I'm getting quite the return of investment as the PS+ Extra Game Catalog enables me to play even more games I've been interested in for a while. BACKGROUND:
I learned of this game through one of the streamers I follow, though I did not need to watch much gameplay to be sold on it. It looked like a fishing game, I like fishing games, therefore I put this game on the list. The logic is sound. PLOT: You play as an unnamed fisherman who takes on being the angler for the town of Greater Marrow, an island that's part of a pretty remote archipelago. Everything seems on the level until night rolls around, when all sorts of bizarre things start happening (ranging from a heavy, unnatural fog, things real or otherwise appearing out of nowhere, terrifying sea monsters making their presence known, and eerie red glows throughout the archipelago). It's quite evident that this place has something sinister lurking beneath the surface, as the night adversely affects your character's mental state, NPCs either speak in an ominous tone or seem like their sanity has slipped, and you start catching some freaky-ass fish. Early on in your new career, you meet a mysterious man known only as the Collector, who asks you to scour the seas to find special relics. It's here that the supernatural truly starts to rear its head, as the relics you find behave quite strangely, and the Collector himself owns a book that allows him to imbue your ship with mystical abilities. Along the way, you'll also collect messages in a bottle that turn out to be journal entries of a newlywed wife who tells the story of her honeymoon with her husband, and how things went horribly wrong right after. Over time, these seemingly disparate story threads start connecting, and along with the tales of certain NPCs, the puzzle pieces start to come together. I loved the sense of mystery and the overall cosmic horror of this world. The combination of these elements made exploration (and learning about each location or point of interest) quite the thrill, as there was both the feeling of wanting to uncover secrets and the unnerving feeling that maybe I shouldn't be too nosy. Both feelings are rewarded in spades as you poke around, as you get a surprising amount of answers just inspecting things, talking to NPCs, and taking in the environment you're sailing through. The other feeling is "rewarded" in another sense, because the longer and more carelessly you snoop around certain islands, the more likely it is that you'll run into the disturbing answer to some of the questions you may have about your general vicinity. As is often the case with cosmic horror, there's a fear of the unknowable as the logic-defying phenomena you encounter aren't really explored further; you just have to accept that they're there and that there's no way to really understand them. You also get other classic themes like men meddling with forces beyond their comprehension (and paying in kind with their sanity and their lives), as well as the bleak realization that you are truly helpless in the face of this strange, cruel world. I also enjoyed how certain aspects of the world-building (the journal entries, the mystery surrounding one of the characters) eventually connected with the main story, as these elements helped set up the reveal of what the purpose of the Collector's mission is. Truth be told, I wasn't really surprised with where the story landed at the end, and I would have preferred a bit of extra time to let each section of the main quest breathe a bit more, but I think the separate threads all came together nicely. Each of the major areas in the archipelago have their own stories to tell as well (done so with easily observable environmental storytelling), and while they don't really have anything to do with the main plot, they help flesh out the world even more by introducing additional mysteries to think about. NPCs are much the same way, though their respective tales look more at the human element of all this eldritch weirdness (mostly the toll it takes on one's psyche). Some places and characters get more interesting stories than others, though I felt that disparity more with the NPCs than I did with the landmarks (i.e. some NPCs don't have much of a personality outside their profession). Once you reach the finale, you're able to get one of two endings. The default ending is definitely not the good ending, which I felt was fitting given the story's direction and the overall Lovecraftian themes that were present during its course. The alternate ending takes a bit of extra effort to get, but I found it worthwhile as it was quite the contrast to the other ending. The big twist reveal here is kind of weird, though; I felt like the way the default ending kept the twist simple while the alternate ending just decided to add a little extra just to say there was a second curveball. PRESENTATION: The art style is lovely, as the cel-shaded 3D models and environments come together to deliver some pleasant scenery featuring a modest variety of biomes (like bioluminescent atolls, mangrove forests, and volcanic island ruins) that look somewhat painterly.... during the day. Nighttime is a different story, as the lighting goes from lovely to oppressive, as the varied hues are replaced with a near-impenetrable fog that severely limits your field of vision. The most you can do is use your ship's light to see ahead, but even the strongest light in the game can only pierce a fraction of the veil. This completely changes the mood of exploration, as what would be a delightful cruise in daylight is now an anxiety-inducing voyage into the unknown. It's a simple, yet effective way to evoke a mood. The character portraits take on an art style of their own, as while they abide by the shading of the rest of the game, characters are drawn in a way that gives everybody a rugged, worn-down look. There's a certain weariness to how everyone is depicted that complements the overall bleak vibe of the world and the story's themes. Adding to the dread of exploring the night are the visual effects you see as you cautiously travel the seas, from alluring yet eerie lights (most notably, the ominous pillars of red you'll see off in the distance), inexplicable warps in reality (like phantom figures or strange ripple effects in the air), and your vision slowly descending into delirium as you power through a night in uninviting waters. Not knowing what's ahead is unnerving enough when you're out and about at night, but these additional distortions (which are all but guaranteed to occur the longer you stay out at night, more so away from light sources) further add to the tension when scrambling to the nearest port when the sun has gone down. It's not a Lovecraftian experience without some hideous abominations to look at, and the game offers that via the many mutated fish (called aberrations in-game) you'll encounter as you play. These aren't just your run-of-the-mill freaks of nature with extra body parts and deformities, as these aberrations truly look like some other malevolent force had its way with them. Pretty much every species of marine life you can catch has a twisted dark mirror you can catch, and most of them have a mix of putrid (an unpleasantly goopy texture), malformed (all manner of physical deformities), and eldritch (features that defy known science, like inexplicable growths and tendrils) that scream "otherworldly abomination." Of course, there are entities that teeter very close towards what most people think of as Lovecraftian monsters, and without giving them away, they definitely inspire fear and awe with what little you can see of them. The music is appropriately chill and moody, with the daytime tunes being the perfect accompaniment to your fishing exploits, while the tracks at night or hostile environments add to the already foreboding atmosphere. The sound effects are quite polished as well, and they're used to great effect with distant yet sudden noises to keep you on edge at night, and water effects that effectively convey the size of whatever's moving underneath. Even controller vibrations add to the sense of paranoia, as sometimes you get feedback from the controller even when you don't hear or see any other corresponding stimuli. I found myself impulsively rotating the camera a full 360 degrees just to make sure nothing was in the vicinity, and often, there would be nothing. I thought this was a brilliant use of the hardware, as the feeling that the world is actively playing tricks on you is something you, as the player, experiences alongside the character you play as. I really appreciate design approaches that allow the player to directly feel or experience whatever emotions or sensations the character goes through in the moment (in this case, the aforementioned paranoia), and using vibration motors to achieve this sort of player-character connection is one I find quite novel. GAMEPLAY: Like I said at the start, Dredge is a fishing game. The main loop is taking your ship to randomly spawning fishing spots across the archipelago, hauling in what you can, selling your catch for money, then spending the money to upgrade your ship so you can keep the loop going. It's straightforward stuff, and the fishing itself consists of very simple quick-time events that you can disable if you want. Moving your vessel and fishing move the game's day/night cycle along, and keeping time is important because nighttime is dangerous. There are the more obvious dangers of limited visibility and monsters being more active at night, but the main thing you want to watch out for when the sun sets is the panic indicator that will gradually increase the longer you stay out in the dark. As your panic increases, the more you hallucinate, and those hallucinations will eventually become very real hazards that can damage your boat if you keep going. Bright lights stave off the panic buildup a little bit, though it's more advisable to dock somewhere and sleep through the night (which will also dramatically reduce your panic). There's quite the variety of sea creatures to catch, going beyond all manner of fish to also include crustaceans, jellyfish, and cephalopods like octopuses and squids. Each one inhabits a specific depth level and/or biome (and requires corresponding equipment to be caught), and some can only be caught at night (forcing you to venture out in the dark if you happen to need them). It takes a little bit of grinding to unlock the rods that let you fish at specific depths/biomes, as well as equipment like trawl nets and crab pots (which allows you to catch stuff that can't be fished out with a rod), but once you're fully decked out, it's pretty fun to go around the archipelago to catch all sorts of stuff. As I mentioned earlier, you can occasionally fish up aberrations of the regular creatures you find, and boy, are they grotesque. These things aren't common, but they're worth going out for since they sell more, and it's fun to catch 'em all because every normal creature has at least one aberration (basically doubling the unique species you can catch in the game). There are ways to increase the odds of catching these freaks later on, like special equipment or by seeking out glowing fishing spots. In addition to catching fish and such, you can also dredge up various materials from the sea in much the same process as fishing (go to designated spot, do the little minigame, repeat until gathering node is exhausted). Here, you can get materials for upgrading your ship (scrap, lumber, and cloth), trinkets you can sell to the trader for some extra cash, and specific key items for quests (including the relics for the main quest). Everything you pick up takes up inventory space, and managing that is pretty much a game in itself. The go-to comparison here is Resident Evil 4, which had you position, rotate, and discard items to make the most out of your limited inventory. Dredge does the same thing here, with each object taking up a specific number of tiles in your cargo, but with the added twist that your ship components (which also take up cargo space) can only be placed on specific tiles (e.g. engines can only be placed in spaces with the engine icon). Inventory management mechanics can be a little hit or miss for me, but I mostly didn't mind the implementation here. The only real headache I came across (in a good way, as I think the mechanic was well thought-out) is when my ship takes damage, as that also renders a tile in your cargo unusable. Not only will that make placing additional things cumbersome, if the damaged space happens to be on an object, that object will also be lost (be it fish, materials, or even certain quest items). If the damaged space is on a piece of equipment, that equipment is completely disabled, so you can end up completely unable to fish, turn on the lights, or even sailing to a crawl because the engine is hit. The entire hassle of having to deal with this (and the additional expenses of paying for repairs) incentivized me to be extremely careful when sailing. You can sell your haul to fishmongers to get some hard-earned cash, which you can spend to install additional equipment to your ship (like better lights, faster engines, and improved fishing equipment) or to fully upgrade it (increasing its health, increasing cargo space, adding equipment slots). I found that there's no real urgency to upgrade as fast as possible, as you can beat the game without having a fully upgraded ship or the best possible equipment, though you can progress much faster if you take the time to jack yourself up. It takes some effort to unlock the better equipment, as you need to acquire research parts (which are spent to unlock individual pieces), and the best gear has you go through a whole tech tree where you unlock multiple prerequisites before you can even spend research parts on the thing. Thankfully, there are various ways to unlock research parts, but the flip side is that the better the gear, the more research parts you have to spend. The main quest will take you across the major regions of the archipelago, but before you can acquire the relic in each one, you'll have to take on some side quests in order to unlock the way to the relic (along with new mechanics that you can take advantage of moving forward). These smaller quests usually have you ferrying to and fro to retrieve and deliver objects/fish/etc. for specific NPCs, and helping them will eventually lead to the place where the relic rests to become accessible (whether by opening up previously closed paths or repelling the danger in the vicinity). It's fun to get a little mini-story that ends with progress for the main quest after you resolve it, though the repetitive nature of the fetch quests can wear thin after a while. You can unlock some other helpful mechanics on your adventure, like the ability to use explosives to clear out debris (and open up shortcuts), or creating bait to manually spawn fishing points right next to you. Delivering the relics to the Collector will also give you some otherworldly abilities, like a speed boost to your ship, fast travel (but only to one of the islands), a temporary ward against the world's evils, and the brutal ability to kill a whole bunch of fish in one go. These special abilities come at a cost (usually a panic penalty), which is fitting given the game's themes. There are also a whole bunch of optional quests to take on, which give you additional rewards and even special bonuses. These involve really exploring the world and retrieving/ferrying stuff from all over, but many of the rewards are worthwhile (like exclusive equipment, extra loot to sell, and additional research parts). I'm particularly fond of the stone slab puzzles, because they involve figuring out the fish that goes into the container and figuring out how to arrange each fish such that the container is perfectly filled. I believe there's DLC for this game that adds a whole new area with presumably new stuff to catch, new mechanics, and new story. Pretty neat. VERDICT: Dredge somehow combines two seemingly conflicting feelings (the chill vibe of casually sailing the high seas and just going fishing versus the existential dread of the incomprehensible horrors that lurk beneath the world's facade) and gives the player ample time to experience both to their fullest without taking away from the other feeling. Going through the otherwise basic gameplay loop was a therapeutic time for me between straightforward mechanics, a lot of fish to catch, and interesting places to explore. On the flip side, trying to brave the night or the creatures of the deep felt stressful in a good, engaging way, and so many of the game's mysteries still being mysteries by the end perfectly fits in with the Lovecraftian undertones of the world. I think I would have loved a bit more time really letting the story and world breathe, and some more variety on the quests would have been appreciated, though apart from that, I had a lovely time playing through this game. I suppose I can still try and complete the fish encyclopedia if I just want to unwind and get some video game fishing in. If you're into eldritch horror and like chill simulation games, this game amazingly delivers on both fronts. The game may fly by if you just make a beeline for the main story quests, but you are absolutely free to take the game at your own pace if you really want to take in the exploration and the fishing. And if the nighttime mechanics stress you out (or you just want to sail around and fish), you can play in Passive Mode to get rid of the dangers, though in my opinion, I think it's worth playing through at least part of the game normally just to experience the equal parts of dread and thrill of navigating treacherous waters in search of various treasures. You can switch between modes freely anyhow, so you can pick and choose when to stress yourself out and when to just take it easy. Dredge is available on Steam: DREDGE on Steam (steampowered.com) - end -
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Here's some more backlog stuff, because there's always more of 'em. BACKGROUND:
I played Metro 2033 some time ago (more on that here) and had a fine time with it, though I couldn't really say I was that interested in playing any of the sequels. Well, I managed to get this for free, so I'm playing it. On another unrelated note, I still need to read the book this series is based on. PLOT: Metro: Last Light is set one year after the events of Metro 2033, and it follows the default ending of that game. Our boy Artyom is now one of the Rangers of the Order, a neutral faction within the Metro focused on peacekeeping efforts. Life's still pretty rough in the post-apocalyptic underground of Moscow, but it seems like things have been fine since we last left off our characters. Between this game and the last, D6 (the military bunker Artyom was sent to find in Metro 2033) has now been occupied by the Rangers, much to the chagrin of rival factions. In addition, Artyom himself is second guessing whether his choice at the end of the first game was the right one. Everything kicks off when Artyom is informed that a Dark One has been spotted on the surface. He's tasked with dealing with this straggler, but things go sideways and he's captured by the Neo-Nazi Fourth Reich. He manages to escape with the help of an unlikely ally, but their journey takes several twists and turns, eventually revealing that there's a plot to take D6 by force. Once that conflict is established, Artyom must race back to his home station of Polis to avert total disaster within the Metro. While I found the story of the Dark Ones in the first game interesting, one of my issues with Metro 2033 is how they never really tackle the nuances of their existence (especially with how it's not communicated that an alternate ending for that game is even possible). They do enough to make the canon ending's moral quandary more impactful, but a lot of the stuff revolving around the Dark Ones is treated as completely secondary to what this game does focus on. Again, I think it's a missed opportunity, because I feel like they could have done more with this corner of the game's universe. Rather, Last Light is more focused on the conflict between the human factions. Both here and in Metro 2033, Artyom's adventures take him through various settlements of the world's different factions, from the Red Line communists, the aforementioned Fourth Reich, displaced refugees fleeing both oppressive regimes, opportunistic bandit groups, and the neutral Hansa group (which has a greater presence this game with their economic pull within the Metro). All the major factions I mentioned are vying to seize control of D6 from the Rangers, or at least negotiate terms to share its resources, making the bunker the heart of the conflict. I really liked how this game focused more on the clashes between these societies, as the first game only really scratched the surface of that. That said, I only really feel the presence of one of these factions in the main story, and I think there could have been potential to expand the conflict such that it feels like the entire Metro is in upheaval. Like before, Artyom only speaks through his journal entries at the start of each story chapter, and you get more insight by finding the collectible journal pages when you explore the levels. Again, Artyom's perspective helps build the world of Metro further, but as I said for the first game, you'll have to go out of your way for these tidbits. As for other characters, the new ones they introduced are pretty one-note (outside of Anna, Artyom's new partner, I suppose), and the game assumes you remember the other characters from the first game (who don't really get any growth here). This game once again has two endings tied to the morality mechanic introduced in Metro 2033, with only one being canon. This time around, the true ending requires that you make the effort to play around the morality mechanic, which will see you go out of your way for optional tasks. At the very least, I knew this was a thing going into this (so I wasn't blindsided like last time), but I would have appreciated the addition of some sort of tracker. As far as the endings themselves, either one is fine for what they are, though I think I prefer the "bad" ending. Nice as the true ending is, I don't think the story of both this game and the last did enough for me to make it compelling. PRESENTATION: I can't say that there's that much difference between Metro 2033's presentation and Metro: Last Light's presentation, at least in my eyes. The visuals are of the same quality and aesthetic, a lot of the already excellent audio design remains the same apart from additional musical stings and tracks, and the voice acting's still of solid quality. I suppose the only thing that stands out to me as truly new are a few new locations both in the Metro (showcasing that life isn't 100% bleak down in the tunnels) and on the surface (though it's still 31 flavors of wrecked buildings as a whole). I'm not sure if this is simply me being familiar with the universe, but I feel like Last Light doesn't have quite the survival horror vibe that the previous game did. Sure, the bleak atmosphere is still very much there, but the creepy/startling moments felt much rarer this time around. GAMEPLAY: As with the presentation, Metro: Last Light is more of the same as its predecessor. You've got a first-person shooter that you can play in two different ways: the more balanced Standard Mode, or Ranger Mode, which ups the survival aspect of the game by making resources scarce. Each mode has three difficulties you can pick and adjust to your liking. Since it's been over a year since I played Metro 2033, I decided a Standard playthrough on Normal would be appropriate. In hindsight, I probably should have just played in Ranger Mode on Hardcore, because I hardly had any trouble with my initial selection. Most of the weapon selection is still the same (with a few new additions), and you're still able to customize your attachments to your liking. I don't know if it's because of the difficulty I picked or if this really is the optimal loadout, but sticking to what I used in Metro 2033 (silenced revolver, AK-47, shotgun) got me through 98% of the game with no problems at all. Secondary weapons are mostly the same (thank goodness, because I'd flip if they removed the throwing knife), with the addition of the claymore if you want to lay traps. As far as enemies go, I observed that most fights have you take on hostile humans. I did not mind this, because that meant I had plenty of opportunities to play stealthily (which is still fun overall despite seemingly worse AI). Mutants are still present on the surface, though, and there are a few new types to unload your bullets on. Those fights are more straightforward (just shoot them until they die), so I enjoyed them in between methodical stealth sections. Levels feel slightly larger than before, with more wiggle room to take alternate routes and more places to find bonus goodies. I actually found myself getting lost a handful of times, but thankfully the game's compass will always point you to the objective. You still have to wear a gas mask on the surface, and while that mechanic itself is virtually identical to the first iteration, it is significantly easier to track how much time your air filters have left with the wristwatch (which now has a clearer digital display). On that note, the watch also has a helpful LED indicator that tells you if you're visible under a light source (handy for stealth sections). I also quite enjoy the immersion of wiping off rainwater/debris/blood off the gas mask, but such obstructions can be annoying in a firefight. The most fun addition for me is the night vision goggles, which do exactly what you expect them to. You still have to charge them like your flashlight, but they have a significant advantage in that they don't give away your position to enemies. I almost never took them off because they're incredibly useful outside well-lit areas (which are not common in this game). A lot of other minor things are still present in this game, like the use of military-grade ammo as currency or very expensive but powerful alternate ammo, as well as the aforementioned morality system that quietly tracks a number of optional tasks/choices you can make throughout the campaign. This version comes with all the DLC, which includes several side stories, special challenge missions, and exclusive weapons. The main campaign isn't all that long, so if you want more game, these are neat extras you can check out. VERDICT: Metro: Last Light feels more or less the same to me as Metro 2033 in terms of gameplay (outside of a few tweaks and additions) and presentation, so while it has a lot of the stuff I liked from the original, there isn't a lot that makes it a standout in my eyes. That said, I did like the story a bit more for focusing on the conflicts within the Metro itself (though I think it can still be expanded upon), and the overall stealth and shooter experience was still fun. Naturally, you want to play Metro 2033 first before you play this one. If the hybrid of survival gameplay and FPS action (with some optional stealth, if that's your thing) sounds fun to you, or you're interested in this game's take on a post-apocalyptic setting, give that game a go, and if you like that, Last Light will deliver a similar experience. This particular edition of Last Light has been delisted, but Metro: Last Light Redux is more or less the same game with a few improvements. Here's the Steam page for that: Metro: Last Light Redux on Steam (steampowered.com) - end - I'm back again with the usual weekend manga read, which I picked arbitrarily. BACKGROUND:
I read the synopsis, which seemed interesting enough, but that's all I know. SUMMARY: Yoi Takiguchi is a high school student who's wildly popular with girls due to her looking like such a handsome guy, to the point that she's been nicknamed "the Prince" by people in her school. As a result, Yoi doesn't really know what it's like to have boys interested in her, let alone to be treated like a princess instead of the dashing hero the girls make her out to be. That all changes one fateful day when she bumps into Kohaku Ichimura, who is perhaps the most popular boy in school (and for similar reasons as Yoi, funnily enough). Though Yoi's first impression of him is far from pleasant, Kohaku makes it clear from the outset that he's into Yoi for who she is, and the rest of the book sees him try and win her over. The bulk of the first volume sees Kohaku and Yoi spend time together (either by chance or due to Kohaku actively seeking Yoi out), and as Kohaku ramps up his flirting, Yoi finds herself short circuiting as she isn't used to being treated "like a girl," let alone be showered with attention by a guy. Understandably, Yoi is suspicious of Kohaku's words and actions, but gradually, she starts to develop some feelings toward the situation, and the volume ends with the two of them agreeing to date "as an experiment." For the most part, Yoi is at peace with how people perceive her, but there's a sense that the feeling is more of her being resigned to her fate as opposed to fully accepting the parts of herself that make her a "prince" in the eyes of others. I kind of get it, too; it's easy to get so caught up in how people see you that you become unable to view yourself from a different lens, and I know firsthand how that can tank your self-esteem. Having someone in your life to challenge that view and treat you in a way that you may not realize you wanted to be treated must be jarring, so it makes sense that Yoi almost instinctively dismisses Kohaku but eventually finds herself wanting more interactions with him without necessarily being conscious about it. Kohaku is the kind of forward that would immediately put me off if I were the recipient, but as Yoi spends more time with him, it's clear that he has a kind heart underneath (between helping out Yoi directly in certain situations, while also trying to be considerate with his words). The book implies that Kohaku has his own issues being seen as a different kind of prince (it's revealed that he also happens to be rich and earmarked to inherit a whole company), and while he responds to girls being into him a bit more harshly, he may understand what Yoi is going through more than she would give him credit for. Other, more minor characters include Yoi's two friends, who seem to be a little too into the thought of their dashing prince going out with another prince, but otherwise appear to be supportive pals. There's also Yoi's dad, who immediately shows his love and concern for his daughter when he sees that she's finally having meaningful with boys her age. Apart from them, this volume doesn't really introduce anyone more prominent. I thought the art was pretty solid, as many panels feature a good amount of detail, with the main highlights being the very attractive main characters. Seriously, this manga goes out of its way with closeups of their beautiful faces and intricately drawn eyes. Outside of that, the art uses predominantly lighter tones (making Yoi's jet-black hair stand out more due to the contrast). and there's also the occasional use of goofy facial expressions for more humorous moments. VERDICT: In the Clear Moonlit Dusk has an interesting dynamic between its main characters, as one of them sees themselves one way, and yet here comes someone who sees them in a completely different light. I don't really know how the rest of this manga will play out in terms of the potential hurdles Yoi and Kohaku will face as they give dating a go, but the main takeaway for me is that I found Yoi's perception of herself being challenged by Kohaku (and the growing realization of things she may not be aware she wanted all along) to be a character arc I want to see progress. I'm sure there are other romance stories built around the main character finally "being seen," so if you're into that particular flavor of story, this book fits that bill in a number of ways. - end - This week, I have another bonus read in honor of Pride Month. BACKGROUND:
I saw this was free and decided to download it. Look, these sections can't all be interesting backstories. SUMMARY: A drag queen by the name of Bi Phallicia (fantastic name) is hanging out with her queer friends one night when they're suddenly targeted by bigots in a vicious assault. One of the people in the group is left severely injured, and the experience was so traumatic that they are driven to suicide months later. Angered by this loss, the never-ending bigotry, and the inaction of authorities, the remaining friends decide to take matters into their own hands and form the Glitter Vipers, a vigilante group who intervenes to defend those targeted by the recent wave of hate crimes. Their exploits (which also includes biting back against hateful protests led by conservatives) have a bit of an impact as the streets of Manchester are now relatively safer than they were for queer folk, but the group remains unsatisfied as they have yet to find the people who attacked them at the beginning of the story. The book ends with them investigating the situation, discovering the culprits (who end up only being part of a larger scheme that is as hateful as it is contrived), and finding some measure of justice with the power of social media. The story is pretty short, so not much time is wasted, and you see everything play out with no filler. The Glitter Vipers being spurred into action and deciding that they've had enough of taking the hate is completely understandable, and I could feel their frustration as they try to endure an environment where they're seen as others and have to fear for their lives and safety. All the feelings and issues they bring up are pretty on the nose, but sometimes, on the nose is what you need to get a message across. You don't really get to spend much time getting to know the characters with how short the comic is, but the moments when they vent their frustrations and share their harrowing experiences do well enough to contextualize their choice to become vigilantes. I did feel the most for the boyfriend of the man who took his own life at the beginning of the story, and Bi Phallicia's sass is amusing for the most part. The villains of this story are played straight with no nuance, which I'd say is a correct approach with the cut-and-dry themes this book is tackling. I feel like the big reveal of what was really going on in Manchester was over the top, but I think that works fine to illustrate the lengths bigots are willing to go to just to deny people they think are "others" a peaceful life like the ones they have. Some people have foolishly assumed I'm a stereotypical straight just because I keep where I lie on the spectrum to myself, and I can totally see the assholes I know personally reading this right now thinking that I couldn't possibly understand what the characters here are going through. Believe me, I do. I'm openly atheist; I don't even have to reveal the rest of myself to put a target on my back (to which they will reply, "that's not the same," but I digress). I know that feeling of thinking the high road is a waste of fucking time, and that I'm better served taking matters into my own hands, so I can connect with the Glitter Vipers in that sense. That being said, I have spent an embarrassing amount of my life angry and resentful, and unlike most idiots on the Internet who would be first in line to chastise me for "not being angry enough," I have taken extreme action fueled by rage before. People think they're prepared to fight and hurt somebody (and live with that fact) until they actually do it (and most people don't, because they just want to vent), and they also think they can do so unscathed. Take it from me: you won't feel so righteous if you're actually pushed to that point, and it will never undo the hurt you feel. For what it's worth, the Glitter Vipers have good heads on their shoulders and do what they do for others and not for their own satisfaction, but one of their members does wrestle with those emotions briefly, and I understand that, too. Honestly, I think a lot of what the Glitter Vipers accomplish in this book feels like wishful thinking. The world is unfortunately a lot messier than this work of fiction, and stuff like what the Glitter Vipers do don't always play out the ideal way in reality. Now, there's absolutely nothing wrong with hoping for the ideal, but having seen enough morons on the Internet who think they know the answer to every problem (and that anyone who tries to come at things with a level head is an irredeemable asshole), I can't help but feel like some readers (especially those my age and younger who think they know everything after reading one Tumblr post) will take a look at this and quickly forget that every situation is different and that there is no universal solution that fixes them all. I thought the art was fine. It features a wide variety of bright colors and has a fun, cartoony style, but that's about as much as I can say about it. I felt like there were some rough edges here and there, but that didn't affect my experience negatively. VERDICT: Glitter Vipers both tackles the harsh realities of being queer in a world that is still too slow to accept those who are different and showcases a comforting "what if" where bold action equates to almost immediate and tangible change. I have my personal feelings about the latter, but overall, what matters to me more is that the former is tackled with no punches pulled, and I think this comic achieves that. There are probably other stories out there that tackle similar themes in a more in-depth manner, but I think with this book being as short as this is, it's able to get to the heart of the matter very quickly. I think getting the point across as succinctly as you can is a good first step before diving into the nuances, and while the rest of the story may not be for everybody, I think everyone should at least read the comic and internalize its commentary. - end - The Switch's successor may be looming over us, but the little hybrid console that could still has some life in it. As usual, I comment on every announcement in this long-awaited Direct.
The Switch may die one day, but it is not this day. Nintendo came in guns blazing with this one, with genuine shockers, actual new stuff, and a healthy smattering of ports/remasters that don't oversaturate the presentation. Metroid Prime 4 alone is enough to win the day for me, but there was a lot I really liked in here that elevates this to one of the most exciting Directs in recent memory.
- end - I continue my adventure through the Mega Man games for the Game Boy today. We'll see if there's more interesting stuff here. BACKGROUND:
A lot of what I said in my blog entry for Mega Man: Dr. Wily's Revenge still applies here, so I won't repeat myself. The one thing I can add here is that the original Mega Man 2 for the NES is probably one of my all-time favorite games, so this game sharing the exact same title may influence my opinion a little bit. SUMMARY: Once again, this game plays very much like classic Mega Man, so most of my general description of the previous game still applies here. The main difference in terms of basic gameplay is that Mega Man has his slide now, so you have an additional way to avoid danger this time around. The eight Robot Masters here are also borrowed from the older games, with the first four you face being from the original Mega Man 2 (the ones who weren't in Dr. Wily's Revenge: Metal Man, Wood Man, Air Man, and Crash Man), and the rest from Mega Man 3 (Needle Man, Magnet Man, Hard Man, and Top Man). They all retain their weaknesses from their respective games (though Needle Man gets a new weakness since you don't get the Gemini Laser in this game), and the weapons you receive function pretty much the same as they did the first time around. Anyone who's played the original Mega Man 2 knows how completely busted the Metal Blade was in that game, and while it isn't "half the bosses are weak to this weapon" powerful, the ability to fire it in eight directions and its relatively higher ammo still makes it the best weapon for going through the stages. The other weapons see some use as boss/enemy weaknesses or have some other niche, but they just don't compare. In particular, the Crash Bomb loses its niche of breaking special blocks from the original, and the Top Spin is still just as terrible to use as it was in the original Mega Man 3 on top of not being useful on many things. Rush appears in this game as well, and you unlock his three platforming abilities from the NES Mega Man 3: Rush Coil, Rush Marine, and Rush Jet. They're all as useful as they were in their original incarnations, which is all I can ask for when it comes to these utility weapons. E Tanks are also back in this game, giving you the ability to heal off damage if you manage to find them. Dr. Wily's Revenge is comparatively more difficult due to the lack of these, and having these during boss fights makes a lot of difference. The level design stood out to me in this game because of how many of the Robot Master levels are more faithful to the original versions compared to the previous GB game, with sections that are almost one-to-one with the layouts in the NES games. There are also more levels in general, as the latter four Robot Masters actually get full stages (a contrast from Dr. Wily's Revenge, where you just fought the last four Robot Masters in straight fights). Much like Enker in the last game, this game features a unique boss who rewards you with a special weapon. Playing this role today is Quint, who, when defeated, rewards you with the Sakugarne, a pogo stick that you can use to damage anything underneath. It's a very unwieldy weapon, but it's quite entertaining to use on enemies. Like before, the graphics feel very close to the NES games minus the colors (especially with all the reused enemy designs and background elements), but I'll say that outside of a few remixed tracks, the music feels more original overall. In terms of story, it's the same old "Dr. Wily causing trouble" schtick, but he apparently figures out time travel in the process. Not that it matters, though; he doesn't really do much with that discovery. VERDICT: Sharing the same name as one of the most celebrated NES games of all time meant that this Mega Man II has a lot to live up to, and while it takes some of the best and most fun parts of the original Mega Man 2 and 3 as well as adding a couple of new things on top of that, it mostly just feels like a rehash of stuff I've already seen before. I had my fun spamming Metal Blade and destroying the Robot Masters with their weaknesses (which I already knew going in), but this game did very little differently for me to really stand out in the pantheon of Mega Man games. If you're going to play a Mega Man II, you owe it to yourself to play the original one for the NES. It's the one people call the best of the series for good reason, between its near-perfect level design, fun weapons (well, mostly Metal Blade), and easily the most iconic soundtrack in the entire series. There's no argument that it's an "essential" game that must be played once, and for what little my opinion is worth, I love that game so much that I replay it regularly. - end - I'm checking out another indie game I've been anticipating for a while. BACKGROUND:
This game showed up in my radar thanks to one of Nintendo's indie presentations, and as I likely wrote in the blog entry for it, I was hooked on a specific aspect of the gameplay shown. I also learned later on that the devs are the team behind Sonic Mania (more on how I enjoyed that game here), which added to my excitement. Fast forward to a few months back, when another Nintendo presentation revealed that it was going to shadow drop. I resolved to buy the game then and there, but I ended up deciding to wait a little while instead. PLOT: Penny is a young lady who seeks to audition for the Gala and perform alongside Emperor Eddie, who's looking to spice up his annual event with new talent. Along the way, Penny finds a magic string that makes her yo-yo come to life, which is all well and good until said yo-yo causes chaos during her audition, angering the emperor. Now branded a fugitive from the law, Penny travels across the world to evade capture, as well as discover the truth behind the magic string. Overall, the story's a straightforward light-hearted romp, as the antagonist isn't really evil, and you don't really feel the sense that you're a fugitive during gameplay (since you can leisurely explore the world and none of the NPCs are hostile towards you). I can't really say I was invested in anything that was happening since stuff just kind of happens, but the ending was pretty wholesome. PRESENTATION: The vibrant cartoon world of this game is a delight between its fun character designs and colorful locales, which take care to mix up the usual platformer world tropes by blending traditional areas like the desert world with other elements. Where the visuals falter is in terms of graphical fidelity, as faraway objects look noticeably blurry, which made me feel like I was playing the game with my glasses off. I also found issue with how the game approached shadows, which may seem like a silly thing to fixate on, but in a 3D platformer like this, they're extremely important. Your character's shadow should be the most reliable visual indicator for you to tell you where you'll land in games like this, and the fact that shadows only appear when I'm relatively close to the surface (and not on every surface, either) made sections that demand more precision unnecessarily stressful. The music is an absolute highlight of this game, with plenty of catchy tunes to accompany you as you traverse the game's many worlds. I particularly enjoyed the more jazz-leaning tunes, but the other tracks that leaned more towards other genres were great, too. GAMEPLAY: Penny's Big Breakaway is a 3D platformer where you use Penny's trusty yo-yo to maneuver around obstacles and interact with the environment. With the yo-yo, you can double jump, dash, zoom on the ground, swing and suspend midair, and even vault over ledges with simple inputs. I saw the potential in fun movement when I watched these mechanics in the reveal trailer, and I'm glad to say that it is just as satisfying to experience firsthand. Chaining these moves together leads to a satisfying flow to traversing the world, and the game even has a Tony Hawk's Pro Skater-style scoring system which gives you points for combos. You can also throw out your yo-yo and do a sort of spin move, which is how you interact with specific objects like switches or stop enemies in their tracks. This game isn't really combat-oriented (I'll get into that later), so you'll be using these moves mostly to interact with things. For the most part, the controls work perfectly fine, but there are more than a few interactions that lead to frustrating moments. These include inconsistent behaviors (particularly for the yo-yo ride move and the ledge grab move, which can lead to disruptions to your momentum or even your death), occasional eaten inputs (which could likely be made worse if you have a busted controller), and a few bizarre interactions (like when the spin move hits certain objects). It's unfortunate to say that I encountered such problems more often than I would have liked, and stuff like this really gets in the way of otherwise satisfying movement. It's also bizarre to me that I can't remap the controls, because the dash and the attack button being mapped to the same button has caused me trouble many times. I don't even know why the dash can't be its own button, considering all the possible commands in the game don't even use all the buttons of a standard controller (numerous inputs can be used for a single command). As opposed to a sandbox-style 3D platformer where the name of the game is exploration, the game's structure is more akin to Mario Galaxy, where the action is more linear and you need to get from point A to point B. There is the occasional bonus area and alternate path, but you won't get any Mario World-style secret exits or anything like that. What may end up jarring for some players is the fact that the camera for this game is fixed (I refuse to count what you can do with the D-pad as camera movement, because it isn't meaningful enough to be useful). This makes exploration a pain in the ass, as you can't backtrack without risking a nasty fall into the abyss. It also makes navigating more precise platforming sections tricky, because sometimes you can't see ahead to where you need to jump. I don't think it would have hurt the game to have some camera movement, even if the point of the game is to traverse linearly and not so much to explore and look around. The fixed camera also makes aiming for certain things with your yo-yo tough, but thankfully moments that require such aim aren't as common. The fact that you can throw the yo-yo in a specific direction with the right stick helps with this as well. Speaking of exploring, this game doesn't take kindly to you testing its boundaries, as certain surfaces are simply not made to be jumped on (you end up in a never-ending freefall animation, which is infuriating), and some supposedly solid areas like walls and floors do not have collision (and I have clips of more than one instance where I quite literally ran into such places). Again, I understand that the point of the game is more on the traversal aspect of the levels than it is the exploration aspect. I'm totally fine with that, but I think some efforts could have been made to block areas off so other players don't feel punished for indulging their sense of exploration. A lot of the level elements are standard stuff for experienced platformer players, like moving platforms, bounce pads, slippery ice, conveyor belts, hazards like spikes and fire, and switches that activate/toggle level elements. Where more of the fun lies are the elements that are designed around the yo-yo, like poles and ropes you can hook to, quarter-pipes and slopes that help you build up speed and height with the zoom move, screws that twist when you do the spin, and more. Though I found that some of the elements aren't always 100% responsive when you fling the yo-yo towards them, these additional mechanics generally work well in tandem with Penny's innate movement options to keep the flow going. You also run into the occasional power-up, like one that lets you zoom across hazardous surfaces like lava without slowing down, a couple designed to break specific blocks, and one that propels you into the air when you spin. These are sadly restricted to specific sections and typically expire after a set time, but they're fun for the brief time you get to mess with them. There isn't much in the way in terms of enemies, as you only really run into Emperor Eddie's penguin army. All they do is dogpile you, and if five of them manage to get their hands on you, you lose one hit point. You can dash, swing, or spin to get them off you, but they typically don't die unless you've knocked them off multiple times or you send them into the abyss. They're really just mild annoyances that you're better off running away from more than anything, so I feel like you can take them or leave them. Some of the game's worlds end in some sort of boss encounter, though those are pretty simple as well. Simply interact with the appropriate objects to create openings, avoid the highly telegraphed attacks, and navigate any additional platforming sequences until you win. I personally enjoyed the less traditional boss encounters more, like the chase sequence at the end of the first world, and a platformer race. There are eleven worlds total, though the level count for each is pretty disjointed. The first world has about six or seven levels, while there are worlds that only have two or three. There isn't really a storyline justification as to why Penny stays in some worlds longer than others, so this approach just ends up making the overall pace of the campaign a bit uneven. I didn't mind this all that much, but this uneven pace is noticeable, and I can see it being jarring for some players. While there are plenty of ways you can take damage in this game (deliberately designed or otherwise), you do have four hit points, falling into pits only counts as a point of damage, and you can pick up healing items on occasion. Even if you manage to hit zero, you only really lose points, and you can restart at the last checkpoint. All the regular levels have six collectibles: three NPC challenges and three bolts that you can collect. The latter is more straightforward since they're more your traditional "hidden" optional collectible; all you have to do is keep an eye out and try to explore alternate paths to spot them (or the area leading to them). Only a handful of these are tricky to find or get to, but it's nonetheless satisfying to get them all. The other collectibles involve fulfilling NPC requests, which can take on many forms. Some of them involve collecting or breaking scattered items in an area, others involve hitting a certain score with a single combo, while others have you deliver an item to another NPC without getting hit. These are all fine as they are, but sometimes the game blindsides you with challenges that are time-sensitive, and not only are you given zero warning, you're also locked out of retrying if you fail unless you restart from the last checkpoint. This game conditioned me to avoid walking near the challenge NPCs (the challenges trigger automatically when you're close enough) until I was ready because of this, which kind of grinds the pace to a halt. At the end of each level, you can land on one of three levels of the end platform, which you can think of like the flagpole in classic Mario (the higher you land, the greater the bonus). Once you land, you're treated to a quick-time event minigame where you input the specified buttons or directions to make Penny perform a yo-yo routine. There's no real reason to go for this unless you want the points (or you just want the satisfaction of landing on top), but I think it's fun. Speaking of points, each regular level has a score threshold you can aim for to unlock pictures in the scrapbook, which you can also think of as bonus collectibles. They're worth collecting if you like looking into concept art, but that's about all you get for hitting the high score (other than a sense of accomplishment, I suppose). The collectible bolts in each level are actually used for something, as they're spent to unlock the Star Globe levels. There are 15 of these you can unlock, and they're probably the best showcase of the game's platforming. The Star Globes are super challenging levels that mix and match the game's various mechanics, and it's all about getting to the end. I found these levels a ton of fun both in terms of the challenge and the fact that they're the best place to get that flow of movement I enjoy so much. If you're the speedrunning type, you can play all the levels in Time Attack mode. It's basically the same thing, but you're just trying to clear them as fast as you can, and your best times are tracked on each level's scoreboard. VERDICT: I love a lot of what Penny's Big Breakaway has to offer, especially its satisfying 3D platformer movement and how the bulk of its levels are designed around creating a fun flow of movement. However, I feel this game could have used a bit more time in the oven to smooth out its control issues, the weirdness of some of its levels, and the problems I had with the camera. I had fun with what I played here, but I must admit that I didn't love this as much as I thought I would due to its issues, and that this game has the potential to be much better than it currently is. If you don't mind the caveats I mentioned, I think there's an enjoyable 3D platformer experience in this game that's accessible even to casual players (the inputs are easy to learn and few levels demand insane precision). That said, I think it may be more worthwhile to wait for any patches to come around before giving this game a go, because I don't feel comfortable recommending a game with issues that can interfere with the core gameplay and affect one's enjoyment of it. You can check out the game on Steam right here: Penny’s Big Breakaway on Steam (steampowered.com) Listen to the game's soundtrack on Spotify: Penny's Big Breakaway (Original Game Soundtrack) - Album by Tee Lopes, Sean Bialo | Spotify - end - Father's Day is tomorrow, so I thought I'd read something in line with that (and get myself through what is typically a difficult day of the year for me). BACKGROUND:
I read the synopsis for this a while back and decided to save it as a Father's Day read, but that's about the extent of my knowledge. SUMMARY: Kohei Inuzuka is a schoolteacher who's also a single dad raising his young daughter Tsumugi after his wife's passing, and it's clear that he's facing some struggles doing things on his own. Atop the list of things Kohei wants to work on for his daughter's sake is to learn how to cook so she can eat better meals, but he doesn't even know where to start. The opportunity presents itself purely by chance when Kohei and Tsumugi meet Kotori Iida, a student whose mother runs a restaurant. As of late, Kotori has been spending her time alone due to her mom having important work, leaving her quite lonely as a result. Kohei insists on meeting Kotori at her restaurant to give his beloved daughter a lovely meal, who accepts and works on fixing something for them. Though a struggle at first (as Kotori is not as versed in cooking as her mom), the results were spectacular, as Tsumugi absolutely loved the meal. Seeing the joy in his daughter's face, Kohei now knows for sure that learning to cook is something he must strive to do. Kotori, bereft of company, proposes that Kohei and Tsumugi come in and eat together with her regularly. Kohei is understandably hesitant to hang around with a female student from his school, but seeing how excited Tsumugi was about their first encounter, he gives it a shot and they make another meal together. Kotori and Kohei work together to figure out the whole cooking thing, and after another success, Kohei decides to continue to work together with Kotori to continue learning. With the formula set, the rest of the volume sees Kotori, Kohei, and Tsumugi hang out and make food together for different situations. Two chapters revolve around Tsumugi, with one centered around her being upset after a confrontation with another kid at her daycare, and another when she ended up with a fever. The other chapter saw the trio work on picnic lunches for Golden Week, which saw everyone's plans for the holidays change by the end. Kohei is unquestionably a loving father to Tsumugi, and while he feels the struggle of having to raise her by himself, he's determined to give her the best life he can and learn everything he can in service of that goal (seeing him tear up when he sees his daughter happy hit me pretty hard). While he does want to prove that he can do it all on his own, he's not ashamed to admit when he's in over his head and knows to ask for help when he needs it. He's definitely someone to aspire to be, I'd say. Tsumugi is a little bundle of joy with a good heart. Her excitement over food and joy at the thought of sharing meals with her dad and her new friend Kotori is infectious, and the one chapter where she was upset was due to her having a kind heart and wanting to do the right thing. Seeing her be so positive despite her tragic loss was heartwarming, though with my personal experience, I also couldn't help but feel a bit envious that she was able to stay that way. As for Kotori, I feel that she's the most interesting character of the main cast. I felt for her as circumstances led to her not seeing her mom all that much (if at all), and that's made more heartbreaking when it's made clear that she and her mom have a very close relationship (despite the distance, the two still very much show their love for each other via their letters to each other). I totally get why she jumped at the chance to spend time with Kohei and Tsumugi, and seeing her find joy in this other family left me emotional. Probably the only thing in this book that causes me to raise my eyebrows a little bit is the nonzero chance that they add a romantic element to the story. I found the found family dynamic of two novice cooks persevering and successfully making things to make a little kid (who excitedly helps with the cooking) happy really lovely and wholesome, and I really don't want that to get weird. Every end of the chapter also features a recipe to follow if you want to make the dishes Kohei and Kotori work on during that chapter. Cooking is not my strong suit, but I love these segments nonetheless, because it's like an encouragement to go out and try making the thing you just saw get made alongside the main characters. The art is light in many senses, from the linework mostly sticking to thin lines, the sparing use of darker shades (stuff like the hair of the main characters really stand out as jet-black next to most other things), and finer details not really being commonplace for most panels (making their use stand out more). The visual highlight for me is Tsumugi, who is drawn in pretty much every panel to be the most adorable little girl you've ever seen with her over-the-top facial expressions and how she almost always looks like she has unlimited energy. VERDICT: Sweetness & Lightning lives up to the first word of its title with all the main characters coming together to make each other happy by bonding through cooking. Kohei and Kotori's struggles left me feeling all sorts of emotions, but seeing them find joy in learning to cook and making an already happy little girl even happier is up there as some of the most heartwarming things I've read in my time exploring manga titles. This was a delightful read (and is another argument in favor of the power of food as a way to connect with others), and I'd definitely read more. This is as warm and fuzzy as wholesome slice of life stories can get, in my opinion. If you're into that, definitely give this book a shot. Bonus points if you can cook; the recipes here may be worth trying out if you have the means. - end - Nintendo completely blindsided me with this month's Switch Online releases by unceremoniously dropping all five GB Mega Man games on the Game Boy emulator. You're about to get five whole weeks of me talking about each one, starting now. BACKGROUND:
Now, I knew there were Mega Man games on the Game Boy, but I've never played them at all. I also didn't know they made five of them (I only knew of this one and the GB Mega Man 2), which was part of why I was so surprised when they all dropped in the Switch Online emulator. Lastly, I know that these games reuse the Robot Masters from the original NES games, so I'm coming into these games wondering how much is derivative and how much is completely unique. Speaking specifically on the classic Mega Man series, I've played all six NES games, plus 7 (which was originally on SNES), 8 (which I first played on the original PlayStation), and 11 (which I talk about here). As you can probably tell, this is one of my favorite classic game series ever, so I know exactly what I'm getting into as I dive into the GB games. SUMMARY: Dr. Wily's Revenge plays largely identical to the NES Mega Man titles, so the general idea of jumping and shooting as well as going through the level until you get to the boss is pretty much intact here. Mega Man himself functions exactly as he did in the originals, with the Mega Buster as his default weapon (minus the Charge Shot), and mostly identical movement (minus the slide). You also get the same story formula, as Dr. Wily is back on his bullshit, and it's up to Mega Man to stop him. The game's structure is a little different from the usual formula, which has you select which of the eight stages you want to start on. You still get a choice at the beginning, but the choice has been reduced to four, after which you go to the usual Wily Castle phase of the game (of which there are only two levels). Oddly enough, you do still fight eight Robot Masters, but the other four are fought in the traditional boss rush section of the first Wily Castle stage instead of their own stages, which I was quite surprised by. As far as level design goes, the layouts themselves are completely unique from what I've played before, but they also feel familiar with their use of various enemies and hazards from across the NES Mega Man series. There are fairly unique gimmicks as well, like melting blocks, fans that push you away, and falling icicles that can be used as platforms, all of which I thought were neat. I was worried coming in that this game would just port over the NES levels wholesale, but I'm glad that the levels here are distinct for the most part. In terms of difficulty, I found the levels mostly on par with what I'm used to in terms of classic Mega Man, with a decent mix of tough, but fair rooms with tricky enemy placement, simpler rooms that pose no challenge if you just take your time, and a few sections that will punish you for not knowing the future (falling sections with instant-death spikes, or everybody's favorite disappearing blocks over bottomless pit). It's nothing I haven't dealt with before, so I managed just fine. The eight Robot Masters you fight in this game are taken from multiple NES games, with four coming from the original Mega Man (Elec Man, Cut Man, Fire Man, Ice Man), and the other four being Mega Man 2 bosses (Flash Man, Quick Man, Bubble Man, Heat Man). Their fights are pretty much identical to their original incarnation, and they award you the exact same weapons when you beat them. Hell, they have the exact same weaknesses, so I immediately figured out what order to beat them in. Of course, it would've been neat to get a unique set of Robot Masters, but I still had fun facing off against these classic foes all over again in a different setting. The bosses in the Wily stages are somewhat unique in contrast, with the first being a character named Enker (a robot designed specifically to defeat Mega Man, because those usually succeed), who actually rewards you with a weapon when beaten (Mega Man getting weapons outside of Robot Masters is quite rare in this series). The weapon itself is unique as well, as the Mirror Buster is basically just a projectile reflector. Mega Man also gets the Carry item halfway through the game, which serves as his one platforming tool here. Utility weapons that are purely for getting around are a staple in the series, even allowing you to reach optional pickups. In this case, Carry is the most basic type of utility item (it just spawns a stationary floating platform), and while it would have been nice to have more, it's really the only one you need for the levels in this game. This game even looks and sounds like the NES titles, with the sprites only really missing the colors, and some of the music being pulled straight out of the older games. I really felt the lack of color in this case, as part of the fun of Mega Man has always been seeing his color palette change depending on the weapon he has equipped. VERDICT: Dr. Wily's Revenge is standard fare for a Mega Man game, as everything from the presentation to the overall level design feels like something I've experienced with the original series. There are some unique elements like the actual level layouts and the addition of things like Enker and the Mirror Buster, but a lot of the game feels largely familiar. I did find fun in experiencing old bosses in a different context (like using Mega Man 1 weapons on Mega Man 2 bosses), but I did find myself wishing there were more new things like the Mirror Buster instead of the game just reusing stuff I've already seen. Outside of that, I had a decent (albeit short) time with this game, and I'm looking forward to playing through the rest of the Game Boy series. I would recommend playing the NES games (which are bona fide classics that absolutely count as "essential" games) first before even considering touching this one. They have more levels overall, so you both have more choices in terms of what order you want to tackle levels, more opportunities to try your special weapons on a larger assortment of enemies and bosses, and a more definitive boss rush experience where you actually fight all the Robot Masters again. As a bonus, you'll know what the boss weaknesses are for this game if you play the original Mega Man 1 and 2 first. - end - Derryck Plays - Castlevania: Bloodlines (Castlevania Anniversary Collection) [Nintendo Switch]6/11/2024 And thus, I arrive at the final game of my Castlevania Anniversary Collection journey. It's been fun going through the classic titles of the series, but until I get around to getting the Advance Collection, this is the last Castlevania game I'll be checking out for a while. BACKGROUND:
I knew there was a Castlevania game for the Sega Genesis, but I didn't really know anything about it. I was quite curious about it once I read the synopsis in the Anniversary Collection, but I decided to save this playthrough for last so I had something exciting to look forward to after I cleared out the rest of the games. SUMMARY: While the looming threat of Dracula rising from the ashes once more is still very much a thing in this game, Castlevania: Bloodlines deviates quite a bit from the established story formula so far. Before this point, all of the games in the series have taken place some 400-600 years ago in Transylvania (that's my rough estimate, anyway), and they've all starred a Belmont stepping up to their family legacy of whipping vampire ass. This game is quite different: it's set in the early 20th century, takes place all across Europe, and features very different protagonists (yes, plural). Dracula isn't quite back yet when the events of the game kick off, but Elizabeth Bartley, a descendant of his, has been scheming from the shadows to revive the dark lord. It's implied that her machinations had a hand in starting World War I, but in any case, it seems her sinister goal is at hand. Opposing her are the young vampire hunters John Morris, whose clan is descended from the legendary Belmonts (and whose father, Quincy, was the last to vanquish Dracula), and Eric Lecarde, a close friend of John's and wielder of a weapon on equal standing to Morris's Vampire Killer. Together, they battle the forces of evil and journey across Europe to face off against Bartley and her creatures of the night. I thought this slight change in the formula was really interesting, as it really expands the mythos of the series by jumping far ahead in the timeline. Of course, I have many questions as to what happened between all the other events that I know of and the events of this game, and while I'm sure later game flesh things out further, I found it fun to speculate about as I played. The game immediately stands out as different off the bat when you boot it up, as you get to choose which character you want to play as throughout the campaign. John Morris is your traditional Belmont experience, as he is the one who wields the Vampire Killer whip and he controls like a classic Belmont (but with the additional ability to whip diagonally upwards, and directly downwards). He can also grapple onto and swing from ceilings, though this mechanic is sadly only used a handful of times in a meaningful way. Eric Lecarde is quite the departure in contrast, as he wields the Alucard Spear instead. The spear has respectable range, you can twirl it around to keep approaching enemies at bay, and you can perform a downward thrust if you're in midair. Perhaps the most notable skill Eric has is his ability to vault directly upwards with the spear, allowing him to reach high platforms with what functions pretty much like a super jump. This ability makes several sections of the game pretty easy, as Eric can skip otherwise dangerous sections with a single jump. Both hunters can use the three available sub-weapons: the axe, the boomerang (standing in for the cross), and the holy water, all of which function the same as they do in the older games. What's unique about them here is that you can use a special input to perform a super attack with these sub-weapons, allowing you to deal more damage and cover a wider area at the cost of more hearts. I thought this was a cool evolution of the classic mechanic, and I like that while they are quite powerful, you can't just rely on them completely because they require more resources to use. There are also two special sub-weapons unique to each character that cost plenty of hearts to use, but are well worth the trouble. John gets this insane flurry of orbs that home in on targets, while Eric is able to unleash an onslaught of projectiles that covers most of the screen. They are amazing at tearing through bosses and clearing otherwise dangerous rooms of enemies, but not only do they cost a lot to use, getting hit once causes you to lose these powerful attacks. In total, there are six total zones, each taking place in some landmark in Europe (from the iconic Dracula's castle in Transylvania, to the Leaning Tower of Pisa of all places). The game follows the traditional Castlevania structure of splitting up these stages into "blocks," which you go through in a linear manner and has you explore some interesting locales within the general area. There's a healthy mix of new and familiar here, like how the stage in Germany features elements of the iconic clock tower levels of the old games while also having unique elements that show that you're in a factory. I would say the level design offers a respectable challenge that feels very much in line with what Castlevania has become renowned for, as most areas are guarded by deviously placed enemies with attacks tailor-made to halt your approach. They also mix in a blend of classic and new level elements and hazards to navigate around, like some of the greatest hits of the NES titles (e.g. gear platforms, auto-scroller sections) and some truly unique platforming mechanics or gimmicks (like the distorted room, or the room where the view is upside down). One thing I found notable is how one of the levels is a split path, and you can only go through one based on what character you're playing as. In this section, John has to go through the path where he can swing from the ceiling across a gap, while Eric has to ascend platforms only his super jump can reach. I thought it was strange that there was literally only one instance of this, and I would have loved more so that a playthrough with each character felt even more distinct. The enemies are a similar mix of old and new, with a number of classics utilized in the same way as they were in the old games (examples include Medusa heads, axe knights, goofy bone-throwing skeletons, bone dragons, bats, and mummies), as well as a bevy of unique ghouls with tricky attacks keeping you from blazing through (like archers, minotaurs, and even some dude with a gatling gun). I've run into my fair share of tough sections where these bastards were placed perfectly to keep me on my toes (with my only reprieve being any sub-weapons I may happen to have), and when it comes to Castlevania, I wouldn't have it any other way. This game spoils you with bosses, as you get sub-bosses in addition to the bosses that wait for you at the end of a zone. Again, you get some familiar faces with a fresh coat of paint (like Frankenstein's monster with new attacks, a completely different Medusa from the first game, and an updated Death fight with a unique gimmick) and a bunch of fresh fights (a giant golem, a Mothra-like creature, and some weird gear contraption). Some of these boss fights are pretty easy once you figure out the few patterns (even more so if you have sub-weapons), while others pose a more respectable challenge. In any case, I was delighted to face off against a lot more imposing creatures of the night compared to the one-a-level formula that was the norm up until this point. The graphics of this game rival that of Super Nintendo's Super Castlevania IV in level of detail and polish, which is all you can want for a title on the SNES's hardware rival. The backgrounds (many of which feel super fresh since most of them take place outside Dracula's castle) look very intricate, the sprites look impressive (and breathe new life into classic enemies with wildly different designs), and the effects were as flashy as can be (the most notable of which are the sections with scrolling elements). The music is fantastic as well, and I enjoyed the new renditions of Nothing to Lose (the final boss theme of the original Castlevania) and Simon Belmont's theme (which was the big track of Super Castlevania IV). Since there are two playable characters, I decided I'd play this game all the way through twice. For the second playthrough, I played on the Japanese version of the game (playable on the Anniversary Collection). I think the main difference between this version and the international release is that it is overall easier thanks to you doing more damage on many enemies, several sections with less enemies, and even a few enemies whose behavior is adjusted to be easier to deal with. I also happened to do this second playthrough as Eric, whose super jump and faster attack speed helped make things more of a breeze. VERDICT: Castlevania: Bloodlines felt like such a fresh experience with a unique playable character, plenty of new enemies and locales, and even a remixed story. And while I enjoyed all this new stuff, the game also preserves the aspects of the series I've been enjoying throughout this journey of playing through the Anniversary Collection (like the level design, the sub-weapons, and the traditional whip combat in the form of John Morris) and improves upon it with meaningful additions like more bosses and special sub-weapon attacks. I had a lot of fun on both playthroughs, so much so that I'm actually a little bummed that I'm out of Castlevania games to play (for now) that can scratch the itch to play more that this one gave me. I haven't really seen much about how this game is viewed by fans and critics as a whole (so I don't know if I can argue that it is "essential" on the merits of acclaim or accolades), but what I will say that I think this is worth playing after playing through at least the original Castlevania, Simon's Quest, Dracula's Curse, and Super Castlevania IV. I think there is a lot of merit in playing those games first and then starting with this one, as Bloodlines does a lot different while also expanding on an established formula, and that there's something to gain in terms of understanding different approaches to evolving the game design of a series by comparing the four aforementioned games with this one. For the last time, I link to the Castlevania Anniversary Collection, where you can play all the eight games that I've been blathering about over the past several weeks (including their Japanese versions, if they have them): Castlevania Anniversary Collection on Steam (steampowered.com) - end - Ooh, freebie! BACKGROUND:
Though far from Sega's most iconic title, Sega Bass Fishing is well-known enough as both an arcade hit and a memorable Dreamcast title for its special fishing controller. Personally, I've never played it myself, but I've definitely seen gameplay of it. I managed to get this for free by subscribing to Sega's newsletter, which is weird because I'm pretty sure I was already subscribed (that's how I got NiGHTS into Dreams for free). PLOT: Disappointingly, there is zero world-building into the nuances of bass society or the intricacies of competitive angling. PRESENTATION: This is the game from the late '90s, so the age of the early 3D graphics does show in many places, but all things considered, it doesn't look half bad. You're not going to get the level of polish you'd expect most 3D games do these days, but for a game from 1997, this looks solidly realistic. I suppose my only wish for this game is the ability to control the camera underwater, but for the most part, the fixed angles hardly ever interfered with the gameplay. It's more of a personal wish of mine to be able to view the fish as it's being reeled in from different angles. The music is appropriately chill given the activity, with a number of tracks even leaning into some jazzy melodies (something I found amusing). However, the game flips the switch when you manage to hook the fish, as a more intense rock tune plays as you're reeling it in. Big fan of that as well. I also quite enjoy the limited voice acting courtesy of the announcer, who lets the player know of helpful things (how to handle the line, if a fish has spotted the bait, etc.) in a cheesy tone. I really love when they announce that the fish you caught is huge, or the simple announcement of FISH! when you've hooked a fish. GAMEPLAY: This may shock you, but Sega Bass Fishing is a game all about catching fish. You go into a fresh body of water, you pick a lure, you cast, wiggle the lure, then hope for the best. It's literally that simple. The game's variables include different sections of lakes from which to fish, about a dozen lures with different properties (e.g. depth restrictions, unique behaviors, etc.), spawns influenced by time of day, temperature, and weather conditions (which determine the water level the fish swim at), and the size of the fish you catch. It all seems arbitrary at first, but if you play long enough, some patterns will emerge that help you figure out the best spots to fish (and when). Lures are a matter of taste for the most part, but sometimes, it helps to switch to a specific kind if the fish are behaving a certain way. Once you hook the fish, all you have to do is reel it in without letting it slip from your hook (not enough pull) or causing the line to break (too much pull). This is achieved simply by balancing when you reel (and how hard you do so) to avoid the meter from dipping too low or too high, and moving the rod in the indicated direction when prompted to reduce stress. It's not that hard once you figure out how to space out your reeling, but of course, larger fish take more effort to reel in. The game has three modes. Practice Mode is pretty much the place to chill, get a hang of the mechanics, or figure out how the bass spawn in a given area. This mode is easily the best place to start for new players, especially since the controls may take a minute to get used to. Arcade Mode has you go through four of the game's stages to catch a specific weight quota of fish before the timer expires. You simply have to either catch a whole lot quickly or target big fish immediately to proceed, but don't worry; even if the timer expires, you can continue without any penalty at all. That, of course, is a holdover from this game's initial release as an arcade title, but if you're playing the game in 2024, you're likely doing so on a ported version at the comfort of your own home. Original Mode is structured differently, as you go through a series of fishing tournaments hoping to get first place by catching a ton of fish (again, determined by weight). Your approach here is a bit more open-ended, as you can select where to fish from the offered stages, but unlike Arcade Mode, time actually matters here. You only have four in-game hours (which lets you go through the entire day-night cycle of the game) to catch as much as you can, and once a time of day is done, you have no choice to proceed. Scores are calculated at the end of each day, and with luck, you'll be at the podium. You will then go through this whole rigamarole four whole times, and the sum total of your efforts determines your rank in the entire tournament. There are four tournaments in Original Mode (Amateur, Challenge, Masters, and Professional), and you have to complete one to be eligible to participate in the next highest-ranking tournament. It's more of the same as you go, only with higher score thresholds to beat, so unless you're really into this game, you don't have to pressure yourself into doing everything in one go. Progress is saved between rounds, anyway. My only gripe with Original Mode is that if you want to get first in every tournament, you have to do it in one run. If you don't place in the first tournament and unlock the next one, you don't get a second chance. You'll have to start a new game. I'd rather each tournament were standalone so you don't have to grind a bunch of other tournaments just to get to the one you want to ace. I suppose this game structure would work fine in an arcade setting, but in this day and age, it doesn't quite work. Apart from those modes, there's really not much to do. I suppose you can unlock all the lures in Original Mode, but that will likely happen naturally as you play. VERDICT: Sega Bass Fishing is one of those "what you see is what you get" kind of games, where all you really have is the core gameplay and little else. To me, that's all I really need, because the arcade-style structure of the fishing is actually quite addictive once I figured out the actual fishing. I can definitely see myself playing this if I'm somehow bored on a slow day. I would argue that this game is enough of a classic for me to designate it an "essential" gaming title (at the very least in Sega's pantheon). There are plenty of games with fishing in them, and there are definitely other fishing games out there, but Sega Bass Fishing was quite popular in its arcade days, and the novelty of the Dreamcast fishing rod controller is still the subject of many "weird controller" lists on the Internet. Give at least Practice Mode a shot if you can, if only to see and hear the iconic FISH! when you catch something. My one caveat for people picking up this version specifically is that playing this with the keyboard isn't the most comfortable experience out there (though it is somewhat playable if you figure out a control mapping that works for you). It's unlikely that there are fishing rod controllers designed for PC readily available on the market, so I recommend using your garden variety gamepad if you have one. Play Sega Bass Fishing on Steam: SEGA Bass Fishing on Steam (steampowered.com) - end - And now, back to our regularly scheduled manga programming. BACKGROUND:
To no one's surprise, this is one series I know nothing about. The synopsis seemed interesting enough, and there were elements that I found rather curious, so I thought this would be a decent pick to start the month with. SUMMARY: Rui and her younger brother Kyo are having a rather tough time as of late, as their family's bad financial situation has forced them to move out of their old home and caused their single dad to seek work elsewhere after losing his business in the process. What's worse, Kyo has dropped out of his school after his confession of feelings towards a male classmate led to him being ostracized, and his mood is in the gutter as a result. Wanting to help, Rui resolves to find a job that will allow them to live comfortably again. A friend of Rui's encourages her to use her boyish appearance (a subject that Rui is a bit insecure about) to her advantage and helps her find an admittedly sketchy job at a host club. That job ends in near disaster, but in the nick of time, Rui is bailed out by an extremely wealthy lad named Tohma. Tohma then quickly gives Rui an offer she can't refuse: he'll let her and Kyo stay at his home as well as pay her an exorbitant sum of money if she becomes his butler. The catch? She has to continue pretending to be a boy, and no one can find out that she's actually a girl. Thus begins Rui's strange new career as Tohma's butler, who has his fair share of strange needs/requests and occasionally abrasive behavior, but he seems to be a level-headed guy for the most part. Rui learns the ropes under the tutelage of Tohma's longtime butler Sagunima, who's as loyal as can be to his young master. Rui does her best to learn and be of service to Tohma, but it's clear that she has some learning to do. Rui and Tohma's arrangement also requires her to switch schools and attend alongside Tohma at his all-boys school, which comes with its fair share of tribulations. Apparently, there's a feud between the two divisions of the school, with Tohma and co. on the sort of underdog side, and the other side serving as the sort of "ruling class" of the school where the student council resides. Tohma is apparently no stranger to getting into fights with the other faction, so part of Rui's task is to keep him out of trouble. Adding to the drama is how the head honcho of the student council is Haruki, who turns out to be Tohma's cousin and heir apparent to their family's fortune. The guy is quite the hothead and has no problem getting in Tohma's face, so Rui has her work cut out for her. That's far from where their interactions end, however, as later on in the volume, Haruki learns Rui's secret, but the twist is that they actually hit it off and spend some quality time together, and Rui quickly ends up head over heels for him. For a premise that's brimming with potential for drama, the first volume is pretty tame, as the Tohma is a mostly decent person (so there's no real conflict between him and Rui), and Rui gets found out pretty quickly by Haruki, but it doesn't end up jeopardizing her arrangement with Tohma because the latter anticipated it happening. The only real source of spice right now is the growing relationship between Rui and Haruki, which is the only way I can see Rui's secret coming out at this juncture (especially considering Haruki doesn't mind secretly flirting on campus). Even then, the volume ends with only one person outside the immediate circle only being suspicious about Haruki's changed demeanor after he learns Rui's secret. Rui immediately has a sympathetic backstory and a love and care for her family that has me wanting to see her succeed, though what has me intrigued is seeing her handle her strange arrangement with Tohma. All things considered, she has a good thing going here, and it would be interesting to see how she handles her secret being in jeopardy and developing her relationship with folks that are significantly richer than her. It's also interesting to see her struggle a little bit with her appearance, as she feels out of touch with her femininity. Tohma's story is actually a bit tragic, as he has a bizarre allergic reaction towards women (with Rui being a weird exception). As stupid as that sounds, this actually led to his mom not being in his life that much, and he visibly struggles with his attempts at exposure therapy (both physically and emotionally). While I'm sure there's story potential in his contentious relationship with Haruki, I'm definitely most curious to see Tohma deal with his main struggle throughout the story. Haruki is the next most prominent character, and the contrast between his belligerent attitude in school and his nice (albeit very flirty) demeanor towards Rui is quite jarring. He explains that his behavior is largely due to being stuck in his current situation (he was made to go to the same all-boys school for Tohma's sake, and he much prefers being in a co-ed school), and he's making tangible efforts to change his ways. I'm curious to see how he grows from here, and if his relationship with Rui goes any further. There are also a bunch of minor characters, though obviously they don't get as much screentime. The most prominent of this group to me is Kyo (who, for a kid, is pretty in tune and is comfortable with his sexuality), Rui's dad (who cares a lot for his kids but laments the loss of his bar), and Haruki's butler Hatarai (who has a standoffish personality but is supportive of Tohma despite their feud). I also found it amusing how a lot of the boys Rui runs into at the school find him attractive and fawn over her. As far as art style goes, the linework is pretty simple and doesn't have much weight to it, there isn't a lot of shading overall, and most things don't boast that much detail. I don't find it particularly eye-catching, but I do enjoy all the wacky facial expressions and how characters are drawn in a chibi style for the more humorous panels. VERDICT: Despite having a premise that just screams drama and interpersonal conflict, My Best ♀ Butler pleasantly surprised me with mostly well-adjusted characters (or characters actively working on themselves), an unexpected struggle for Tohma, and people of different orientations or gender expressions simply existing as a natural part of the story's world. It's more than likely that the spice doesn't go full throttle until later chapters, but it's kind of refreshing to have a story like this start out with the protagonist getting along with the other characters (and even finding some potential romance) and those other characters not being outright assholes (so they aren't the source of conflict for the protagonist). I wouldn't mind reading more of this. Is there a term for manga stories where the protagonist gets into a weird working arrangement that leads to something more? Between this and other similar titles I've read like Quintessential Quintuplets, it kind of seems like it could be its own genre/subgenre. In any case, if you're into that sort of story, this manga fits the bill. - end - I did my best to look for comics with LGBTQ+ leads for this month (as I always try to), and there are a few I'll be checking out throughout June. Here's the first. BACKGROUND:
Iceman was one of my early X-Men favorites as a kid, and I found the retcon that he is actually gay (which happened almost a decade ago at this point) quite the groundbreaking development for him. I don't update myself on recent comics very quickly, so I only know a little bit of what happens to Bobby after coming out the closet. I'm very curious to see how he navigates life in the Krakoan Age. SUMMARY: Each of the four issues sees Iceman on a standalone superhero adventure, though a loose connective thread goes through all of them in the form of the other characters Iceman connects with in each chapter, as well as certain events that are addressed in a succeeding issue. I'll talk about all the chapters individually, then point out the connections between them when they come up. Issue #1 sees Iceman battle PuriFire (what a name), a mutant-hating X-Cutioner ripoff who terrorizes Los Angeles with fire-themed attacks. Bobby manages to kick the guy's ass just fine, and he stops by Krakoa to catch up with fellow queer mutants Rictor and Northstar. Here, he talks about his previous relationships (both of which come up later on) as well as comment on how he's just trying to have a life on his own outside Krakoa. Firestar then shows up and asks for Bobby's help on a rescue mission, which he agrees to. He ends up in a bit of a bind until he's rescued by the Inhuman Romeo, an empath with whom he had a relationship with when his younger self was displaced through time (it's.... a long story). The second issue sees Romeo and Iceman reconnect in more ways than one, and one of the conversations sees Bobby question why he even tries to be a selfless hero. The talks are eventually interrupted when a giant alien runs amok, but the duo manage to pacify it. After parting ways (with promises of seeing each other again soon), Iceman heads to a prior commitment, but he's forced to leave when he hears that his father had passed away (who never accepted him as a mutant, going as far as to refuse Krakoa's medicine in spite of his condition). Distraught, he seeks the company of another flame, Christian Frost (Emma Frost's brother). Next, Iceman is unceremoniously summoned by an amateur sorcerer named Daemon (not before having a meaningful conversation with Christian Frost, thankfully). Daemon is very clearly toying with forces beyond his comprehension, though he did manage to hold someone very interesting captive with his exploits: Loki. The two work together to neutralize Daemon (who manages to conjure an illusion that manifests as the dead fathers of both Bobby and Loki), and after some much-needed catharsis, Bobby brings Daemon in so he can get help. Lastly, the Avengers are on the ropes when Tyros (a former Herald of Galactus) empowers himself with the Black Winter and tries to usher universal destruction on Earth, but Bobby (with the help of Silver Surfer, who I'm always excited to see) manages to stop the villain. Here, Iceman shows that he is more than worthy of the Omega-level designation, as his powers literally freeze time and reality around him. Bobby manages to contain the Black Winter, but it seems to be at great cost, as he can't really get out of the bind he put himself in. All his friends who appear in the previous issues work together to get him out, culminating in a nice, emotional moment with Romeo (whose empathic powers end up being the key). It was quite nice to see the ups and downs of Bobby Drake in each of the issues, as he makes the best out of flying solo in LA, has meaningful reconnections with both Romeo and Christian Frost, struggles with the lack of true closure over his father's death (and remembering the pain of his contentious relationship with his parents), and eventually finding some way to move forward in several aspects of his life. I'm glad to see Bobby not struggle so much with relationships this time around, and I really felt for him when he went through the emotional whirlwind of his father's passing (especially with how they were not on the best of terms). Still, it's a little odd to see Iceman be mature; I'm still used to him being kind of the goofball/wisecracker of the X-Men. The art is pretty nice, between the bold outlines, vibrant colors, and some particularly well-drawn faces (it seriously seemed like it was a directive to make most of the characters' faces hot and pretty in some way). I found the take on Iceman's design here interesting, as his ice form has elements of a typical X-Men costume as opposed to Bobby just being solid ice or just straight up wearing clothes. I admittedly found it kind of odd that he had blue accents on his ice body, but that's just me being accustomed to older Iceman designs. VERDICT: I always enjoy seeing Iceman kick ass and surprise readers with how surprisingly powerful he is, and while this comic gives me a healthy serving of that, I also enjoyed seeing Bobby as a character here. Like I said, it's odd in a refreshing way to see him be more mature, it's cool to see him have healthier relationships, and I found his struggle with his feelings towards his family (which has always been a big part of his story, so much so that the movies tackled it briefly) compelling. If there's one other thing I felt after reading this comic, it's that I need to see my boy in the next season of X-Men '97. Granted, Iceman being gay is a retcon (and retcons in comics have had high highs and terrible lows), but let it not be said that Marvel doesn't create or feature LGBTQ+ characters in their comics. Of course, there's always room for improvement, but I think for how short this story arc is, it's a good showcase of how Marvel is willing to have queer characters take the lead in stories that are just as interesting, fun and emotional as all the others they've written. And Iceman isn't some no-name character they thought up last week, either; he's literally one of the original X-Men, and built upon his existing character such that his coming out wasn't just some arbitrary twist that they tacked on for the sake of it. - end - I'm just about done with playing every game in the Castlevania Anniversary Collection. Here's the penultimate title on my journey. BACKGROUND:
As I've already mentioned, I didn't know Castlevania had games on the Game Boy prior to Castlevania Legends, but the fact that Castlevania: The Adventure got a sequel is even more surprising to me. SUMMARY: Indeed, Castlevania II: Belmont's Revenge is a sequel to Castlevania: The Adventure, as it follows Christopher Belmont some time after the events of the first GB game. Dracula is back (surprise, surprise), and for his latest evil scheme, he kidnaps Christopher's son Soleil (Soleiyu in the original text) and turns him into a demon against the hero. Once again, it's up to our main Belmont to save not just the day, but also his son. When it comes to gameplay, Belmont's Revenge is largely identical to its predecessor, but with notable improvements and changes. You have the same general controls (only more responsive), the same whip mechanics (except you don't lose the upgrades when you get hit), and much nicer-looking visuals (like more detailed level elements and more polished sprites for the enemies). The music is still solid overall, which is great. Although the fireball whip is still a potent weapon here, it's not the only tool in your arsenal this time around. The holy water and axe sub-weapons make their return in this game, and they function the same way as they do in the original games. They're actually decently useful despite the overall versatility of the fireball whip, as you can reach troublesome enemies with them. Because sub-weapons are back, hearts are back to functioning as ammo in this game (unlike in the previous game, where they heal you). In that sense, this game is a little less forgiving on healing, but the iconic hidden wall chicken does make a return to make up for it. The game has six total levels (two more than last time), and it also takes the novel approach of letting you tackle the first four in any order you like. Each level overall is decently long, has a distinct theme, and features a lot of returning mechanics and enemies from Castlevania: The Adventure. As far as level design goes, I feel like there are more instances of tricky enemy placement and less sections where you just mindlessly walk forward, and I liked the handful of new gimmicks they introduced (like the spiders whose web you can use as climbing rope, and the occasional branching path). There are also a few new enemies and bosses, with the latter getting a bit creative with stuff like some sort of weather wizard, a giant bone dragon, a two-stage fight with an armored warrior and its unarmored form, a duo of demonic statues, a multi-headed monster, and even a fight with an evil Belmont (this technically is a thing in Dracula's Curse, but it's not a copycat fight since Soleil has unique attacks). Some of them are pretty easy, while others have some tricky attack patterns to navigate. The sub-weapons shine here as well, as some fights are way easier with the axe or holy water. The main difference between the international version and the Japanese version is that in the latter, you get the cross as a sub-weapon instead of the axe. I didn't mess around with the Japanese version for long, but I feel like the axe's arcing trajectory is more useful than the cross (which just goes horizontally, albeit it does have great range) given the many situations where there are enemies overhead. VERDICT: Castlevania II: Belmont's Revenge is a welcome improvement from its predecessor, smoothing out the control issues, touching up the graphics, adding more stages and boss fights, and offering more options by bringing back sub-weapons. I felt more engaged with the overall level design this time around even if it was still relatively easier than other titles thanks to the effectiveness of the fireball whip. Plus, the game as a whole was more memorable between the whole story with Soleil Belmont, more inspired bosses, and a few unique platforming gimmicks. I had way more fun with this game, that's for sure. If you'll play just one of the Game Boy Castlevania games, I feel like this is the one to try. I think it showcases the unique elements of Castlevania: The Adventure better thanks to its overall better controls, has more interesting bosses and levels, and gives you more than just the whip to play with. I'd argue that Castlevania Legends is still worth a gander because it has unique mechanics and a cool cameo, but if you want a game that is engaging in terms of difficulty, Belmont's Revenge is the way to go. - end - The PSN store has a bunch of retro classics I'm interested in checking out. I neither have the time nor the money to upgrade to a PS+ Deluxe membership right now, so let's stick to this one purchase in the meantime. BACKGROUND:
Although this was a game I knew about during its PSP heyday, I've only ever seen someone else play it. What is it with me and having consoles, but never actually playing their most well-known titles? In any case, I will right that wrong now. PLOT: The blob-like LocoRoco and the Mui Mui live peacefully on a beautiful planet, but that peace is disturbed when the Moja show up from space to cause chaos. In an effort to restore everything back to normal, the planet (which is alive) guides the surviving LocoRoco around to rescue their brethren and restore tree-like structures that repel the Moja. This is as deep as the story goes, but it's a passable enough cartoon plot that fits the overall vibe of the game. PRESENTATION: The game's art style is striking at first glance, with delightfully vibrant colors, simple shapes for the environments, and adorable-looking characters like the squishy LocoRoco themselves. Every level was a treat to look at, and I also enjoyed the variety of locations the levels take place in (from lush forests, starry skies, snowy areas, and even the innards of a giant creature). Adding to the charm are the satisfying animations of the LocoRoco and other similarly blob-like level elements; there's something therapeutic about watching their very squishy movements. The music was an absolute delight as well, as nearly every track is an upbeat tune with some charmingly silly vocals (all in the made-up language of the LocoRoco). There's variety in genre between some of the tracks, and there's also a dynamic aspect to the soundtrack with the number and type of LocoRoco influencing how much of the song and what kinds of songs you hear in levels. While a lot of the regular music is lovely, my favorite tracks are the ones that the LocoRoco themselves sing. GAMEPLAY: LocoRoco functions largely like a 2D platformer, but with an unorthodox twist: instead of controlling the LocoRoco itself, you actually tilt the world side to side to move the LocoRoco around. The only other thing you can do is have the LocoRoco jump, so movement is as simple as it gets. The objective is simply get to the end of each of the game's 40 levels. You'll run into a number of obstacles and gimmicks (like bouncy platforms, flowing water, and more), a few hazards like spikes, and the nasty Moja who will try to eat the LocoRoco. There's nothing too tricky, however, which is probably for the best since the controls (mostly the jump) don't lend themselves to precision. If you're just looking to clear levels, most of them are a breeze that don't really have mechanics that demand too much of your attention. Throughout every level, your LocoRoco can eat special berries that increase your numbers, up to a maximum of 20. The main purpose of this is giving you an extra hit against hazards/enemies (though the game is plenty lenient and will let you recover the LocoRoco if you're quick enough to catch them), but having a specific number of LocoRoco in specific sections (usually the other friendly inhabitants of the planet) will unlock alternate paths or reveal collectibles. When you amass LocoRoco numbers, your main guy gets chunkier and chunkier, but certain passageways will be too small for you to pass through. With a press of a button, you can split into tiny LocoRoco (which will get you through largely automatic sections that are satisfying to watch), and you can reassemble everyone to a singular blob once you're out. Not many sections actually use this mechanic in a manner outside of "get through the tiny gaps," but there's something satisfying about seeing a bunch of little LocoRoco dudes zipping around the screen Sonic the Hedgehog-style or falling through pachinko-like contraptions. Nearly all of the levels won't take longer than a few minutes to beat if you're just following the obvious path, but the game's linear levels hold a surprising number of hidden areas where you can acquire secrets. These include extra berries to beef up your LocoRoco, the Pickories (which you can think of as the game's coins), collectible LocoRoco house parts (more on that later), and the hidden Mui Mui pals. At the end of each level, your collection rate for each collectible is tracked, and your time to beat the level is also recorded. Getting 100% for everything is where the action is at if you're looking for a reason to replay levels, and finding all the collectibles without a walkthrough is deceptively tough. Accessing some of the hidden areas where these secrets are can be a challenge in itself, though I'd say that's largely due to the jump being as finicky as it is. Outside of playing/replaying levels, you can spend Pickories to play a few minigames, or use the collectible LocoRoco house parts you collect to make your own little course for the LocoRoco to move through. VERDICT: Although I did not find the actual platforming to be particularly challenging, I still had a really fun time playing through LocoRoco. The few levels there are may not have particularly demanding level design in terms of getting past obstacles, but the charming and weird presentation plus the unique control scheme come together to make breezing through levels a pleasant experience. And while the game itself is pretty short, I was surprised by how cleverly hidden some of the secrets in each level were, and I had reason to go back and replay them as a result. This is definitely a game I would have enjoyed back in my PSP heyday, but better late than never! Outside of being a game that I'd argue is an "essential" (many people would agree that it's a PSP classic), I think this is a game that anyone regardless of skill level can enjoy. If you just want to chill out for a couple of hours with a relatively easy game with a fun art style and kooky music, LocoRoco may be a perfect fit for you. If you're looking for something more technically demanding in terms of level design, I don't think this game really offers that, but people who enjoy exploring levels and finding secrets may get a little more mileage out of LocoRoco's levels. - end - |
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June 2024
Derryck
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