"Because it's there." - British climber George Mallory, when asked why he wanted to climb Everest (also me, when my wife asks me why I want to finish the burger and all the fries when I'm no longer hungry)

It's no Everest, but the world of Hallownest is huge, intimidating, and wondrous; in a game where the 'plot breadcrumbs' style of storytelling means a general lack of narrative thrust, the mere existence of Hallownest is reason enough to want to explore it. Hollow Knight is sensationally good at worldbuilding through level design, and even through the so-called "slow start" I found myself wanting to get down and dirty exploring every nook of the game world; it helps that a huge portion of the world is almost immediately accessible without extra movement abilities, meaning that my journey of discovering Hallownest for the first time felt unique by virtue of how Hollow Knight seems more open-ended than other Metroidvanias.

Better writers than me have discussed the mechanics in much depth, but I do have to mention them anyway. Combat and movement is tight, consistent, and refined - this is evident in the sheer depth that your relatively small moveset brings to the boss fights, but also in how each new movement option adds more fluency and expressivity in how you traverse each area, bringing a joy to exploration that even the game's slight over-reliance on 'gotcha' hits cannot extinguish.

The 3.5 score at the top of this entry is probably a spoiler that there is a pretty big caveat to my praise above, and that comes in the form of something seemingly inconsequential to anyone who hasn't played the game: the benches (reload points) are on many occasions placed so far from bosses that it feels borderline spiteful. My issue here isn't that the game is hard; I think the difficulty level of the bosses is perfect and it really makes you earn your victories! But punishing failure with 5 minutes of backtracking so you can try again, only to get your ass kicked in 30 seconds, only to repeat the process ad nauseam, is a really frustrating way to git gud. It doesn't help that a fair few of the pre-boss 'gauntlets' are rather unengaging (the tunnel mazes before facing Nosk, or waiting for the series of elevators leading up to the Soul Warrior + Follies).

And much like the affliction that has spread to even the furthest reaches of Hallownest, this 'little' issue of bench placement has infected many other aspects of the game. The bosses are one of the big highlights of Hollow Knight but the bench placement makes the process of learning how to beat them more frustrating than it needs to be. And even the exploration is not spared - backtracking from bench to boss reduces the wonder of charting a living breathing world to a perfunctory and linear commute through a series of rooms I've seen dozens of times before, its effect on my play experience not unlike a long unskippable cutscene in the way it kills my momentum.

It would be easy for me to sum up my experience as thus: Hollow Knight is an otherwise-nearly-perfect game which was tarnished by one small flaw. And yet it's not that simple either! After completing the game and watching the end credits, I found myself experiencing not relief (as I usually do on finishing long games I'm ambivalent on) but profound melancholy. I watched excerpts of speedruns. I watched some videos on the the lore. I reloaded my save and tried some of the challenges that I previously decided were not worth my time cough White Palace cough. Tried and failed, but still. It's hard for me to leave it behind and move onto the next game - there's something alluring about the ruined world of Hallownest and I feel it will occupy my mind for some time.

Because it's there.

(101% completion, standard ending)

This truly had the makings of a great game, and in some regards, it does shine. Unfortunately, this needed more time in the oven, as it didn't live up to the expectations of its predecessors.

This is still a fun game; the synthesis and monster fusion mechanics are the best they have ever been, the world is vibrant and interesting, and the combat is strategic and calculated. The biggest downside to this is the story and characterization. Not that I was expecting a glorious tale, however, Dragon Quest has a reputation for light-hearted yet deep stories of heroes and monsters in a fantastical world. On top of that, this was to be a retelling of an older title story, mainly Dragon Quest 4's story but told through the lens of one of the villains, Psaro.

What we get instead is what amounts to a fetch quest in segmented areas that don't add any nuance to the original plot. Psaro and his team just tend to change their minds about things on a whim, and very little is dedicated to certain plot points or character moments. It truly feels like going from one plot beat to the next.

It was extremely disappointing that the story was as bad as it was because otherwise, this game does play quite well. Which makes it even more unfortunate that this game has almost no post-game content to offer. There is 1 new area to explore and a couple of super bosses to face, but that amounted to ~3 hours more of gameplay. Dragon Quest is known for its sprawling post-game, so to barely have any is extremely shocking.

I can recommend this game to people who like the Monster Taming genre. By all accounts, it is better than most of the Switch Pokemon games in many ways. However, as its own game and by the standards of games within this series, it should be so much more. If it goes on sale, definitely check it out at least, but don't expect Dragon Quest 11.

This is a true story.

I was about 7-years-old when Donkey Kong Country came out. It looked insane, and more than any other game for the system, it was the one that left me the most jealous of SNES kids. I needed to play it, but the only one I knew who had a copy was a boy on my block who I didn't get along with. I tried to suck up to him, but he knew I had a Genesis. He saw through my deception.

One day while riding my bike, I saw him run out of his garage to go over to a friend's house. With the garage door still open, I saw a golden opportunity... And so I snuck into his home and made my way to his bedroom, popped in Donkey Kong Country, and started playing. From the hallway, I could hear his mother approach, asking him a question that I cannot recall, clearly assuming her kid decided to stay indoors. As she turned the corner and peered into his room, she saw me on his bed playing the Super Nintendo. I'll never forget how loud she screamed as she chased me around his house and out into the street.

Just me doin' a little B&E because I love Donkey Kong Country so much.

You ever played a game that unapologetically reflects the person who created it? That's The Wonderful 101 for you.

The Wonderful 101 is like if Hideki Kamiya gifted himself a birthday present, and for that reason, it's why I feel this game was naturally going to sway a lot of people off from it. I mean really, how do you market this kind of game? It's like a big melting pot of action game ideas from Kamiya work fit straight into a game about controlling a crowd of superheroes you collect to fight giant aliens or mechs. Casually looking at gameplay of it, you'd think it was just a Nintendo-published Pikmin clone but with more sensory overload.

Now imagine actually booting up the game and playing it for yourself. My first hour of this game was a nightmare of fiddling with controls and testing buttons while the game assaulted me with neon HUD elements and tutorial prompts, as the game also is presenting you new gameplay ideas such as new characters with their own weapons you got to draw, and not even 10 minutes in you start unlocking new moves for them and leveling up your health or your battery gauge that's used to determine how much you can use the Wonder-Liner. Despite how much tutorialization it throws at the player, the game doesn't give you the dodge or block at the start of the game which means you have to buy these very important moves from the shop. Granted these are cheap to buy, but it's also baffling they didn't just give you these from the start. Kamiya and his team shove a lot of stuff at the player from the start with barely any breathing room to really take it all in, so I can't exactly say TW101 has a very graceful start to its premise.

But man, I was so wrong lol.

It didn't take long for the game's combat to really click with me once all the tutorial prompts got out of the way. I was surprised to see how many elements Kamiya took from his old games and managed to make it work as well as it does. You got the juggling combo system from DMC and Bayonetta, Ukemi from Viewtiful Joe, Witch Time from Bayonetta, and most notably, the drawing system from Okami but transformed into the main gimmick of this game.

Rather than a traditional weapon switching system, TW101 asks the player to draw the weapon (preferably on the analog stick) to get the desired weapon. The bigger they draw the shape, the bigger their weapon will be, which will be slower but deal more damage, compared to a smaller one that will be faster but deal less damage, but also take up less battery gauge... you see the depth here offered already by this system? The biggest skill mastery is not only learning to draw these shapes (which the game is very intelligent at knowing since they are all distinct from one another) but you also have to know which weapon is useful for each situation, as some enemies will have certain strategies that are more effective for each weapon. But then you learn how to open up enemies with each weapon, and you learn that you can use your team, or Wonder Green's gun, to stun the enemy and then put them in a juggle state.

Juggling is really when the game turned into something special for me because pulling out certain weapons to keep the opponent in the air for a long time is when the drawing system becomes outright impressive. You never feel like you are going to do the same combo in this game. They are creative spectacles of skill mastery because of the flexibility offered by the game's freeform weapon drawing system. Masters of the game's drawing system can outright demolish a giant mech with their 100 man team, and it's probably the most stylish combo system I've ever seen. Not only for the fact a team of superheroes comboing an alien dragon mech is fucking rad, but it also asks more from the player while doing so, creating a combat system that's all-around more rewarding to master.

All the little niceties the game throws to the player too also make TW101 a very welcoming experience. As mentioned before, a lot of Kamiya mechanics from his older games return here, but there's also a lot more. You have very tightly designed enemy encounters that Kamiya is known for, along with gameplay systems Kamiya has explained he likes that return, with surprisingly good and fair boss fights all guided by probably the funniest video game I've ever played. I really vibed with what Kamiya was putting on offer here. The game oozes with passion all the way through and the more I played of it, the more and more I really appreciate every bit of it. It just kept getting better and better. Even the climax of the game was like 12 endings on top of each other. It's like if Kamiya took all of his favorite toys and smashed them together, which really highlights the toy-box like wonderment the game offers here.

My main critique though is because this is a Kamiya passion project, it also features probably my least favorite Kamiya trope often and that is introducing new gameplay elements from old arcade games. There's a punch-out mini-game, an isometric 3D shooter, some side-scrolling space shooters, and of course, the fucking space harrier level Kamiya just loves to put in. None of these are poorly designed mind you, but it wrestles time away from the main combat I ended up craving the most from TW101, and I really hope Kamiya's next project isn't as egregious with these as this game featured.

But despite that, going into TW101 was a very pleasant experience, especially given that I was already a fair fan of Kamiya's old projects. But this is elevated to a whole new level. Kamiya sought out creating a game that he wanted to play the most, and there aren't many creators out there that have the balls to do that. Clover Studio, the studio he worked at before Platnium Games, was a studio designed to create wild and new ideas, but none of those games ever found their audience outside of Okami, causing their eventual shut down. The Wonderful 101 is kind of like a Clover Studio game. A very ambitious action game designed solely to introduce a brand new experience unlike anything else. It wasn't designed for everyone in mind, but only for those who would appreciate these mechanics in mind... like a Kamiya fan. Maybe that's all it needed to be in the end. As for me, I say you should stick with it. It's pretty wonderful! ba dum tiss

The game is pretty good already, it has some REALLY big problems such as the item management. But I think what really makes the game is all the charm, dialogue, the stupid shit added for no reason but for laughs, and the fact it influenced so many things is just mind-blowing. The fact all this came from a game released in 1994 is crazy. Nowadays there are definitely better games with better gameplay and story, but the influence it had on so many pieces of media just cannot be ignored. I think that’s what truly makes this game an experience.