Surreal horror games are becoming more popular, but outside of the retro PS1 style graphic-type games, there’s not much. Bio/biomechanical horror is something I really love, and my two favorite artists of all time are H.R. Giger and Zdzisław Beksiński. Their worlds and art are unlike any other. The surreal, dreamlike atmosphere invokes feelings of sadness, regret, melancholy, hopelessness, and many feelings of anguish and misery. While Giger has more of a focus on characters, Beksiński focuses on entire worlds. Vast landscapes that seem to go on forever and scenery that feels like it would invoke the darkest fears you could possibly imagine. The striking lines of Beksiński’s art with vertical and horizontal latticing of flesh and frozen faces of agony and torment are stunning and hard to look away from. This type of art has only really been done in more modern games, with those being Scorn and The Medium. Sadly, there’s also some sort of curse with these games having stunning soundscapes, art, and ideas but just not being the greatest in terms of gameplay.
Necrophosis is what Scorn should have. No first-person gunplay; just puzzles and walking around and soaking in this insane world. There’s clear influence from Scorn in Necrophosis, from the main character’s design to the aforementioned art direction. You wander around incredibly detailed landscapes and will just pause and look at every strange mountain face and object before solving the mundane puzzles and object hunting. Mountains are literal faces, countless giant bodies frozen in scenes of torture and dread. Closer up there will be smaller scenes of deathlike people or creatures depicting the moment of death or representing their current state of endless torture. Some creatures are stuck inside of objects, twisted and gnarled into globs of flesh and eyeballs with just a mouth. Some will plead to you to end their suffering. This is usually done by adding them to your inventory (yes, entire bodies) and using them to solve puzzles. You will carry this fleshling around with you with their frozen face staring at you. There might be another creature who needs divination, so you feed them something, and out comes a key to advance a puzzle.
It’s not the puzzles themselves that are fascinating. Quite the opposite. These are very simple in form. There is usually a small area, and you will see different spots to place objects represented by floating gold dust. It’s a matter of interacting with everything, gathering objects, sticking them in the right spot, getting new objects, or manipulating certain items. Manipulation is just as disturbing as talking to the inhabitants of this world. You pull your brain out of your skull and stick it inside of another being (sometimes interlocked with other beings) to do things like using a skull spider to climb up onto a fifty-foot fleshy creature sitting in a flesh chair and just scooting their legs backwards so the throne-like object blocks the view of another creature so you can walk past. That sounds insane when reading, but words can’t do this game world justice. It needs to be experienced to understand what’s going on.
With this being an indie game developed by a few people, there is some mechanical jank here. Walking is rather slow, animations are a little stiff and animatronic-like, controls feel slightly sluggish, and the game is insanely linear to a fault. Clearly the main focus was the art direction, and everything else was an afterthought to make it a game. Thankfully, the devs aren’t doing anything that feels bad, such as combat. Some creatures can hurt you, but it’s as simple as walking around them or solving a puzzle to get past them. There’s no stealth or anything like that either. This is a pure walking simulator, and it helps ease the jank of the gameplay to make it tolerable.
Overall, I can’t stress enough how much this game needs to be experienced. It’s one of the most visually striking games I have played since Scorn. It’s something you will talk to your friends about. This type of horror is the true stuff of nightmares. No jumpscares, no eerie soundtrack. Just straight-up horrifying visuals, and you are surrounded by them. Your entire world is just that. I also have to mention the haunting voices of some of these creatures that are just booming noises of bass and sounds. It’s unnerving and something I have never heard in any game before. I just wish there was more to the gameplay side.
Have you always wanted to know how certain things happen in Resident Evil 4? Why did Leon escape from situations at the right moment, or why did the odds of him surviving certain encounters seem unusual? Some of those questions are answered in Separate Ways. This is the side content from the original game remade for 2023. You play as Ada Wong here. She’s such a fascinating character, and despite being an early childhood crush, I found I appreciated her more endearing qualities as an adult. She’s mysterious and bold, doesn’t take crap from anyone, but is still fighting a moral quandary within herself. She wants to be a bad guy, but not that bad. She also has a hankering for Leon, and their sexual tension ratchets up here more than any other time.
Separate Ways is more of a remix of the main game than anything really new. New battlefields are usually above or in Leon’s old areas. Sometimes you will notice he’s cleaned up the place or destroyed an area before you get there. One such area is after the church bell tower fell in the main village. You go through the game in the same order, but at a rapid speed. Ada has a grappling hook in her arsenal to traverse the high ground. She can also use this to get closer to enemies quicker for a finisher and rip shields off of enemies. This is even used during the boss fight with El Gigante. She can swing up and fight on top of buildings, giving her an advantage. Ada also has access to the shopkeeper and a small repertoire of guns. She starts out with the Punisher MC pistol and the TMP. She’s all about close quarters combat. You can eventually get the M1903 rifle and the much better Stingray toward the end, but you will most likely always be charging in to get close. You can get access to the shotgun as well, but shells are really rare and take 12 gunpowder to create just 6 shells. Although it won’t be useful frequently, it can save you in an emergency. Save it for dispersing large crowds or for tougher enemies.
Ada also gets a few side quests, such as her very own medallion mission and fetching various items. There’s plenty of treasure lying around, and gemstones can be inlaid into valuable items to make them worth more. Be on the lookout for hanging treasure pots and chests everywhere. You will need those Pesos. You can use Spinel gems to trade for passive keychains to add to your cache to increase stats such as sprint speed, damage, and defense. I didn’t end up using any of these, as they are expensive, and the DLC’s short run time means you’re better off upgrading your pistol, TMP, and buying new weapons. I did end up with the Red9 towards the end and spent most of my money on upgrading those two weapons, as the ammo is most plentiful for them. I only used the bow a few times, but bolts use knives, and these are better suited for stabbing enemies on the ground before the Las Plagas pops out of their head. You will also need to get out of tight situations, and you can sneak around some areas and pick off some enemies too. Here it’s best to be resourceful, as ammo is scarce, and so are healing items, more so than in the main game.
Ada does run into her fair share of bosses, but not all of them are attacked head-on. One boss is a chase scene through a facility, while some are recycled from the main game but remixed a bit. I found the constant scraping for supplies, upgrading, crafting, and looking for treasure to be just as fun as the main game. It was nice seeing new areas and having some questions answered. Ada is a great on-screen presence and is one of my favorite female video game characters of all time. Her new voice actress does a good job making her sound emotionless and stern, but when emotion needs to break through, she can’t quite seem to land it. Emotions like surprise and slight fear just don’t come across well. Ada is almost like a robot by design, but she does have her humanity peek through from time to time, and that makes her such an awesome character. She’s not as evil as Wesker, but a nice in-between.
Overall, Separate Ways is a fantastic DLC that does everything right. Coming in at 4-5 hours of run time, it’s enough for a nice evening playthrough and to see the other side of RE4 that Leon can’t access. There are no upgraded visuals or anything like that with this, and there’s nothing inherently new or unique. It’s a remix of RE4 and that’s fine.
I’m not really a co-op person. I do not consider myself a person who typically engages in cooperative gaming. I was raised among friends who did not share a strong interest in video games, and when they did, it was not in the genres I preferred. I have always been inclined towards single-player experiences. It Takes Two is the first co-op-only game that has motivated me to seek out a partner for gameplay, even though it took me four years to complete it. I was always a single-player kid. It Takes Two is the first co-op-only game that has pushed me to find someone to play multiplayer games with, even if it took me four years to finally finish. I started the game out with my wife and finished it off with my youngest sister. Couch co-op is something that builds bonds and memories, and this is one of those games. The story takes a backseat to fantastic gameplay that is always changing with incredible level design.
The story is the worst part of the game, and not for the reason you think. It’s poorly written. Painfully written. The idea itself is fine on paper. You are a married couple (Cody and May) going through a borderline divorce when your child gets the troubling news and uses her handmade dolls to act out her parents getting along again. Both of you drift off to sleep, finding yourself in a world akin to Pixar’s, where everything is grandiose and seemingly insignificant details are conspiring against you. One of the most annoying characters ever conceived in pixels is a therapist in the shape of a book called Dr. Hakim, who is a racist Mexican stereotype. His dialog is cringy and awful, and he’s just so incredibly annoying. Whenever he was on screen, my wife would use her phone, or my sister would walk away. I also don’t like how Cody and May’s relationship seemingly never evolves despite these harrowing acts they go through. Each level should typically show some change in their relationship, and relying on a monkey-in-the-middle remediator is quite frustrating. This is one of my least favorite video game stories ever. It’s just incredibly horrid.
Outside of that, the game is a delight to play. Each level is unique and full of charm, such as the garden level with enemies that are different flora and the attic level, which has you walking and bouncing on instruments that make real sounds. Each level gives Cody and May a unique ability they must use to puzzle-solve and use for combat. Not every level has combat, but every one has a lot of platforming and puzzle solving. The first level’s vacuum cleaner, for example, is a delight, and another level uses a honey cannon backpack. The game is played in split-screen, so you must work together to solve everything. In some areas, one character is needed to get through. The puzzles constantly change, and each ability is used to its fullest.
There are some mini-games spread out throughout the game that are more like “toys” and don’t really do anything. They are marked with a tambourine floating above them. Some range from getting points by shooting cannons at blocks to long jumps off of swings to a chess game. They are interesting but slow the game and have no rewards. These are good ideas, but the winner should get a reward, like a damage boost. Most of the time we would just play once for a couple of minutes and move on.
Combat, on the other hand, is really annoying and not excellent. Balancing is an issue here. Occasionally, an excessive number of enemies will attack you, resulting in both of you dying and necessitating a restart of the area. If one player dies, they can revive by mashing a button, but if both die, it’s over. We died more in combat than any other time, and everything is too chaotic to monitor your life meter. I would get pummeled and wailed on as a passive ability character waiting for my partner to take out the baddies or expose the weak point of an enemy or boss while smaller enemies just annihilated us. This problem isn’t a skill issue either. Additionally, the absence of a lock-on button increases frustration during gameplay.
The visuals themselves are fantastic. Each level feels unique while grounded in realism. The unique dreamlike and cartoonish visuals provide a Pixar vibe, and they are a sight to behold. The explosion of everything, from everyday objects to skyscraper-sized buildings, is truly captivating. However, some levels, like the dream level at the midway point, seem overly lengthy. There is a hub area, and you branch off to different sub-levels, but it seems to go on forever. Then, later on, I felt like a single character’s ability was underutilized. The attic level had me barely doing anything for my partner. The balancing in this game is significantly flawed, but it can be overlooked.
Overall, It Takes Two is a must-play for anyone remotely interested in co-op games. The story, characters, and writing are both awful and rote, but the gameplay is why you will stay. The visuals are incredibly charming and imaginative, and the combat requires each player to assist each other at every single turn and puzzle. Combat is too simple and chaotic to be very fun or engaging, but there’s not a lot of it. The game is a pretty decent length, clocking in at 8 hours or so.
Curse is the most deceptive video game cover I’ve ever seen. It looks freaking scary and is a damn excellent cover. It’s also a pretty rare game on Xbox, one of the more expensive ones in the library. With the subject matter being a survival horror game, I had to add it to my collection. I didn’t do much research for the game. When I finally got a copy and booted it up, I stared at my screen. “Oh,” With a blank stare, I flatly exclaimed. It’s one of “those” survival “horror” games. It’s essentially an Alone in the Dark clone. It’s no more scary than a Goosebumps TV show. The beginning cut scene doesn’t invoke much hope, and neither do the production values.
So, you play as a man-woman duo, Darien and Victoria. You only play as Victoria a few times in the game, but you are mostly Darien. The game is set in late 19th-century England. The two protagonists are American, but everyone else seems British minus Abdul. The hijinks here end up becoming 19th-century Night at the Museum. Darien’s childhood friend Victoria invites him to a British museum when an artifact is stolen, the titular Isis statue, by a thief named sigh Le Chat. His avatar is a person in a black ninja-type costume that shoots crossbow bolts. You end up chasing this character through the game. The story is completely uninteresting and fails to develop at all. In the entire game, you are simply chasing down the Eye of Isis to return it to its rightful place and prevent a “curse” from spreading. It’s a yellow mist that turns people into zombies. Yeah, it’s not fascinating at all.
The lack of scary monsters contributes to the overall uninteresting nature of the game. The two monsters are equally frightening. You get zombies from the regular humans you fight, who are British dudes with shotguns and mummies. Totally not scary one bit. The zombies have open chests that shoot out a tentacle at you or spray yellow mist out of their mouths, which can raise a meter on the screen that slowly drains, but this also will drain your health. The enemies are surprisingly easy to dodge thanks to the also unexpectedly good lock-on combat system. I didn’t hate the combat in this game. You can circle strafe around everyone and avoid most damage pretty easily. A yellow reticle will slowly shrink down to a dot, which is your accuracy meter. There are only a couple of weapons in the game. The available weapons in the game include a revolver, shotgun, crossbow, rifle, mortar, and flamethrower. The revolver and rifle share the same bullets, and the flamethrower needs canister fuel refilled at oil stations.
Bosses are the least fun to fight in this game due to the cramped areas you are in. These bosses are big, and you just don’t get enough room to move around. The first big boss isn’t so bad, but you need to wait for vulnerable moments. You should stay constantly locked on, and as soon as the yellow reticle pops up, it indicates that it’s okay to shoot. I didn’t realize this during the first fight with two bears and wasted tons of ammo. Another fight against a giant bull requires you to move a meat hook and pick it up crane-game style with three button presses, but the bull needs to be in the exact spot, and mine glitched by just randomly cutting to the meat hook being attached when the bull wasn’t anywhere near the hook. There are quite a few glitches in this game. It’s incredibly unpolished.
Inventory management can break your game permanently if you’re not careful. You can swap inventory items between the two characters or give them to Abdul, who is your only save station. Abdul will follow you around and appear at key moments, allowing you to save frequently. However, if you give an item like a weapon to a character, they will disappear for a good chunk of the game, and you can end up with no weapons or ammo. I also ran into a glitch where the flamethrower fuel canisters kept multiplying in my inventory, and there’s no drop button. I had to give five to Abdul and not touch the canister that said x99. If I had kept going, I would have locked my game up. I had one issue where I gave all my weapons to Victoria, but she disappeared, and I was swapped back to Darien with no weapons or ammo. I had to reload my save and not do that again. It would be nice if each character had their weapons or could find their own during their parts of the story. Inventory management is seriously broken here.
With that said, the game is incredibly mediocre. This is a must-play with a guide, as the level design is atrocious. The maze-like levels and awful map system don’t help. The map has zero labels outside of slight shading on doors that you can’t open, but these constantly change. It’s a way for the developers to lazily guide you around. Every door will be locked except the one you need to go to. What’s the point of large areas with many rooms if everything is locked and unlocked based on what’s happening? I also encountered issues with ladders that glitched and required the character to be placed in an exact position before they could be activated. Puzzles are obtuse with badly placed camera angles, making it difficult to see symbols and objects. The two available written guides exhibit poor quality, lacking warnings about weapon selection and descriptions of boss fights. For the final boss, one guide advises, “I won’t spoil how to fight the boss, but just beat it like the last one.” That’s not helpful at all.
Overall, Curse is an awful-looking, mediocre game that isn’t scary. Only two enemy types, broken inventory that can lock your game up, terrible and dated visuals, an uninteresting story, and bad camera and level design with uninteresting characters. Even the sound design and music are just bad. Why does walking on sand sound like squeaky rubber? At least the voice acting is good.
Super Mario Odyssey was one of the best games released this last generation. It was imaginative, never got old, and was just the right length, but I also didn’t want it to end. There was something insanely addictive about Odyssey that the mainline Mario games always got right. I hadn’t felt that way since Galaxy. Bananza is made by the Odyssey team, but can they catch lightning in a bottle twice? As with all other Mario games, the story is minimal and lacks uniqueness. It’s barely there to keep the player threading through a series of levels. Essentially you play as the titular ape who wants nothing but banana gems. He works for a mining company (or so it’s implied) on Ingot Isle and ends up coming across a mysterious talking rock and Void from Void Co., an evil ape hellbent on stealing the Banana Core to make his wish come true. It’s fine. For the most part, I have no interest in Mario stories, but they are at least entertaining.
That’s not why you’re here, though. Bananza has a similar gameplay loop to Odyssey in the sense that you can just follow the main story thread and do only the main objectives, or you can venture off and discover a new challenge somewhere or how to get a hidden Banana Gem. In this game, there are 777 Banana Gems in total, while Odyssey features 880 Power Moons. Although there are fewer Banana Gems, the overall size of Bananza is significantly larger than that of Odyssey. The main gameplay element in Bananza is the terrain deformation and total destruction of entire levels. The experience is incredibly satisfying all the way to the end of the game. The game has many layers, but you start at the planet’s outer core and work your way to the center. Naturally, layers will get tougher as you dig deeper, and each level has a layer hardness rating. This means that the primary terrain you are walking on will require more hits to break through. You also have a slap power that produces waves that penetrate the ground, showing you what’s hidden underneath. This ability is essential to finding hidden items spread out everywhere.
This ability is what made this game confusing at first to me. I’m used to most Nintendo games having everything you need to find visible. You just have to figure out how to get there. This adds an entirely new element to the way you think about navigating levels. You can dig through nearly every object in the game. Of course, there are layers and material you cannot dig through to stop you from cheating. However, some Banana Gems have more than one way to get there. You can either dig straight through or find a clue on the surface to get there. These may be obvious dig spots on walls, gold veins leading to hidden items, or places where you need to use one of your five abilities to get to it. There’s a lot to this game, and it can be very overwhelming at first. The completionist within you will be utterly enthralled by the sheer size of some levels and the sheer difficulty of locating their hidden treasures. That’s also the fun of it. You feel like an excavator, an explorer, and someone on a hunt for treasure.
Your main objective will always be highlighted with a yellow exclamation. You need to talk to characters who will constantly extend the breadcrumb trail to get you to the level’s main boss. There are many different ways this can happen. You will encounter a mix of platforming and combat trials, which require you to use your abilities while navigating the current state of the world’s terrain. For instance, you can dissolve the poisonous slime in the Festive layer by grabbing and melting salt chunks. One example is Switcharoo Goo, which consists of two different colors. Hitting one color will fill the other in the opposite X and Y axis. Later levels will throw multiple things at you, such as the Switcharoo Goo, but you need to have an enemy eat it while you run around one color to climb to the next. You must constantly stay alert and respond swiftly. The game’s level design and pace are impeccable. I always eagerly anticipated the next move or the challenges the game would present.
That’s where combat and platforming challenges come in. There are multiple types, and all award Banana Gems. The Combat challenges are single banana platforms that are covered by purple Void Co tape that you need to have Pauline sing to get rid of. When you drop down, you must defeat a specific number of enemies within a time limit, and these enemies are typically of the same type found in the current level, which also includes terrain that you need to utilize. Another terrain example is in the Radiance Layer: there is light that turns certain terrain soft, and in shadow it will turn hard. Enemies can be covered in this terrain, and you must find a way to break through a wall to get the light to shine on them or cover them in shadow. Platforming challenges offer three banana gems, with one hidden somewhere on the level, but they are not timed. Each layer has a2D level in the style of Donkey Kong Country as well, usually named something clever after the SNES series.
Other challenges include Swifty challenges, which are white triangles that require you to destroy all the white wall pieces in that small area in less than 20 seconds. Usually you need to use an ability or manipulate the terrain around you in some way. There are quizzes from the Quiztone (characters in this game are called Tones); some will place a spot on your map for a hidden banana gem, and some challenges are just seeing one through a wall that you can’t get to, and you need to figure out a way around. You’re always thinking and solving puzzles when exploring. They are also incredibly clever, allowing you to solve them instantly and experience a satisfying “Aha!” moment each time. There are a few other challenges I haven’t covered, but suffice it to say despite all of the variety there are a lot of the same type, and they do eventually wear thin after 30 hours of doing them. I will delve deeper into this issue at a later time.
Bosses themselves, while designed cleverly, are effortless and barely offer any challenge. The RPG aspects of Bananza, along with the option to purchase health-restoring items from the shop, contribute significantly to this. You can breeze through bosses pretty quickly. The only real challenge was the final couple of boss fights that seemed to last forever. The situation is pretty typical with most Mario games. Boss fights in Mario games are usually not that hard despite being clever and fun. I just wish there was more of a challenge here. At least the game doesn’t go the route of a boss rush at the end or anything like that. I only fought two bosses again later in the game, so it wasn’t that bad.
As I stated earlier, there are RPG elements in this game. Those gold nuggets you acquire in the game are actual currency to buy things in the shops, construct shortcuts and gateways (rest spots), and unlock challenges. Some main objectives require gold as well. Another currency is banana chips, which are used to exchange banana gems. The third currency is fossils. Each layer has its own type of fossils. Common, uncommon, and rare fossils. These are used at the clothes shop to dress up DK and Pauline. Clothes add defense against the main element in the layer that can harm you, such as burning, poison, shock, etc. You can also change DK’s fur (no added bonus) for some fun. You can then upgrade those clothes up to level 3 with more fossils. Banana Gems are used to gain skill points (five get you a skill), which unlock things like more hearts, making it easier to break through tougher layers, and adding bonuses to your ability powers as well. DK can do a couple of interesting things with terrain, such as using it to “terrain surf” and knock into enemies to travel long distances. Softer terrain deteriorates at a fast rate, so it’s not advised to surf over terrain that can hurt you, as it will disappear quickly from under your feet. There’s an ability for DK to surf over water, allowing you to skate over hazardous surfaces like the aforementioned hot grease in the Festive layer, but this is an unlock in the skill tree.
Pauline herself is an assist character similar to Mario’s hat in Odyssey. She doesn’t get in the way and never leaves your shoulder. You use her voice to change into forms and get rid of purple tape on certain objects. That’s it. She’s a wonderful character to see that’s not shoved off to the side in a Mario Kart or Mario Party game. She has character and spunk, and her relationship with DK over time is charming, albeit nothing more than what you would see in a Pixar movie. It’s not very deep or memorable, but it’s enjoyable to see. I wish her singing was put to more use. While I appreciate the melody she employs when you unlock the purple tape and the catchy songs she sings in each ability form, they quickly lose their appeal. Hearing the same song on repeat every time you transform gets old. The songs also flip when you switch abilities quickly (you don’t need to go back to normal form and re-form into another ability), so it’s like skipping tracks on a CD back and forth constantly. The music isn’t particularly pleasant to listen to.
That’s my biggest issue with this entire game. The gameplay becomes monotonous after a while. I loved seeing all the new layers. The first time you drop into the Lagoon layer and see the sky swirling out of the hole like water into this bright, colorful world, it’s fascinating. That never got old, but as you get deeper, those bright and colorful layers are less frequent and give way to drab dark worlds with many browns, blacks, and little light. I feel the game overstayed its welcome, with too many later levels feeling too similar, and many challenges towards the end of the game felt like they were put in to extend the game time. It’s not a good thing that the final level stretches endlessly. There are 17 freaking levels in this game. It could have easily been cut in half with just the best ones, and it would have been fine. I enjoyed having a few “break” levels, such as the Racing layer, which did not include many challenges or require collecting Banana Gems. Occasionally I just wanted a cool new thing to do that didn’t require dozens of hours of exploring.
The visuals and audio are top-notch here. While the game doesn’t quite look like a full-blown Switch 2 game (it was started on Switch 1 anyway), the impressive deformation and destruction and textures that you can almost swear you know what it tastes or feels like are something Nintendo does well. The ice cubes look and sound like real ice. The burger mountain looked so good I wanted to go and get a burger. I wanted to know what the Switcharoo Goo tasted and felt like to squish. The physics and textures are so well done here. However, the game has some terrible performance issues with frames dropping into single digits when hundreds of objects are flying around or when the camera zooms away to show the entire level for a few seconds. It’s noticeable all the time, not just once in a while. I feel like Nintendo not utilizing the power of the Switch 2 is a real problem. No VRR, no DLSS, and the game doesn’t look too hot in handheld mode either. It doesn’t ruin the game, but it could have been better.
Overall, Donkey Kong Bananza is one of the best games this year. The biggest issue with this game, in my opinion, stems from its overstaying welcome, the similarity of many later levels, and the overwhelming number of challenges that eventually become monotonous. The final level could have been shortened, and while 17 levels is a significant undertaking with something new to offer in each one, the novelty does not resonate as strongly as it did in the earlier levels. Nintendo created an experience that is not easily replicated, featuring incredibly fun destruction (such as destroying a building-sized racing cup full of gold, which is one of the most memorable moments in this game), great level design, and making Donkey Kong a fun character for a new generation to play as. From the fun DK Country references (find Cranky Kong in every level for a Banana Gem!) to the fantastic and occasionally otherworldly and surreal feeling and scope of the music, there’s something here for everyone.
This is a game I have been trying to finish for years. I started the game three times on a Dolphin emulator and lost my save (I never owned a Gamecube growing up), and I finally gave up. I wound up selling my original Wii U before this game was released and missed out, but now that I have a Wii U again, I can finally complete the game, and I certainly did, but with a walkthrough because boy, oh boy, is this game more massive than I ever imagined. While Nintendo games tend not to be very story heavy or deep, Wind Waker HD does have a small story that seems to only have a cut scene every 10 hours of gameplay when you hit a new section of the story. Honestly, it doesn’t feel like much is going on until the final chapters of the game, but that’s okay. We all play Zelda for the gameplay and atmosphere.
There is a lot to dissect with this game. The premise of the game makes you think this is a simple “kids” adventure due to the bright and colorful graphics and Toon Link design. You start out on an island and get to know the gameplay loop just like in any Zelda game. You fight an old man to learn combat, pick up pigs to understand the need for solving puzzles, and eventually swipe grass to collect rupees, which serve as the in-game currency, just like in every other Zelda game. Upon boarding the Red Lions, you will embark on a vast ocean that features a grid system. You need to use the Wind Waker to change the direction of the wind; otherwise, going into a headwind will cause you to barely move at all. This is the first insanely annoying thing about this game. If I had the Gamecube version this feature alone would make me quit playing. Why is this a thing? In the HD version, you can obtain the Swift Sail at an auction much earlier than in the Gamecube version, which not only allows you to move faster but also enables you to ignore the wind direction.
With that first annoyance aside, Wind Waker is a true adventure. You can sail anywhere and see an island, jump on it and see what it holds. You usually need an item to solve a puzzle, but some don’t require one. In the game, you can explore 28 squares immediately, but it’s advisable to save the sailing discoveries for when you have access to the Swift Sail. One baffling design decision was the requirement to feed a fish in each square, which will then mark the corresponding island on your map. I felt these choices took away the adventure and discovering-for-yourself part of the game, as once you enter the square on the map, it should unveil what island is there. This is one of many tedious side quests that just aren’t needed. The upside to this level is that every fish will give you a hint about the island on the square, but I felt this wasn’t really needed as they are pretty vague anyway.
Like many other Zelda games, there are dungeons to explore that advance the quest further. On your map, you will occasionally see a red circle indicating your location, but at times, the path becomes ambiguous and challenging to navigate. You will get lost effortlessly during certain portions of the game. I feel the dungeon design for Wind Waker isn’t as appealing as previous or later games. The early ones are very short, and they all feel rather labyrinthine and difficult to navigate later on. Some of their difficulty is remedied with pots you can jump into to warp to other parts of the dungeon, but they need to be discovered and uncovered, so even these are hidden around, which is annoying. Most of the puzzles in the dungeons vary, using the same ideas throughout the game, such as lighting sticks on fire, platforming, combat, block pushing, etc. The puzzles vary greatly, and no two are usually alike, but I did find some elements within that bring the experience down a tad. Platforming isn’t outstanding in this game. There’s no jump button, but Link will just hop right off the ledge with nary a breath on the analog stick. This resulted in many character deaths and the need to restart combat sequences. If you die, you restart the room, but if you lose all your hearts, you go back to the start of the dungeon, and all enemies respawn.
Combat is actually pretty good this time around with a lock-on system and some fast-paced animations and action. Swiping three-button to five-button combos is swift and fast, and you can even do a 360 swipe. When you lock on, you can use items without having to manually aim, such as the grappling hook to get them from enemies or bombs. Many enemies can be dodged or avoided, but boss fights are pretty unique despite being fairly easy. The typical boss fight consists of three rounds, which occur after discovering the attack pattern and learning how to inflict damage on the boss. Dungeons play out just like other Zelda games, with small keys to open doors to advance through the dungeon, and these are acquired through puzzles or combat. You will also get items to explore the overworld and advance through the dungeons while seeking the Boss Key.
Most of the side quests in Wind Waker are pretty tedious and are needed to be completed because the infamous final section of the game requires you to pay Tingle a large amount of rupees to decipher the Triforce maps. This has been reduced a lot in the HD version by about a third, as well as the horrendously tedious quest itself of getting 8 Triforce shards and only three Triforce maps. I find it difficult to understand certain aspects of Japanese games. There’s also another tedious section in the form of a boss rush in which you need to defeat all four bosses a second time, but at least they’re easier and don’t require as many hits. With that said, there are also treasure maps, nearly 50 in the HD version, that lead to heart containers and rupees. The rupees are much needed for the end of the game as well as for buying some heart containers by either paying to do mini-games or using the auction house. Everything is connected, and while much of the content is optional, completing most or all of it makes the endgame easier.
The player can extend the game time by nearly 20 hours when doing so. I spent more time exploring, finding treasure maps, completing side quests, getting heart containers, etc., than on the main quest itself. I had a lot of fun doing all of this. Not much feels like a chore, outside of some quests being nearly impossible to figure out without a guide. Digging up treasure chests gets old after a while, but it’s doable. I didn’t care for the submarines or the infamous combat gauntlet of 50 rooms of enemies towards the end of the game. The reward is well worth it, but it did feel tedious. Despite the minor issues, the dungeons and islands all feel different. There are so many different puzzle types and platforming sections that you can shake a rupee at it; it’s absurd. Let’s also talk about the titular Wind Waker itself. This wand is used to make songs that are needed to advance in dungeons, change the wind’s direction, and cycle night and day, which are also used for puzzles. It’s fine, but not nearly as memorable or as special as the Ocarina. You use the gamepad’s touch screen to swipe in the direction of the arrows, and the songs appear on the touch screen for easy reading; however, I found Wind Waker to be less memorable or interesting than the Ocarina. The game would have been fine without it.
The visuals of the game really come to life, making this one of the most iconic and artistically unique games ever made. Back in the day, there was significant backlash against the cell-shaded art direction, which many gamers felt appeared too “kid-like” compared to their desire for a darker, more mature Zelda adventure. The HD version enhances the colors and brings them to life, in addition to introducing many quality-of-life changes to the game itself. Many critiqued the game for having too much bloom effect, but I didn’t mind it so much. Increased wallet size and the ability to use the gamepad as a navigation tool for the map and item management are significant improvements in a game where these features are frequently utilized.
Overall, Wind Waker HD adds many changes to make the game more enjoyable and really enhances the visuals to an eye-wateringly beautiful level. The core game itself has some issues, such as the early dungeons being short and easy, the weird late quests tedium, such as the Triforce shard and map quest, and the repeating boss fights, but this was significantly made more tolerable with these being cut down. Gaining access to the Swift Sail much earlier in the game significantly improves the experience. I found the Wind Waker itself wasn’t a very exciting object and doesn’t match the greatness of the Ocarina. It honestly could have been scrapped, and the game would have been just as enjoyable.
Many of the side quests can be tedious but are manageable; however, many important items and secrets are easy to miss without a guide. Without a guide, you will completely miss the numerous treasure maps, chests, heart containers, and secret items on your first playthrough. I highly recommend a guide for the first playthrough to see most of the game. I found the story forgettable, and while the combat is better than previous games, it’s still nothing special. Ultimately, Wind Waker is a game that evokes strong emotions due to its expansive ocean exploration, which physically separates you from the main quest and extends it into a 40-50 hour adventure.
The idea of robots taking over humans has been an age-long discussion, but what if they were designed to help us instead, no matter the cost? That’s the idea that The Fall presents to players. You play as a pilot who has crash-landed on a planet, but the AI known as A.R.I.D. (autonomous robotic interface device) activates and uses an advanced smart suit to essentially control the pilot’s body while searching for medical attention. The pilot lands on a derelict planet run by an AI called the Caretaker, who is examining and studying ARID for unknown reasons. Excellent writing and voice acting bring the story to life, despite its short length. There is not a single wasted line of dialogue or moment. This is an incredible premise and idea that I want to see more of. The Fall is a Metroidvania-lite, but with its own identity. The genre has seen little of this type of game today, especially with the explosion of indie games being produced.
Despite its simplicity, the game boasts a surprisingly complex control layout. You can walk around in a 2D plane, but jumping and combat are limited. You must use the flashlight on your pistol or light the path ahead, as the game is very dark and is mostly underground. When you shine your light over objects, a context piece of text will appear describing it or allowing you to interact with it. The majority of the game is puzzle-based, relying on an inventory system to combine and interact with the right object. The Caretaker’s testing center is the longest section of the game. Many puzzles are actually quite fun and clever, but a few can take a weird obtuse angle and make little sense in terms of how they are solved.
Combat in The Fall is crunchy and powerful but very limited. Other androids will attempt to attack you, but their actions are very limited and occur only during scripted events. You can hide behind cover and pop out to deliver a headshot. You must switch to the laser sight for better accuracy. You can sneak up behind enemies to kill them, or you can advance on them while they take cover. The shots are impactful and crunchy. The combat doesn’t overstay its welcome and is used at the right times. Of course, you can’t use your gun for the first third of the game, as abilities need to be unlocked, such as faster fire rates, the gun itself, and other suit abilities.
The game is tedious because it has a lot of backtracking, so you’ll often go from one end of a level to the other. I understand that this is part of a Metroidvania, but you aren’t going back to a level once you are upgraded and can access new parts of a level. You often find yourself running back and forth to collect parts of a puzzle, hoping you have the correct piece, only to discover that you either don’t or that it belongs to another puzzle located elsewhere. It’s not game-breaking, but it does get old pretty quickly. Once you have read all the text and discovered every part of the level, the adventure part of the game kind of disappears, and all that’s left is the tedious process of solving puzzles and running around.
The atmosphere and graphics are fantastic even today. The game has a surreal feeling of almost transporting you to the world thanks to its great sound design and visuals. While there is a lot going on in the foreground, most of the atmospheric stuff comes from what’s happening in the background. A lot of the background stuff can give you a visual cue as to what’s going on just from one glance. You can see a massive cave and the exterior of a spaceship through the windows, among other things. The few occasions where there is spoken dialogue are excellent, and the excellent writing keeps you captivated with every word.
Overall, The Fall is a fantastic atmospheric Metroidvania-lite that features great writing and tense gameplay, including gun sections that do not overstay their welcome. ARID is a wonderful character despite being a programmed robot, and the ending of the game is well worth your time. This game was one of the few indie titles that contributed to the “indie revolution” of the early 2010s and played a significant role in establishing the Wii U eShop as a prominent platform for indie games.
Have you ever regretted your final moments with someone? Most of us don’t know when those final moments are, and when the time comes, it’s too late. The story of Undying Flower takes things a bit further and asks, Would you ever forgive yourself for killing someone you love? That’s the first question asked when starting the game. We are talking to a girl’s head with two flowers on the sides. She asks us questions that we don’t have answers to. In fact, we don’t even know this person. Who are we even? Without spoiling the story, we are a scientist who is experimenting on this little girl. Or at least that’s what it seems. I’ll leave you with this: The story is pretty good, and the ending was great and satisfying. Unlike most short indie games, this one excels in storytelling. The game offers enough twists to keep you captivated for 2-3 hours.
The gameplay isn’t overly extensive, which is typical of most indie adventure titles. Although they are not exactly visual novels, these games feel more like interactive stories than traditional games, which is acceptable; however, creating them successfully can be challenging. The story, setting, atmosphere, and characters must immediately captivate you. While there are only two characters in the story, don’t let this perturb you. This means the short story can laser focus on just these two characters. The protagonists are the girl and her grandfather. What unfolds gameplay-wise is walking around a room and interacting with highlighted objects. We zoom to the two faces. We can hear Her Story or His Story. They are really short. The object’s context is conveyed in just a few sentences. This really helps build this moment in these lives that we are witnessing. The writing is really well done and strays away from the abstract poetry that most indie adventures tend to lean towards. Each face will show different animations of emotion based on how you answer them, but the answers don’t really change the story.
There are a few rooms with objects you interact with. This interactive experience occupies approximately the first half of the game. The second half involves a puzzle in which you select mementos to create a memory based on the statement the girl is telling you. I found the game too abstract and nigh impossible to get the combos right. Thankfully, after one minute the help kicks in, and if you get objects right, they will turn green. You’re not just selecting the memories you went over but creating new ones with them, and then these get added to the pool of choices, making it a convoluted mess. Thankfully, this section is short, but afterwards, most of the gameplay is done, and the final 20–30 minutes are just narrative.
The visuals are impressive, featuring a lot of abstract black and white elements complemented by splashes of color. While the female scientist model may not look great, the rest of the visuals are impressive. The art style is exceptional, featuring stunning orchestral melodies and harmonies that evoke strong emotions at precisely the right moments. What helps is that this story is very relatable. Anyone as a teen can relate to what the girl is going through with her grandpa; we have all been there. We have also all beat ourselves up over something we blamed ourselves for that was out of our control. This episode can really hit home for those that have experienced anything similar to the story.
What’s here is a short narrative piece with relatable subject matter. With fantastic music, outstanding visuals, solid writing, and a laser focus on just two characters, we go through a roller coaster of human emotion. Don’t come in expecting a ton of gameplay, and give the matching puzzle at the end some grace, and you might just wipe away some tears .
Silent Hill was nearing the end of its life back in the mid-2000s. The series peaked with Silent Hill 3, and it seemed that Konami and Team Silent just struggled afterwards. While Origins was supposed to bring the series back to its roots and feel similar to Silent Hill 2, it was the first Western-developed game in the series, which was done by the now-defunct studio Climax Group. The game went through development hell, being cancelled as a clone of Resident Evil 4 and then rebuilt within less than a year to feel more like the first two games in the series. Climax Group succeeded in capturing the haunting and surreal atmosphere of Silent Hill, including some great new monster designs, but faltered in many other areas.
You play as Travis Grady. A truck driver who is passing through Silent Hill hits a girl in the middle of the foggy road. As you get out, you end up rescuing a girl from a burning house only to realize you were trapped in an occult scheme and needed to save her from being sacrificed to a god. Sadly, the story is very vague, and there isn’t much in terms of explanation. There are only a few pre-rendered cutscenes, and in-game cutscenes are very sparse and don’t explain much. This tale could have been fleshed out more if Climax had more time on the game. The story is mostly forgettable despite having the ingredients for something outstanding, such as returning characters. This release is supposed to be a prequel to the original game, after all.
Disappointing story aside, the game at least looks and feels like classic Silent Hill. With fixed camera angles due to the lack of a second analog stick, Origins lets you flip the camera behind Travis with the L button and lock on to enemies with the R button. The controls work surprisingly well despite some weird camera quirks, like when the camera flips around and you’re pressing the analog stick in one direction, it will flip the controls on you, making you change the direction you are pressing. Small rooms can feel cramped, and enemies can be off camera and hard to see, including items. Origins has many melee weapons because Climax thought it was a good idea to focus on more combat than exploration with this game. It just doesn’t work well. To compensate for missing items, Travis will look at objects of interest, but it doesn’t work out super well most of the time, as he will also look at doors, which is useless. At least there are frequent save icons (red triangles) because this is a portable game after all. You need to be able to save often.
The lock-on mechanic makes shooting easy, but ammo is scarce and should be saved for bosses or when you’re outnumbered. Melee weapons are breakable. This feature makes the game insanely frustrating. Rather than relying on a single, well-balanced weapon as in Silent Hill 2, you must scour the town, searching for as many melee weapons as possible to pack. All of these weapons have varying durability, and some heavy weapons can be smashed and are only usable once. You will end up with enough weapons to pack into a small U-Haul. For example, you are carrying around IV poles, filing cabinets, and weight sets. It makes no sense and is insanely silly. I can understand wandering around the town for consumables like health drinks, first aid kits, and the ever-rare ampoules, but Climax screwed up twice and added a stamina system. This doesn’t do anything except make you run slower every 10–15 seconds, and it’s insanely annoying. You have to use energy drinks to recover right away or stop and let Travis catch his breath. This can be annoying when running from enemies.
I also found the number of enemies you encountered and the level of difficulty to be frustrating. Sure, in Silent Hill, it is recommended to run from most enemies when able, but there are just way too many, and Climax opted to make them more aggressive, like in the first game. They will always beeline towards you no matter how far away you are and won’t stop chasing you. This leads to enemies mobbing you with four to five straightjackets on your tail. If you stop fighting, you are instantly dead. The game becomes progressively more difficult and unbalanced as it progresses, making it harder to reserve many of the big items for boss fights. At least the monster designs are cool and in line with the previous design DNA of the series. The game introduces new adversaries such as the Remnant, a formless entity with only a metal cage encircling their chest, and the Two-Back, a hideous mass of flesh. These are inventive enemies, but they just aren’t fair to fight.
Puzzles are in line with previous titles in that they are pretty tough and require quite a bit of thinking. You usually find a manual or instructions and must flip switches or place objects in a certain order. Some puzzles are quite challenging, including one that necessitates the use of algebra. You will definitely need a walkthrough for the first playthrough and put puzzles on the easiest difficulty, but it’s debatable whether or not this game is worth revisiting. Navigating the world is similar to previous games, with a large map that has red lines for areas you have visited. You can try doors, and if they are locked, they will get a red squiggle, and windows that open get a red line. Important items are marked on the map, and objectives are circled. It’s a little cryptic on where to go sometimes, and with a lot of enemies around, and some areas where they respawn, it can be maddening. There’s also a new element thrown in that lets you transport to the Other World via mirrors and is required to solve puzzles. The Other World has more powerful monsters; they are more aggressive, and everything is rearranged with new areas opening up and others being blocked. The Other World looks wonderful and captures the look and horror of previous games.
I really wanted this game to be better. I was sucked into the world and atmosphere of the game. The haunting music is just as excellent as previous titles, with Akira Yamaoka returning to do the music. The industrial and surreal soundtrack will invigorate your senses. The game also looks wonderful on the PSP, being one of the most impressive games in its entire library, but it’s not a super fun game to play. If the combat were better, I could forgive the harder puzzles and the shortcomings of the story and lack of more interesting events. You primarily move from one area to another, battling a boss and various enemies, only to repeat the process. The areas aren’t super interesting in and of themselves, as they have already been seen. There’s a hospital, an apartment complex, a motel, and a theater. The most captivating part of these areas was the Other World versions. I liked that there were some Easter eggs thrown in, such as multiple endings, extra options for a new game, and little tidbits like gory scenes, but it’s just not worth it. The game is mostly enjoyable on the easiest difficulties to counterbalance the poorly thought-out combat. At least the game isn’t too long, running at around 6 hours or so with a walkthrough.
There’s been an ever-increasing discourse between the people and corporate America. American Arcadia takes the worst of the present and shows us the ugly side of being slaves to mega corporations. With clear inspiration from The Truman Show and Walt Disney’s vision of “The World of Tomorrow” and his original vision of Disney EPCOT, American Arcadia is a dystopian trip down 70’s lane with fantastic voice acting, a riveting story, and excellent pacing.
You play as two main protagonists. Trevor Hills and Angela Solano. The game has two perspectives. Trevor’s gameplay is a 2D side-scrolling platformer similar to games like Limbo and Inside, and Angela’s more puzzle-heavy first-person sections have inspiration from 70s spy movies, not too dissimilar from No One Lives Forever, but without any shooting. Angela is a stage tech for the corporation Walton Media (clearly a dig at the Walt Disney Company) who ends up being recruited by an activist group called Breakout, and you end up helping Trevor escape where he lives while trying to shut down the corporation. The game’s pacing is fantastic. The game consistently presents fresh scenarios, never growing stale or monotonous. The story continuously moves and evolves as you play, with events unfolding for each character while you control the other. Many times there will be cool split-screen sections in which you need to do tasks with Angela while controlling Trevor on her monitor. I don’t want to give away too much plot to have the explanation make more sense, but it’s really cool and well done.
Trevor and Angela are likeable characters, and while not super original, they leave an impact, including on the villains. There are sections of the game that teach you organically about the world of American Arcadia, including the lives of Angela and Trevor. Trevor’s sections are full of fast-paced platforming and push puzzles. These are not super complicated, but they are fun and help break up the chase scenes. Angela’s sections include quite a few puzzle types, from sliding puzzles and quizzes to some that are completely unique. This includes mostly hacking things to help Trevor get through areas. This was one of my favorite gameplay ideas. You can press a button to enter the camera mode. The feature changes the perspective of Trevor’s sections, and you must manipulate electronics around him to get past guards and obstacles. Every single scene gives you something new. I can’t state that enough. There were a couple of frustrating sections in which I realized I was analyzing the scene wrong. I made mistakes such as jumping onto the incorrect platform and running in the incorrect direction. Nothing was ever so annoying that I wanted to quit playing. I do think the game should have given a couple of hints if you keep doing the same thing over and over and dying, but again, it’s not a big deal.
Visually, the game has a fantastic sense of style. Inside of Arcadia, the world is stuck in the 70s. There are a lot of panning vistas of cool interior designs while Angela is in the present day, and it’s all less captivating to look at. I’m not a fan of the character designs. They are very blocky with no noses. It’s a bit off-putting, but the rest of the game looks excellent. I feel the biggest issue is that the game is too short. Depending on how much you struggle with the larger puzzles, you can finish the game in about 4-5 hours. While the entire game is explained well and feels like nothing is left out, I wanted to know more about Angela’s childhood and backstory, as we get to know mostly about Walton Media and Trevor.
As it stands, American Arcadia is one of the best games in this category. With constantly evolving gameplay ideas, fantastic voice acting, a riveting story with twists and turns, and a delightful art style, there’s not much you can’t like. Going between Trevor’s 2D sections and Angela’s first-person sections is a lot of fun, and you never know what’s coming next.
thebinarymessiah.com 
Yep! The fact that I forgot about this game until you made a comment proves that.