt present in the time of ryus childhood and still he's an interesting character to explore and its pretty funny to me that the main way to know what ryus thinking is by "talking" with peco and hearing his thoughts about him . probably not my favorite character in existence but it's unbearable to me that this game isn't sitting in the rightful throne of unique jrpgs experiences out there
NSFW WARNING rei is my favorite character in this one and apart from the fact that he's so fucking hot and I want to suck him dry either in human form OR tiger from and I want to be wrecked from the insides out and railed to hell and back and spit in my mouth and called slurs and derogatory terms and left without any power in my legs and also with a myriad of babies in my ass umh what was I even saying oh right rei he's pretty interesting and seeing him go from chill little thief of the hometown to scarred big bro in just a timeskip is devastating as shit and while most of ryus childhood he tried to be a father figure to both teepo and ryu you can actually feel his care for the little guys to the point that in times of danger he protected them in every conceivable way and when you get to the timeskip he's absolutely powerless he's no more the big bro figure to ryu but instead it's ryu trying to save rei from complete madness where the grief for losing teepo consumed his well being to the point that he goes ape shit crazy into weretiger mode and kills people all around . he doesn't really change that much after you get into the party but the striking realisation that he's no more the easygoing cheerful pal of the prologue hurts like he'll he's great and he's design is incredible I want him in my ass
nine may be the second best character of the bunch for me mainly because I love her type of characterisation . when you first get to know her she's the little rebellious princess of the main kingdom of the land with responsibility and honor to think about but she's just gonna leave home and follow ryu and friends like its nothing to my surprise she was also a fairly conflicted character because of her gratitude to ryu but also for her ties to her parents and this actually follows her throughout the adventure with her regretting from time to time her decision and STILL she's incredibly tough she cares for ryu like nobody else around and probably is the main person of the OG gang to defend ryu in front of absolutely everyone and everything she's willing to go to the end of the world for him and this kind of friendship really takes the cake for me . when she grows up its not a surprise to see an accomplished woman who's rightful empowered and outgoing to the point that you're gonna meet her while she doesn't some arrest around the town like ok miss girl do your thing and even though she's grown up she has a bomb body she's hot she's fierce and whatevet the hell she's still that little baby you remember at heart she still cares for both ryu and her parents and this create a great fissure between what she wants to do and what she has to do and THIS KIND OF CHARACTER IS UGHHHHH I LOVE IT plus her entire design is probably the best nina design in the series like the dress the hair the wings
momo is also great im saying that every single character is great because its true she's kind of the comic relief of the bunch and while she IS a fucking clown she's still some of the most charming and easy to love character of the entire circus she's absolutely in love machines due to her ties with her father who was also a mechanic and shes absolutely obsessed with them but this is not the main point of the character her main character issue is the distance that she feels from her worth and her father's worth and this makes for some real depressing moments in her character development that will probably feel close to some of you like it did to me and yet even though she struggles with this she cares for the other guys and always does her best shes a sweetheart I love this woman
garr is an enigmatic character and I can't really put my finger on it he's an angel ???????? yeah pretty weird if you ask me he's built like a dragon and he's…… pretty beefy and hot at that I really want to see his cock if I'm being incredibly honest with you but no hes an angel and the main issue is that he's from a long line of guardian angels whose main mission was to annihilate every single dragon in existence for the peace of the world and thats also the reason why he's gonna join ryu and trick him to kill him in angel tower and this really gives some kind of perspective into the character and also when you get to the town of the guardian you begin to understand that garr is actually hiding something like why is everybody calling him guardian angel and didn't think of saying that to the others but anyway after the timeskip he realises that he's fucking dumb and that ryu isn't a bad guy to begin with he's not gonna get into manslaughter or shit like that and thats when he gets into this redemption arc type of way UNTIL he just sacrifices in the ending like WHYYYYYY GARR WHYYYYYYY UGHHH I wanted to see your dick first the fuck
peco is an interesting one since he's basically a plant and doesn't talk or think or anything UNTIL he does because he's a root of yggdrasil or whatever and that also makes a lot of sense because when you see yggdrasil in the overworld where he can become your master peco is the only single who can talk to him I was suspecting something like this when he began to talk in ryus mind but I didnt think it was actually this anyway hes a nice addition unfortunately I didn't use it at all during my campaign also due to the fact that he has few skills and can't equip most stuff
teepo I'm so sorry … I loved teepo as a kid he's shrewd and charismatic he's a little bro to ryu or like equal age bro and still sometimes acts as a big bro to him too since he's the latest addendum to the party and honestly he's cute he's intelligent and he's the sweetest baby who didn't do anything wrong in his life after the timeskip where you just lose track of him when you meet him again you get to know that he's a dragon too and that he's living in an artificial world as the goddess is asking to and while he's living comfortably in there ryu can't do the same and so they fuck each other up and teepo dies . this is actually insane if you ask me after years of searching for your childhood friend due to dissenting opinions youre either gonna get killed or kill him and even though he's become more mature and more gloomy I feel like he's still the teepo I know at heart I love you

the other characters apart from these guys are actually just addendum to the story like the pegasus guys deis the 2 guys in port whatever that end up fucking the sea guy ninas parents the other guardian who is also HOT AS FUCK UHHHHH guardians are damn hot im sorry so yeah nothing to say about them I want to eiffel tower with the 2 horse guys

the story is actually a highlight too and flows accordingly

the prologue is probably my favorite part of the game where you escape from the mine and get to know the other main characters of the game and create the very first trio you go thieving you go scavenging you live life and make memories until NOT and they set your house on fire and kidnap you

its probably one of my favorite prologues in general it feels reminiscent of childhood as a whole and it has this really specific vibe of big bros trying to help out this stranded little kid creating a somewhat functional family and the found family trope is soooo MMMMMMMMM to me like these people cared for each other and if it weren't for this they would've continued to live together and thats why it makes it even worse to actually confront teepo at the end of the game all of this wouldn't have happened if it weren't for some weird coincidences of fate and a bad luck all around and there's that

after this during the childhood days the main quest will concentrate around trying to find rei and teepo and in the meantime you will get to know the other main cast of the game nina in her steel fortress momo in her ruins and garr during the tournament and this last encounter actually seals the deal to head to angel tower and shit

the pacing in this part of the game is absolutely enchanting back to back to back incredible stuff story unravels and mysteries increase you begin to slowly grow up and grow accustomed to how the world works to how friendship is actually cultivated and to how stigmatised you are for being a dragon something that people treat as either a circus attraction or a menace to society as a whole

the events of angel tower seal the deal for the timeskip and actually kind of make up for actually not really advancing the story for 20 something hours

the timeskip events are weird because youre gonna meet back your friend group soon enough but garr is actually more introspective and actually sorry about what happened nina changed for the better and peco is still peco everything changed you yourself changed but the hatred for the dragon kind is still there and that's why the new mission for these guys is to go directly to god herself and speak to her as to why this is happening

after recruiting rei and doing some more main quests stuff that actually feel like side quests stuff and a LOT of time later you will get to the new continent in the other side of the outer sea and be confronted with the greatest place of the game with a weird name

now little excursus the environments in this game are unmatched everything in the overworld is alive and brimming with life each town has different layouts general aesthetic and vibes the town of the tournament feels like a nighttime casino city ryus village is calm and chill the castle town is overpopulated and so on so forth and that applies to the dungeons too theres not really a dungeon that I can deem as bad at least in the artistic department each one is distinct and beautiful but what I wanted to say is that most of the stuff youre gonna go through here and there is mostly natural when you get to the new continent youre gonna get a stark contrast in which most of the towns and the final dungeon will have heavy machinery hi tech technologyyy and claustrophobic vibes something that doesn't happen in other parts of the game and thats already an incredible accomplishment

the final dungeon is kind of a pain in the ass but I dare you to find a final dungeon that isn't mostly shit so anyway theres this stark contrast between the final dungeon AND where teepo is living which is a Eden full of green and trees and other stuff and this kind of feels even worse to do because this kind of world was something ryu and rei and teepo were trying to achieve together and instead it's the place where you're gonna kill your childhood friend for the sake of your ideals

there's nothing I can say to give justice to this scene its something so fucking powerful you have to experience firsthand and im still kind of sad how things proceeded even though that was to be expected

that being said the final final dungeon with the kind of long and tedious traversing but not AS MUCH as other games honestly this one is pretty chill apart from some weird tricky endgame enemies and the fact that you'll need to heal every 3 seconds

the final boss is nothing TOOOOOO difficult but still difficult and the emotional final confrontation is done SOOOOO well with you speaking with every character and just going there and smashing the face of the bitch ass goddess of the dick and after that garr is gonna sacrifice himself for ryu :*(((((((( garr I'm so sorry I loved you so fucking much and then youre gonna just escape from this fucking place and youre gonna be left with an ending scene where the characters actually have sprites that resemble their clothes in the character art

and thats it this game is incredible

this may not be the most perfect game in existence but it sure managed to not only surpass my expectations but soar the highs of my tierlist to the point that it became one of my favorite games of all times characters are great art is impeccable gameplay is fun and story is unmatched there's literally nothing out there that can emulate the uniqueness that this game oozes from every pore

teepo you will always be in my heart I just wish you could be happy with your family

After being astounded by the sheer SOUL that Ys I and II and Xanadu Next exuded, the Ribose gene inside me awakened and I craved more Falcom. One HG101 article later and I learn about Sorcerian Original, the 2000 remake an 80s 2D ARPG originally released on the PC-88, and the fifth installment in Falcom's seminal Dragon Slayer series. I saw a few screenshots, listened to few tracks, felt the pure SOUL course through my veins, and I knew I had to at least try it out. With the power of the Google translate app, no Japanese characters were gonna stop me.

The preparation phase of the game works just like Wizardry; you can go into town to create and organize a party of four with different sexes and races, buy equipment, appraise items and get magic, and train to raise stats or learn new skills. The magic system in particular is relatively fleshed out, as you can enchant equipment with "planets" to increase certain stats and allow you to use some of the surprisingly large amount of spells in the game. There's over a 100 you can mix and match, although you'll probably settle on a few mid-game, as the different offensive magic is by and large redundant, and experimenting is expensive and time-consuming.

The actual gameplay, on the other hand, controls kinda like Zelda II. You run and jump around exploring the dungeon, fighting enemies, and helping NPCs. Combat feels extremely haphazard; because enemy behavior is so erratic, damage is low, and your melee characters' ranges are extremely short, evasive manuevers are useless and fighting mobs (and bosses) quickly devolves into just running into them and staying on their ass while you spam everything. Dungeon exploration feels more deliberate, with branching paths, puzzles, secrets, loot, and backtracking. A TON of backtracking. EVERY quest had you going back and forth for whatever mandatory reason. It didn't bother me much, especially since you move so quickly, but it can be annoying since the game can get pretty obtuse. It's REALLY bad in some quests, like the murder mystery on the boat, which was made especially painful by the seemingly random triggers to progress.

While the assessment so far might seem pretty negative, I really did have fun with this game. Outside of the great, memorable soundtrack, Sorcerian excels at leveraging your imagination. The idea is similar to that of the earlier Wizardry or the later Etrian Odyssey; provide the player with a basic quest storyline and the tools to make a party, and let their imaginations run wild and fill the blanks. The simple fetch quest of the first mission can quickly establish archetypes and characterization for your blank slate party. Characters even age after quests and training, and can become middle and old-aged, and even die, leaving behind a successor, further encouraging players to write their own personal stories. The game even comes with a little handbook that fleshes out the backstory for quests and describes items and enemies, and a "Book of Magic" that describes what each spell does and how to make them. Makes me feel like an adventurer, reading notes and doing research before I embark on quests.

At the end of the day, although it's rudimentary and rough around the edges, I've never played a game before that so purely served as a vehicle for your own creativity. There really is great value in exploring Falcom's (and in turn, JRPGs') roots, and playing an untranslated late 90s Japanese Windows game feels so nostalgic. There's even demos for the future games Lord Monarch and Brandish VT on the disc. Hopefully one day they remake all of the expansion pack missions in this style, or at least release them in English.