Long-running franchises having a lackluster 2nd game that is still considered the "black sheep", name a more iconic duo.

At first, I was thinking this'd be a bit better than DQ1, but as I kept playing, I realized that DQ2 really does kinda suck. The entire design philosophy was very clearly "let's just make Dragon Quest but bigger!".

The original game was nothing but a grindfest but it was over in about 5 hours (at least in these modern ports) - DQ2, with very liberal use of a guide, took me about 10 hours. And speaking of guides, this game requires one, it's nearly unplayable without it.

DQ1, if you talked to every NPC, was a very straightforward adventure that always gave you a direction (with one or two exceptions). DQ2 starts out that way, but as soon as you get the boat you are thrown into a massive overworld with zero direction to speak of - I think the devs expected players to just explore every portion of the map which I guess made sense in that particular time frame? NPCs give you only hints about where to find the plot MacGuffins, many of which are just... lying on the ground in an arbitrary piece of the land.

Even the dungeons are "the same, but bigger", they are absolute mazes, with very high encounter ratios. After a while, I got tired of getting into a lot of dead ends, and resorted to guides for the dungeons as well.

Even as a piece of history this game is not interesting. "oh it introduced parties", then you realize that: 1, this game's party is merely the DQ1's Hero split into three characters and 2, Final Fantasy came out the very same year, and featured a 4-character party, where each could be one of six different classes.

And narratively, Phantasy Star also came out in 1987, and was arguably the very first JRPG to take a step forward in the stoytelling. So Dragon Quest II is nothing but a side step or, at most, half step forward - just a footnote in JRPG history, especially since Dragon Quest III came out a mere year later.

I only finished this because I played it on my phone during any downtimes I had. Credit where credit is due, I never actively stopped to grind in this game, I just went with the flow and that made me strong enough to defeat the final boss - a rather intense battle. I was several levels below what the guide I followed recommended me, so it is perfectly doable to just not grind in this game.

But yikes. If it was 5 hours like the first game, I'd probably have enjoyed it more.

If you are curious about DQ2 though, don't even consider playing any other version other than the mobile/Switch port

In this version, Zoom just gives you a list of every town you ever visited so you can teleport there

In every other version, Zoom merely teleports you to the last town you saved at. That sounds like a fucking nightmare.

Partners in Time was one of the first video games I had ever beaten. I played it several times as a child. I went into this playthrough hot off the heels of Superstar Saga, which I played for the first time much later than Partners in Time, and greatly enjoyed in my most recent playthrough. In my mind I remembered both of these being great games, but with a more mature perspective, I'm sad to say that Partners in Time does not hold up.

Almost all of the mechanics of Partners in Time are borrowed from Superstar Saga, which I never thought anything of as a child but as an adult I found it a little disappointing that this game had so few new ideas. But of course, the one major addition in this game is the inclusion of Baby Mario and Baby Luigi as playable characters...unfortunately. I went into this playthrough fully expecting to have a grand old time, but the babies, among other issues, add a lot of friction to the game that bogs down the whole experience.

In concept, I like the idea of the babies being here a lot. Superstar Saga has great combat but its a little bit too simple, ergo the babies can alleviate this problem by adding more complexity by allowing you to control 4 party members at once. That's what I was expecting anyways, but as it turns out, that isn't really how they work. In the majority of combat scenarios, you will only be controlling Adult Mario and Luigi. The only time that the babies really ever have any presence in combat is if you either let one of the older bros faint, in which case their younger self will take their place, or when using some of the battle items. As for the first case, this will almost never happen; Partners in Time is a very easy game. Even though I purposefully went through areas underleveled and with low-defense gear, there were few opportunities where either of my bros would faint and allow one of the babies to replace them in combat. And even in the instances where the babies are on the field, I can't imagine any scenarios where you would have them do anything other than either use a 1-up mushroom to revive their older self or flee from combat. The babies are comparatively impotent to their adult counterparts, leaving no reason to battle with them when other options are present (which there always are). And the fact that only Mario OR Baby Mario gets an action each round essentially makes it so that the babies don't even function as 3rd and 4th party members, they are functionally much more like extra lives for each bro within the individual battles.

The problems with the babies don't end with their role in combat. In the overworld they are nothing but an annoyance. NONE of the platforming or overworld traversal with the babies was a positive addition to the game. Many of the overworld puzzles and obstacles require sending the babies and adults in different directions and then backtracking to regroup before advancing. This type of obstacle format gets extremely overused and annoying after you've seen each iteration of it more than once. Even when you don't need to backtrack, such as when collecting a bean from the overworld, simply getting the babies dismounted from the bros to access their overworld skills is just inconvenient enough to get very annoying by the end of the game.

As for non-baby related grievances I have with this game, the battle items have 2 major flaws that made the combat much less enjoyable than that of Superstar Saga. Firstly, the battle items should cost mana to use, like in all the other games of this series. In this game you collect copies of each item and then can use as many as you want in battle. This allows you to spam battle items, which you will have a practically endless supply of due both to their overabundance and presence in shops. This breaks the pacing of battles by removing the need to refill your mana after using so many special attacks. Multiple times in this playthough, this allowed me to have such aggressive offense that I would kill enemies before I ever got to see any of their attacks. My second major issue with the battle items is that the powerful ones take SO LONG to execute. Several battle items continue endlessly until either you mess up an input or the enemy dies. This sounds cool on paper, but the execution in the game makes the player's turns take forever. I feel like the majority of the time I spent in battles was spent using Copy Flower or Pocket Chomp, which got old REALLY fast. This seems like a massive oversight, because the most fun part of many combats is dodging the enemy attacks, since they are much more varied than the moves you will be repeating ad nauseum from your own arsenal. Although, maybe not fun enough, as I felt like a decent number of the bosses in this game had way too much HP and not enough unique attacks to keep their combats engaging. Combine these problems of long turns, low variance, and excessive boss HP, and it made the combat system of this game massively overstay its welcome.

A couple other, much more minor, complaints I have with the game are that the game was too easy, the first ~90 minutes of the game were a total slog of tutorials, beans are basically less than worthless since they are annoying to collect and don't even unlock useful badges, and the time travel in this game makes absolutely no sense for no reason. Like seriously, it is confirmed that the player's actions are changing Adult Mario and Luigi's timeline in the past, but if the adult bros' original timeline didn't have Future Mario and Luigi come from the future, bootstrap-style, to defeat the Shroobs in their past, then how did they fight off the Shroobs originally when the adult bros were babies? The time travel not making sense really is a non-issue, but it kinda shocks me how little thought seems to have been put into the semantics of it.

DESPITE ALL MY COMPLAINTS, I do still think that this game is kind of good, I GUESS! Nothing in the game is outright bad, its just that almost everything in the game goes stale kinda quickly and overstays its welcome, even with the game taking me a pretty short 11 hours. The one thing that I think this game did really well was the art, which was so good it got me pregnant. :)

One of the most odd, yet strangely charming games to come from Nintendo back in the days of the NES era has to be the original StarTropics, which I thought was pretty good back when I played it. Despite how linear the game was for an entry in the adventure genre, how frustrating the control/game could get, and how there was one part of the game that made it literally impossible to get through without a guide, it was able to win me over anyway with its fun gameplay, strange dash of charm, and great visuals for the time, making for somewhat of a hidden gem from the system back in the day. Then again though, most fans of the NES probably know of the game’s existence, so I guess it isn’t TOO much of a hidden gem… but, what most people probably know is that that game actually ended up getting a sequel. I didn’t know either for the longest time until like a couple years ago, but now that I did know about it, and since it has been a while since I reviewed the original game, I figured it was about time I returned back to the Cola Universe and take down Zoda’s Revenge: StarTropics II.

As I had mentioned previously in the last StarTropics review, this sequel was a game that Nintendo pretty much sent out to die back when it came out. It came out exclusively for the NES, in America, in 1994, when the SNES and Genesis were the hottest things on the market, and nobody wanted to play OLD, DUMB, and SMELLY NES games anymore. So, naturally, not many people have played it, and thus, it has become yet another forgotten Nintendo title amongst a plethora of them that they just have stored away in a vault somewhere, never to be re-released again. But hey, even with all of that aside, it’s gotta at least be good, right? I mean, the original game was pretty good, so surely Nintendo could take everything that worked in that game, tweak around the bad parts of the original, and make a much superior title, right? Well, that is exactly what they did!......... somewhat. If I were to rank this alongside the sequel, as it just BARELY comes out as the superior title, as it is still a very fun and charming game to play, having plenty of what made the original game so appealing and enjoyable, while also fixing several of the issues that game initially had… while also ignoring others.

The story is very similar, yet somewhat different from the previous game, where Mike Jones, after enjoying time off from what he had to go through in the previous game, gets contacted by the princess of the Argonians known as Mica, who helps him and Dr. Jones solve a cipher that they found recently, which ends up sending Mike back in time all the way to the stone age. Sometime after this while traveling to other points in time, he discovers that Zoda, the villain from the last game, is back once again, wrecking havoc all across time and space in order to wipe out the Argonians, so it is up to Mike once again to stop him and his evil plans before it is too late. It is a lazy set-up, one that took a dart and threw it at a board full of overused cliches to see what gimmick it can use, but it still manages to be stupid and charming enough to where you buy everything that is going on regardless of how weird it is.

The graphics are… practically unchanged from the original, using the exact same look, sprites, and animations from the previous game, but it is still very pleasant to look at, and the brand new environments and characters that we do see throughout the game are pleasing to the eyes, the music is good, having plenty of simple, yet enjoyable tracks to jam out to, as well as some returning themes from the original game, which is always nice to hear, the control is INFINITELY better this time around, with controlling on the main adventure segments feeling about the same, but the control in the dungeon is a massive improvement, giving you full movement in eight directions, making navigating through caves and fighting monsters much more manageable as a result, and the gameplay remains practically identical to the original game, feeling more like a standalone expansion to the first game more than anything else, but hey, that isn’t usually a bad thing, and it isn’t a bad thing in this case.

The game is yet another 8-bit adventure game, where you once again take control of the generic loser known as Mike Jones, go through many different locations across time full of many different colorful characters to meet, take out many different foul fiends who will do their best at impeding your progress at every turn, gather plenty of different health items, tools, additional weapons, upgrades to your arsenal, and Tetris pieces (no, seriously) that will help you out throughout your journey, and take on plenty of bosses that you will face throughout the game, which are half and half, where some of them are fine, and can be fun to fight at times, and as for the other half…. sigh, we’ll get to them later. If you have played the original StarTropics, then congratulations! You have played Zoda’s Revenge: StarTropics II as well without even realizing it, as the two games are practically identical in the way that they look, sound, and work, but this one manages to stand above the previous by keeping the same fun gameplay intact, improving on several elements that I have mentioned, and also keeping that same level of charm that made the original game so enjoyable.

One of the biggest aspects about this game is that, rather than traveling to many different islands throughout your journey, you are, again, traveling to many different points in time, going to many different locations that do make the game feel more fresh and exciting compared to the first. Yeah, all of these locations are very typical for what you would find in a time travel story, such as the stone age, medieval times, the wild west and so on, but I still found myself having fun traveling through them and seeing what they had to offer regardless. This also applies to the many characters that you interact with throughout your journey, with a handful of them being well-known individuals from media and history, such as Sherlock Holmes, Cleopatra, Leonardo Da Vinci, and several others, which can lead to some conversations with them that are, admittedly, really stupid, but I dunno, I can’t help but smile at a lot of it just for how odd it is for a Nintendo title to do.

Aside from that though, everything else is the same as before: you have the overworlds where you walk around, talk to people, solve a puzzle here and there, and get access to caves and dungeons, where you take on monsters, jump on switches, gather plenty of different treasures, and cry whenever you eventually lose. For those that have played through the original game, they will feel right back at home with this game, as not only does the gameplay remain mostly unchanged, but the way the game looks makes it so that you can easily get adapted to the situation, and start blazing through it like your life depends on it. Thankfully, all of this still managed to be a lot of fun to do, as I loved going through these many different periods of time, talking to these NPCs to see the weird-ass things they say, fighting these monsters, and finding these Tetris pieces, especially with the previously mentioned improved control for the dungeon sections helping out immensely.

I can’t say that everything about this game was improved over the second one, because in some instances, I think it could actually be seen as a downgrade compared to the original. For starters, this game is somehow EVEN MORE LINEAR than the original, with what to do and where to go being spelled out to you in almost every part of the game, with there being only one or two instances where I would go off the beaten path to get an extra life heart or something. This isn’t exactly bad for those who are a fan of more straightforward games like this, but given the fact that the game is in the adventure genre, I wish it felt more like… you know, an adventure, rather then just simply being a museum tour that leads you down a destined path, only to dump you off at the gift shop once it is all done with you.

Trust me though, that doesn’t even matter to me compared to my main problem with this game, and that would be with the bosses. The difficulty from the previous game is still intact here, and while I didn’t feel it too much when it came to the main dungeon parts of the game, I certainly did feel it with some of these bosses, because good god, these ones that I am talking about are TERRIBLE. I think the worst boss in the entire game has to go to the Zoda clone that you fight around the half-way point, where you have to fight him while constantly being moved around on these arrow platforms, which can make even trying to ready yourself to attack the guy a huge pain in the ass. Not to mention, he is also constantly teleporting and sending his own attacks out at you, so not only do you have to worry about him killing you, but you also have to worry about dodging his attacks, positioning yourself correctly, and firing plenty of shots at him, WHILE constantly being moved by these goddamn arrow platforms! There are several other bosses that are pretty bad too, but not to this extent, and when you reach the end of the game, where there is a boss rush waiting for you before you fight the big bad himself, you get to re-experience all of these god-awful fights back-to-back with little changed from the last encounters…………… OH, WHAT… FUN.

Overall, despite the game’s increased linearity and some truly abysmal boss fights, this game manages to be a decent enough successor to the original StarTropics in every other way, and is a really good game as a whole, having plenty of goofy and weird things to see and do, plenty of dungeons for you to take on, and enough of that dumb dated 90s charm that you can’t help but love whenever you experience it. I would recommend it for those who were big fans of the original StarTropics, as well as those who wanted to see what else the system had up its sleeve near the end of its life cycle, because despite being pretty much fully ignored back when it first came out, it does manage to be fun enough if you were to go back and see what everyone was missing out on back then. Unfortunately though, this would be the last that we would ever see from the StarTropics franchise, as there would never be any new game in the series, remakes, spin-offs, or what have you from this point onwards… which is kinda sad, to be honest, but eh, it isn’t exactly a terrible loss. Plus, I don’t want them to try to bring this series back from the dead, considering that Nintendo are usually very split down the middle when it comes to these revivals. On one hand, you could end up with another Kid Icarus: Uprising, and on the other, you could get another Metroid Prime: Federation Force, and I am not willing to take that risk!

Game #576

The Devil May Cry format, set up as a rhythm game - and while its not uncommon for the game to fail you for QTEs, the real magic lies in how Hi Fi ties every aspect of the game to the beat. Encouraging (instead of strictly requiring) rhythm promotes a groove within players, a sense that with every action they take they are jamming along with the game - achieving a potent and unbelievably addictive sense of flow when synchronized.

Frankly, I think Hi Fi’s aesthetic would otherwise be a liability for me. Garish color palettes, generic and undiverse enemy design, even the music selection is not my favorite. The supreme, engrossing nature of the combat puts me on a wavelength that elevates every other aspect of the game, I can forgive significant holes in the character writing because I am actually, literally vibing. Any mission thats mostly a gauntlet of enemies is a great time - the opposite of how I usually feel about the genre.

On release, Wonder was quickly crowned the new king of the 2D Mario series by legions of folks who’d been burned deeply by the New Super Mario Bros. tetrology's hollow aesthetic. I was there. I’ve played all of these games. 2D Mario games are important enough to me that I will play them on a TV, even if it means passers-by can look in and clearly tell that I’m not filing my tax returns. I finished Wonder with 100% completion on the weekend of October 20th, 2023 (unless you count the standees. I don’t). I’ve replayed all of its levels at least twice, with and without grabbing each Wonder Flower. You know I like this game a heck of a lot. Nevertheless, I’ve got a lot to say, not all of it good. This is gonna sound a bit dry.

On Super Mario Bros. Wonder (OR — "No Country for New Super Mario Bros.")

Visually, Wonder is closer to my Dream Mario than any other this side of Yoshi’s Island, and I do hope the next one commits even harder to the cartoonishness of this aesthetic. My first impression was that it had the best control of any game in the 2D series, and in most respects, I do still believe that. The “New” games carried with them this lumbering heaviness that I’m glad we’ve shed away. The Elephant power-up is a bit undercooked, but the other two additions appropriately shake up the player's relationship with enemies and the environment. Just being able to jump into enemies from below while at a full sprint makes the Drill a treat, even without considering its burrowing ability. The removal of a flight-based power was likely due to multiplayer, but in principle, it helps the game stay centered squarely on running and jumping, and encourages creative use of the Bubble Flower (which, yes, is more or less a retooled Bubble Yoshi from off of NSMBU). The Demon’s Souls online feature is welcome; I didn’t see myself playing as a guardian angel in a Mario game, but here we are. Badges are a solid addition too, especially for newcomers. I can play as Daisy. Awesome stuff. Promising. Shame that, to my taste, there’s a lot left on the table here.

Every stage of this game locks its enemies and visuals and stage gimmicks down almost completely; you’re not likely to see much crossover. There’s one rolla-koopa stage, one hoppycat stage, one condart stage. These guys are stuck in their zones. It results in an impressive level of variety, but also prevents the game from meaningfully building on concepts from stage to stage. You don’t get that blending of flavors you’ll find in the series’ earliest entries. In this respect, it’s arguably even more formulaic than the games it’s trying to subvert. Each level’s gimmicks undergo a similar arc before being put away, each of them with a Wonder Flower to find which activates a minigame or setpiece. Nothing so plain as the well-documented and scientifically-proven "Four Step Level Design" of New Super Mario Bros., they just remembered to add the sugar. Would people still be talking about Mario 3's Angry Sun if you had to pop a regularly-mandated Wonder Flower to activate it? I don’t think it helps that these stages are threaded together as loosely as they are.

Playing into its save feature, Super Mario World invited its players to revisit levels for alternate exits and hidden secrets. Wonder doubles down on that attitude, with a wide-open map and only a single file per user. You’re meant to dig around in these levels and scour the world, but there isn’t really a whole lot to find. Yes, there are large coins to collect, tops of flagpoles to grab, but – and I hate to grumble – these pale in comparison to the discovery of warp zones, unique power-ups, and routes which alter the trajectory of a playthrough. I think they’d have been better off hiding badges within full stages than keeping them in shops or bespoke levels on the overworld. I’m of the opinion that collectibles should feel immediately tangible and exciting. Wonder sidesteps the checklist school of design for the most part, but I’d like to see it drop outta these games completely.

Here's what I'm getting at – I don’t think Wonder is adept at curating its adventure, and I don’t get the impression that its developers made that a priority. There’s a sort of halfhearted effort to add a single story beat to each world, and it's unconvincing. Possible plants just don't tend to pay off. The talking flowers never do. Stages are clustered together with respect to difficulty and theming, but any pretense of a “flow” between them, that levels together form an arc, is rarely suggested. A level is an island unto itself. It’s because the game isn’t concerned with its own replayability, actively obfuscating the option to start a New Game. It’s because Wonder isn’t all that interested in blending ideas between stages. It’s because the “Wonder” gimmick, ironically, requires each level to follow the same general beats.

I came for an album, and what I got was a collection of singles. They’re good, even great singles, but I don’t think it comes together as a whole game in the same way each of the old classics did. I hope Wonder is a sign that Nintendo is open to getting even more experimental with the conventions of this series (maybe cut out the world map next time, have one continuous game of back-to-back platforming levels), and I’m glad it was well received. You can feel those seasoned designers stretching their legs with this one — it beats out the New Super Marios on charm factor alone — and I squeezed every last drop I could out of it. I believe greater heights are within reach for this series, but if this is the last for a while, I'll still be more than appreciative that Wonder got its moment in the spotlight.

(...if you'd like to see where this falls on my list of the Thirty-Five Best Games I Played in 2023, you can check it out here. Thanks for reading!)

After Devil May Cry 3 brought about the franchise's redemption arc with its incredibly solid gameplay, a tightly woven narrative, and catchy 2005 vibe music, the question must have arisen as to "where do we go from here?"

And while many would hope the answer would be up, Devil May Cry 4 would ultimately wind up being quite the disappointment as the follow up to my personal favorite of the series.

From the very start of the game there was this awkward emptiness I felt, and it was a feeling that only grew the more I played the game.

Starting with Nero. Nero is not a bad character by any means, in fact I quite enjoy his banter with the various antagonists the game throws his way and he generally exudes a youthful arrogance that reminds me a lot of Dante in DMC3. However it is his motivation that I find lacking, and not in that the motivation is inherently bad but rather, it's very standard and tied to the weakest character in the game.

His undying love for Kyrie, while wholesome and also providing great emotional scenes comes across as very plain for this franchise. It doesn't help that Kyrie herself receives very little characterization outside of "being a nice girl who loves Nero and her brother and is nice." Easily my least favorite (non-DMC2) female protagonist in the series so far, exuding none of the confidence that characters like Trish or Lady have in spades.

It just results in the story feeling rather weak, which given its inherent vibes reminding me a lot of Final Fantasy (but less interesting), resulted in me kind of shutting my brain off at most points.

The game starts with this interesting hook with Dante showing up out of nowhere and killing Sanctus, the leader of a Sparda worshipping cult, which causes Nero to fight him, but eventually it tappers off into an uninteresting conspiracy by the cult to bring life to this giant statue called The Savior.

Hell, by the time Dante becomes the central protagonist, the story kind of just takes a backseat so he can crack his funny pizza man jokes, and only really comes back into play at the very end.

Not that the plot is the most important aspect or even the biggest problem in this game, but rather a piece in a larger set of issues that pervades every corner of DMC4.

The gameplay is incredibly solid, Nero controls very well and I love his mechanics. His affinity for air combat allows him to easily juggle an enemy possibly even indefinitely if you know how to do jump cancelling. His revving of his motorcycle sword (which is fucking awesome in the exact same way as a Gunblade) allows for him to charge up a meter that allows for some useful moves, however it can take time to do so and leaves Nero defenseless... unless you know how to Instant Rev, which if you time after a hit just right, you can instantly fill up one bar of meter(eventually able to upgrade this to the entire meter). However, these moves are honestly limited in their actual usefulness I've found, and it's just more effective to just utilize your regular combos.

Dante is easily my favorite character to utilize in the game, finally having Style Switching which is a major improvement from DMC3. I loved utilizing Swordmaster and Gunslinger for those banging combos, even finding out that Swordmaster has a literal auto-combo that results in Dante swinging his sword like a baseball bat. However Dante's weapon selection is... not great unfortunately. I loved using Rebellion, but Gilgamesh wasn't as fun to utilize as Beowulf in DMC3, and while I liked Lucifer, I simply found that Rebellion was generally the more efficient of the bunch in regards to the sheer amount of combos it has. Same with the guns really, but honestly Ebony & Ivory have always been perfect to use so I have no complaints there.

The problem with the gameplay is honestly the levels themselves. They are very... standard. For comparison, in Devil May Cry 1, the Mallet Island Castle has this dark, creeping vibe that sticks to the player. It is very much drenched in its horror aesthetic as it feels like a genuine location that's been lived in, and serves to show the imposing and oppressive nature that the game and its narrative have.

DMC4 on the other hand is a Super Mario/Sonic game in regards to its levels. You've got your town level, you have your mineshaft level, you have your frozen castle level, you have your hidden factory level, your jungle level, and your holy castle level. These locations are already very uninspired by just being tropes that I could find on TV Tropes if I wanted, but what makes it worse is that you go through all of these locations twice only backwards with Dante.

Of course, this isn't news to anyone who has played the game and contributes to the one, very openly talked about aspect of DMC4:

It's fucking unfinished.

From the fucking stupid as fuck dice mini game (that you do twice for the record, and the second time is tied to the fucking boss rush), to The Savior boss fight just being an utter clusterfuck, the final boss being almost as bad as a DMC2 fight, the game starts strong but shits the bed so fucking hard by the end that when I realized Vergil was just going to go through the exact same campaign, I immediately dropped it to play him in Bloody Palace instead.

The boss fights themselves, minus the snake dragon lady, Credo and Agnus don't even feel designed around Nero's toolkit and fighting them with him just feels unpleasant, where once you fight them with Dante it feels incredibly satisfying by comparison. Maybe this was to show the experience gap between the two, but personally I don't think there's any narrative reason for it.

The music didn't vibe with me as much as DMC3's or even DMC1, which isn't to say I hated DMC4's soundtrack but rather that in comparison it just wasn't that memorable, which y'know, fits the entire game now that I think about it.

DMC4, outside of its combat, is not memorable.

The demons you fight as bosses are all inconsequential randos who have barely anything to do with the plot, the plot itself is very plain, the main antagonist is boring and generic Super Pope, it's all just very forgettable.

It's another one of those games I wish I could love but I just can't, and that is disappointing.

I doubt I'll ever play the story mode of this game ever again, but Bloody Palace will always be there and I will definitely come back to it just for the fun that that mode brings.

The time had come, but this game didn't.