Top 5 Games of 2023

I don’t feel 2023 was exactly a stellar year when it comes to games. Not too many games caught my eye, though one of them ended up on these lists. Last year I mourned how retro games are getting higher and higher in price, but now it’s standard for games to go for 80 bucks or so. Maybe I’m getting burned out on games finally, and need to find something else.

The rules for the Top 5; the game must have been on a physical media to count, 2023 must have been the year I’ve first time have had a copy of the said game, and the year of production doesn’t matter. There’s no particular order. In fact, I intentionally shuffled the order these titles just for the sake of it. I truly hope 2024 will net me overall better games, though none of these are slouches.

• Section Z 1987 Famicom Disc System, NES

When it comes to canonically great NES games, Section Z often gets overlooked. It was released in the same year as Mega Man and was followed by numerous other titles that are often cited as the best of the console. Nowadays Capcom gets some bad rap for not doing proper ports of their arcade titles to home systems, but most forget that arcade games don’t work at home consoles and home console games don’t work in arcades without some serious modification in how they work. Section Z is a consolized interpretation of the arcade’s core design, where the player travels through zones to destroy the final boss. In the arcades the player goes through a square from A to Z, hence the game’s name, but in the NES port, there are 60 of these zones. Hence, it would be more appropriate to talk about a version rather than a port, and the title is mostly a vestige.

What makes Section Z stand out then? The sheer size of it. Those 60 zones form a maze. Each zone ends with exit choices, outside a few key zones that serve as boss zones or have locked exits. The Western version has no save function either, so playing the game through from start to finish takes a small while. The game was originally on the Famicom Disc System in Japan. Just like most other FDS games that got a cartridge release in the West, some of the more advanced sound capabilities were cut down, and saving functionality was nixed. Thus the Western release of the game forces you to play in an unintended way. It has some infamy as being a hard-as-nails title, one of the titles that got the Nintendo Hard at some point. Still, I don’t recommend playing it with save states if you want to emulate the game.

Despite the game’s age, there’s nothing to complain about the controls. Sure it loses in terms of visual and sound flavour to some of the later NES games, but among its peers in ’87, it stands strong and largely unique title. It might share the labyrinthine nature with Space Hunter from a few years back, but most of the things it does are still unique to this day and a nice challenge for anyone. Section Z is the middle child of Capcom’s Jet-Pack shooter trilogy, preceded by Side Arms: Hyper Dyne and succeeded by Forgotten Worlds. Later down the line, the genre would be perfected by Battle Mania Daiginjou in 1993. Section Z is a game with a strong core design that hasn’t gone out of date.

• Burnout Revenge 2005 PlayStation 2, Xbox, 2006 Xbox 360

Burnout Revenge might not be the best game in the series, with the third game probably still being at the top of review lists. Not sure, that was a decade or so ago at this point. Nevertheless, there’s something in Revenge that’s lacking in most current racing games that I’ve given a go and that’s the sheer raging speed. It’s all about the dopamine kick; the flaming boost bar, the speed-blur effect, and the roar of the soundscape.

Of course, the game has to build itself properly. Challenges and races are peppered around just fine and mix up the play constantly. The racing would suck if the controls weren’t on-point, and ultimately that’s what makes the game so enjoyable. The racing is the meat of the whole thing. Everything in the game’s design comes together in these races, and only other Burnout games can deliver a similar experience. The Need for Speed series hits a different spot in the whole furious racing thing. Still, It was a joy to play a Burnout game I missed back in the day with a fresh set of eyes and just play a game that’s all about joy. Don’t seem to get that in any of the modern racing games per se, just Online-Only Services.

• Gigantic Drive / RAD: Robot Alchemic Drive 2002 PlayStation 2

We don’t get remote-controlled robot games often enough. They’re effectively a dead genre, mainly shared only by four games, all of which were more or less developed by the same people in the now-defunct studio Human, from which Sandlot would form from. The idea is simple but hard to replicate in video game form; you control the player character that has a remote control for a giant robot. You’re not the pilot of it, but a guy standing outside holding a controller for a massive hunk of steel.

The tension is on a whole different level compared to other robot games. When you’re in a cockpit, you don’t really care about the environment all that much, but when you’re the one standing in the middle of the fight, seeing buildings crumbling around you and finding a need to brave yourself into better positions to fight, it’s a whole different world. The scale of these fights becomes more apparent as you gaze up at these giant things. Robot Alchemic Drive makes you feel small and vulnerable, even when you’re standing on the shoulder of your giant robot. The player has to make the choice of either controlling their robot or controlling the player character. When you’re controlling the character, the robot is always inert, waiting for your command.

While each level has the same core play of mashing the giant enemy to bits, how you go about it matters more in some stages. You’re there to protect, not to destroy. Down the line protecting certain buildings becomes more important, and you might want to let other buildings be destroyed just to piss off your corporate rival. Still, nothing hits harder than ending a level with a tight victory, only to get a cutscene where one of the supporting characters says their apartment building got destroyed and she’s now homeless, trying to look for a new apartment and living in the office for the time being. You go back on your save and try that level again, trying to save as much of the city as possible.

The controls are like no other and dated at the same time. You don’t have camera control on the second stick, the camera always sticks to behind the player character. It’s almost by half-intention too as limited camera controls is a major part of the whole game. When controlling the mecha, you’ve got options for Easy and Normal controls. On Easy, the robots walk with the D-Pad and overall movement is easy. On Normal things get interesting, as D-Pad is used to move the robots’ upper torsos, twisting and bending like a boxer dodging punches. Shoulder buttons are for walking back and forth. Left buttons for the left leg, Right for the right leg. The sticks are for different kind of punches while face buttons are for weapons. Once you get into the game’s rhythm how to walk and when to attack with Normal controls, things click in place. The jank is still there, yet that jank serves a damn good purpose that modern gaming would not dare even think about in order not to inconvenience the player.

For a game that was made on a tight budget, there’s tons of attention to these things. RAD also runs for fifty or so levels, so the game does take a while to beat. Multiple playthroughs are also awarded due to different endings you can receive depending on actions in certain stages. They’re not exactly obscure actions either, but easily misseable.

The game became a small cult classic in the US. Sandlot’s other remote control robot games, Remote Controller Dandy SF and Tetsujin # 28 also came out for the PS2, largely reusing the same engine, slightly more refined. A lot fo the assets from RAD would be recycled into the first Earth Defense Force game they developed, and finding success in refining that series bit by bit. Should probably mention that RAD, or rather, Gigantic Drive is based on a cancelled Tekkouki Mikazuki game. It’s demo was included with the show’s soundtrack.

Sandlot and the ex-Human employees had a lot of love for the classical Giant Robot and it shows. Gigantic Drive is full of their particular kind of humour, but not for a second the delivery tries to be cheap. However, the American release Robot Alchemic Drive goes for a different effect with its intentionally shit dub. It might be fun for a scene or two, but it’s a massive negative on the game. Get the de-dub edition that’s floating around the Internet, it’s a superior version. Sandlot’s particular straight-laced humour would be served better down the line by dubs in Earth Defense Force, where some of the games don’t go through the enshittification via forced bad dub. Yes, these games are referencing the old monster and robot movies and shows, yet only the American dubs make fun of them.

Sonic 3 & Knuckles Sega Mega Drive 1994, Windows 1997

I missed Sonic the Hedgehog 3 back in the day. I picked that game up a few years back and kept it form the yearly lists as I waited a good deal to come up with Sonic & Knuckles. Still, I found myself agreeing that Sonic 3 probably is the best of the Mega Drive Sonic games even though the first game is a personal favourite due to lack of increased elements that would prop up later. I prefer three stages per Zone structure, for one. Locking Sonic & Knuckles to Sonic 3 of course creates the full intended game, and it’s a monster of a game. Massive in size of the locked-on cartridges and content.

Sonic 3 & Knuckles may put me off on how goddamn long some of the stages are, but at the same time that’s nothing short of impressive, and there’s only one stage that actually feels overly long. None of the rest are uninteresting, always offering something new and engaging a bit differently. The combined game is the culmination of everything learned from previous Sonic games put into action in a marvelous manner. I don’t think I need to say much about the combined game. It is a legendary thing in itself, and it being one of the best games of 2023 is a no-brainer.

• Star Wars Episode III: Revenge of the Sith PlayStation 2 2005

I wrote about Episode III a few months back, so it’s still fresh on my mind. While I haven’t really played it any since beating it and unlocking all the stuff, something in the back of my mind is niggling me to replay the game. It’d be too soon to get into it again, I’d just frustrate myself. However, jank as it may be in few places, after experiencing what some of the Triple A games 2023 had to offer, all that went away and I’m still left with a game that has an underrated fighting mode.

Among Star Wars games, there’s really nothing else like it. Sure, 3D action is bread and butter of the IP from the era, yet Episode III lands in the perfect middle of not being stupidly over-the-top like Force Unleashed but still mixing the play more than the previous titles. It sits in a perfect position between things. Nothing mind-blowing, but quality mostly across the board. An absolute gem worth adding to any library.

The Top 5 games that didn’t make the list

• Crazy Taxi 1999 Dreamcast, 2001 GameCube, PlayStation 2, 2002 Windows

I had to cut something out from the Top 5. I’ve played Craxy Taxi in the arcades and have spent countless of hours with the second game on the Dreamcast. After picking up Burnout Revenge, Crazy Taxi just didn’t cut it. It still offers one of the best driving game plays out there, but it has been outclassed. That’s not a shame, speed demon racing wouldn’t be the same without Crazy Taxi and it’s still a goddamn joy to play. However, just as I noted how some games don’t work so well at home, Crazy Taxi really works the best in the arcades. In the home console front, Burnout takes the lead. Maybe I need to build an arcade cabinet for my Dreamcast and have the control panel contain options for different controllers.

• Cyberpunk 2077 2020 Steam, GOG, PlayStation 4, Xbox One, Stadia, PlayStation 5, Xbox Series X/S

After playing Starfield some twenty hours and becoming increasingly bored, I wanted to turn my attention to the other RPG that got maligned, but supposedly largely fixed with patches. Cyberpunk 2077 started out strong, and I found myself invested in Night City in general. If I had a physical copy of the game and not a GOG installer, the game would be in proper Top 5.

I have to say that I did like the Skills and Perks system better before 2.0 patch. The updated system requires min-maxing and sticking to one style of play, whereas previously I could make a character that was a jack-of-all-trades. I’m not fond of min-maxing in general or gaming the systems themselves. I like the variety of being able to most thing competently in CRPGs like this, and now having to stick single builds per playthrough is a personal issue.

Nevertheless, Cyberpunk 2077 ticked all the boxes I wanted from a CRPG. Generally a game for the ages and gets the ass-slap seal of approval.

• Gunhed 1989 PC Engine

Gunhed is based on a movie with a same name. There’s also Gunhed on the Famicom, which is a strategy game. PC Engine Gunhed, or Blazing Lazerz if you’re so inclined, is all about what PC Engine does best; shooting. It’s also one of the games that sold people on the system back in the day and has been cited as one of the shooting games out there. I don’t really agree, but that’s only because there’s so much competition in this era for that title.

Gunhed‘s biggest flaw is in its pacing. The first few stages don’t exactly grab you, making it a blasé introduction. In those two stages the chunky graphics become unwieldy to the eye and the music feels lacking in energy. It’s like a half-polished gemstone. Section Z still stands rather unique game, but whenever I played Gunhed I found myself wanting to pop Super Aleste into my SNES. When you’re picking a SNES shooting game over a PC Engine one, there’s some serious trouble in paradise. A classic game, overshadowed by everything else the developers did after.

• Robocop: Rogue City 2023 Steam, PlayStation 5, Xbox Series X/S

As Sony is making PlayStation obsolete with constant ports and lacklustre service, and Microsoft has effectively given Windows users access to Xbox titles, I haven’t found myself in any need to get their latest consoles. Thus, Robocop: Rogue City shares the same fate as Cyberpunk 2077 and as digital download gets a spot in the recommended-but-not-top-5 games.

All the hubbub surrounding the game, from its accurate portrayal of Robocop‘s setting to surprisingly satisfying shows that you don’t need multimillion dollar budget to net what is one of the best games of 2023. Even the mundane shit you need to do during investigations feels substantive as you’re doing it. It’s part of what Robocop would do as a police officer in the field.

The writing hits the nail with the tone of the first movie. While the material is good, Peter Weller elevates it. He understands what make Robo, or Murphy tick, and his delivery is not sold short. This is where licensed games usually have failed, but Rogue City just does it right.

A great game worth picking up if you’re feeling like turning some perps into bloody mess, or just want a worthwhile Robocop sequel.

• Earth Defense Force 5 2017 PlayStation 4, Steam

After beating the game three times, I think I prefer 4.1 more. Cosmonaut variants and the Rollers just take the enjoyment out of it. Otherwise yes, each EDF game builds on the previous one and is marginally better, and if you’re thinking of picking one of these games up, just go for EDF5 or wait for the sequel to launch in the West sometime later this year.

Still, the game’s a joy to play. Easy to pick, infuriating to beat on harder difficulties. The DNA inherited from Robot Alchemic Drive is still visible everywhere in the game, especially when you get to pilot Barga, the giant robot of the game. I swear some of the attack animations look like they’ve been recycled from RAD.

Earth Defense Force 5 gets better with friends though. Single-player is fun and all, but getting the living reactions out of people and helping your mate out of a pinch is the sort of salt a massive game like EDF5 needs. While the story of a rookie soldier becoming one of last standing humans and defeating the creator of mankind is nice, its the stories you make with your companion players online or split-screen where the game shines the best.

The framing story of the game is told via NPC radio chat, and paints a world filled with desperation against the alien threat. The English dub is overall decent and doesn’t veer too much from the Japanese original, more often than not retaining Sandlot’s peculiar dry and straight humour. Some of dubbing sounds like it is intentionally bad, but at the same time the voice actor might just be someone from the office.

Top 5 games of 2022

Another year goes by, and another review in games. If I’m completely honest, it feels like there are fewer games that I want to buy nowadays. The games I’d like to pick up have gone up in price. That’s the collectors’ and speculators’ market for you. I’m not fond of that, as it is an open secret how a small group of people effectively run them for profit. Thank God some companies are putting up re-releases of games.

The usual rules apply; the game must have been on a physical media to count, 2022 must have been the year I’ve first time have had a copy of the said game, and the year of production doesn’t matter. As usual, these are not in any sorted order; the first listed game doesn’t mean it is better than the four after it. If it ain’t physical, it won’t get on the Top 5.

 

Makai Toshi SaGa 1989, Game Boy, 2002, Wonderswan Color, 2007, i-Mode, EZweb, 2008 SoftBank 3G, 2020 Nintendo Switch, 2021, Andoid, iOS, Steam

For a good, long while now I’ve been looking for a classical console RPG that would have an interesting mechanic to it, something that would make it more interesting than your standard Dragon Quest vibe without going too far to the other end like we usually have with the modern RPGs. Not much has come from the big houses in this regard, just rereleases and such. Picking up Makai Toshi SaGa, specifically, its Wonderswan remake was a shot into the deep end for me. I don’t have many good memories of trying to play its localization, The Final Fantasy Legend, at a friend’s house way back when. Spending some money just to see if I could get into the game as an elderly person is never a good idea. Secondly, it would give me a reason to practice moonrunes a bit more. I’ve neglected that skill long enough.

SaGa hits the right spot though. On the surface, it looks just like any other RPG Square put out at the time, but its mechanics and the more open world make it refreshing. It’s not as free as something like Fallout mind you, but you’re given much more freedom to roam around without being instantly killed by fifteen levels higher monsters if you move a block too far on the map. Much like how in Metal Max you can move freely and hunt down Wanted characters at your pace, SaGa allows you to puzzle the world together piece by piece rather than stringing you along. The first game is the most linear for sure, but this is the starting point for the series. It’s rather refreshing after all these open-world RPGs that I’ve lately given a small go.

The game mechanics, however, aren’t everyone’s cup of tea. Generally speaking, all races have their own preferences and ways to properly level up. Humans can carry lots of equipment, but don’t learn any Skills as a result. They don’t get any experience points in battles either, which means you have to use Stat-raising potions to buff them up. Espers increase their stats randomly after battles and have four Skill slots. Saving often with Espers is a must, as these Skills are gained at random as well, sometimes giving you massively overpowered Skills and sometimes replacing that powerful Skill with a lousy one. Both Humans and Espers have two genders to choose from, which affects the stats to a minor extent. Monsters gain new forms as you eat Meat found after battles. This isn’t a random thing though, as there’s some kind of underlying system that you have no idea of which determines what a monster evolves, or devolves, into as you consume the enemy Monster’s meat. You can always resort to using a chart, but that’s no fun.

Experimentation might not be the game’s strength, but you can still find interesting team compositions. Death is more or less a permanent fixture, and you can replace dead team members with some cash. This can lead to a playthrough, where you’ve replaced your starting characters a few times over. It adds something special, as you’re not locked to the starting roster nor are you required to grind dozens of hours for Job Points. Rudimentary for sure, but it is something that works the best on a handheld.

The Wonderswan remake fixes tons of bugs, makes the game look much prettier and you’re not blocked from advancing the game if you don’t have a full roster. Key items are put into a separate bag from consumables, preventing you from fucking yourself over after discarding an item you thought you didn’t need. Some IP infringing names have been changed, like Beholder becoming Death Eye and Mobile Suits becoming Mobile Machines. There’s also a bestiary for all the Monsters you’ve managed to open via Meat consumption, making it much easier to figure you in-game what Meat does what. The sound got an upgrade too, though the Wonderswan has probably the tinniest and simplest sound of all handhelds. That said, it does sound marginally better than the GameBoy original and should be your to-go version. It also served as the basis for all the mobile phone ports. The recent SaGa collections have the Game Boy originals, and outside a new translation, there’s no reason to play the Wonderswan remake over them. There’s an unofficial translation you can boot up and enjoy instead.

It’s just an enjoyable game, something that has the best combination of being simple and yet has just enough complexity to have some depth with no time wasted on extraneous bullshit. A game at its finest really.

 

Not exactly what I’d like to have here, but can’t find if commercial or trailer for the Wonderswan release, so have a trailer for the game collection that I recommended skipping

 

Mushihimesama 2004, Arcade, 2005, PlayStation 2, 2011, iOS, 2012, Xbox 360, 2015, Steam, 2021, Nintendo Switch

Mushihimesama is great. If the words Cave, shooting and vertical make any familiar sense to you, you should already know what to expect. A tiny princess riding on a giant bug while shooting other big bugs is an interesting setting, but Cave did a small miracle by making this one of their better games. The game got tons of attention some fifteen years ago when a video showcasing its boss went viral, and the modern mindset towards danmaku shooting games was born. The game is about as stupidly insane as it looks on the harder difficulties, but of course, the latest versions offer different versions of the game with infinite credits and all that, so beating the boss even if you’re trash at these games like me won’t be an issue. All that is mostly bullshit thought. Mushihimesama is Cave going back to its roots in terms of bullet patterns and density. While it certainly is more about avoiding the bullets, it has specific Toaplan genes in it, where the player is encouraged to be more aggressive. This doesn’t make it exactly any easier per se, but the taste in approach is mildly different. Reaching the True Last Boss takes a bit trying unless you’re enabling modes that enable you to get there anyway.

The game is just pure joy, there’s not else that I can say about a vertical shooting game. Mushihime is a bright and colorful game with a happy-sounding soundtrack that has some seriously great beats going on. Sure, the standard shooting game scoring of dodging, killing enemies in a chain, not using your bombs, and collecting gems and medals are all here. The Standard game mode is pretty much this, and it balances itself out pretty well. A good half an hour or so in this mode just brings a smile. The alternative mode, Maniac or Ultra depending on the release, has Counter banking. This scoring is dependent on the player shooting or not shooting, and on counters that are on enemies. By tapping Shoot, you increase the parent counter but decrease its child counter. This means you gotta have enemies on the screen to balance the two counters, but also defeat the enemies strategically early to net the most points out of ’em. This risk and reward system requires tons of practice and finding points where you can farm enemies, but also balancing Auto shot and Manual shot buttons.

Is Mushihimesama the best Cave has to offer? Probably not, but it is one of the more unique titles in their library. It’s a good change of pace from all the spaceships the genre has to offer. Just make sure you don’t go looking for the PS2 port, as that’s rather terrible. The iOS port was a really good one for the time, but the modern ports have both beaten ’em by tons.

 

If you’re a fan of Japanese shooting games, the 360 was your platform. So many rare and obscure titles that never left Japan are on it. The Switch sorta has taken its place as the to-go console though

 

Windjammers 2 2022, Nintendo Switch, Amazon Luna, Steam, PlayStation 4, Stadia, Xbox One

The original Windjammers wouldn’t have been in the Top 5 for me. While the game is a masterclass in how to upgrade Pong to something completely different and unique, it is nevertheless every so slightly clunky, and actions can’t be canceled for mad-dash speed action. Windjammers 2 is effectively a perfect sequel in this sense. It doesn’t touch the core mechanics but makes everything smoother and faster.

Pong with flying discs, or frisbees, is a nice concept, but adding character stat differences, different skills, and field hazards elevate the concept. Rather than PV or trailer, I’ll just throw a full Arcade playthrough at the bottom. Some games are easy to grasp from the description, and some seem like a madman’s rambling.

There’s really nothing else to say. It’s a perfect upgrade to the original arcade game. Well, almost. The addition of a Super Meter has been splitting opinions. Its existence removes instant and equal skills and reactions from the players. Now it’s almost always better to wait for the opponent to use their Super first and then counter with your own. Understandably it’s there to add hype, but the game would have a much better flow without it. DotEMU also has effectively dropped support for the game already, so the issues with online play will always be there in the future. The game could still become massively successful if dropped in price and online would be polished, but there’s no chance in hell that’ll happen. The game also lacks a variety of modes, so online play seems to be where you were intended to spend your time on.

Nevertheless, the improved play can’t be denied. The best sports game of the year bar none. Get some friends over and have a good ol’ gaming party and you’re golden. Just remember to share the beer properly.

 

The player isn’t exactly the best in the world, but you get the gist. Better players make things go swoosh faster

 

Star Wars: X-Wing Collector Series 1998, Windows

Star Wars: X-Wing and TIE Fighter are classics for good damn many reasons, some of which I don’t share sentiments about. For their time, both of the games are rare complex simulations of flying both Rebel and Imperial fighters in their setting. TIE Fighter is often cited as the best game in the series, though many would give that to the third main entry in the series, X-Wing Alliance. I can’t really give an exhaustive view of the games, but the Internet has tons of retrospectives and people talking about these games still.

The pack here is specifically for this release, as it was something I remember looking at a bookstore back in 98′ and wishing I had a PC that could run the games. I was still playing on an Atari 780ST, so most then-modern PC games were out of my league. While the modern GOG releases are your way to go, this particular edition can be made to run on modern systems with some stupid amount of fiddlenacking.

The two games still stand largely as unique entries in Star Wars games library. Simulation died down pretty fast when Rogue Squadron hit the scene with the N64, though I’d argue both would’ve had place. The Starfighter series didn’t really get much wind under their wings, and perhaps there’s a reason why they are largely discussed in the smallest of niches. The Star Wars flight simulators just nailed the controls and the atmosphere required for both titles. For the Rebels, there’s always this small feeling of being overpowered against a larger enemy force. For the Empire, TIE Fighters break when you throw a rock at them. Both of the games’ campaigns get that atmosphere right, with Imperials having vastly more militaristic views on things and the player is expected to work properly, in-universe. TIE Fighter was more ambitious with its setting as well, telling an original story in a medium that had not yet seen Star Wars expanded all that much. X-Wing is great but doesn’t veer too much off from the pre-established beaten path.

Is there a learning curve? Yes, and even if you pick up the 1995 updated versions (which this pack has) you’ll have some fiddling to do to get the controls to your liking. Both games are largely moddable, with XWVM aiming to rebuild the game for the modern PC. However, if you’re familiar with the X-Wing Alliance, there is a total conversion mod to turn XWA into TIE Fighter. That might be the easiest path to get the most modern experience.

Just remember to bring your joystick with you. Both the keyboard and gamepad controls won’t cut it. Purists also want the ’95 version over this ’98 Windows release.

 

I know I was concentrating a bit too much on TIE Fighter, but it is the better game out of the two

Avenging Spirit 1991, Arcade, 1992 Game Boy, 2010, iOS, 2011, Nintendo 3DS, 2022, GameBoy, Nintendo Switch, PlayStation 4, Playstation 5, Xbox One, Xbox Series X/S, Evercade

Jaleco went to town with this cult classic. Retro-Bit made sure to re-release the game on GameBoy with an glow-in-the-dark cartridge when all the other versions hit the street. The game’s concept is simple; you’re dead. To save your girlfriend, her father has given you a mission to possess evildoers to save her from the mysterious crime syndicate, which employs mobsters, dragons, monks, vampires, and other strange things.

The story is just there to set up the play mechanic, which is the aforementioned possession. The player ghost has an Energy meter, which constantly drains if you’re not inside anyone. When possessing someone, there’s a Life that functions as that body’s Life. Spend too much time outside a body, and to Heaven, you go. The enemy variety is large because of this, as you are able to use every character’s specialty when possessing them. Some shoot, some kick. Some launch missiles and some send bats to attack. The same goes for things like jumping height and movement. While the initial roster seems small, this gets expanded as new enemies show up in later stages.

The game’s not long, just some thirty minutes with some try put into it. A six-stage game for the GameBoy sounds about right and doesn’t overstay its welcome. The pace is intentionally slow, which makes the game feel easy early on, but the stages and enemy patterns do show their claws later on. Much like with tons of other GameBoy games, it seems easy at first but offers a nice challenge down the line. I haven’t yet confirmed if the new games offer the Japanese-exclusive Expert Ending, which means as of now, only the Japanese GameBoy version titled Phantasm offers you the third ending.

The game is overhyped on the Internet quite a bit, but much like with SaGa, it hits that right sweet spot if simplicity with some depth. It’s a perfect little game for the GameBoy, and that’s something we just don’t get anymore.

 

This playthrough has the Best ending the Western versions have. No Expert ending in sight here

Honourable Mentions for those who didn’t make the cut

 

Bakugeki Wondehoー★ 2022, DLSite

You can replace any game up there with this one. The only reason it isn’t counted in the Top 5 is that it doesn’t have a physical release. You can get it on DLSite, and you should. Best game of the year, hands down. Also, note that the game contains smut, so be sure to be at least 18 years old. It’s just a goddamn fine 2D game that doesn’t mess around too much. Sure, there are a few spots that feel like bullshit, but much like the rest of the creator’s games, there’s a definitive fast flow with the game.

The game plays similarly to Super Metroid, except the game’s split into linear levels that challenge you to blaze through them. Controls are tight and easy to learn, something that’s a must in a game that just wants to challenge you for a fair and tough fight down the line. If you’ve ever played Tifa-Tan X2 from the maker (I assume some of you have, it was a viral game at some point), then you can expect a similar level of polish in gameplay terms. The game is definitely far from bloated and doesn’t waste your time. A personal favourite game of the year.

 

Star Wars: Dark Forces 1995, DOS, MAC, PlayStation, 2009, Steam, 2015, GOG

Now one Star Wars game going to hit the top list, and one would this lower list. Both titles are absolute marvels, and the Jedi engine Dark Forces runs on is a small miracle among Doom clones. The game is fast, furious and one of the few First Person Shooting games that I don’t avoid, but instead look for. It’s a damn nice game that is easy to get into and get out of. However, there’s one stage that drops the game’s quality wholesale, and it’s the goddamn sewers. Out of fourteen well-paced and carefully planned stages that are a joy move around and explore, the third stage takes place in a goddamn sewer and grinds the game to a halt.

This is a massive deal-breaking fault with the game. Civvie did the game much better justice, so might as well link you there. A few years back there was a fan that wanted to recreate Dark Forces in Unreal Engine 4, but it would be a completely different game. However, we can always rely on The Force Engine, a source port that makes the game run natively on modern systems. Highly recommended. Makes the sewers suck a little less.

 

Sega Marine Fishing 1999, Sega Naomi, Sega Dreamcast, Windows

There is certain calmness with fishing games. That lax feeling when you just wait for the fish to nab the bait, and the momentary shock and panic when you try to reel the bastard in. Sega Marine Fishing is almost all that hype the best way an arcade game can be.

This is Sega at its arcade finest, again. You’ve got different ocean environments to choose from, with different fish of varying values to catch. Choosing the right lure for the right fish in the right environment and casting it into the water is where the calm ends. The game is constant beat after beat from that moment on. Moving the lure under the water should be calm, but the way the fish move fast and furious makes your heart that bit more. Hell, you can even customise your character to a small extent.

The biggest issue with the PC version is that you don’t have that proper Sega fishing rod controller the Dreamcast version had. Without that, there’s just something lacking despite all the hype the game’s visuals and soundtrack create. Still, a superb game.

 

Halo: Combat Evolved 2001, Xbox, 2003, Windows, Mac OS X, 2007, Xbox 360

I’ve avoided Halo for good two decades now, and surprisingly, is the second FPS on this list. After finally making the decision to take a deep dive into the franchise and get myself the Bungie-developed games, I started with the first game on the original Xbox.

I’m not sure how much I should, or have need, to explain anything about the game. Most people are far more knowledgeable about it. Everything from its gameplay meta to best-speedrunning routes, the game’s more or less blown wide open. I came into the series with a fresh and open mind, looking for something to wash Marathon out of my mouth. Finished that trilogy early this year, and can’t say I really liked it. Extremely janky in so many places. I like the game, but even back when it was new I wouldn’t have been blown by it. Halo  feels like a game that came from a hard development cycle from a different platform. A lot of things just seem to lack polish. However, as someone who dislikes twin-stick controls modern console FPS games utilise as a standard, I appreciate the semi-locking on aiming the game offers. The two-weapons-only mechanic doesn’t feel limiting here, as the game has been designed around it. It’s rather a small marvel how often I find myself ditching a gun just so I could get one with more ammo. It also encourages to get better with each weapon faster and builds the world better. There’s a definitive delicate balance in this, something most games that copied it just don’t get this right. I’d say the first Halo didn’t get it right either, but it is damn close.

The whole large field aspect of the game seems to be somewhat constricted though. When I first got to the Halo structure, I was rather marveled at how well the old Xbox managed to run things without too many hitches. You have a point and few missions, and it is your thing to find out how to deal with the map. I was rather sorely disappointed how the first big field ended up with a driving sequence in black-as-hell tunnels, which killed the mood fast. The pacing is kinda all over the place, but it is helped that the game is split into distinct chapters. Perhaps Halo 2 will get to be a top dog next year, I’ve heard people calling it the best in the series.

New Pokémon Snap 2021, Nintendo Switch

The idea is simple; you’re on a track that never stops moving, but you can 360 degrees around to snap photos of pocket monsters. Your photos are graded and they bring in points (money really) to improve the campaign and open new maps and such.

This game is so late for the party. Everyone and their mothers already wanted this for the 3DS early on. People had made the game’s mechanics work on the Wii on a conceptual level to a great degree as well. The good thing about the game is that it is more of the same as the original 1999 Pokémon Snap, except this time you’re forced to go through a tutorial rather than the game dropping you onto a rail and test things out yourself. You’re also constantly held by your hand, with the game commenting something every time you take a decent snap. The rating has tons of animations across the screen, leaving the main thing, the photo rating, to feel like it’s the secondary thing in the game. Too much flourishing in places where there were none needed. It’s nice that you can now edit photos after stages with Re-Snap feature, but this feels more like a built-in soft-cheating method. The game overall feels like it tries too hard. Yes, we interact with photography in a different way than we did in 1999, but considering we are nature photographers in the game and not TikTok sluts, the game’s themes collide negatively with each other. Ultimately, whenever I just wanted to go and take those photos, I felt I had to go through a long-winded routine. Remember to turn those voices off, because there’s exactly one recorded line for everything, and it gets grating the third time you hear them. The game sure is expansive and takes more time to 100% than the original, but at the same time a lot of it just overstays its welcome. Played in short bursts, stage or two at a time, is the way to go.

Top 5 games of 2021

The usual rules apply; the game must have been on a physical media to count (unless there’s significant merit for it), 2021 must have been the year I’ve first time have had a copy of the said game, and the year of production doesn’t matter. As usual, these are not in any sorted order; the first listed game doesn’t mean it is better than the four after it. With all that laid out, I’ve noticed that I haven’t really played many new games this year, and have concentrated on older titles instead. theHunter: Call of the Wild ends up being my to-go stress reliever still from the last year, while certain other titles serve other roles on the side.

I admit that once again, I’ve found my resources being invested in other matters. A new home has taken a significant toll on me in many ways as has human relations. A broken PC Engine has limited my choice of games for it quite a lot. I’ve also found a certain lack of time to play games due to work and other necessities. It’s less than I’ve suddenly had more responsibilities and more that I’ve decided to not fuck around with things that will have longer-lasting consequences. Adversely, this has also affected my want to write more, but have lacked time for it. Ah well, there’s always the next year. Unto the list of games;

Tactics Ogre: Let Us Cling Together 2011, PlayStation Portable

There’s not much to be said about Tactics Ogre or Ogre Battle that hasn’t been said already. It’s one of the best tactical role-playing game series that has been produced to date, which also spun off the best Final Fantasy title to date in Tactics. I decided to jump into the series this year after wanting to play something tactical and enjoyable for some time, and the Ogre series turned out to be a pretty good target. Now collecting those games into my shelf is another thing, so starting where the bar was lowest with the PSP remake of Let Us Cling Together was an easy choice. While a lot can be and has been said about the game’s historical inspiration in its narrative, with the dissolution of Yugoslavia and the end of enforced peace between Croatians, Bosnians and Serbians, the play really is its driving force in the end.

Building your own team and fine-tuning the synergy between your units and their skills is extremely enjoyable, albeit also very time-consuming. This is due to the need to grind as usual, but the end result often gives a strong, well-balanced team. Sure, the game can be somewhat easily broken even without the use World Tarot system, after which the Japanese subtitle Wheel of Destiny was given. In this, after beating the game you are able to skip back to story points in the game with your current units and make different path decisions.

Additional tweaks make the PSP remake somewhat easier game than the Super NES original, like being able to rewind back to max 50-turns, class rebalances that make their end-forms more breaking while being more crippled at the start, experience points are given as classes rather than individually, permanent death on the field has a 3-turn count with 3-lives backup and such. However, players can choose to handicap themselves and ignore most of the tweaks from the original if they so choose to. One of the best additions to the game is an overhead map, which hardcore fans like to equate to chess. Sadly, all this reminds us that the game got tweaked quite a lot, but visually it’s still the same title. Higher-resolution character artwork looks nice, but some sprite assets don’t really look all that good in comparison to the new higher resolutions portraits and even text boxes. It creates a mish-mashed look. Remaking the game from the grounds up with modern low-polygonal 3D assets for the playfields and perhaps even replacing the character sprites with proper 3D models would’ve made things less jarring. The overhead map becomes essential, as with the current sprite maps, you can’t rotate them, something that would’ve made the game that much more.

Nevertheless, Tactics Ogre: Let Us Cling Together is a damn fine game independent of whatever version you are playing it in. The PSP version is still rather easy to find and not terribly expensive, while the English PlayStation version can break a wallet. Of course, Japanese versions are readily more available, but you’ll be faced with a language barrier.

Last Gladiators 1995, Sega Saturn

I can’t say no to a video pinball title when I see one. If we’re honest, making a good video pinball title is hard, and you’ve essentially got two choices to go with; either make it a simulation or embrace the video game format and go nuts what it could be. While the NAXAT Crush series of pinball games are more of the nature of video games, Last Gladiators embrace the simulation aspect. Surprisingly, where video pinball will always lack in terms of kinetic controls and that simple feel of real buttons on the sides of the pinball cabinet, the atmosphere and design have been nailed like no other.

Just by looking at the game’s footage, you can tell a few things it got so damn right. The field design is limited to one screen, but everything has been laid out as if it was a real table. No scrolling back and forth, no gimmicks that wouldn’t be possible on a real table, text and colours are appropriate for an actual table’s screen. The sound is spot on, with one of the best rock soundtracks from the era and the constant barrage of pinball sounds you can expect. Even when text is flashing on the screen above the playfield, it is short enough not to mess with your concentration. Different guides are positioned to the sides with arrows in a manner that’s not to obscure the field itself.

The game offers four fields, all of which have their own theming and concentrated gimmick. This might make an individual table somewhat short in gimmicks, but they’re rather concentrating on doing those few things right. Some modern pinball games like to throw tons of different kinds of gimmicks on one table without much balance, so going back to something that offers multiple tables with their own strong designs with less content per table is a nice breeze of fresh air. Designing a pinball table is stupidly hard and becomes geometrically harder with each introduced goal and gimmick. However, there is a slight over-reliance on ramps, so on a longer session that might become a dulling effect when jumping between the tables.

The most important bit in any video pinball game is in ball physics, and much like how I’ve sung NAXAT Crush series praises, Last Gladiator nails it. The visuals add an impressive heft to the ball, the sounds add to it even more and controlling the ball feels heavy and accurate. All this of course adds to the need for instant action and reaction, something that modern flat-screen televisions and screens still have an issue with. Playing with a good ol’ CRT is your best option, with a nice surround system to go with. Trying to run the game on an emulator didn’t really help. The latency of modern hardware just didn’t cut it.

The game is nothing short of a burst of pure energy. The way it is distilled fun and game in a package that we don’t get nowadays all that much throws it at the top of my list. I wish we had real pinball tables still around here.

Cotton Reboot 2021, Steam, Switch, PlayStation 4

The Cotton series of games is again one of those 1990’s Japanese exclusives that saw very little attention in the West. Mind you, even in Japan the series was more a cult classic than anything else after its arcade-original game. Yet it was kept afloat by fans and people who remember all these old games, and just like we’ve seen resurgence with Umihara Kawase (for the better or worse) Cotton and her lust for candy has graced us with one of the better remakes in some time. It’s one of the best kinds of remakes, don’t do too much for it, make it more what it already was, and give it a banging soundtrack. Cotton Reboot has without a doubt a year-defining soundtrack, with the first stage’s theme ringing in my head from time to time spontaneously.

Cotton Reboot is a rather standard horizontal shooting game, though its stage designs and Bomb mechanics are rather unique. Some stage layouts take advantage of Cotton’s magical broom having an afterburner-like flame and able to damage enemies right behind her all the while having loads of verticality. While the first stage is a sort of forward-push kind of deal, the rest of the stages mix and match the scrolling direction. Enemy patterns across the board shine, with some clever use of ground-only mooks with chasing Deaths. You get stronger and stronger Bombs, or rather Magical Spells as you level them up with experience points. An initial Fire Dragon may be anaemic, but level it up for multiple Fire Dragons or one massive, screen-filling monstrosity. Alternatively, just drop tons of rocks across the whole screen.

There’s so much you can say about a remake that nails the original’s tone and style, something that can turn people off. The game has that 1990s Japanese whack-humour, similar to Slayers or Battle Mania at their zaniest. Visually, the designs, shading and everything that’s presented to you is top-notch in production quality. The usage of modern tools to reproduce older styles has come a long way in the last decade or so and all of it looks glorious.

While the game is easier than its original versions and offers infinite continues, it does come with its X68000 version with no bells or whistles added. While not necessary, these sorts of things always add something special to the mix and preserve old games for new generations. Too bad we can’t reproduce the dancing keyboard the X68k version had. While some bad blood was born between BEEP and importers when they removed English support after Western localisation was confirmed, the game stands out as damn fine and worth the purchase.

Mega Man: The Wily Wars 1994, 2021, Sega Mega Drive

Retro-Bit re-published the somewhat rare compilation game Mega Man: The Wily Wars this year. After sitting down with it and mulling over whether or not it gets a spot here, or with the close-call-five, it gets a top-five spot just barely. The game was at one point much maligned as inferior to the NES original games (the first three Mega Man titles) but this has seemingly been due to most people playing the PAL ROM file, which runs at 50Hz. This does make the game run significantly slower and the music becomes droning. These aren’t really issues in themselves, but rather than the issues with development are visible across the board. Some of the sprites, while upgrades from the 8-bit originals, are of weird design at places. Proto Man’s sprite wasn’t redrawn either in Mega Man 3, which just looks weird with him being smaller and all. Numerous small sound effects are missing, but at places this is a blessing, as the first Mega Man has tons of ear-ripping sounds. Some mechanics are slightly different, like how there’s a slight delay in movement, Mega Man’s centre gravity centre is smaller than NES counterpart’s and glitches have been fixed. No more Player-2 pad debug features for Mega Man 3.

The game has some glitches due to the difficult nature of development that never got ironed out. These include the ability to re-spawn the final boss of Mega Man 3 by walking out of the room, which causes the ending to screw up too, using Ice Slasher in the first Mega Man to prevent spawning of certain flying enemies, DokuRobot’s Atomic Fire doing no damage under certain situations and stuff like that. However, outside very few glitches, a player most likely won’t be faced with these under normal playthrough. Speedrunners have used these for some benefit.

Nevertheless, this is your familiar Mega Man, Mega Man 2 and Mega Man 3. While I’ll still argue how MM1 is a rather bad game, the whole package really is still a great way to play these games. There’s a fair bit of challenge, as the games use a Save system over Passwords, and if you’re intending to get to the whole-new Wily Tower segments, beating the three games first isn’t the fastest thing in the world. Mega Man 2 is still a series-making game and once you get used to slightly different controls, 2 and 3 become somewhat a breeze for experienced players. Wily Tower might be the only new content, but it’s a nice challenge overall for series veterans, and something to look for during your first playthrough.

Even when contrasted against other games we’ve seen this year, The Wily Wars stacks well against them. While it is an unrefined gem, an uncut diamond of sorts, it still pulled me back to the early days of Mega Man when we didn’t have tons upon tons of cutscenes messing with the play and slew of bolted-on gimmicks that didn’t do the series service. Do note that the game was also included in the Mega Drive mini, and that’s the thing I would recommend you to pick up if you have interest to play this outside your usual emulation needs.

Undercover Cops 1995, 2021, Super Nintendo

While old arcade-to-console ports always lack something, they often retain that certain charm and pull that the arcade original had. Mind you, there are plenty of examples of failed home ports, but Undercover Cops isn’t one despite the lack of two-player mode. Sure, the home port doesn’t match the arcade original in sound or graphical fidelity, it sure as hell retains the charm and fun play. While it is your run-of-the-mill beat-em-up on the surface, the addition of hidden special moves alongside your usual desperation attack, clever use of the environment here and there (e.g. you can beat the first stage’s boss quickly by using a giant press rather than just beat it up) and superb controls make this a gem. I just wish they had managed to squeeze that two-player mode in.

Honestly, that’s all I should need to say, but the charm is strong with this one. Despite being one of the less colourful games out there, with loads of greys and browns with subdued colours in everything else, the character designs, animations and how they feel and act is just so damn nice. Backgrounds also pop-up like no other, but what would you expect from the same people that were in charge of Metal Slug? The converted spritework is superb and the large sprites sell themselves just fine. The designs are very much core 1990s, but in a manner that makes them nearly ageless; there are tons of cues taken from the sixties onwards in a blend that makes it hard to pinpoint any given era for the game’s world. The game does tumble with this by stating the year is 2043, which will sadly not look as rad as this.  It was great to have the re-released, as the American localisation never happened despite advertisement being pushed out. Retro-Bit made sure there were both US and PAL compatible releases to boot.

It’s short, sweet and fun to come back from time to time, but perhaps not up there with the absolute best in the genre. At a time, it was an underrated title, but with the Internet making everything available for everyone, even somewhat obscure games gain a strong following. Personally, I’d probably pop this in over Final Fight or Streets of Rage 4 any day, but then again, I do love swinging a concrete pylon every other Sunday.

Do note that I would still recommend gunning for the arcade version, but not the World version mind you. Go for the Japanese or Alpha Renewal version, as they retain all the background details and moves. We really need something like an Irem Arcade Collection one of these days, which would collect as much of their original titles into one package as possible.

Honourable Mentions for those who didn’t make the cut

R-Type Final 2 2021, Switch, Steam, PlaySation 4 , Xbox One

It’s an unfinished product, by all means. R-Type Final on the PS2 was the last curtain call for the series as a shooting staple. Final 2 was supposed to be a glorious return, but instead, it is more retreading the same waters. It was delivered in a lacking stage, with only a third of those 101 ships found in Final. Extra Stages ended up being purchasable DLC rather than on-disc, which more or less means the game isn’t the advertised ultimate shooting game experience, but again ends up being a DLC hell cashing-in for nostalgia.

There’s very little that adds to the experience since R-Type Delta, and in the end the game feels a letdown in every respect. The new stages for the game don’t provide as much a challenge as previous games, no interesting mechanics have been introduced to make the game stand out in the marketplace and even the music has no real pull. The series stagnated right after Delta, and nothing has really managed to pull the series out from the rut. The Tactics games were interesting, but the overt masturbation on how difficult they supposedly are and how much a slow slog both titles ended up being, it would’ve been better to forget the series and forge for something new.

Tony Hawk’s Pro Skater 1+2 2020, Steam, PlayStation 4. Xbox One, 2021, PlayStation 5, Switch

If you haven’t played the original games, or don’t have access to them any longer, do yourself a favour and pick this collection up. 1+2 updates both titles to the series’ latest mechanics and standards, and that’s also the fault here. The stages and challenges weren’t exactly designed to work under post-THPS3 mechanics and you notice that rather quick. However, you can rever the controls back to their original settings, and that’s who you should play the game; no reverts, spine transfers or wall plants. Nevertheless, it’s a faithful recreation of those two games, with some very minor changes to physics and mechanics. Most people won’t notice how it feels slightly different from the originals, but just like the Crash remakes from earlier, seasoned veterans will notice and will have to take some time to adjust themselves.

However, that’s all there is. It doesn’t exactly expand anything further, but it doesn’t really need to. It plays in the same ballpark as the 2001’s THPS2x, which was an enhanced re-released of the same games for the Xbox. It’s more of the same, but not really adding anything to the mix. It’s a damn good title nevertheless that I’d recommend, but not a Top 5 candidate.

Super Robot Wars 30 2021 Steam, PlayStation 4, Switch

The first mainline Super Robot Wars to be released in the Western frontiers, and plays like a sequel to a game we never got. DLC characters have nothing to do with the main game and are there to take up space in a game with plenty of units to choose from already. Because the game introduced a non-linear progression system inspired by the Compact series scenario system, which was also seen in Impact, stages have less a flowing feel and more something you’d play episodically. Honestly, the game wastes the Ultraman debut in SRW as DLC-only and based on the Netflix CGI show, and that rubs the wrong way. Loads of the sprites have a plastic sheen to them, which makes them more at home on your mobile phone than on a console or PC. Ever since SRW games have been getting closer to getting rid of the Super-Deformed designs, the further away we’ve been getting from well-animated sprites. SRW Alpha 3 has tons of SD sprites that have terrific animations, exaggerated and full of life, and in contrast, we’ve been getting animations that are stiffer by the year with more reliance on cut-ins. At this point, SRW might as well abandon scaled SD sprites altogether and present everything in so-called 1:1 design and have people wondering why the hell is Mazinger Z so big compared to a battleship. The series is going in the wrong direction.

Cotton Guardian Force Saturn Tribute 2021, Switch, PlayStation 4

This could’ve been a good collection, but after Cotton Reboot, this is just a lacklustre attempt to cash in. While the best way to get your hands on Cotton 2, Cotton Boomerang and Guardian Force, it falls in the same category as many other collections that they do nothing else or special with them. In addition, the initial version of the game has notable input lag, which has been rectified to some degree via patch, but really, Beep’s just riding on Cotton Reboot‘s success with this.

Blaster Master Zero 2017, Nintendo 3DS, Switch, 2019 Steam, 2020, PlayStation 4, 2021, Xbox One

I don’t know who wanted or asked for this game. Take a popular NES game, don’t give a modern face-lift but instead remake the game in overly used retro-sprites style and try to incorporate tons of story elements. Sadly, the graphics aren’t all that special and have issues with collision detection at places and plot’s forced down your throat while being poorly written. Serving both as a remake and a reboot of the original Blaster Master, you probably would end up having a better time with the original NES game due to how much the game holds your hand and halts the game with plot sequences. You’d think nailing a NES game revival’s controls would be easy, but yet they made them lacking. The revised designs are also pretty terrible, playing the most tired anime-esque tropes you can find out there. It’s IntiCreates went overboard where they could to compensate for the otherwise lacking design and detail in the game. In the end, the game ends up being a chore to play, but I admit, it at least is colourful.

Top 5 Games of 2020

This year has been rather poor when it comes to games to put on this list. Partially because I’ve been concentrating on other stuff outside games overall, partially because not many titles have ultimately caught my eye that I’d like to get, and then that one last sin I seem to repeat every single damn year; I forget to list the games I played the first time this year. We should have a full list anyway, but before that let’s revise the rules. Firstly, a game produced in any year qualifies. Secondly, it has to be a physical release, so no digital-only stuff on this list, unless the game has some merit to warrant this, e.g. it’s a mobile phone game. There is a precedent for this. However, if it’s just a game released on Steam or DLsite, it doesn’t qualify. Thirdly, there is no order or a top slot. It should probably be mentioned that it doesn’t in what language the game is. Unlike the industry awards, I don’t discriminate against games for their language.

 

Sakuna: Of Rice and Ruin 2020, Switch, PlayStation 4, Steam

Sakuna is a hard game to recommend without caveats, but it’s a game that makes you want to play one more in-game day. A combination of 2D action and rice farming sim, there’s quite nothing like it on the market. It’s not Harvest Moon when it comes to farming, but at the same time, it’s a level more hardcore with pretty much everything that affects real rice farming affects in the game as well, from water’s height and temperature to everything you use in the compost. About a week later the Japanese release, I read some news around that the Japanese agricultural ministry had seen multiple spikes in the number of users as Japanese players went to check pointers on growing rice. The farming is intentionally made somewhat longwinded at first without any skills, as there are no real shortcuts. From picking up the stones from the field to manually hack the ground with a hove is all done manually. You could leave it for someone else, but that affects the rice’s quality and level. Similarly, there is no quick way to cut the rise. Get in there and start scything. Little things get piled up with each passing in-game year, which really creates a weird fixation on making the best rice you can all the while appreciating the stuff even more.

The action part comes in when you gotta get rid of demons inhabiting the island where Sakuna and company are exiled, as well as when collecting materials for your new tools, weapons, and clothing… and compost. The battle system is less refined than the farming part, which really shows which part got more attention. The action suffers from the usual 2D-action using 3D models, where you’re not exactly sure where the hitboxes are, and the ground being all roundish in most places sometimes causes you to misjudge a jump. Despite the game’s action being rather fast-paced, the controls themselves don’t really support this. The best example of this is what I discussed in the previous post about the jank in doujinshi games. Here it’s the inability to turn around if you’re using the attack button and in the middle of an animation. Rather than automatically changing the side you’re facing to with the next attack’s animation, the game will keep you faced to that direction as long as you keep tapping the Attack button regardless of the direction pressed. It is an overtly strict system that forces the player to be aware of the animation priorities and the way the game handles them rather than allowing the player to swish in an effective manner. This alone makes the action janky, as well as Heavy attacks being mostly useless. Well, if there are any enemies on the screen, it’s just better to play bowling with them, as you can rack up better damage by throwing small-fry enemies across the screen with the godly raiments Sakuna has, which also work as a Umihara Kawase-lite kind of tool when navigating stages.

Despite being butt-puckeringly frustrated in the action mechanics and how jank they are, Sakuna has an incredible amount of charm in every aspect. From worldbuilding to philosophical discussion among the characters to the best soundtrack of the year, in every point Sakuna fails it succeeds in two. It’s also one of those games that you play only a few rounds, but then say One more day, I gotta finish the rice before it gets cold and you find the clock hitting four in the morning. I truly hope that Sakuna: Of Rice and Ruin will gain a sequel in the long run. Not perhaps with the same characters or the same theme, but still a combination of farming and action. Much like how Senran Kagura went from utter shit to one of the enjoyable fast-action games out there, Sakuna‘s sequel wouldn’t need to do much but to expand on farming and polish the action to silky smooth combat. As it is, Sakuna is a rough diamond that’s been cut but in a masterful way. Still, even a diamond with a failed brilliant-cut can yield surprisingly satisfactory results.

Also, play it with the Japanese voice acting. Nothing against the English cast, but holy shit Naomi Ōzora as Sakuna makes this game 15/10 will buy another copy.

 

Power Rangers: Battle for the Grid 2019, Switch, PlayStation 4, Xbox One, Steam, Stadia

Outright the best fighting game that’s come in a while. The early builds were rather lackluster in pretty much every term, but the play was solid. It was called shit by most people who only looked at the skin and saw low-budget graphics and simple looking play. Even some long-term fans disparaged the game without giving it a chance. Now with more development time and many, many patches and updates later the roster has been expanded alongside everything else. While its controls seem limited and simple, all that is there just to accommodate the ability to do almost whatever the player wants to do with their characters thanks to the freedom of action and movement, something that’s seriously lacking in most modern fighting games. In all seriousness, Power Rangers: Battle for the Grid has become of the top tier fighting games because its system is stupidly fun and challenging in all its beginner friendliness.

If you’ve ever played Capcom’s VS series of fighting games, especially the Marvel games with tag-teams, you should know what to expect as that exact same blood is in here. While the buttons are simpler, similar to what the Smash Bros. series uses, the complexity comes from the proper usage of the different tiers of attacks and their timings. Team synergy is also stupidly important and experimenting with what you can do with your teammates is about as important as learning to use your main fighter. While I was initially afraid of the auto-combo system in the game, as that has been the death knell of so many fighting games in the past, the system isn’t what I expected. It’s more akin to having standard weak, medium, and strong combos in one button. While you can move from one tier to another, it must be done well before you’re in a certain spot of that tier’s autocombo. Which isn’t even an autocombo. It’s a new kind of system that doesn’t have any other fitting description. It forced my Guilty Gear ridden, Darkstalksers taught chaincombo brain to stop tapping forwards for hit per each button and become far more considerate of timings and positions in strange ways, something that was a must when learning to play Lord Zedd.

Cross-play allowed me to play people who had the game on Steam and other platforms, so that was a nice plus. It shows that this game is wanted to be a success, and with each update, the game has become more and more robust. In terms of visuals and content the game was hampered severely by its budget game status, and in few ways still is, but the core play is absolutely solid. Hopefully, this won’t be a one-off time as we haven’t had a properly well-made Power Rangers game in a long ass time.

 

 

Aleste Collection 2020, Switch, PlayStation 4

While it may be a bit underhanded to put a collection to this spot, Aleste Collection gets on the list for two reasons; bringing a semi-affordable way to play otherwise expensive as hell shooting games for all, and making the GG Aleste a trilogy by introducing a completely new Aleste for the game Game Gear, which you can only play via the collection on modern consoles, or if you got the version with Game Gear Micro, on the tiniest screen gaming has seen. GG Aleste 3 is very much worth the admission with the caveat that you’re a fan of shooting games. It’s not the most difficult game out there, but in every respect, the game is polished and shows how well M2, the game’s developer, understands the genre and the series itself. As the game runs on M2 developed Game Gear emulator, it’s nothing short of accurate with optional slowdown and waits to fully emulate GG experience, which shows in quite the many paces how much a shooting game can demand from a console.

As a GG Aleste game, this third entry shows how something than peak even thirty years after the last game was out. It also puts a lot of expectations on Aleste Branch, which probably will make the devs sweat a bit. They put a high bar for themselves to beat with this single entry alone. As for the rest of the games in the collection, the original Aleste hasn’t aged all that well, all things considered. There’s just something about it as a series started that doesn’t play well, while Compile’s previous game, Zanac, outclasses it in few aspects. The same can’t be said for the other games. Power Strike II is a rare and well-regarded shooting game for good reasons. Its stage designs, enemy placements, and play balance it top-notch, offering good tunes to boot. The GG Aleste games may be the easier one of the collection, and overall when it comes to shooting games, though that can be seen as them being started friendly. Nothing prevents the player to drop the Life count and kick up the Difficulty, something that does have a significant effect on how you can approach the stages and encourages to properly learn the weapon usages. This is a blessing in disguise in some games, where stages consist of multiple static mini-bosses, which turn these momentary sections into a slight slog in the long run. Nevertheless, all these games are the kinds you’d find yourself coming back to challenge that one more round until you finally frustrate in the lack of skills.

 

 

Umihara Kawase Shun PlayStation, 1997, 2000

By my own technicality, I can drop this here. Haven’t I played this game before? Many times on Umihara Kawase Shun Second Edition Kanzenban and digitally, but for the first time I got my paws on the actual first edition disc. The game is still the best in the series and shows how far it has dropped in quality since the first two games. The series has had a wild run over the last two decades since it became a cult classic in the West via emulation. It has never gotten popular per se, but with the release of Sayonara Umihara Kawase and all the ports it saw, Umihara Kawase finally got the recognition it deserved. With that came all the negative side effects that changed completely how the series would be structured and how the game’s play would advance. Long gone are the days of straight-up level-design to tackle, replaced by non-linear action with a heavy emphasis on story. All that still doesn’t stain what is a crowning achievement in rubber band physics coding and level design of Shun.

It’s not just the physics though, despite the game being all about them. The music is just the right kind of soothing you need when you’re sweating over a jump you’re trying to desperately make to happen and Umihara is swinging wildly, almost out of control. Graphics are spot on with nothing excess or minimalistic about them. They serve the need of the game perfectly and their visual style is still bizarre. It’s one of those things that never needed expanding upon, we never truly needed to know why or how. The world of Umihara Kawase was a strange mystery where tadpoles give birth to frogs and fish have legs to walk on.

I’d like to say that Umihara Kawase Shun is a rare perfect game, but they already did that with the first game, so this is the second hit in a row with the series. It’s a game of pure skill and play, with a skill ceiling not even the fastest speedrunners have managed to reach. Just don’t play the PSP port, it’s a buggy mess.

 

 

theHunter: Call of the Wild 2017, Steam, PlayStation 4, Xbox One

Another one by a technicality, I owned and played a physical copy for a few days before gifting this one away. I didn’t expect to like this game one bit. I expected to play to for few hours with friends who got me into it and drop it as one of the misfortunate purchases everybody makes. Maybe because the game promises a lot would let me down, wouldn’t fulfill any of my low expectations and I’d mull over the twenty euro I spend on it until I forget it exists until I get a message of new patches. Well, I ended up spending far more time than it was healthy. The Hunter: Call of the Wild is my new The Legend of Zelda; you’re dropped in the middle of nowhere with the very basic equipment and the whole world to explore and get around. It’s an adventure of the best kind and everything it does is game. While sure there are story missions in each map, the real meat is when you gather your equipment and simply explore the map and find an animal you want to take down. Tracking an animal based on its prints and marks left on the vegetation is something I expected to see in Monster Hunter World, and the same goes for the map sizes. They’re humongous and full of varied detail as well as hidden collectibles.

Of course, when you want to hunt, you want the right weapon for it. There’s a rather wide variety of rifles to choose from, less so in bows and handguns. Lures, scopes, and so on need to be purchased and most equipments require some leveling up in order to be unlocked. This applies to skills that help you, for example, keeping your arms leveled so that the scope won’t wander off all the damn time. That is honestly the game’s biggest fault; it starts slow and hard. It is most enjoyable when you get the kind of build you want and then go after the prey. Each prey is ranked by their size, and using the wrong rank weapon gets you penalties. Shooting a rabbit with a 7mm Regent would yield minced meat rather fast while using buckshot against a bear prolly would get your ass whooped.

This sort of simple idea, yet hard to realize, makes Call of the Wild a game that keeps pulling me back. I might get mauled by a bear and ragequit, yet after a day or so I come back with better equipment and take cover in a hunting hut, calling it in for some time. Then see it walking towards a lake just beyond the vegetation so you barely see it, and then make pin-point accurate shot straight through its neck. The game is full of these moments that you make through each and every decision, and they end up being hunting stories with other players. This is storytelling through play at its finest, where the framework allows player to realize their own stories within the game.

Something about this game is breathtaking. The graphics may not be top-notch, but often I end up simply wandering through the unknown forests and see vegetation I’ve never seen before, listen to one of the best sound design I’ve heard in a game, and just suck the atmosphere in. There’s little music, which only serves the notion of being there in the wild. You may hear crunches in the snow in the distance, and the hunt begins anew.

 

Honourable Mentions for those who didn’t make the cut

 

Metal Wolf Chaos XD 2004, Xbox, PlayStation 4, Xbox One, Steam

A game everyone wanted localised, and then everybody seemingly forgot about. Metal Wolf Chaos XD is a fun short romp full of memorable one-liners and moments to take from, but ultimately the game suffers from being an Xbox game ported to modern machines. It’s not bad by any means, but something about its controls makes the game unsatisfying to play despite everything else being pretty damn spot on. It’s a recommended game for sure, but hype and joking can carry it only so far.

Shubibinman 2 1991, PC Engine

PC Engine games are full of jank. You can see what they want to with many of the games and somehow fail with them. Subibinman may not be a Mega Man clone, but if it was, it would be for the better. The game is charming, but it also exhibits what was the mediocre play design of the time. However, the game feels almost unfinished, something that could use a few rounds of polish to tweak jumping arcs, weapons, hitboxes, physics, and pretty much everything outside graphics and charm. It’s a game I really want to love and like, but ultimately ends up being a middle-of-the-road game that tried really hard to be a nice 2D action game, but just can’t hold the candle against the big boys in the genre.

The Wing of Madoola 1986, Famicom

Before Sunsoft hit gold with their games, they had numerous games that just fell short. The Wing of Madoola might be a cult classic, but it’s janky controls and combat makes it a curiosity at best. A significant curiosity though, as its place in the popular culture scheme of the time fits like a glove. Magical girls with bikini armours were all the rage at the time, after all. While its stages are linear, it also plays with non-linearity with some of the stages, though often this ends up with the player having to make a separate detour to a dungeon for items. It’s one of those games where you should never stop either, as enemies spawn constantly and swarm to your current location. This is severely hampered by Madoola being significantly underpowered early in the game, but at least you can defeat enemies fast with a Turbo Controller. While the Famicom had started to see quality games by 1986, The Wing of Madoola sadly can’t cut it no matter how much I’d like it to throw it up there.

Panel de Pon 1995, Super Nintendo, Satellaview, Game Boy

No, I don’t have a copy of Tetris Attack. I have the Japanese original with cute girls innit. Panel de Pon has been remade and remastered few times over, with Pokémon Puzzle League on the N64 being one of the more famous examples of its reskins. The format of the competitive puzzles was already perfected in this entry. It’s the best puzzle game I’ve played this year in a physical form, but it doesn’t ask me to return to it at any point. I don’t feel a need to throw it in at any point and give that five-minute whirl or so. While it is a fun game, it is kind of meh. Works better on the DS though.

Akumajou Dracula X: Chi no Rondo 1993, PC Engine, PSP

Also known as Castlevania: Rondo of Blood, the game was one of the additions to PC Engine that was a must. A very generic decision I know, but also one that was done very deliberately. While it’s often played out as the best of Castlevania next to Symphony of the Night, that’s overstating it. Both of them don’t hold the candle of the top spot, but that’s neither here nor there. Rondo of Blood is still a top list game because of its branching paths and stages, stellar music, and spot-on controls. The voice acting, anime scenes, and story are garbage, but that matters none. However, it got dropped to this latter list simply because it’s not Castlevania III and ultimately it’s not as enjoyable as Super Castlevania IV. It stays in a spot where it wants to be that best classical Castlevania but at the same time falls short for small reasons. Things like small irritations in the stage designs, how the enemies work or simply how there’s sheer lack of evolution in how a Castlevania plays out. It’s still an enjoyable game to play, but I’d rather pop in some other game in the series, like Lords of Shadow.

 

Happy new year to you all, see you on the other side.

Review: Streets of Rage 4

A very Sega cover

The original Streets of Rage games are a prime example of how Sega of Japan mishandled the Mega Drive in the Western markets. The three original games were never really popular in Japan or in Asian markets in general, but they were hits in American and in Europe. The whole thing about Streets of Rage series being cool at the time, hitting the rights spots with the popular culture phenomena in especially in the America with influences taken from the then-current music scenes across the pond made these games stand out, though the third game’s music splits opinions harshly due to its experimental nature. Sega was extremely good with this for a short period of time in the late 1980s and early 1990s as numerous of their projects managed to capitalise what was way cool. Sonic the Hedgehog is without a doubt their shining example of this, blending polygonal visuals that were popular in advertisement at the time with a great soundtrack, with emphasize on environmental themes that were around to a point and mixing them all in a blender to produce the most attitude ladden mascot to that point. Streets of Rage harkens a bit further back to the 1980s than Sonic, with the movie Streets of Fire being a heavy influence thematically. Other contemporary games, like Final Fight, were a massive influnce, with Street Fighter II being played at the developer Ancient Corp.’s offices and having a great impact on Streets of Rage 2. If the second game was evolution of what made the first game a success, introducing more moves and wider variety of enemies, the third game took that and gave more emphasize to the stages themselves. Branching paths became a more common thing, further moves were introduced, and for better or worse, the game’s story got more emphasize with cutscenes and dialogue. Unlockable playable characters made their first entry in the series.

 

However, the fourth game didn’t materialise for some two decades. 1994 was the deathknell of the Mega Drive, advent of Sega Saturn, Darkstalkers saw a release in the arcades among other things. Streets of Rage 3 didn’t even scratch the top ten most sold games for that year. Despite the third game attempting to push everything the second game layed down, in most terms it was a commercial failure. The beat-em-up as a genre was moving out from its golden days with Konami and Capcom still making some of the best entries, leaving Streets of Rage behind both in terms of game play, design and visuals. The fourth game in the series was attempted few times around, one of which ended up as the PlayStation/N64 game Fighting Force, or Metal Fist in Japan. One of Sega’s attempts turned into Dynamite Deka series, which was used as the basis for the Die Hard license. Ancient had been working on a Streets of Rage 4 for the Dreamcast as well, but supposedly, execs at Sega of America closed it down very early in development. Nevertheless, the DNA of Streets of Rage was carried over various directions. Ultimately, these kind of 3D action games would end up as being similar to Devil May Cry, which are a far cry from the first Final Fight and Streets of Rage.

 

The reason I wanted to include this whole bit is to show that despite all fans and fanfare the two original games got, the third game was a miss despite it taking the series further. The genre moved onwards with other games and Streets of Rage was mostly used a launchpoint. Fans have been making their own games based on the IP, and all things considered, Streets of Rage had become a dead franchise. That was until 2018, when DotEmu announced they’re working on a new entry with Lizardcube and Guard Crush Games.

The initial trailer split opinions, some liking the new style while other hating it. It showed nothing too much on the play outside few seconds, but the later DotEmu would release more footage as the game’s release was closing in. However, from the very first on, it was rather apparent that the game wouldn’t push forwards what the franchise had been back in 1994. That’s probably the whole review in a nutshell.

A revival like this can be don in two ways. First is to stick to the guns and not change much, or anything, about the formula and roll with that. You won’t disappoint anyone and you know you’re catering to the core fans who just wanted a new entry no matter what. This is effectively what Capcom did with Mega Man 9 and 10, and Nintendo with the New Super Mario Bros. line. This kind of catering to nostalgia first and foremost works few times around, but it can’t be milked. The other option would be to take core essence and see how far you can push it. With two decades and then between the SoR3 and 4, it would be rather easy to see what sort of design innovations the beat-em-up, or action games in general, have made during that period and how they could be implemented. Both are very different routes, and DotEmu and co. ultimately decided to stick with the core guns of the franchise and not deviate.

Good amount of research into the characters was apparently done

When it comes to SoR4‘s play, it’s as pure action as you can get. It’s methodical and orthodox and even fights against players who want to blitz. Timing is everything in these games, alongside positioning. The wide variety of enemies use different tactics to get away from the player, with some having moves that allow the to traverse across the screen or move in the air the way the player can’t. If you’ve ever plaued, or even watched footage of a beat-em-up, you already know what to expect from the play. However, the player is ultimately limited in their actions, even if the new control scheme does dedicate a button for picking up items and such. There is no running or dashing, nor there is a dedicated button or combination for sure certain grab and throw. You can only punch and jump, and grab when you’re close up. In terms of play and controls, there’s nothing pushing the Streets of Rage forwards. At the same time, once the slow pace clicks to you few stages in, the game becomes a bit more open. You can’t really device your own ways of approaching and playing it, however, as the design doesn’t provide the tools for that.

This approach has cost the game’s design some points. While many of the normal enemies are fine tuned, some of them exhibit unnaturally large amount of invincibility frames in their moves, something the player is lacking. Benefits are given to the enemies to the point of game feeling annoying rather than hard or challenging. There’s no point trying to counter moves, when you can almost break the game by grabbing and throwing things around. This is further examplified with the bosses, as they gain similar Star moves the player has access to, but with the difference they can use them in a pattern willy nilly without thinking about their life being drained or such. Some of the bosses are just lacklustre, like the helmetted DJ that feels like an unnecessary thoraway just to have a boss in there, while others give a satisfyingly levelled challenge with their own twist, like with Shiva.

Outside Shiva’s bullshit-bunshin, the fight’s really on the even grounds

The game is also rather long, longer than it really needed to be for a beat-em-up. This is further emphazised but that slower paced game design mentioned earlier. Cutting one or two stages out and make it an even ten, or even just nine stages with multiple paths would’ve made the game more interesting on revisits, but in one sit-through Streets of Rage 4 begins to slog and overstays its welcome rather hard. However, the game has embraced modern sensibilities in that you are able to continue with the stage you left off with a save file, with 1 Coin challenge being offered in form of Arcade Mode.

In tersm of visual design, the game is top notch. It looks great with all the lighting effects and colours being used in proper manners. It looks like a French cartoon with heavy Japanese influences thrown here and there. In this the game is rather contemporary, slightly revolting against how the original games tried to level with realistic look. The way the visuals have been realised and executed is probaby the best part of the game, testifying how 2D is still the best way to realise the age-old dream of games looking like cartoons on telly. Animation work is terrific and nothing to be scoffed at, characters are easy to tell apart and while stage designs and environments can be lacklustre, they still come through strongly simply because how well they’re visually made. Despite all this, the edge in the visusal style is rather rounded and maybe even dull. The Y Twin, the end bosses, don’t really jump out in their design, and the fact that they utilise a giant robot during the end battle is uninspired at best.

On the music side, you have what we could call classic SoR tunes. It fits and doesn’t intrude on the player’s nerves. Some tunes stand out more than others, so overall a well done soundtrack that’s not too uncommon nowadays.

The story doesn’t matter. While I fully expected some scenes to be voiced, I found myself more annoyed by the cutscenes more than anything. The difference in visual style becomes drastically evident during these, which also emphasize how it ultimately doesn’t fit. Within the series narrative, it’s almost like the the early 1990s never moved onward, yet we see contemporary factors dropped here and there. Perhaps fully embracing that early 2000s aesthetic would’ve been a better option rather than create this sort of fetishised hybrid of 1980s/early 1990s nostalgia through rose coloured goggles.

This game sounds, looks and plays like a standard Streets of Rage 4 fare. We’ve played this three times before. If this game has been released in the 1990s, it would’ve scored low. Now, far removed from its setting, it stands out as a classical example of well made and polished game, but a game that offers nothing special on its own. Expecting this game to deliver anything else than that will be met with gross disappointment. It’s a game that does get the franchise, it fully embraces what it is, but at the same time, it makes itself rather hard to recommend if you’re already familiar with the series, or the genre overall. If SoR5 will be a thing down the line, it can’t surf on nostalgia and has to find its way to create its own indentity and expand on already-explored play of the franchise, or go bust. I can’t fault what the game was designed to be, as that’s extremely well realised. It’s just that design was already out of date twenty years ago.

Review: Hori Pad Mini for Nintendo Switch

Another name for this controller, as used by e.g. Play-Asia, would be Hori Mini Controller, but let’s go what Hori themselves wrote on the box. Out of all third party controller manufacturers, Hori has been around the block at least since the Famicom days and have been making their Mini like of controllers for each generation of consoles. One of earliest examples I’ve managed to scrounge up was their Mini Commander controller. Hori has maintained their above-average quality compared to their competition rather well, with few points contention here and there, like how sometimes their D-Pads don’t stack up. That’s a slight spoiler.

Also, despite this being advertisd as a Switch controller, it uses a standard USB-A jack and does function in Windows as X-Input device without any troubles. It should be noted that this controller has no wireless option.

The Mini Pad for Switch comes in variety of flavours, but I ended up picking up red as I have enough blue in my life as is. The rest of the bunch have Nintendo licensed characters on them, and I’m guessing some people would find them more appealing. Design-wise, the Super Mario is extremely lacklustre. The licensed controllers do have slightly higher price point.

The first thing with this controller is how it feels, as it stands apart from from other third party controllers on the market. The surface is not glossy plastic on the front, but has this slight, almost soft texturing. It’s a very slight satin-like feel that makes the controller almost soft to touch. A very nice feeling that does give the controller a nice first impression, though in time that will polish off. The layout is nothing special, though the yellow chosen for the face buttons does make the button legend hard to see. The issue does not matter with the other colour options, though. Hori opted to use the same kind of stick Sony’s Dual Shock 4 uses, and thus have more travel. Going from frequently using Joycons to the Mini Controller, there is some learning before you get used to how high the left stick can go. There’s very little to say about any of the face buttons, outside their height. They’re extremely accurate and satisfying to press down. They are more raised than either Joycon or Dual Shock 4 buttons, which some may prefer. The menu buttons in the middle are your usual rubber, but sadly the legend on them is barely visible. The Turbo function, however, has its own label and a LED, and it works as well as you’d expect it to. A similar labelling could’ve been used for the rest of the buttons.

In terms of general size, the controller is smaller than Switch’s screen

 

The weakest part on the controller is the D-Pad. It’s the standard Nintendo style Cross-shaped D-Pad and functions about as well as you’d expect from it. Sure, hits the directions just fine, but there’s a slight need to pay more attention on the direction pressed. Diagonals are as easy to hit as with any standard Cross D-Pad. It is superior to modern Nintendo D-Pads, harkening closer back to the NES D-Pad in feel and size. It’s far from a deal breaker, but thus far the weakest point in the controller. I can’t fault it for not being a Saturn-style D-Pad, but that’s why we have Retrobit’s Saturn controller. The intention of this controller is to be a modern generic controller rather than specifically designed for retro gaming.

One thing I really dislike with this controller, visually speaking, is that the printing doesn’t extend to the top of the front shell. It looks cheap

The shoulder buttons are as mushy as any modern controller. You don’t get any satisfaction out of them, there is not click or the like. Their travel is rather significant and plunge amount 5mm to the bottom, but the overall feel is apt. The choice of not using any kind of trigger shape serves the controller’s overall depth, as it tries to keep itself as flat as it can. Their shape and size do feel nice and you can lay most of your finger on them just fine. This is one of the few controller yours truly doesn’t have any issue having first and middle fingers on all four shoulder buttons due to their size and close proximity. Due to the dimension, they end up feeling outright pleasant. Somehow holding and handling them makes we want to eat a KitKat, there’s a similar kind of positive energy to them. Despite them being mushy, they end up working almost better than most other shoulder buttons because of their overall design.

Bumpy

Despite being rather flat controller, Mini Pad does have the usual bumps to fit your palm. They’re nicely round and sit in your hands nicely. At first the geometry does feel a bit strange, but finding a relaxed position where you just let the controller rest in your hands rather than trying to grasp it makes it feel natural. The sculpt here is satisfying and fitting. Now let’s crack this baby open.

I have to mention that everything in this controller fits perfectly together.

Hori used a similar two-layer design in their Famicom Mini Commander. The PCB that’s on top on the photo is only for the sticks. Everything else is on the PCB at the bottom. This layout is very clean looking, but there also few bits that pop out straight away. You can also see that the shoulder buttons are just slotted. Because they don’t use springs, the mushy feeling comes from the contact rubber, hence the mushy feel. Also take note of all those labelled contact points across the PCB.

Also not that dangly bit above the chip? That keeps the rubbers in place on the other side.

Everything on this controller is handled by this one chip. What’s more interesting are those PROG CON points, which probably someone could find some use fore. More importantly, this controller seems to be an excellent candidate as a project controller, as the PCB lists contact points for all the buttons as well providing a nice round base to solder to. Even changing that USB cable seems to be easier job than expected, and throwing something like a high-quality braided cable might be a worthwhile idea.

The top PCB also carries clear labelling and contact points. This should allow a customiser to replace any of the sticks with direction buttons without worrying about incompatibilities. The two halves are also connected with a sturdy flat cable, something Hori also used in their Famicom Commander Mini. The front of the bottom PCB has nothing special to it, but Hori has maintained easy access to the contacts as well as has printed their labels there. The same also applies to the shoulder buttons, making this controller oh so sweet if anyone wants to just go town and make a custom one.

 

While there is no issues with the injection moulding of the controller, everything fits just perfectly with nothing popping in or out in a weird manner, I must mention how the action buttons do have small sprues still stuck on them from the moulding process. They don’t interact with anything, so they have no effect on the buttons’ functionality. With some other third party controllers there has been a need to shave off the excess, as the tolerances have been too tight. You wouldn’t know they left those snubs in if the controller hadn’t been opened. That applies to a lot of thing. If you even open your car’s doors, you’ll find that a lot of the stuff inside has peculiar ways of being attached and probably glue blobs left and right. What you don’t see, you don’t mind.

This controller is one of the better controllers in the Mini-line. It does suffer from the D-Pad being a secondary input option, and the flat Cross shape doesn’t benefit from this. The D-Pad is not a deal breaker. For whatever reason, all modern D-Pads are in the Just fine category, with notable exceptions here and there. The second hurdle is that the controller does take few minute to get used to because of its size. People with larger hands probably will find this controller somewhat uncomfortable and somewhat fiddly, but people with normal and smaller hands should find this controller just fine. This being a Mini controller, this is as intended.

I  find myself recommending Hori’s Mini Pad for Switch on the basis of it stacking up nicely even against the first party devices. It might not be as portable as the Joycons themselves, and necessitates some kind of dock or USB-A to USB-C converter, but even then its small size makes it very portable. It doesn’t feel cheap shit, even if it might look the part due to the overall visual design. Sturdy build, nicely responsive buttons and that ever so slight soft touch on the surface hit home just nicely. One of the better options out there, not necessarily the option to take depending on your own preferences.

Also thank you WordPress and your block editor for fucking up and deleting the contents of the initially published version of this post, I hate you too.

Short Series Introduction: Kaizou Choujin Shubibinman

While NCS and Masaya are more well known for their strategy titles, mostly Langrisser, their library consists of multiple genres across the board. However, they are very different in quality, some topping at some of the best games in a genre, while others are outright trash. Kaizou Choujin Shubibinman, or Chbibinman if you want to use their own official romanisation, falls somewhere in between. All the three titles, and a spin-off of sorts, all fall into the same kind of 2D action as the genre’s golden standard, Mega Man, but due to numerous small issues the franchise never really hits the same stride. Not that it intends to, as one of the most peculiar, and perhaps series defining element, is that every game plays significantly differently.

For a 1989 PC-Engine title, Kaizou Choujin Shubibinman the game somehow looks pretty damn nice and has frustrating graphics at the same time. Some sprites hold up better than some, mostly the player and enemy sprites, but the game underachieves with inanimate projectiles, bland character portraits and some of the worst lava of the era. Colours tend to be muted and nothing really pops up despite being clear, but this means all the sprites are easily tracked. Can’t say the same about some of the stage obstacles though, some platforms are exactly the same grey and the background. All the sprites are showcased directly from their side without much dynamic posing or the like, making the game look cheaper than it really is. This doesn’t really help the sprites’ designs, as most of the stage bosses are effectively the same recoloured sprite with an additional dragon head. There are also only three stage archetypes that get used until the final boss stage, which overstay their welcome. Nevertheless, in comparison to most other 1989 PC-E titles, Kaizou Choujin Shubibinman does have tad higher calibre graphics, with flavour that fits more a Mega Drive game.

Music falls into the same category, with only handful of songs on the card, but outside of one particular stage theme, none of them are offensive to the ear. They all fit their designated stages, with with one or two of them being almost worth getting stuck in your head. Having relatively clear voice samples in a HuCard game is a minor achievement, and they’re sprinkled around the game in proper spots.

While the game looks more or less run-of-the-mill, it’s gameplay has some great elements that make it stand out. The game is split between a map screen and an action stage à la Super Mario Bros. 3, with shop and all. You can take a couple of different routes to the final boss stage. Each stage is effectively a type of a mission, flavour wise, with interactions with the city’s denizens popping up at proper times. The cash gained from enemies is spent on upgrades, which are your usual flare, ranging frontrols are what you’d expect, about as tight as the second games with few oddities herm more Life to a charged projectile attack. These upgrades are necessary in the long run, as the game likes to throw fast moving enemies at you all the while stage hazards move at the speed of sound. The player has to move carefully and with patience all the while he needs to push forward as fast as he can. The faster you can remove threats from the screen while dodging whirling spikes of death and jumping monkeys you can, the higher are chances to survive. It takes a bit of time to get used to how the game flows, as it is equal amount of split-second reaction and knowing what’s coming. The game’s design tries to emulate Mega Man to some extent in stage design, but it is significantly less on-point with its challenge-per-screen design. Oh, and the game has a time limit how much you can dilly dally in stages collecting gold for the upgrades. If you don’t beat the game in an allotted time, it’s an automatic Game Over.

The controls don’t exactly help any with the game, as player characters need to accelerate to their full speed every time you start moving, plus jumping is awkward at best. The jump arc feels rather unnatural and lacking, requiring somewhat precise platforming. With some stages having overtly bullshit hazard designs, enemies having jerky patterns and nothing really delivering satisfying feeling from being hit, the game feels and plays loose. However, it must be given props to the developer for allowing the screen to scroll forwards when the player is 2/5 from the screen’s left side, rather than other way around like in Valis series. This gives the player ample time to see and react to whatever the game is dishing at him.

Despite all this, Shubibinman went on to have three sequels. While the above seems to be all negative, as a whole the game comes together as a unique little title. It’s not exactly the lengthiest title, and allowing simultaneous two-player mode changes how the players have to approach the stages and bosses. While the two share the same Life bar, and the only difference between the two is their design and voices, the charged attacks become even more powerful when used in unison. All the things the game lacks in quality is met charm and personality. The game did come out during time when Japanese pop-culture media was going through certain kind parody phase towards 70’s and early 80’s media, especially old tokusatsu shows. Shubibinman, much like Battle Golder YUI, plays the whole android/cyborg angle that was the cornerstone of so many henshin hero shows and goes to have fun with it.

The game’s setting is, after all, about two cyborgs: Tasuke and Kyapiko. Tasuke was a fisherman before Doctor Goutokuji operated on him, much like how Kyapiko was a normal highschool girl. The two got mad over the doctor operating on their bodies, and promised to return both of them back to their old selves. Apparently the doctor is rather paranoid and predicted the incoming Akumadan invasion. With their modified superhuman bodies, Tasuke and Kyapiko venture forth to save the city, block by block. That’s pretty much all there is, but as I said, the charm-factor is strong. After every stage your chosen hero makes a pose and conveys its personality, and the same thing happens when being hit by a hazard and the like. Little things like that made the game go some extended ways, but you can easily tell that this game was NCS/Masaya’s first try at an outright action game, though development was done by Winds. The formula was interesting on its own already, and probably with some tweaking would yield a high-class action game, but seems like the staff didn’t manage to escape Mega Man‘s influence.

Kaizou Choujin Shubibinman 2: Aratanaru Teki (tl; A New Enemy) ditches the map parts from the first game and goes straight up level-by-level fare. Significantly more important is the complete loss of the sword and all close combat weapons, as the game goes for shooting action. Few stages do shake things up and are played like a standard vertical shooting game, though don’t expect them to play like Gradius or R-Type in terms of quality. The charge shot is still in there from the first game, with the player character yelling Shubibeam! every time its launched. It can get grating after a while. Pretty much everything from the first game has been upgraded, with graphics have more colour and variety in them, sprites having much better designs and animations all around. All the characters now showcase their persona much better, with some enemies being on point with the whole parodying things. Big eyed robots with silly faces are great, and they’d fit just fine with other games that parody tropes and genres, like Battle Mania.

Much like sprites, all the stages look pretty great with more variety in them. The shooting stages look significantly different from the action ones, though that can be said most of the stages and some of their respective areas. You go from cityscape to techno-mines and everything in-between. Some stages also scroll upwards, much like how Super Mario Bros. 2 did compared to the first Mario game. The layout design is not directly action, not all the time. The first game’s stages were almost all about the hazards and this has been carried over to some extent into the second game. They don’t pose the same head cracking challenge without any context though, outside few specific bits here and there. Many of the stages have dramatic moments built into their sections during play, but every stage also has a specifically designed spot to have story bits happening.

Music’s great, with more songs and some very memorable ones to boot. There’s not much to say about it, outside that the main theme of the game seems to be considered sort of unofficial theme for the whole series as it has seen the most remixes, with one of the famous one being in Dangerous Mezashi Cat’s 14th release, Newtype Destroyer.

In a straight up side by side comparison, Shubibinman 2 is the better game, but the play between the two is different enough to mention something about apples and oranges. Perhaps the improvements over the first game were enough to convince its release in the US a year later under the name Shockman. To modern players, and fans of the series, it’s less an issue whether or not one game plays better over the other, but which kind of play they like. The same could be said for the tone and the story of the game too.

While Shubibinman 2 still parodies, it does take itself tad more seriously. The whole silly side can be found in character’s expressions and enemy designs, as well in other silly matters, but the interactions are more serious in nature. This actually does follow up well with how the parodying was evolving in the early 90’s, peaking with comedic franchises like Slayers that don’t explicitly parody anything, but under the hood those in the know are having a good damn time. The story in itself is a cliché (intentionally though), with a new enemy and evil versions of Tasuke and Kyapiko, just because. Taking place some time after the first game, Tasuke is still working as a fisherman while Kyapiko is dealing with her classes. Despite his promises to put the two under the knife and return their bodies back to normal, Doctor Goutokuji has been putting that back due to him expecting a new invasion. After many wild goose chases, Emperor Ryo and his two Shubibinman Shades, Jeeta and Myu begin begin their attack. While Jeeta is played out like any generic black repaint rival that wants to destroy the original, Myu is that meek and somewhat forced in her role, wanting peace rather than war. Spoilers, but Emperor Ryo kills her bit over halfway into the game. Of course Jeeta thinks the player offed her, and after beating him and after some convincing, one of the game’s best moments hits when Jeeta joins the player for a stage, like you were playing with another player.

It’s hard to say whether or not the departure from the first game was met with split fandom, but whatever the case, the third game would mix things up again, this time with the power of compact disc.

By 1992, PC-Engine had saw the success in its CD ad-ons and so many games on the system took advantage of the larger space with CD-quality audio and animated cutscenes, and Kaizou Choujin Shubibinman 3: Ikai no Princess (tl: Princess of Another World) was there to fulfil the trope. It also changes how the game plays, though this time it’s a hybrid between the two first games. Fighting with a sword makes as return, and alongside the slightly numb feeling when you’re hitting an opponent. Shubibinbeam is still in as a charged attack, though this time it functions more like a magical projectile you have limited controls over, like how it moves up and down, left and right. However, keeping your character intact and moving the sphere around does require some skill. Controls are what you’d expect, about as tight as the second game, though some of the hitboxes can be wonky at times. The screen also scrolls only when you’ve passed the middle mark, making this one of those games where you can’t see where you’re going. The game also likes to employ the Japanese action game design of Throw everything at the player, where enemies spawn almost constantly and keep attacking until they’re defeated or the player scrolls far enough. This in turn makes the best strategy to keep hacking and moving forwards as fast as you can. If this sounds familiar, a lot of Japanese 2D actions games did this at the time. Luckily the sword swing hits both above and slightly back of the player character, so crowd control isn’t impossible.

Sadly, all of the bosses are one-trick ponies and none of them really pose any threat. They just take time to beat. Combined with the numb game play and lacking level design, the game is rather boring in the play department. Hell, there’s exactly one spot in the whole game you need to walljump, but you wouldn’t know that unless the game told you to do that. Whether or not the game was rushed is an open question, but the game lacks specific stage hazards that had defined the first two games. It’s also probably the easiest game in the series.

Visually, the game is more or less standard PC-Engine CD quality, though it does look significantly better than its two predecessors. Most characters are now built from multiple sprites that give them some extra movement and looks rather damn nice. Sprites are bigger to boot, which does give them more detail and appear more lively. The animated FMV sequences are nothing to write home about, but at least they’re fully voiced. Just like the game, the FMVs are middle of the road. Stages use colours to a large extent and the overall is very pleasant and crisp. Sadly, the stage’s designs themselves aren’t all that interesting, as most of them have been stripped of any platforming. Few of them feel like run-through fares. Still, the background and enemy designs do stand out, even if its a fantasy fare in a SF series. Some of the enemy designs are absolutely gorgeous though, and for a 1991 title, the game does look rather impressive.

As for the sound, the levels are a bit off, effects seem like they’re taken from stock archives and music’s surprisingly muted. Despite this, the soundrack is very much what you can expect from a PC-Engine game, full of synth rock and chips in the side. You’ll probably find something to like if  you have a preference for Falcom’s PC-Engine games’ soundtrack and the like.

It appears Hitoshi Ariga worked at Winds at the time. Ariga is better known for his comics, especially of his Mega Man Megamix series. Note the translation done,

As you’d expect from the title, the story is a generic another-world tale. Shubibinman are summoned to another world during their beach vacation (androids do find appreciation in vacations, apparently.) Shubibinman end up fighting the titular princess’ forces after being summoned due to misunderstanding (hilarity ensued), until they’re thrown into the underworld to fight Demon Lord Kargan and his troops. Right after Kargan is defeated, they’re thrown back to the beach, and the princess and her goons want that technology to gain more power. Even for a series that doesn’t put much emphasize on story outside comedy, this is rather out of place. The Shubibinman Shade, rescued at the end of the second game, only appear as an omake during the credit sequence.

Whatever transpired between the third and the fourth game has never been revealed, but Kaizou Choujin Shubibinman Zero was finalised in 1994, but was released in 1997 for Super Famicom’s Satellaview service, where users could download games and other material off a special online service. The game is, in all essence, a reboot with only Doc returning from the previous games. Tasuke and Kyapiko have been replaced with Raita and Azuki, and their designs look painfully mid-90’s anime. Columbus Circle’s recent re-release makes them look much better. Tomomi Seki’s designs usually are on the spot, but for whatever reason this time they’re a miss with the in-game graphics.

The game’s play of course is nothing like the previous titles’. Instead of characters only being visually different, now the two characters play differently. Raita smashes through generic mooks with his diamond tipped boxing gloves, while Azuki plays closer to classic Shubibinman heroes with a sword. Both still have Shubibeam as their charged projectile, but that’s pretty much the only thing that was carried over. In terms of play, the game plays like a one-lane 2D brawler, a beat-em-up, with a focus on platforming at places. The controls are tight, the best in the series, and the same goes for the level design. Most of the enemies are, quite literally, grey mobs you just hack through, with some interesting level specific enemies here and there. Bosses are much better than in the previous game, but they’re a joke if you’re doing a two-player run, as the Super Shubibeam is overpoweringly strong, taking care of some bosses in one shot. You also gain experience from defeated enemies, which upgrades your health meter

Sadly, this being a Satellaview game, as well as a Super Famicom game, the sprites have been toned back. There is a nice use of colours, but both characters and stages lack in detail, and this is due to size of the sprites themselves. Shubibinman 2 and 3 made great headway how the sprites look, but Zero had to take a step back and make them look like upgraded NES sprites. Some stages use a nice green, but there’s also an overuse of brown in couple of them. That said, some of the sprite designs to convey the characters’ personalities through just fine, though not to the same extent previous two games.

The soundtrack suffered as well, with some memorable tunes here and there, but Super Famicom always sounds like it’s played through a tunnel. Some samples are very Capcom-y in places and can even get you in the mood, but the overall soundtrack doesn’t really stand out too much from the rest of Super Famicom library.

The story doesn’t go out of its way to impress, concentrating on BB Gang’s criminal activities stealing stuff left and right while blowing stuff up, and Shubibinman are there to stop them. BB Gang has their own trump card in Kagemaru, a response of sorts to the Shubibinman, while Galko, the gang’s leader, is your classic high-class lady in hi-heels ready to whip and command every and all mooks.

While there is a minor resurrection with Masaya’s IPs, with Langrisser I and II remade, Kaizou Choujin Shubibinman probably won’t resurface. Columbus Circle re-releasing Shubibinman Zero made the game properly available for the first time, and you can still pick up a copy off your favourite import stores. The rest of the games have been easily available everywhere, as PC-Engine games have been ported via emulation, like on PSN. They’re always cheaper there than their original releases, as despite the overall mediocre quality of the franchise, Shubibinman did gain a strong following and is remembered as one of the better PC-Engine games overall. It might be an example of mediocre Japanese games, the kind of Japanese consoles are full of, but its charm and overall competence does make rise to the surface a bit more. It’s not an obscure or forgotten franchise, despite what Youtube might tell you. It’s just that many other games just did it better and it’s a perfect example of products of its time.

Top 5 games of 2019

I have to admit that I’ve slowed down when it comes to games. I’ve begun to prefer more and more games that don’t waste my time and allow quickly to start the game and quit even faster. Things like like making sure if I want to save after confirming Save. For example, every time I want to quit Earth Defence Force 4.1, the game has to make certain that if I want to quit, and then opens a new message telling me that game is about to quit itself. This is a topic unto itself and I’ll have to get back to it later, as holy shit modern games are huge time wasters in this manner. It’s like with that one Senran Kagura on PSVita few years back, where half of the game was sitting in loading screens and menus. Except, y’know, this is the game telling me to confirm things I’ve already told it to do. Sometimes twice.

Furthermore, this year was rather dry in terms of games of interest. Not many titles peaked my interest even on the retro front, so the list below is rather predictable. This has made me to decide ditching following most new game release news outside limited release titles, and concentrate on picking up some more expensive old games I’ve always wanted to play, but for whatever reason never did. Emulation, of course, is not really an option if you want to have the real thing in your hands.

The usual rules apply; any game from any year is applicable as long I’ve played it for the first time this year in physical form. This means if a game only has a digital release, it automatically gets disqualified. There is no top slot either, because that’s stupid. There is no One Best Game.

Mobile Suit Gundam Seed DESTINY GameBoy Advance, 2004

I feel that this CM has been stretched out of its proportions, it looks like it should be in 4:3 because how fat the Gundams are

The GameBoy Advance doesn’t have many good fighting games. Some Street Fighters, one Tekken, a downgraded port of Guilty Gear XX and few others. Derivatives and sequels of sorts. Mobile Suit Gundam Seed was a new entry to the console, despite being part of the whole long-running Gundam fighting game attempts dating at least to the 1993 Mobile Suit Gundam and 1994 Mobile Fighter G Gundam, both of which are largely trash. New Mobile Report Gundam Wing: Endless Duel from 1996 on the SNES really hit the mark, marrying Gundam with entertaining fighting game. Seed and Seed DESTINY on the GBA follow the example set by Endless Duel while adapting some of its elements for the smaller screen. This shouldn’t be surprise, as Natsume worked as the developer on these three titles. The first Seed game got localised in the US with the subtitle Battle Assault tagged to it in order to tie it to the previous Gundam Battle Assault titles despite having nothing to do with them. The sequel, which is the topic today, stayed in Japan. As a side trivia, Endless Duel uses a modified game engine from a previous Natsume fighting game; Power Rangers: The Fighting Edition,

The game everything you’d want from a fighting game; tight controls, easy-to-learn but hard-to-master mechanics, mechanics that are simple and only handful, yet they do great service to the game. It’s one of the best handheld fighting game experiences you can have because of this, not being bogged down by unnecessary mechanics just to add complexity for the sake of complexity and is simply joy to play.

The game’s a joy to see and listen to. GBA’s sound hardware wasn’t the best, but that shouldn’t really matter when tunes are somewhat catchy and properly hypes the player for needed matches. The game uses pre-rendered sprites, which works pretty damn fine on the system. All the 3D models had simple geometry and lots of smooth surfaces, and anything more would be a waste; it’d make the sprites far too clumsily detailed and be wasted. There are usual sprite trickery here and there you see on the GBA, but the overall package is just so satisfying and well made. Lots of unlockable units, few different modes thrown in and Link Cable VS mode really makes this a must-have title for the system. An absolute joy, and the last good Gundam fighting game we ever got. After this, it would be mediocre 3D action title after another and strategy games.

The game is criminally underrated, and worth checking out if you have a passing interest in Gundam and fighting games.

There are three good things that came out of Gundam Seed Destiny; its soundtrack, this game and Lunamaria Hawke. The show itself is garbage

Phantom Breaker: Battlegrounds Overdrive PlayStation 4, 2015, Switch, 2017

There has been loads of sidescrolling beat-em-ups, or belt-scrolling action games recently. Fight’n Rage is perfect example of modern take on this classic genre, which also hits just the right spots in both nostalgia and evolution of the genre with ton of playable characters and movelists. However, Fight’n Rage doesn’t have a physical release, so it can’t get on the list. Phantom Breaker Battlegrounds Overdrive however fills that slot just as well, with high production values.

For a belt-scroller, Phantom Breaker Battlegrounds Overdrive is surprisingly lengthy. Seven stages doesn’t sound a lot, yet these stages are long and split into multiple parts. There is also lots of story bits for people who want that, which is very much tongue on cheek. The game is also longer for completionists, as there is a  decent amount of characters, who also require to be played relatively extensively to unlock all of their Skill tree, not to mention unlockable characters. This goes down much faster after you’ve grabbed few friends and some extra controllers and have gay old time in multiplayer.

What else really needs to be said? It’s a great modern action game, though the pixelart style was already overused at the time of the game’s original release. Would’ve been nice to see smooth, high resolution SD sprites over what the game got, as used in the promotional materials and such, but can’t win always. It’s still a game nice to look at, with high amount of animation frames and stages having scenic changes often enough. Due to the SD-style, some of the attacks and moves feel rather limited in range at times, and there really isn’t much exaggeration to go around. Still, big colourful sprites makes most things clear, the different hit sparks and other effects sometimes obscure the action a bit too much. This has been a thing in multiple games I’ve played in these few years, where for whatever reason you can’t see the action and hits clearly and just have to trust that the enemy and player animations tell the tale that hit has been made. It would have been nice of all of the game was done in sprites, but some of the background elements use low-poly 3D assets that just don’t look too good.

Music’s nothing special per se, but fits the game just as well. Bit music as a throwback to the NES days, with more channels and such, the usual par for the course. Some of the tunes stand out far better than others, but that’s not said much. Optionally, you could get the FM sound pack, which harkens back to PC88 and X68k sound fonts. The two sound versions are like a night and day, and I can see some people outright disliking FM versions.

Advanced Busterhawk Gley Lancer Mega Drive, 1992, 2019, Nintendo Virtual Console, 2008

The fight for a spot to get a shooting game unto this list was harsh; it was either Darius Cozmic Collection or this. I didn’t manage to find time to play Battle Garegga.

Ultimately, despite being deeply flawed, Advanced Busterhawk Gley Lancer is just joy to play. Hard as balls, unforgiving at times, requires some very tight reflexes at times and learning some stage layouts, Gley Lancer is classic shooting gaming at its best. One of Masaya’s more neglected properties on their library of IPs, the re-release Columbus Circle put out this year should still be in circulation if you want to pick it up.

Console shooting games rarely emphasised scoring, though nowadays it feels like that’s all shooting games are for. Gley Lancer balanced things out much better, standing somewhere between R-Type‘s survivalist approach to Gradius‘ laxed pacing. If you’ve ever played Gradius V and are familiar how to lock support satellites in place, this is the game Konami picked it up. The satellites, or Options if you want to call them that, can shoot to different directions from your ship’s movements. With multiple weapon  options, including the usual Auto-Targeting option, it adds slightly different layer to the play, which then requires changing the approach just enough.

Music’s rather solid, if you’re fan of FM music and Mega Drive sound overall. The first stage’s theme is a damn classic by its own rights, and few of the later stages are still awaiting remixes to find them. Graphics overall are nice, especially on the story sequences. Big, clear sprites like this were Masaya’s forte and go-to gimmick. Nine stages makes the game about medium in length, but due to some of the stages being rather empty Gley Lancer ends up draggin itself a bit. Not a whole lot, but just enough you to notice.

In the end, the PV shows what you get; that’s what you get; a solid shooting game. Sure, there are better ones out there, both on PC-Engine and Mega Drive, yet something about Gley Lancer hits the spot in a way most other shooting games don’t. There’s that kind of atmosphere, that kind of sound to the music and an era-specific look to the colourscape and design. Something just clicks the right way in Gley Lancer, and that makes it stand out from the rest of the bunch in a way e.g. later Gradius games just can’t make themselves stand out anymore. Maybe it’s because franchise fatigue or something else, but Gley Lancer has character to it.

Sadly, the player’s ship sprite looks very little anything like the ship on the cover.

The Ninja Warriors Once Again Switch, PlayStation 4, 2019

The thing about these Natsume’s retro remakes is that they’re not exactly needed, but the way they’re done is example how to do them. Sure, the base game is the same as it was on the Super Nintendo, but that’s the starting point. Revamped sprites, wide-screen support, local two-player mode, new game play elements, more playable characters and an extra mode all are welcome additions. You don’t need to reinvent the wheel again, just make it better, faster, stronger. The Ninja Warriors Once Again sets the bar for remakes like this rather high as all the areas the game aims to improve is spot on.

Controls are strict as usual, but there’s some every so slight to make them tight. The only reason you get hit is because you didn’t make a move at a proper time, the game’s design and controls are that accurate. No bullshit hitboxes like in Fromsoftware’s games.

The two new characters are the main attraction to the series veterans. Raiden being a hulking beast is very much to an extreme end from the rest of the cast, especially when the second addition, Yaksha, is small but requires very peculiar approach to her play. It’s a small miracle how different the whole cast of playable characters ends up feeling, with none of them replicating strengths or weaknesses. Despite the core game play staying the same, each of the characters skill sets impact how you approach to pretty much everything in the game, from base mooks to bosses. Well, except the final boss, which has always been a letdown.

This game, despite being a remake, is a standout solid title that does everything it promises on the box. It’s one of those games I’ve been coming back again and again since its release simply to enjoy how a game with limited but purposeful controls like this also allows stupid amount of technical execution.

Funny that, the Asian English release I bought had to be renamed as The Ninja Saviors: Return of the Warriors, probably because Ninjas can’t be warriors in China or Korea. I don’t know, but it’s stupid and renaming the game now implies machines made to assassinate and then nuke themselves are somehow saviours, when the game’s plot clearly implies the new regime that takes over the nation afterward are no better. I guess it’s a cycle, where you always get new robot assassins to kill the new totalitarian regime after another.

 

Alien Crush PC-Engine, 1988, Nintendo Virtual Console, 2006, PSN, 2010

While Peach Ball Senran Kagura is a very entertaining and fun pinball game, the lack of fields really brings it down. There’s not much to do in the game as it is, but that’s mostly because there has been genre defining pinball games in the Crush series. Alien Crush is the first in the series, succeeded and surpassed by Devil’s Crush, but still stands very well in direct comparison to modern video pinball as its field design and music is top notch. Despite technically having only one man field, the setup and moving back and forth its low and upper parts. It takes a while to get the groove on, but the moment the game’s pace clicks, you can easily rack up points in no time to finish the game. The ball physics are not perfect, but for 1989, Alien Crush nailed it the best. While there’s just one main table to play on, there are numerous one-screen sized secret tables that pose specific challenges. All of them are a welcome break from the main table and shake up the play a bit. While the later games would have more secrets to access, Alien Crush arguably has better balance, not elongating the main table beyond two screens and allows more focused scoring.

The Gieger-esque design is bit on the nose, and the game overall wouldn’t be too far off from easily being made into an Alien licensed pinball game. The little details make it live, pulsating and looking organic. Alien Crush takes advantage of it being a video game and doesn’t lock itself into what shouldn’t be possible on a real table. While music is sparse, both main tracks sound for the part. Though you can’t change tracks mid-game, they do get a bit grating after a while.

That said, it is a niche title, well forgotten at this point, but still available via some online services like PSN and used to be Nintendo’s Virtual Console. Goddamn the Virtual Console was a great thing, and Ninty just killed it. The Crush series pinball games are still top notch, and a very high bar to beat in terms of sheer distilled video pinball quality.

 

Honourable Mentions for those who didn’t make the cut

 

Darius Cozmic Collection Nintendo Switch, 2019

The definitive way to get into Darius as a franchise, though it lacks G Darius. The collection didn’t get into the Top 5 because A) there’s a retarded amount of different variations of this collection for no real reason outside sheer stupidity and B) the games themselves aren’t in the end up there. Some standard editions have less games, some other editions have more games, it’s all stupid. That said, the games run pretty much perfectly, but Darius is a franchise that rode on multiple screens gimmick and didn’t actually get all the competent until Darius Gaiden. All the previous games, while nice and all, don’t have the same impact on the small screen as they did in the arcades, and without a similar multi-screen setup where you could replicate that experience, playing these games on a console or PC is a waste. It’s nice to have stupidly rare games like Darius Alpha on the collection, but that doesn’t add much to the game itself. The collection and packaging itself, in the end, are more impressive than majority of the games on the collection. The aforementioned lack of G Darius makes this collection very much incomplete in terms of classic Darius, before the Burst era begun. Maybe they’ve lost the source code or can’t make a proper PlayStation emulator, who knows.

Peach Ball Senran Kagura Switch, 2018, Steam, 2019

There’s exactly one reason why Peach Ball Senran Kagura didn’t take Alien Crush’s spot; lack of fields. I can understand and get why a pinball game from 1988 only have one main stage, but the lack of multiple stages in Peach Ball is a hard drop. Instead, you get three different daytime variations on two stages, which is really just an insult. Rather than basing the fields on something that would be familiar to the series’ fans, the two stages are a generic circus-carnival type of thing and Japanese themed field. While this makes both fields pretty solid, in their own terms, there’s surprisingly little to do, and despite the ball physics being pretty damn fine tuned, there’s just something little bit off that makes it all feel just tiny bit lacklustre. The emphasize of course is on unlockable clothes and balls, which all really amount to nothing. It would have been fun to see different balls having different physics, like a rubber ball being more bouncy compared to a metal ball. They don’t even make a different sound, it’s just a visual difference. I can appreciate the naughty bits just fine, with the whole flipping life and hometown up and down being a thing, but the lack of recognisable fields and cramming the two full of visual clutter ultimately made this a disappointment. I wish the game would’ve included a mode, where you could’ve turned the Switch on its side, but the stages are not even designed for that. There’s potential, so much of it, but it just can’t get there. The game lives and dies through short sessions, which in it serves perfectly.

Capcom Belt Action Collection Switch, PlayStation 4, Xbox One, Steam, 2018

What should I say about this collection? It’s good, it has great titles, it has Armored Warriors and Battle Circuit, two games that two games that were never ported home before, but Capcom should’ve thrown just a bit more cash at this collection in order to include Cadillacs and Dinosaurs, The Punisher and the eponymous Alien VS Predator. Where’s titles like Mighty Final Fight or the SNES sequels to the original Final Fight? No Tenchi wo Kurau/Dynasty Wars or any of the Capcom Dungeons and Dragons games either. What’s on the disc is great, but Capcom’s beat-em-up history is so much more. This collection comes out as halfassed and janky, not even having any of the home console games they released in the past. Apparently, it sold decently well, but I hope Capcom will put far more effort and resources in future compilations.

Why the Japanese title? Because that’s the label on my copy.

Wonder Momo Arcade, 1987, PC-Engine 1989

Wonder Momo is a class example of pure core design of a game and never deviating from it. Almost every other official attempt to revive the franchise has failed, mostly because they were lacklustre and didn’t get that simplicity doesn’t mean simple in play and design. Wonder Momo straddles on the line of being just simple enough and being too simple with its stage setting and enemies, strict and limited controls. It’s very much like playing old Castelvania or that new The Ninja Warriors, where the game is fair but hard. It’s a damn classic, and it’s sad that official revivals never understood it enough to expand on it.  However, this is where Toushiryoku Kenkyujo’s Wonder Pink doujinshi games come in. Sumomo Theater is effectively an upgraded version of Wonder Momo in every way and manner, with the two other expanding the system to multi-level side scrollers. Sumomo Theatre is a perfect example how integral it is to understand and acknowledge the core of the game you’re remaking.

Rumble Roses PlayStation 2, 2004

For numerous years now I’ve been trying to look for a wrestling game that would not suck. The few pro wrestling games that I’ve played have been absolute trash, while some others are more like fighting games in a ring, like Capcom’s Ring of Destruction: Slam Masters 2. Nothing wrong in that, I’d be down for a new Slam Masters game if Capcom were ever to make one, but somehow almost all 3D wrestling games end up playing janky and feel as smooth as trying force spaghetti through a motor. I really wanted to love this game, I really did. Joshiprowres is something I’ve always loved on the side, but it’s never been my main interest. Blizzard Yuki’s a personal favourite, dunno why. Maybe it’s the comic. Playing Rumble Roses ultimately ended up feeling like so many other wrestling games; unfulfilling. The way these 3D wrestling games are designed and realised needs a total paradigm shift, something would move towards making the games play like silk rather than feeling like you’re scraping against the asphalt. Still, there’s a lot to like about the game, from somewhat nonsensical storylines to alternative versions of each character to nice designs overall. I’ll just have to keep looking for that one wrestling game that might sate this craving.

Review: Retrobit Sega Saturn style bluetooth controller

Nowadays it’s become somewhat hard to find new controllers for your old hardware. You mostly have options from third party producers, who may or may not have the best quality to offer. For example, you can find NES controllers that look just like the original, but then the buttons have a terrible feeling under the thumb, Start and Select are hard plastic instead of soft rubber and the contact rubbers underneath are mostly trash. It’s surprising how much a controller’s responsiveness and tactile feeling comes from how good the contact rubbers are, how well they spring up, what’s their depth and how much pressure they require to be pressed down. You can get proper molds from existing controllers just fine, or if a company still has the originals, they can use those. Nowadays it is easy to model the controller in a CAD program and mill it out, though even that costs some money. Still, faster than creating a whole new product design, and with something relatively simple like the NES controller, the costs probably are not all that high.

It’s a tall order to ask a modern replication of an older controller feel and function the same. Some materials may have been changed, some components may not even be in production anymore, things like that. However, that should be the minimum level a replication controller should be like, then have some additional bells and whistles like wireless functionality, RGB lights and the like. The Retrobit Saturn controller gets the Saturn experience almost right. It runs just short in few areas, and these areas are probably something they can’t help too much.

As a side note, the photos in this review will be updated at a later date for better ones. Embarrassingly I’ve misplaced my Nikon’s battery charger, and you’ll have to wait until I’ve found it, or my travel charger has arrived.

If you’re wondering why my copy is transparent blue, it was the cheapest option out there. At first it comes as a bit gaudy with the hard plastic casing and such, which just wants to be scratched and cracked. It’s still a neat case, easy way to keep track on your two dongles, one basic USB and for Saturn. It’d be a surprise if a controller like this would make the sync process somehow obtuse, but nothing special to mention here, except the small sync buttons on the dongles feel extremely cheap and something that could break.

Overall, the controller is seemingly the same size as the original Saturn S controller, the one that really matters. The first Saturn controller is a slight monstrosity with really uncomfortable looking D-Pad, but I’d like to get my hands on one still for reviewing purposes. Of course, the 3D Pad was a thing, but mostly good only for Nights. It feels like a Saturn controller, which always felt like built from cheap plastic, hollow and clattered when shaken. Retrobit has managed to replicate all these, thought the battery adds ever so slightly more weight. It’s weird to call this controller feeling like cheap shit, because that’s part of Sega’s original design and engineering. It just works as intended. Even the face buttons moving about and making that rattly noise is part of the design. It doesn’t feel expensive or deluxe grade, it feels like something that’s made to fulfill its task.

Even the info labels are at the same spot.

I have to confess something though; you haven’t been looking at pure Retrobit Saturn Controller here. Instead, you’ve been looking at a slight hybrid.

Now the first one who tells me I should’ve put the rubber on its right spot above the face buttons rather than leave it off-center and crooked doesn’t get any cookies. Retrobit uses some kind of coloured rubbers, in my case blue, because blue case.

Whilst on the surface Retrobit’s controller looks like Sega’s original, the function is not there. The up diagonals are slightly too touchy and easy to push. C-Button, the most rightmost button on the lower row on the controller, got constantly stuck. There are three possibilities why this happens; the button itself is intended height, the contact rubber underneath allows the button to plunge too low, or the shells have just enough height difference that the button plunges too low. It may be a combination of these three. After quick measurements, the buttons themselves seem to be more or less accurate replications, so the problem must be on the rubbers, as tightening the screws at the back didn’t work.

This gave me an idea to try out; change D-Pad and rubbers from an old Saturn controller to this Retrobit one, as the shells are effectively the same with two extra slots. This, to my surprise, didn’t just fix the D-Pad problem I was having with the up-diagonals, but also tightened the button feeling, responsiveness and no buttons were getting stuck. It’s probable that some tolerances with the new parts are just slightly off, which is probably explained by them being manufactured nowadays. Something is a bit off, and throwing in older parts somehow fixes this. This isn’t an issue with using old parts per se, as I compared to a brand new Saturn S controller, which I really should’ve used in these photos and not the one I used as my daily driver with Saturn itself.

These parts go together so that the sides that are now up meet together.

These are the contact surfaces. One for your thumb, one for the rubbers underneath

The shell itself plays a role. It’s specifically designed to allow certain amount of movement all the while keeping the cross in the best position at all times.

One of the reasons Saturn controller is well praised is because of its six-button setup and the D-Pad. The D-Pad in itself is the best one any of the major companies have produced to this day. This is a combination of three elements; Disc shaped top layer, the white cross-shape underneath and the cavities both parts sit in. With a good underlying rubber, this setup is simply accurate and easy to use. It has the benefits of a round D-Pad in that it is easy to roll your thumb around and its softer corners are godsend in longer gaming sessions, but at the same time the clear cross-shape beneath makes all the eight cardinal input directions stand out as individuals. The main difference between Sega’s and Retrobit’s design is that while Sega’s design holds itself together with sheer force of friction, which isn’t a whole lot but enough, Retrobit’s parts are lose enough to necessitate a screw. Well, this lead me to change the D-Pad as well. This leads me to wonder if the main reason the controller has some issues are tolerances, things are just that sub-millimeter amount too loose.

Saturn original underneath, the Retrobit above

The most major difference in the controller, outside it being wireless, is the shoulder buttons. They simply are different. Sega’s controller has a button that has a very short throw distance, it feels like it clicks down less than millimeter down. You can brush the button and it clicks instantly. It’s pretty damn great how it feels. It’s precise. Retrobit didn’t use the same part for whatever reason, be it that the part doesn’t exist anymore or they used a button that was more readily available. The difference isn’t just in the width of the button, but also that it requires more pressure to press down, its click is far mushier and has notably farther plunge. In comparison, Retrobit controller’s shoulder buttons feel less responsive. In action, like in Street Fighter Alpha 2, I did notice how some timings were off simply because my muscles memory. While this seems like a minor problem, it is a problem in a spot that lives and dies in millimeters. That sharp click is also much more pleasant to the ear.

I can’t help but to recommend the Retrobit Saturn controller. Overall, it is an almost exact replica of Sega’s famous Saturn S controller. The diagonals and C-Button sticking might be issues just with my copy, and I haven’t read anyone else having these issues. I find it stupid that changing the the D-Pad and the rubbers from an older controller makes Retrobit’s controller is almost a perfect replica outside those issues, with the shoulder buttons being the only true gripe. Even that is more an issue of getting used to, though that can be modded with desoldered buttons from the Sega controllers. Sure, it lacks the second stick, but that’s now what this controller was designed to have. It’s best for games that don’t need a stick and should be one of your top considerations for emulation and 2D gaming.

Review; Columbus Circle’s Gley Lancer re-release

Few years back I decided to pick up and review Battle Mania‘s Chinese knock-off/reproduction cart from eBay for cheap. Time hasn’t been all that kind to my views on the reproduction, and in hindsight it is just atrociously bad. Fast forward to 2019 and I’m sitting here with another new Mega Drive game cart in my hand. This time, a licensed re-realease of Advanced Busterhawk Gley Lancer. extreme has their hands on all of Masaya’s IPs, and apparently Columbus Circle saw it fit to license Gley Lancer and give it a quality rerun. This is review of the package and quality of the production, not a review of the game. The game’s 9/10 shooting game, go buy it. I would recommend reading the previously linked Battle Mania review for some comparison.

Completely new boxart

First impressions are important, and the packaging doesn’t falter. The box has the same feel as the original Mega Drive game boxes, that sort of somewhat cheap feel of plastic that could break anytime, but can still take a beating. The surface texture on the transparent plastic wrap is there and it gives the perfect kind of feel under your fingers. It looks and feels the part; a genuine Mega Drive game. The cover sleeve is thin matte paper, again just like the original MD games. The print quality is perfect without losing any details. Furthermore, if you don’t want to see two girls on a box of this game, you can always reverse the sleeve for the original boxart image.

 

This adds value, and collectors can have the original cover just fine. However, Columbus Circle did make certain that people would not be tricked, as they slapped their logo on the spine and contact information on the back. I should also point out the additional text at the bottom of the cover mentioning that this isn’t Sega Games endorsed product. This is sort of unofficialy official Mega Drive game, produced with the proper license from the IP holder, but without Sega’s involvement.

These first impressions on the outside of a product like this take a long way. Collectors who showcase their games want the appearance to be right. However, the insides need to be satisfying as well for those who will keep playing the game as normal, like yours truly.

Everything is, of course, new. While pretty much every and all MD carts out there are black, Columbus Circle used a semi-transparent smoke coloured one for Gley Lancer. While a personal preference says it looks like, it might’ve been better to go with the same solid black as standard MD cartridge. However, the texture around the label gives a nice grip. Again, this sort of tactile feedback takes a product a long way forward. Some Japanese cartridges did feel a bit cheap back in the day for whatever reason, Western carts just had better build overall. This one is somewhere in-between, having better plastic than the Japanese releases, but not as good as European or American. The mould used however has been excellent, as the shell halves fit together rather perfectly. The label print is top notch, nothing to bitch about here. It just has been applied too close to the bottom, meaning there’s a lot of empty space at the back, and that the on the lower left corner is taken some very minor damage. Not that this was all that rare back in the day, but whoever put these on probably didn’t really care.

At the back you see the main reason why this review won’t have PCB pictures; the screws are covered by a label. You can see the spot on the left where I’ve pressed the label is somewhat to expose the rims of the screw holes. Columbus Circle branded these carts with their own logo, which again makes it stand apart from original cartridges. Your mileage may vary whether or not you like this, but it nevertheless does give the whole deal a different feel. You won’t forget that this was produced in 2019. By that extension, you might not feel that this is “real” despite having licensed and all under its belt. Notice that the label is slightly peeled on the right there. This either means that the label is robust enough to start coming off by itself, or the applier just screwed this up as well. Heating the adhesive a bit and reapplying should remedy this well enough. In addition to this, there are some problems with the cartridge.

While original cartridges had the injection tabs in the same place, the quality assurance never left large, broken surfaces. This isn’t the case with this particular copy, and I don’t really think the manufacturer cared too much about the rest either. Rather than taking the time and effort to file or sand down the tabs completely, they’re largely left in their original state. The tabs rise some two millimeters off the inside surface, and while they don’t interfere with the game’s insertion into the console, they do look rather tacky. Taking a knife and cutting them even or otherwise leveling them isn’t a problem or a major task, but something that just degrades from the overall quality of the product. This probably is the largest gripe, which says a lot otherwise about the quality.

While I won’t be opening the cart for now, we can use the transparent plastic to our advantage. Here you can see how clean everything is, though just ignore the dust bit at the top. The PCB seems to be standard MD size, and there doesn’t seem to be anything extra, unlike 8Bit Music Power. Columbus Circle did improve their PCB design right after all the negative feedback after this. I’m betting they’re using flash memory to store the ROM, but unlike with the Chinese Battle Mania knock-off, this seems to utilise a full-sized PCB, similar to 8Bit Music Power FINAL. Columbus Circle has released a music title on the Mega Drive previously, one which I’ll probably pick up at a later date for comparison how this release compares to it. That smoke colour really comes to through nicely against light though.

The manual, however, does let you down a bit. Not much, but enough.

The manual’s printed on a good matte paper. This is seems to be clear cut difference between people who haven’t done project like this and those who have; experienced people use matte paper most of the time. If glossy paper is present, its used for an effect and even then the nature of the paper is selected carefully. Saying glossy and matte don’t really tell anything on themselves, but opening the can between paper qualities would take a whole blog in itself. That matter aside, the manual uses the new boxart slightly cropped, which is a good choice. You can reverse the cover sleeve to the original boxart while still keeping the new style look at hand. The rest though?

This one page really should tell it all. On one hand, the print quality is pretty good, nothing short of original Mega Drive runs. However, the characters on the left seem too dark. It is very likely that Columbus Circle had to resort to scanning the original manual rather than gain access to the original materials. This either means the original manual was this dark as well, the printing colours were off, or that something happened between scanning and printing. This seeming darker-than-intended issue of course is on every page, colours saturated and all. However, because most lines and text are sharp, I can’t help but this is was the original result. You can also see that the grid is not exactly straight, but if we’re completely honest, the grid like this is never completely straight. Neverthless, the manual feels off to drop a point off from the whole package.

Nevertheless, compared to the original Mega Drive games and packaging, this run of Gley Lancer is up to relative standards. There are some spots that should be improved, especially when an official license is in play, but this is far above any Chinese knock-off. Chinese can produce good stuff, as long as you put the money and skill in the production. Practically all repros and releases like this are made in China anyway, its just a question of picking the proper subcontractor to work with and all that. I would still recommend this release of Gley Lancer if you want to play games on your Mega Drive, as it is a complete, official package.

However, I would raise a question whether or not this should supersede the original release, if you had the possibility to choose one or the either. Perhaps it is because there is no license from Sega, or just to differentiate this release from the original, it is 2019 run of Gley Lancer and this will rub some people the wrong way.

Differences include the MD logo, genre classification icons, different Mega Drive text at the top, different cartridge materials and label. We can understand the lack of any Sega related logos and materials, but why change the cartridge label? Perhaps to unify the look of the packaging, to make the overall package look the same across the board. It an be argued that Columbus Circle should’ve stuck replicating the original release as much as possible, but at the same time this could’ve lead some people trying to sell the re-release as original release. An issue these releases always will have is the compatibility with original hardware. While I am a proponent of using modern PCBs and methods to deliver older games in more efficient manner, we’ve seen how haphazard it come become, like it did with 8bit Music Power. However, as said, these issues have been seemingly fixed, and the current method of making reproduction cartridges seems to be solid and without any real hitches. The game also lacks any reference to Sega when it boots up and has the updated Masaya logo alongside Columbus Circle’s own right after. Of course, because Nippon Computer System wasn’t involved in this release, extreme has replaced them in the credits. However, the game code and how it plays is still the same. Here’s a full playthrough of the game with a Mega Drive with sound modified for your enjoyment.

The image quality is much sharper than Columbus Circle’s own trailer, as Framemeister is still the best option to run old systems on modern televisions

Because of all the changes to the packaging and changes in credits, some will consider this as a good knock-off or a repro. Some will consider this release weaker for the same reason and the lower level of quality control. However, when put into context, a small independent circle re-releasing a cult-classic under official license from extreme and Masaya. While it is regrettable that few issues keep this from being an absolutely stellar release, the fact that this wasn’t their first MD release, and Columbus Circle is intending to publish more, they need to tighten up on quality control once more to achieve the same level of quality as original game releases. Neverthless, if you’d like to own a copy of Gley Lancer and can’t spot an original copy or don’t want to spend the money, I would recommend this re-release warmly despite its shortcomings.

 

Review; Darius Cozmic Collection Special Edition box

There has been some interesting development in regards of certain video game packaging as of late, if you’re someone who has a thing for package designs. Mainly that there has been a large movement to unify them under a generic design, especially if they’re from Limited Run Games or by a Japanese company. Two could be a coincidence or style chosen by a certain corporation. Three’s a company, but five starts to say there’s a standard going on. Game Paradise Cruisin’ Mix Special, Dariusburst Chronicles Saviours both JP and Limited Run Games release, Senko no Ronde 2, and now Darius Cozmic Collection all use the same kind semi-slim box design that can be used to house multiple types of objects by changing the inlays. With this basic design, the thickness of the box is easy to adjust as well to offer more room. People who like uniform shelves will like this direction quite a lot, as the boxes now are of same height and width, with some changes in thickness. Still, an evolution from the widely and stupidly different kind of collector’s editions boxes that just don’t really fit anywhere. I can’t help but feel that this homogenisation of boxes takes something special from these special editions.

If you read the review on Dariusburst Chronicles Saviours box few years back, you should mostly know already what to expect.

 

As you’d expect from the front, Darius Cozmic Collection Special Edition looks rather spiffy. Sure, the logo’s taking a lot of room from the cover, but all the six main images try to come through in a good balance. The only bit that ruins the Switch logo on the top left, with it being the largest logo on the box. Taito’s and CERO logos at the bottom are perfectly sized in order not to mess with the layout, but the Switch logo just hits your face. It’s a box front, and the back’s as you’d expect it to be. The layout’s nice, uses some of the game graphics and rather than trying to sell the game with overtly just vomiting text, the graphics are there to sell the package. They do that nicely. The usual required legalese at the bottom doesn’t interfere with the rest, as it functions like a some sort  pedestal for the rest of the back.

When you first open the package, you’re greeted with the miniature marquee plaques. This is an absolutely beautiful set, even if its just bunch of transparent plastic with layered printing on the back. The printing is sharp and of high quality. Nothing less would really suffice, if we’re honest here. Most often Japanese companies don’t sacrifice quality when it comes to limited editions, and know that the perceived value gained from putting the effort into stuff like this is enormous benefit. It works, and you could attach these to anything you’d wish. There’s a not much weight to them either, so just throwing some bluetac behind them would keep ’em in place, though they’d truly shine if you had something to light them from behind.

After lifting the plaques and two spacer sheets around out, the main book of the package reveals itself. Darius Odysseys have always been great source material books with some slight change in emphasize, with the previous Dariusburst collections emphasizing on listing enemies. This time we have emphasize on production, both the actual cabinets, prototype artwork to layout the screen scenes, packaging scans, preliminary sketches and all the that good stuff yours truly loves to see. Hell, even the scans for the game packaging are of great quality and highly appreciated in the wholesome box form they’re presented. It’s a nice and thick book with great production value to it. The only thing that could’ve made it better would have been hard covers. This is the kind of material we rarely see, and it’s a marvel to see production material like this.

Lifting the space the book is recessed in reveals the last bit at the bottom of the; the bog standard Switch game case and the soundtrack slot. Funnily enough, this game with two soundtracks, and only one fit inside the box. The other was just laying inside the box, but seeing that was more or less a seller’s special, it should impact on the value of the core box. It would’ve been better to use a different cover for the Limited Edition and standard edition cases, but I guess this sort of unifying look to the whole package has its benefits too.

A package like this really lives through prestige. Most of it is sturdy, can take a hit or two just fine, just like the rest of the boxes like it. Nothing’s flimsy here, not even with the spacers. It’s a bit weird that one of the two CDs, even if it was just a seller exclusive item, had not slot designed inside the box. Now it’s just floating around somewhere on my couch among all the other stuff. Still, a package design like this might be somewhat dull, but it’s extremely well thought out for multiple intended uses. If this has become the standard for limited editions in Japan, guess this is the golden standard we should compare the rest of the gaming packaging we come across in the future.

 

Review: Myst 25th Anniversary Kickstarter packaging is shit

The very first thing your customer notices about a product, be it on the store shelves, online pictures or when receiving the item in mail, is the packaging. Ignore the quality of the packaging and you lose the customer. It’s extremely easy to make a terrible packaging by making few low-effort choices, like choosing weak cardboard because its cheaper, unfitting box size because that allows items to rattle and be damaged during transit (be it from the store or via mail) or have no support for the item within the box.

Package illustration and text are a whole another dimension that add to the mix. Cheap printing will automatically spell how much the producer cares about the producer cares about the product overall. Some fanzines have better printing that some mainline comics nowadays. The logos, the catchphrases, the descriptions, everything that reads of the package has to be both up to legal standards and to attract and convince the customer that this is the product worthy of their money.

A worthy packaging takes money, time and skill. A package designer is well worth the money he gets paid and is a field of design that nobody really thinks about. It’s a thankless job that you only remember exists when you face a terrible packaging.

Of course you could ignore most of that and just throw some discs in a sleeve and call it a day.

Oh for fuck’s sake Cyan

The reason why Cyan Inc (and Incorporated they are) did this is because the higher tier backers on Kickstarter get a custom build book that houses the games. This is all fine and dandy, until you realise that these poor bastards will get their games in the same cheap bargain bin sleeves. Let’s get to the root why this packaging is shit to the core and nobody should do this, unless they’re releasing cheap shit to the market at the lowest possible price.

First of all, there is no protective support. Sure, the sleeves themselves support from some of the damage that dust or such could do, but that goes out of the window the moment you realise that everything will get in from the open side. There’s no mechanism to keep any of that out.

While these sleeves are an age-old way to house a disc, it’s also one of the worst ways. Compact discs like these have a tendency to moving and spinning inside their sleeves, unlike LPs and LDs that have some weight in them to keep them in place during transit. This causes chafing that will cause smudges, and sometimes with low quality rough cardboard, leave a permanent mark on the disc’s surfaces.

Then you have the fact that the sleeves can’t take any physical damage. These were delivered as you see now, in a stack with no protective box around them in a vacuum sealed bag. You can see the first sleeve has already given in and creased itself against the disc inside. The sleeve is already damaged by sheer act of being shipped. If it’s put on the shelf, the pressure from whatever is around it will continue to press the sleeve against the disc, further creasing it. It’s unusable as a long-term storing device, necessitating the customer to come up something on their own, like buying jewel cases for the discs. You don’t see it on the photo, but all the sleeves are also scuffed up already from chafing against each other, especially on the back.

This photo is intentionally bad with that lamp light on the left, because it shows how scuffed and creased the the backs are already just from shipping and sitting on my desk untouched for a day. Every back is the same, with the nice 25th Anniversary logo. Well, it would be, but repeating 25 like that is stupid and useless. Ends ups looking terrible the more you look at it and think about it. There are scratches that are directly from the production, handling and packaging.

Actually, some of the sleeves are already damaged from the production. Whatever company made these didn’t make sure that when the prints are separated, the cut would be clean. Instead you have those rip nubs, also slightly visible on the left of on the sleeve.

Let’s check the disc design and leave the sleeves for the time being.

The disc design in itself is nice, but far from what looks like what Myst should have. It’s effectively giant C and some low-effort text thrown in there. Apparently advertising Cyan Inc. was more important than creating a fitting look for each of the disc, or re-using the existing designs. Ubisoft’s Myst Collection beats 25th Anniversary collection in design and sleeves 1 to zero. Plastic sleeves at least protect the discs properly. Notice also that the print is ever so hazy on the disc, meaning this is once more one of those points where money was pinched out. The Big C is sharp, the text not so much. It’s far from the worst, but with minimalist design like this you don’t have any room to screw up a single element. Also how the platform text, Windows in my case, has a terrible positioning. It would have looked far better midway down the black Myst text and the legal text down there. That C is just too governing and taking too much room.

To be fair, the sleeves have a nice artwork on them, which each one of them having its own frame texture with a window. It’s not much, but at least it goes with the theme.

Cyan Inc. never stated how or in what sort of packaging their physical goods would be delivered in. This is something that any backer should make a note of in the future Kickstarters they may back and demand that the packaging must be up to standards. This isn’t. This is far from being what is expected from almost three million dollar Kickstarter. I might’ve given the Muv-Luv Kickstarter packaging some shit, but that’s a winner with platinum medal level of quality compared to to what Cyan has delivered with these.

This is the lowest and cheapest way to produce and pack their game collection, and if anyone wants any longevity from these, they are required to go out and purchase some kind of jewel case or one of those multi-disc packages, and then print their own sleeve to go with it.

Frankly, it’s shit.

Top 5 games of 2018

This year’s Top 5 list will a bit different, mostly because it doesn’t consist of many older games overall. Why? Because when you’re a full-time working man, there’s not much time for games. That, and I forgot to start listing the games I bought this year into this post. Whoops.

The usual rules apply; any game from any year is applicable as long I’ve played it for the first time this year in physical form. Means if a game only has a digital release, it automatically gets disqualified. There is no top slot either, because that’s stupid.

 

A Certain Magical Virtual-On PlayStation4, PlayStation Vita, 2018

If you haven’t read my Cyber Troopers Virtual-On retrospective series, you can either start with the original entry or click Robot related materials on the top bar. The last entry covers this game and has a review on it, so I’m not going to repeat it. However, what I have to question whether or not this game stands now, almost a year later.

The game stands at a respectable three and a half stars on Amazon Japan, it got a serialised comic and the overall reception throughout the year has mixed. I mentioned how fans of the game series didn’t exactly like A Certain Magical Index being mixed in there, while Index fans took the opposite stance. This game turned me into and Index fan though, and seeing this cross over was overall fun and works within the setting. Sure, it’s a standalone spin-off that has nothing to do with either franchises in the end, but that doesn’t keep us from enjoying what we have now.

Sega pushed this game rather hard initially, and had few Voosters Cups, tournaments for the game. Some hardcore fans are still playing it non-stop, but the lack of local two-player was the death knell of the game for someone who doesn’t have PSN+ account. VO as a series certainly could work in the modern eSports environment, but it would require further presence and more events to be held. A popular IP tagged to it won’t do much alone.

Despite the lack of local multiplayer, and the Vita version being crippled thanks to being on Vita, I do come back to this game whenever I want to play Virtual-On. It’s still Virtual-On, and there really isn’t anything like it. Well, maybe Last Legion UX on the N64, but I’ll review that next year.

 

Rockman World V Game Boy, 1994, 3DS Virtual Console, 2014

That’s a terrible PV, but couldn’t find the original CM for now.

The big question was; would Mega Man 11 get a spot this year? The answer is No because I also bought the a boxed copy of Rockman World V.

This game everything an evolution of Mega Man should be. From the changing Mega Buster into a rocket punch and taking advantages such weapon allows, changing the bosses from Robot Masters to Stardroids for an entry and making a bait n’ Switch with the final boss, this game has it all. You can’t do something like this in a series ending game, but as a spin-off title on the Game Boy it had more freedom to do whatever it wanted.

Minakuchi Engineering did all but one GB Mega Man game, and with the fourth and this fifth entries they managed to make the series better than its NES originals. Everything from visual design to music and controls are spot on. What makes the GB’s Mega Man series stand out in most cases is that despite the smaller screen, everything plays well. This is mostly due to camera not centering on the player character, something so many games get wrong nowadays, even the Zero-series got this wrong, and the sheer design of the stages and enemy placement has to spot on.

I’ve seen some call it a nice little game, but it’s a grand Game Boy game that should not be missed. Cheaply available on your 3DS’ Virtual Console too.

 

Sonic Mania Plus PS4, Switch, Xbox One, Steam, 2018

When original Sonic Mania was released, it was great. Sonic Mania Plus is pretty much the same, just with some tweaked stuff in there and two more characters that we haven’t seen in ages. For someone who loved to play the first Sonic the Hedgehog as a itty bitty kiddy, Sonic Mania hits that nostalgia spot right on. That alone isn’t enough for a game to get on the list, and any version of Sonic mania is worth playing for the absolute brilliancy it shows in sheer realisation of the game. From sound and music to controls and stage design the game gets all of these spot on. It sounds like a Mega Drive Sonic, it plays like a Mega Drive Sonic and looks just a slightly bit better thanks to increased frames of animations here and there. While the Special Stages where you collect the Chaos Emeralds are infuriating. The original game’s dream-like mazes are still the most unique way the series has implemented these, but it would also seem that these stages aren’t exactly popular.

2D Sonic games are much like 2D Super Mario Bros. games. They both represent the best the series has to offer and are the most popular among fans and overall audiences. Despite few revivals here and there, the companies behind these two mascot giants have never really been able to re-create what made these 2D titles so great. They’ve lost the sight what makes their 2D juggernauts tick, but I’m glad to see some fans got their chance to showcase this to Sega. Hopefully any upcoming revival Sega does, especially with Streets of Rage 4, follows this one up. Whatever comes after Sonic Mania Plus in regards of the franchise also has to take things forwards away from the 16-bit graphics, unless they want to replicate the belly splat Mega Man 10 did. These retro-revivals are always dancing on a fine edge.

 

The Game Paradise Crusin’ Mix Special PlayStation 4, 2018

Or Game Tengoku if you so will.

Whenever there is a new shooting game coming out, it has a lot sub-systems and scoring mechanics stacked upon it. That, and the shooting game genre has effectively become mostly bullet hells. Finding a shooting game that doesn’t just throw truckloads of bullets at you nowadays means we need to look back at some of the older titles.

This slot could’ve gone to the Psikyo Collection Vol 1 and 2, but the reason why The Game Paradise gets to this spot is two-fold; shooting game pureness and humour.

The whole set up for the game is that a mad scientist Yamada, who wants to take control over arcades and thus all of Japan. To prevent this,  an arcade worker Yuki Ito employs (forces) some of Jaleco’s classic characters to go in and fight Yamada’s plans in a different set of arcade machines. Well, the first level takes place in an arcade, before whiskering the player into a Wonder Hunting UFO catcher. The playable characters are a celebration of Jaleco’s past games like Exerion and Momko 120%. This new version of the game also adds few new characters into the mix, like Clarice from City Connection (who makes it very clear that the blonde Clarice from Gunbare! The Game Paradise  2 is a damn dirty fake.) With DLC you’re able to throw Honou from Pro Yakyuu series into the mix (playing a shooting game with a baseball player is surprisingly fun) and as a surprise collaboration Yuki can hop into the spaceship from Tatsujin., making her a playable character for the time.

The game’s core play is fantastic 90’s shooting, as mentioned. The core scoring system consists of collecting items, which ramp up in value in short burst as a score meter rises temporarily. All the items you collected from your last death are recounted at the end to the stage. Dying also drops your weapon level by one notch, but unlike some games, losing a weapon level doesn’t turn the game impossible. There is a good balance. Of course there are Options to pick up, which are the other characters and their weapons added to your own arsenal. Enemy patterns are usually relatively straightforward and the bullet patterns are thankfully far away from screen filling bullshit. The enemy variety is of course rather nice, considering each stage has its set of unique enemies and none of the are recycled from other stages.

This version of the game has an updated version of the original arcade game with options to choose an updated soundtrack and the like, but also the Saturn port of the original game, as it has a full story mode, to which I admit laughing far more than warranted. In addition, there is a history mode that explain history and characters from past Jaleco games that are in The Game Paradise Cruisin’ Mix Special, covering such things as the games’ launch dates, game play and their overall success by using flyers and posters. Of course there is fun to be had, as with Momoko 120% reminds the other characters (and the player) that the home release of the game had an anime license attached to it. Best part of this license mess is that the arcade game still uses Lum’s Love song as its BGM.

 

Note that despite this being Japanese version, all the text is in English, meaning everything’s baked in from get go

It’s such a joy to see a game like this being remastered after so long, and definitely gets a slot on the list.

 

Glove on Fight PC, 2002

Developed by Watanabe Seisakujo, a doujin circle that’s been doing games since the 90’s and got renamed as Soft Circle French-Bread when they went more or less professional, Glove on Fight is a shining example of core pureness in a game without any bells and whistles. Much like The Game Paradise above, this is a straight up otaku game with full of references. Well, it is a doujinshi game, they wouldn’t be able to use Kanon or Fate characters otherwise. Music’s diverse, ranging from rap, eurobeat and fusion jazz, and all of it is damn good.

The game is, however, extremely small and focused. You have five characters to choose from, and you’re able to unlock three more. While this does lack variety, it makes every character unique in their approach and play style, especially considering how every move has been fine tuned to perfection. In this game, there is no wasted space, with sprite and backgrounds representing the characters in this super deformed look nicely. The looks all intentional, as you couldn’t have this sort of boxing game based on timing without having clear motions or limbs. Even Capcom realised that the characters in Street Fighter II need to have slightly exaggerated hands and feet in order to show where punches and kicks are.

Controls follow the same focus, consisting of a Weak Attack, Strong Attack and Dodge. You can dash and weave with double tapping to a direction, and it is essential to time your movements not just to avoid hits, but to get some in. There are numerous special and Super moves, but they need to be land first. There is no jumping either, that’s a special move. Because things are this simple, the game’s extremely easy to get into, but once you realise how much skill it takes to time everything you do, the game’s balance becomes like an open book. It’ll take some time to get good at this game, but due to lack of content and characters, the game doesn’t have much staying power. Well, this is a small homebrew release after all, but still a game worth coming back again and again. There’s also the sequel, but we’re gonna get to that next year.

An absolute marvel of a game, which I hope French-Bread will come back to at some point in the future. Also, Power of Love is one of the best boxing game stage songs out there.

 

Honourable Mentions for those who didn’t make the cut

 

Monster Hunter World PS4, Xbox One, Steam, 2018

Despite dropping a hundred hours or so into the game, the Monster Hunter World feels a step backwards with each step is has taken forwards. Each time I play the game, I wish some elements from older games were present. These range from the progression being all over the place that doesn’t build up challenge, in which the game is lacking, to items that aren’t present for whatever reason. While some still bitch that there isn’t G-Rank, they seem to forget that no Monster Hunter has G-Rank in their initial release, it’s only reserved for the upgraded titles.

Then you have the maps. While it’s nice to see the maps as one whole, the only map that makes itself feel natural and like a living environment is the fist one, Ancient Forest. The rest feel like they should be split into ready parts, just like the previous titles. It’s sad to see that as the game progresses, the areas become more and more simple and are not taken advantage of. Little things also pop in here to drop the overall challenge, as previously desert areas required to have Chill Drink in order to keep the characters gaining damage from overheating, and in night setting the maps required the use of Hot Drink to fight cold. Despite wanting to make a more realistic and living worlds, all the small things like this that existed previously that the player had to account and prepare for are completely missing.

Whatever Iceborne expansion brings in, it should also change some of the core elements of the game simply to give the player more responsibility of themselves rather than pamper. Harder monsters and more content isn’t a fix to the game’s core issues, but these issues won’t be fixed as they’re designed as they now are. Still, far from being the worst entry in the series, and going back from the World to older games will feel cumbersome.

Bayonetta 2 Wii U 2014, Switch 2018

I loved the original Bayonetta. One of the best action games around, with Platinum showcasing that games should be at their best on the hardest difficulty setting. However, Bayonetta 2 is more of the same and while that’s all good, the game feels like it’s not reaching to the excellence as the first one. Then again, no sequel could have the effect and marvel the first game’s gameplay and stages could offer, despite everything been tuned further here. A game worth getting anyway, one of the best games on either Wii U or Switch.

Mega Man 11 Switch, PlayStation 4, Xbox One, Steam, 2018

I’d recommend reading the review of the game instead having me to repeat everything here. If I had not got Rockman World 5 this year, it would have taken is spot. However, that Game Boy game is just so damn good, that MM11 doesn’t really hold candle to it. Let’s hope number twelve will be World 5 of the mainline classic series.

Senran Kagura BURST Re:Newal Playstation 4, 2018

Y’know, I really loved the series’ no-nonsense gameplay. You could get in fast, strike hard, and have a stage over in half a minute if you were good and knew what you were doing. Burst Re:Newal however screws with the core gameplay by introducing a counter system that makes the gameplay slower. Well, almost stops the action in order to simply counter.  It’s an easy system, but implementation is weak at best. You’re show an attack range the enemy is doing, and depending on the colour and animation on it, you’re able to parry and counter attack. The thin is, it’s only on ground. If your camera is anywhere else, you have to resort looking at the enemy movements, but unlike in most other action games, the enemies themselves don’t have proper signals. That isn’t really a problem in itself, but when you have to stop playing the game just to wait to parry, shit’s just stupid. The system also changed how you stagger enemies in order to encourage parrying, so whatever fun the system previously had is broken. Marvelous didn’t make it smoother, they didn’t fine tune the game play to any extent, they just slapped an unnecessary element in a very haphazard way that’s intrusive at best. The Western PlayStation 4 version is also censored, so get it on Steam or the Japanese PS4 box if you’re a fan. Removing a whole game mode is absolutely retarded.

Omega Boost PlayStation, 1999

A PlayStation classic for sure, Omega Boost is one of those games that managed to have stable 60fps with fast action when 30fps was bog standard with pretty much everything on the system. It’s a short game, filled with bursts of high-speed action with good music, but perhaps it suffers from being far too focused at times, but other times the better tactic is just to float and do homing attacks. For a mecha game aimed for action, that’s disappointing at best. A rail shooter like had a lot of contest back then, and if I had to pick up from my library to play on a whim, I’d pick either Panzer Dragoon Zwei or Orta over Omega Boost simply because they’re better titles within the genre.

Review: Mega Man 11

It’s been about eight years since we got a proper Mega Man game, though I’d go further back to pin point a true “new” title in the series. This isn’t the first time the franchise has been revived either, with the 8-bit throwbacks essentially serving the role and Battle Network being a kind of total reboot that essentially allowed a new generation to enjoy a Mega Man branded product. However, Mega Man 11 might be closer to the throwbacks, but thematically and in intention it leans more towards reintroducing the franchise to the field. As such, there’s three takes I could use to review the game; developer intention, as a Mega Man game and as a standalone title. However, splitting or choosing just one felt awkward. So rather than overthinking how to make this one stand out or be something special, I’ll just go in without much worries and say this straight out of the gate; Mega Man 11 is a good Mega Man game, but ultimately runs short compared in this modern era of games.

If you’ve played any of the NES Mega Man games, you know what you’re getting into, and MM11 is best argument against MM9 and 10 in that you don’t need to use throwback bit-graphics in order to make a “true” Mega Man game. The controls are tight, responsive and work exactly as you’d expect. The amount of control over Mega Man is perfect and pretty much everything can be put on the player in damage and death department. The PS4 version has the most control lag, with Steam and Xbox versions coming at top, which can only be blamed on Sony wanting to add too much post-processing on their games on PS4 Pro. Switch is somewhere between, closer to Xbox’s and that’s fine. Unless you’re crazy over NES-CRT level responsiveness, you’re more or less boned and should go for the Steam version. That’s probably the only significant difference between the versions, outside Switch’s Amiibo support that gives you items mid-game. It’s a nice idea, but really sucks when you realise how haphazardly it’s been implemented, much like in every other game out there.

For those who haven’t played a Mega Man game, the formulae is simple and solid. You’ve got eight stages, each with a Boss you have to defeat in order to advance to the final stages. You gain each Boss’ weapon and they have rock-paper-scissors mechanic going on, one being weak to another. Back when games were more or less strict on the progress, Mega Man was a breeze of fresh air, and modern stage-selecting was more or less inspired by the franchise. The franchise is famed for being difficult, but this has always been hyperbole at best. The six NES titles are easy enough for a five-years old to beat. The right word would be challenge, where the game offers some obstacles you to tackle, but with some try and experience, you’ll beat them in no time. The stages are overall designed to have a combination of environmental hazards combined with stage enemies, sometimes moving and sometimes stationary, which also gives all the stages their own little gimmick to work with.

The stages, of course, are the main meat themselves. Sadly, the game’s design did not escape the usual fire-water-grass thematic that has been overused in the series far too often. This time we’re getting both spikes-in-water and an ice stage, which shows that despite the series having almost a decade long hiatus and thirty years of history to learn from, the new dev team ultimately had to resort to recycling some old ideas. We’ve seen pretty much everything at this point in the franchise, from water purifying facilities to cityscapes, from forests to ancient stone temples and even space stations, thematically Mega Man is all spent. It doesn’t really offer anything new, and veterans feel it. Each stage offers their own challenges, like the aforementioned spikes-in-water stage that emphasizes on careful control. Each of their gimmicks should drive the player skills higher in order to beat the final fortress levels, but ultimately these stages don’t take all the advantages the eight main stages offer. The difficulty and challenge doesn’t exactly ramp up drastically, especially now that there is a total lack of Capcom gauntlet. A Capcom gauntlet is an old term for stages that come at a later stage in a game, where the player is unable to return or retreat to recover items, having to resort with whatever limited resources is found during the gauntlet. Boss Rush has always been part of this, with an additional twist or two in the mix. Mega Man games excelled in this by the natural design. However, Mega Man 11 allows the player to access the previous stages and create items between each of the fortress stages, making the gauntlet completely neutered. The ramping up element is now gone.

This of course begs the mention of the game’s gimmick, the Double Gear system. The stages have been designed so that there is no need to use use either Speed or Power function to beat them. Speed is naturally the more useful of the two, as its slow-down effect makes everything much more easier. The Power in itself is largely useless outside few situations, and is mostly used to use the powered up versions of the Special Weapons. However, because of all this the system works more or less as a build-in cheat, which can be further powered up with purchasable items. The game meanders between trying to appease people who want a more pure Mega Man experience and people who go all out, and ultimately doesn’t exactly fulfill the necessities to use the Gears. Even the speediest or smartest sections of the game are easy without the use of Speed Gear, and Power Gear makes some of the Special Weapons just absolutely bonkers, being able to wipe the screen of enemies, shield or not.  That said, the weapons themselves are pretty well designed and balanced, again fitting pre-existing moulds in the series e.g. utility weapon, movement option attack, full-screen weapon, a barrier and so on. Their powered-up versions, as mentioned, are overkill in most places, and make mid-stage bosses a laughing stock.

This means the game ends up being very easy to beat through the use of cost items rather than skill, but perhaps this is more or less about personal challenge than anything else. Mega Man games have always been welcoming, though the game does seem too accommodating rather than trusting the player to build enough skill to beat it. Resources are readily available for anyone to buy if the game puts a wall against you. The stages have some elements designed around some of the Special Weapons use, but their limited scope and length don’t make much use of them. The fortress levels even less so, and you can rely on Tundra Storm to wipe enemies off from distance.

Visually speaking, the game looks very much for the part. Colours are well used and detail can be found everywhere. There is a definitive Mega Man flavour to things, just aptly cartoony with clear and defined lines. It may not be the cutting edge of graphics technology, but it doesn’t need to be. The game stays true to the NES era’s designwork almost to a flaw, where certain amount of detail is lost on the designs. Backgrounds get the most detail overall, with some referencing past games. There is a definitive charm to everything, the same charm Mega Man used to carry. This carries to the Robot Master designs as well, with the Gallery mode expanding on their characters more than the game can properly convey on-screen. While pre-battle quotes have been around for a time now, the Gallery entries really make them shine even more. Mega Man & Bass’ CD Database gave a nice insight to all of the characters, but not to this extent.

The music, however, is t he game’s weakest point by far. It goes all techno on the soundtrack, with synth bweaaaing being the main instrument. It all ends in almost a cacophony, most stages ending up sounding the same and unmemorable. This is a far cry from previous’ games’ soundtracks, which made the songs stood out, either due to the more limited sound samples or simply because the songs were that superior. The pre-order downloadable soundtrack is not much better, opting the techno for nondescript jazz that sounds worse. Acid Man comes out the best in this, mostly due to the instruments working better with his theme, but overall you’d be better just muting the BGM and putting something better on. Rock and rocking kind of instruments have always sit the series much better, more so in the X-series. That said, sound effects are pretty much spot on and have an oomph to them, though Mega Man no longer makes a noise when he lands. In the NES games, there was a small te-det sound, which is absent here, but it’s something that isn’t all essential.

This review reads like a ramble, because trying to say anything definitive how it is fails to a point. The Mega Man 11 doesn’t innovate on the formula of the series and is a step back in terms of length and game design. However, on the other hand it is well made and intentionally open for everybody, concentrating on the core building blocks what makes a Mega Man game. However, that’s all it really is. We’ve seen this before. While there is a need for smaller games like this one the market now, retreading things once more like this works only once. Just as with Mega Man 9. If there is going to be a Mega Man 12, it must innovate, expand and push the envelope on Classic Mega Man as much as possible. As a standalone title, the game doesn’t exactly stand well against the swamp of other 2D action titles, but its sheer polish and execution ultimately lifts it just enough above the surface.

Retro Fighters’ Brawler 64 controller review Part 2; New Parts

Be sure to check the first part of the review here.

I’ll just assume you’ve red the previous part or overall know the issues that Retro Fighters’ Brawler 64 controller had. Mostly, it was the left shoulder button issue, where rocking the stick to the top left would lift it and make it move. don’t expect major revisions on any other department.

Let’s spend any time on the front for now, let’s jump willy nilly into the insides of it and see what changes were made to the mould to fix issues.

Whoops, forgot to take off that Turbo Button from the old shell

First of all, their solution was the expected one; retooling. Retooling is to change mould just enough to use it further for with minimum costs. This in itself is nothing to scoff at, as it usually saves time and money from the consumers’ pockets. At first, the differences in the shell are apparent, mainly that the extrusions for the build-in vibrators have been removed. They added to nothing else but teeny tiny weight, but it would have been nice to have build-in rumbling that could have been toggled on or off via a switch. No unnecessary expansion pack uses. This really would have added to the value of the controller.

The second change is in the shoulder buttons, which actually use leaf-switch mechanic to spring back up. If you look at the bottom of the L-Button, the one at the top right corner of the photo, you can see that it has no hook on it. The R-Button has it and so does the old mould. This is part of the solution in order to fix the problem I mentioned in the first paragraph. Now that the button is not restricted to stay in its slot, it can freely move about. This of course raises the question if the button can raise itself from its resting place, and it can. You’d need to deliberately lift it off though, but accidents happen. This is a solution, but without a doubt not the most optimal one. This shows signs of hurry and stress, something all designers can relate to, but this solution, despite fixing the problem itself, does degrade from its overall value. It’s a hatchet job at best.

Let’s take a look at the back half of the shell then.

For better or worse, they are clearly labelled 1 and 2 for our pleasure. Similar to the front half, there are no brackets for a vibrator motor. More importantly, the extremely lacklustre expansion lock has been upgraded and fixed. On the original, on the right, you can see the lock mechanism being in an angle, making inserting and pulling expansion packs out rather tiresome and at best infuriating. Now that the lock sits straight, the whole ordeal is as smooth as you’d expect it to be. This is a definitive plus.

The main difference between the new and old halves seems to be that the controller’s front half seems to be slightly raised in order to keep the stick from bumping into the L-Button. This has necessitated to include new A, B and C Buttons. I first expected the A and B to stand more raised from the surface, but this was not the case. However, quality often showcases itself with the smallest details, and the C-Button’s new moulds were not up to standard.

The C-Buttons are completely uncleaned. All that junk, both at the base and on the notches that guide them into their proper place, had to be cleaned with a knife. While this wasn’t a major deal, backers who opted to change their shells themselves might’ve found themselves slightly puzzled why their C-Buttons were jamming. Granted, Retro Fighers did post a Youtube video how to change the parts, but a customer shouldn’t have to shave plastic off from their spanking new buttons they just received three weeks later than everyone else in the world. I build models, so this wasn’t a problem, but knowing people already asked about this tells you how backers weren’t happy with this.

When put together, the controller doesn’t look any different from the old one, outside a different sticker on the back, so I’ll just recycle a picture from the first part here.

With the new parts installed, there are no buttons or stick interacting with each other and remind you that you overpaid for the controller. Yes, considering Retro Fighters had to put out new parts to fix something like this and didn’t deliver on the promise of full N64 support due to something they never explicitly stated, the controller remains as second option at best despite being better than the stock N64 controller in almost every way. The stock N64’s controller might be a bit awkward even after all these years and its stick is pretty janky piece, but its construction and build quality leave no room for guesswork. The same can be said of some other peripheral controllers released for the N64, some of which I’d like to get for the sake of comparisons, though putting money into a system I don’t play on a regular basis would be unwise.

However, I must admit that despite all the issues it has, it does make a good backup or secondary controller. If you can find it on sale, change the Not Recommended status into Worth Considering and hope that Retro Fighters have put more second versions out there than the first ones, and that they’re willing to change parts if you end up with the first version somehow. Otherwise, I can’t recommend this controller, it’s just not up to par standards-wise.

Three SNES Style controllers reviewed

Third party retro controllers are a dime in a dozen, and the current market is full of retro-styled USB controllers. Some range from decent to excellent, while others are just absolutely abysmal from the get go, not worth the plastic they’re built from. While this started a straight up review of a really, really terrible SNES-styled USB controller, I decided to make it a comparative review instead.

I’m going for a limb and assume most of my readers have used both SNES and GameCube controllers. The SNES controller is often claimed to be one of Nintendo’s best, if not the best. It certainly does great many things right, but it’s not the Saturn controller. It does so many things just right, like the placement of the shoulder buttons and the height the buttons sit in. D-Pad, while a bit loose, is nevertheless an excellent all around D-Pad, if not slightly inaccurate when it comes to the diagonals. It should also be said that the shoulder buttons are rather mushy and have no tactile feel to them. It’s not terrible by any means, but that’s perhaps something that can be extended to the whole controller; it feels slightly mushy. It’s not age either, this controller is pretty great condition, and my old-stock one bought few years back feels the exact same.

It must be mentioned that the mushy nature is by design. It allows some leeway movements and inaccuracies here and there, but also make the controller sturdier and able to take more physical trauma. It’s the same idea as with why you want laptops and some screens to flex rather than be rigid; it absorbs impact better. A rigid controller has higher chances to break down faster as well as last shorter amount of time. That’s why you can still rock original NES controllers, like the HORI Mini Commander, without much troubles.

The slight concave nature of the back also makes your fingers sit nicely and add slight grip to it. I feel a need to mention that the four-colour buttons are also a very nice sight, something the US version and the pictures USB controller didn’t do and it still looks terrible.

It’s no real wonder that SNES controller gets remade by other companies now and then, and one of the most sought after GameCube controllers is HORI’s SNES-styled controller for good reasons.

Perhaps the biggest pro and con at the same for HORI’s controller is that it opted to use the GC controller layout, but that’s hardly something that should be held against it. After all, it is a controller meant for GameCube. That said, if it had opted for the standard layout used in the original SNES controller (and thereafter in almost every other controller) it would have made a great all-around controller, starting from emulation to using adapters to different consoles like the Switch.

There really isn’t much to be said about it, outside that it’s probably one of the most faithful replication HORI does done of an official controller. Outside the layout, most of the mushy feeling you have in the official original is there. Even the slight mushiness of the GC original is in the buttons, but they’re no less responsive. Of course, the D-Pad crowns the controller, as standard GC controller had tiny ass D-Pad that was almost useless. This was the time when Nintendo’s D-Pads begun going downhill anyway and everybody moved their emphasize towards the controller sticks.

Despite all that speal about faithfulness, HORI did change the back of the controller. It still has that slight concave nature to it, but it also has raised sides for better grip. Coming straight from the original SNES controller this might feel weird, but once you begin playing with it, your hands find their natural spots and holding the controller becomes natural. However, it is an unorthodox solution to a degree, and you’ll be aware of them every time you pick it up. It’s a solid controller that I would recommend any GC owner to have for their D-Pad gaming, despite going for stupidly high prices.

So, if the HORI controller is a good example how to take and adapt SNES controller, how does Tomee’s USB SNES controller compare against it?

First impressions; it’s shit. While it weighs about the same as the real deal, there’s something you can deduce by just looking at it. Mostly that it is extremely cheap.

The cheapness really shows itself everywhere, but the sides are the worst. You can see that the mould has been re-used so many times that it has become faulty. It’s just not this one bit, but all around the controller. None of the plastic is really all that good, and corners have been cut wherever possible. Start and Select are now hard plastic instead of soft rubber too. Even the cord is the cheapest USB lead you can find, the kinds that just snap in two if you look at them long enough.

While the overall form fits the hand just like the SNES original, nothing else really matches the level of quality. All buttons have twice as much travel and require extra effort to press the contacts down. It’s like first pressing the buttons down, and doing a second level press to make them activate. It’s extremely easy just to press a button and have nothing happening.

There’s nothing good to say about this controller, but what do you expect from a cheap Chinese piece of shit? This controller cost around five to ten bucks, depending on where you buy it, but it’s not worth even for a project controller because none of the parts of any worth and the PCB is terrible. I didn’t take any pictures in my hurry, but there was corrosion there. This is a terrible waste of natural resources, but seeing there are tons of Tomee products out there, these things still sell. Thank God this one was donated for review.

This entry doesn’t really have a rhyme or reason to it, does it? Mainly to showcase two extremes of third party controllers, where build quality is directly tied to the price range. However, if you consider my other controller reviews, especially the HORIPAD3 Mini for PS3, there is a sweet spot in the mid-budget range where you get high quality enough controllers. it would seem that any controller under twenty dollars in the current market will always be trash, waste f everybody’s time.

Review; Switch Joycons

Two reviews, in the same month? That’s what I call Lack of proper topics but mainly because the Joycons themselves are rather interesting piece of hardware once you get around how they’re spun around.

 

Why grey? Because I intend to change the shells on the controllers and the grey one cost me twenty eurobucks less

The JoyCons are essentially Wiimote 2.0. When attached to the main unit/screen, it becomes the second most unwieldiest portable console after the Lynx. It’s general shapes follows Sony’s handhelds and the Wii U pad quote closely, but at this points its more a necessity of ergonomics than lack of ideas. After all, pretty much all controllers follow the same core design nowadays rather than having widely different takes.

Of course, the main gimmick the JoyCons have is the ability to detached them and use them in tandem or individually. This is very neat, but at the same time these controllers are small by necessity. While slightly wider than the Hori Commander Mini I reviewed on the Famicom, everything else is in smaller scale. When used as single controller, you have access to the stick, four face buttons, two “shoulder” buttons L and LZ, and “top” buttons SL and SR. You can see these on the railing. Depending on the controller, you have Home or Capture button, and Plus and Minus (essentially glorified Start buttons.) The button that exist as shoulder buttons when JoyCons are attached to the main unit or grip rest awkwardly near your palm. The ergonomics are also lacking, but that comes with the size.

The most important part with the shoulder button there is that there is no sharp corners or danger for you finger to be pressed between the shell and the button. This is done by giving the button very short travel. Also, notice how the release button is tucked away into a corner

The sticks aren’t exactly the best, and it could use some some of the clickiness NeoGeo Pocket has. They lack any sort of tactile feel, despite the cutouts on the rubber. You simply don’t feel it. It has very short travel distance, which means control with tension becomes a must with certain games that require extensive stick control.

As the controllers have to work both as single entities and in tandem, the placement for the action buttons are sacrificed. They’re very much in the middle of the controller, which works when in tandem, but in single mode they’re just too far from the left edge, though larger hands could probably find this comfortable distance. This is also the reason why there’s no D-Pad on the Switch; everything has to do dual task, and these facebuttons, that use N64 controller’s C-Stick directions, work as D-Pad when used in tandem. It’s awkward and lacks the same smooth use as with normal D-Pad, and sadly its serviceable by a hair. Their dimensions and placement has been worked to its optimum. The buttons themselves are of better Nintendo standard, where the travel is pretty spot on, perfectly raised above the level and have nice tactile feedback.

It must be said that accessing the SL and SR buttons are surprisingly accessible, as index fingers seem to naturally hit their place. On themselves, they’re a bit too flat to use properly, but that’s why Nintendo gave us the wrist attachment people seem to put the wrong way constantly.

Plus and Minus are tucked away in the corner nicely so you don’t hit them, but whatever mode of control you use, they’re awkward to use. Think of Xbox’s Duke’s black and white buttons and you get somewhat similar idea.

 The wrist attachment slide the opposite way you slide the controller into the main unit, corner symbol meeting corner symbol. This adds some heft to a JoyCon and makes it somewhat nicer to hold in your hands, but its main use really is to make the SR and SL buttons more accessible with the larger pass-through buttons.

While you can use JoyCons in tandem separately like with the WiiMote and its nunchuck, Nintendo shipped the console with the grip attachment. It’s not exactly the best however. It’s like they wanted everything to stay straight and have the JoyCons sit like they sit on the main unit. This means whenever you use this, accessing the left face buttons for D-Pad use and the right stick requires either over-extending your thumb downwards or move the whole whole on the handles. Supposedly, the prototype was in an angle to give it more ergonomic shape, but for whatever reason this was dropped. There are many custom attachments on eBay that fix this and make this the most viable option to use the JoyCons in tandem. It would seem that the JoyCons will see rather large amount of optional accessories and attachments down the line. Here’s hoping Hori will do some good ones in the future, like the upcoming D-Padded JoyCon.

So, bottom line? The JoyCons are not the best controllers out there. The whole thing of them working as a single unit or in tandem forces just enough compromises to make all of them feel somewhat awkward. As usual, once you get used to them, muscle memory handles moving your hand up and down as needed. If there had been some concessions for functionality over visual design, these would have been winners as first hybrid console controllers. As they are now, JoyCons do their job, but the alternatives are probably better.

I must admit that the JoyCons have one thing over all other controllers; Switch has the most satisfying feel of clicks and clacks whenever you are attaching them to anything.

Review: Muv-Luv Kickstarter goods

The approach to this review will not be anything different from any other review I’ve done thus far. No special treatment, no kids gloves on; I will approach this as any product reviewed in this blog thus far. It’s only fair towards you, the readers, and the staff behind the Kickstarter. However, I won’t be reviewing all the KS goods. I’ll be concentrating on the main dish most people probably got through their backing; the Kickstarter physical package, the Codex and the Destroyer Class plush. This will strictly discuss the items themselves, not their translation or such.

Let’s start with the physical package.

This is also the image that was used on Alternative‘s original DVD release. It’s honestly the perfect choice for this

At first appearance, the package seems pretty on-par. Despite using thin cardboard, the appearance isn’t half bad. The decision to put the description and all copyright information to the bottom is an interesting take, as now its reversible to every other direction. This breaks how commercial boxes are designed, which some perfectionists might find jarring, as now the box doesn’t flow well with other software boxes.

However, visuals aren’t all. While the box still feel sturdy in hand, the contents inside are loose. The image above is just before I opened the box, and I could hear and feel the items inside rattling back and forth. This isn’t great to any extent. A box like this should have necessary support inside to keep items in their proper places during transit, as now no matter what sort of stuffing is used around it the items can be damaged. So, let’s open this one up and see what’s inside.

You could fit another booklet in there or something

This is exactly what I didn’t want to see; items rattling around in an oversized box. Because the box is made thinner cardboard, the same some DVDs have around them, it loses most of its structural integrity when opened. I can feel the CDs being lose inside their jewel case, let’s open that one up to see if they’re damaged. The case’s cover is nice choice though, but the back cover should have been revised. Maybe drop the song titles here completely and have them inside in an insert.

Oh. Ooooooohhh…

Luckily, only one of the CDs were loose, but the discs’ printing is not up to quality. While the chosen images are good in themselves, for whatever reason the images are lower resolution than the text, which itself is sharp. The typeface and font chosen for the CDs ends making these look like something printed at home. Furthermore, these discs should have been labelled as numbers, e.g. Muv-Luv Alternative Original Soundtrack Disc 1, not Volume 1. The fact that OST is used on the discs like this, and the fact that there is no kind of information who composed the songs, makes all this feel like a homebrew compilation.

As for the games themselves, the front covers are what you’d expect and look good. Nothing to say about these, but the back covers are another thing. There’s too much text on them. Even when these VNs are long, the descriptions should have been cut in half and with heavier emphasize on images. To use Sweet Home as an example, the flavour text is two whole sentences, being straight to the point. The word homebrew creeps back to my head with this, as things like Minimum Requirements should be on the box. Actually, they’re not seen anywhere on the packaging.

The discs however are rather standard, overall speaking. There’s nothing to mention about them, though I would’ve expected more legal text on all of these. Perhaps printing a monochrome image on the disc similar to âge’s Japanese releases should have been brought on to the table, as its much easier to make them look sharp rather than what might end up looking like a sticker on a disc.

I must mention that the disc I have for Muv-Luv seems to have been damaged somewhere along the way, as it has a strange arc on the underside. Despite this, the disc seems to be readable. There’s also a weird discoloration, as if something had spilled all over it inside. This might be a quality control issue, and I’ll be sure testing this disc further down the line.

The darker wavy line is easy to spot, the lighter arc near not so much., I have no idea what they are and I am slightly worried

The shikishi, a drawn image signed by the author, that came with the box is pretty great. Sumika doing a Drill Milky Punch is nice, even when it’s just a print and not a real thing in itself. The artbook uses similar typeface and font as the CDs, and doesn’t exactly look the greatest. Everything’s printed on a thin, glossy paper that in itself isn’t terrible, but the cover should have been heavier duty. The feeling the book gives is flimsy, plus it creases extremely easily. Corners will get damaged fast in normal use with this paper too. Because of the thinness, the pages are slightly transparent and the images on the other side bleed through. The images and character descriptions are on-point, though the complete lack of illustrator credits anywhere in the codex is a bit disheartening. Seeing the second and last to last pages under the covers are completely blank, these would have been great places to put them on.

Here’s how I solved the rattling the contents: I added two pieces of cardboard on both sides, and a support structure to keep the CD jewel case in place. To be completely honest, the outer box does feel like something you should throw away, as the package overall lacks any sort of premium feel to it. The added cardboard makes it feel more rigid and gives some extra heft. There shouldn’t be any reason for me to do this addition, but as things stand now, I had to. For comparison, here’s how Senran Kagura Burst Re:Newal laid its contents. Notice the use of sturdier cardboard, how the items are laid and fit perfectly, and the use of supportive thinner cardboard at the bottom of the PS4 case.

 

Well, let’s move unto the second big thing, the long-time Holy Grail of Muv-Luv Alternative source of information translated and recompiled with Lunatic Dawn content; The Codex.

Like some majestic predatory bird

The first impression of the book is nothing short of impressive. I didn’t expect hardcover version of the book, especially considering the number of pages, but first looks can be deceiving. When you stop and look at the cover, it’s not pretty.

On the right, you see the scanned cover of the Muv-Luv Alternative CODEX. On its left you have the same illustration, scanned from Muv-Luv Alternative Integral Works. I recommend opening them in Full View to fully see how badly the covers have been fucked up. Either someone forgot to pit High Resolution mode on in In-Design, or something seriously went awry during data process. Both covers have been printed in low resolution, while the cover text nice and crisp. While a book shouldn’t be judged by its covers, this piece can never be called high quality or premier product. A way to remedy this situation would be to create a dust jacket for the book with high resolution print on the cover.

However, the meat of the piece is on the pages. With some few hours looking through, there appears to be no real concern how accurately things have transferred during translation. There are also welcome changes, like changing Melee Halberds into Close Quarters Combat Melee Blade. While a mouthful, melee blade in itself is more than enough. Back in 2016 I wrote a post concerning the topic, which was comped with a review of TSF’s close combat weapons. I strongly recommend you to read them both if you haven’t. There is one fib that has leaked through, where BWS-8 Flugelberte is described to resemble a halberd, when in reality it resembles an axe. Or a bardiche.

The information itself is great stuff, but it shows that this is a book that’s glued together from multiple sources. The Lunatic Dawn content that’s in the latter part of the book is just bolted on, rather than taken and included into the book proper. The word on the street originally was that the book would need to be completely revised, but in the end it follows Integral Works‘ looks and design with the occasional change in order accommodate English.

Good ol’ Gekishit. Isn’t ‘Play Back’ one word though?

The paper used is similar glossy paper that’s in the artbook. It’s a level heavier, but creases still extremely easily. Despite being heavier and slightly thicker, it still isn’t near heavy matte paper in terms of preventing transparencies, as seen above. Fingerprints will be abound while reading this book. I’m rather surprised that this wasn’t a softcover book similar to Integral Works or Mega Man & Mega Man X Official Complete Works, to which I compared IW to back in the day as well. Codex‘s paper is nowhere as heavy and hefty as the two aforementioned, but the book is third thinner due to the new paper. It doesn’t allow the book to have any air to it either.

Because of the glossy surface and the sheer amount of text, people with poorer eyesight will have headaches while reading this. The typeface selected is just small enough to cause extra strain on the eye. As everything’s also packed very, very tightly in this small size, people who suffer from either vertical or horizontal dispersion in vision, meaning certain letters will lose lines, making reading a chore at best, extremely headache inducing at worst. This is easily alleviated with the use of different typeface or slightly larger font size.

The use of this sort of glossy paper can also be a double-edged sword. While Yakuza 6‘s artbook had the same paper, some copies were completely glued together, some were completely warped and some had ink smudges all over them. The feel of glossy paper works best for single leaflets and photos. When going for a book like this, its still best to consider heavy matter paper first and foremost, as it offers longer life and cuts down possible ink and paper problems down to mere percents.

All in all, the covers are just a damn travesty, sadly. Well, that and one of the pages, p. 353, get repeated on the following opening. While accidents like this sometimes happen, this does sting of lack of quality control.

Lastly, we have the Destroyer Class plushie, one of the things that was suggested very early on due to its role in the fandom. The plushie is based on a very certain background piece in Joshi Eishi Cryska EX.

While the plushie is clearly different from it CG original, this is due to difference in reality and fiction. The overall quality is damn nice, chosen materials feel sturdy enough to give this to a child to play with. Interestingly, the back end has a sack that’s filled with grains rather than fluff the plushie is filled with otherwise.

The grain section is about one-third from the back, starting from the tag on its arse

It’s just a joy to see and have, maybe even the best part of the package in terms of quality. This thing really should see mass production. Clearly, there is a market for BETA plushies.

I’m sure that at this point it’s rather clear what’s the end verdict is. The Kickstarter original products are largely a disappointment in terms of quality. I’m not going to mull over whys or hows, that doesn’t net anything. They are what they are, now’s too late to do anything about it. Other items, like the ones in Yuuko’s Gift bag, have higher quality. Stickers are hard to screw up as are postcards (though mine are rather warped, requiring me to straighten them down.) It must be also mentioned that Valkylies has been corrected into Valkyries with the patches.

Those patches were produced by Cospa, company that produces cosplay goods, including the jackets and shirts that were on the Kickstarter. The pilot jacket may be 100% polyester, but I can’t expect a cosplay clothes company to manufacture clothes like they were actual military wear. The Drill Milky Punch T-shirt is at 100% cotton and I’m wearing it while typing this review. This extends to the dakimakura, which is of standard Japanese productions for items like it, I expected no less.

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The experience with the Kickstarter goods, delays and pretty much everything including the end results of the goods probably affected negatively both backers and staff. It would not be surprising if this was the first and last Kickstarter we see, and the rest are done away with less fanfare, which would also mean no physical products would be produced. However, in cases like this, I would always strongly recommend companies and people looking into Limited Run Games, a company that specialises in doing limited physical run on goods. At the time of Muv-Luv‘s Kickstarter, the company wasn’t relevant, but now it has managed to establish itself just fine. For example, they are delivering Shantae: ½ Genie Hero‘s Kickstarter goods. But all this is academic at best. I can only hope that lessons have been learned, but have not allowed to snuff the staff’s spirit.

I’ve got no good end for this review. Shit happens, we will probably never know what, but the end results are in our hands.

 

Review: Rev-O-Mate

When I purchased the Huion tablet for digital drawing and painting last year, an uncomfortable reality did set in; my large keyboard was more or less unusable due to the position of the tablet itself in front of it. Sure, I rearranged by table few times over to find new ways to access the keys, but ultimately the size of things simply didn’t allow much leeway, especially due to the screen size of the tablet itself. Hence, I had a need for something I could use as a helping device whenever I would draw, which I haven’t had much time for due to my dayjob. Learning something like this from scratch while having a lifetime of ways mixing with everything is hard to say the least.

Bit Trade One’s Rev-O-Mate’s Kickstarter thus came out at a good time. The device had the things I personally was looking for. Certainly a number of game keypads would’ve been an option, though everything about them seemed off. Extremely high price at points, unnecessary design elements everywhere, large size and lacking software at times, I was more than hesitant on purchasing one. Rev-O-Mate seemed to be all that I was looking for, a small device with complete freedom to customise its buttons to my heart’s content. All things considered, its simplicity should be enough to meet expectations. I ended up backing the base version with none of the bells or whistles added.

A small device that fits your palm, around 64mm in base diameter and 41mm height, or 2 ³³/₆₄ inch w and 1 ³⁹/₆₄ inch h. The weight is pretty spot on at 180g, when you take into consideration the extra 20-30g the cord pulls

First things first, the design and construction. It’s what you’d expect from a tightly constructed piece, with one exception; the wheel. While all the buttons feel extremely sturdy with their one-click nature, the large wheel on the top has designed looseness to it. It wobbles back and forth a bit. Most wheels of its nature have this wobble, but it does feel slightly cheap at first. When in proper use, its goes unnoticed, but its still there.

The wheel surface itself is machined, with the swirls on top and on the side. This gives it a nice texture, though the edges of the chamfer could have used ever so slight rounding, but this would have extended the machining cost unnecessarily. The base has a kind of spattered texture on it, giving it a distinct touch from the wheel. The base has a translucent bottom to allow lights shine on the sides, while having a cut spot for a good grip base. Just remember to take the plastic film off first. This surface will keep Rev-O-Mate decently positioned, unless the bottom is unclean or you exert further force on it.

The camera picks the light in a very different way from actuality

The cord gets a special mention for using being braided and being rather sturdy, it is something that companies usually save money in, but Rev-O-Mate’s cord is better than the standard.

There are ten buttons around the wheel, all which need to be customised before the device does anything. With three different sets of profiles, this brings the total number of buttons on the device to 33. The wheel itself is a button as well, which probably contributes to the whole wobbling bit. If we dedicate one button from profile change in each profile, that gives us thirty buttons for quick access, which is quite a lot. Each button have a damn fine tactile feeling to them, and the wheel’s button has a very satisfactory ‘thump’ to it.

The round nature of the device has a surprising benefit. It can essentially function in any position, the cord being the only obstacle. Whether or not by design or chance, its revolving nature allows the user to find the most suitable angle for the buttons for themselves, something game keypads don’t really allow. The buttons themselves are hard plastic, something that some may find slightly uncomfortable, especially with the two marked buttons. However, this is a better solution than rubber buttons on the long run, as they’re now sturdy and can take some beating.

I’ve dedicated the wheel button for profile change in each profile iteration

I always dread setting up these things, because I have no idea what I have need for, thus I end up setting buttons as I go along. These, however, are the initial buttons I set up from the very beginning. Each button, and the wheel itself, can be changed to whatever function.

As you can see, there are currently preset functions for the three most popular programs for illustrators and digital painters, or fuckups like me

This how the binding window currently looks like from presets. Bit Trade One is working on updating the software and firmware, and have rolled new versions already. Just make sure you’re using USB 2.0 or USB 1.1. Type A to connect, as it doesn’t seem to like USB 3.0 connection. Of course, creating a macro for your use has a separate selection.

As you can see, I currently lack any macros. If we were to make a macro of CTRL+Z, the recording would appear as such.

 

Seeing how the program records even the time span an input was held is unexpected but wholly welcome. This is as powerful macro creation tool as you’d expect and works with games as well.

The lights themselves can be customised from the top row with RGB values, giving them whatever colour you wish for. The teal I have there comes out as rather cold blue, as you can see. The lights change as they are being customised though, so you get an immediate response. You can also determine how long they’re lit up and at what point, or completely turn them off. There are three levels or brightness to choose from, and the images you see here are for the the medium, standard brightness.

 

The LEDs used run on unknown frequency, which you notice when you move the device around and observe the base. This frequency does not sync up with a camera at normal 23 to 30 FPS, making it look like the the base is on fire or trying to launch itself.

You can also have fun with an additional source of LED lights and cause further flicker

While I’m not very keen on unboxing, the box really came just with the device and few slips. Not even a preliminary version of the software on disc. Everything had to be downloaded from their website. While a solid cost cutting measure for sure, this does make the package overall feel a bit cheap. Maybe the retailer version will have an updated software bundled with it. The manual itself is very short, which is understandable as there isn’t much to talk about the device itself. The lack of different keyboard support is expected, though unfortunate. Most of the world will do just fine by having the US keyboard set up, though French AZERTY users probably will find it a nuisance.

The back of the box has some slight Engrish on it

All in all, Rev-O-Mate is what perfect in what its set up to be; a rotary device with macro buttons. I’ve also used it as a paddle controller with few Breakout clones, and it does its job in this part decently as well.

Review of the Month; Yakuza 6 Whisky Glasses

Yakuza 6 is out and its After Hours Premium Edition came with whisky glasses. The Internet’s full of reviews of the box already and what’s inside, most of which is a disappointment, I tell you. The book was absolutely terrible in quality, bound too early, causing the papers to be wrinkled and even glued together due to wet ink. Not worth your time or money. Unless if you want whisky glasses, maybe.

This review will go through all three aspects of the set; the coasters, the rocks and the glasses.

The coasters are pretty terrible. They may have a cork bottom, but each layer that goes to the top has low-quality adhesive, which means they’ll peel off pretty soon if they’re in-use. It’d be almost better to allow them to peel off, then re-layer them back with some proper adhesive. You get what you see above, which is jack shit. With that done, let’s move unto the rocks.

The rocks are honestly the most interesting bit of this set, mostly because it allows me to go on a tangent a bit later on. Anyway, each facet is 20.25 mm in width and length (that’s 0.797 inches). These are, of course, quick measurements with a caliper, and you’d probably get slightly different results with your pieces due to tolerances.

The set comes with two pieces, one for each glass. The material is black soap stone, meaning the hardness is around Mohs 2  and up. Depending how soapstone is treated, it can go up to 6.5 at best, but without knowing what soapstone this is and from where, it’s impossible to say what’s the exact hardness. Nevertheless, these will scratch rather easy, so treat them right and with a careful touch. Hardness does not equal toughness, which is why we get laughable stuff like Mohs 15 shield in Destroyer Classes in Muv-Luv Alternative, which just means they’re really, really hard to scratch, but that does not mean they’re tough. Generally, the harder something is, the more fragile it is.

Before taking them into use, I’d recommend washing them with a neutral soap and rinsing them in as hot water as possible, then quickly wrap in a towel. Due to amount of talc and the structure of soapstone, the hot water will evaporate due to the stone’s hotness and its own heat, drying the soapstone in a second. Works with any soapstone item out there, give it a go.

Anyway, the stones don’t really work. They’re too small to actually make a proper difference. Soapstone is great at keeping temperature, which is why they generally make good heat or cold plates. They do keep chilled whisky chilled slightly longer than usual, but against room temperature whisky the stones do jack shit. Waste of stone. Even the sandblasting is just skin deep. Considering how large the glasses are, the stones should’ve been at least twice as large with twice as deep sandblasting. Surely the glasses will be the set saver, right?

Oh for fuck’s sake

The thing I expect from a box that says Premium on the label is premium. What I’m getting is two-dollar custom prints on a mid-grade glass with a printed surface instead of sandblasted.  Kiryu’s dragon should have been laser printed unto to the surface at least, but a print? That’s just lazy, and just like with the coasters, the print will wear off in use. In time for sure, but this is really a bad first impression.

Well, it doesn’t help that the two glasses are not of same quality. You’d expect these glasses to be relatively straight, but one of the two have slightly collapsed surface and has a slight wave-like pattern towards the bottom, meaning it’ll screw with the flow of spirit. Not much mind you, but at this point Sega’s quality control and whoever was in lead with this package has completely lost me. There’s nothing premium in this package. Deli, whatever company you are, you should’ve convinced Sega to put more effort in this.

That said, Yakuza 6‘s glasses can at least hold more spirit than the one I bought from Scotland years back, or the Monster Hunter one I got from the Netherlands. I’m not saying I’ve been drinking before writing this post, but I have before writing. Gotta test the glasses with more than one spirit, y’know. It’s pretty good size for a milk glass as well, and it’s not too fragile. Its still cheap glass, can’t get around that.

As you probably surmised, the whole After Hours edition of Yakuza 6 is not up to the usual premium standards. The game’s damn solid and worth your time, but going above the standard edition is not worth it.