JDEstrada

I REALLY wanted to enjoy this game, especially since I'd heard so much throughout the years. It's the best, it's epic, it's amazing, it redefined the genre... I can see all of this being true, but when usability isn't a priority and controls get in the way of an experience...well, you take what many call a masterpiece and ruin it for anyone without the nostalgia train baggage to forgive countless shortcomings. Curiously, upon finishing the game I found out there's a classic view and I should have used that instead. Still, even with all those frustrations, I can see why it's a milestone moment for **** I can't help but wonder what was the extent of testing for this game because...well, let's go part by part. Audio mix...that I need to play a game with headphones to make out the audio would be frustrating enough...that there isn't an option for captions at any point of the game seems like a gargantuan blunder. And I say audio mix because the amount of times the music didn't let me listen to a message or audio cues was impressive and minor tinkering of audio features of my TV did nothing to help the situation. For a game that depends so much on audio clues...what in the hell? Then controls in and of itself. I am aware that the original Myst required you to click to go from screen to screen, but using this as an argument for crap controls that have the precision of crab claws is unacceptable. In one instance, there are three buttons to **** pinpoint the one I needed to point took 8 or 9 movements, if not more. That you have to backtrack is annoying enough, that you have to open and close elevator doors and the such? Nice touch. And I get that the game is supposed to be veiled in mystery but when my experience can be described as cumbersome and finicky, well, you missed the mark. Also, the story in and of itself is pretty interesting but again, usability in the Switch Version was a crap show. There are certain outcomes that are dead ends, but the screen just sits there with no prompt to restart or do anything. Also, after a supposed ending, there's an extra section and it's so floaty and half assed that I just looked up a walkthrough because my patience had been spent on the controls. And there aren't many puzzles, so when some of them are just difficult for difficulty's sake, it's kind of a buzzkill. All in all, beyond playing a version **** that I can recognize is important in gaming, it was not an enjoyable experience and no amount of graphic bumps could make me look past audio mix issues, usability not being a priority, accessibility being half assed at best, etc. I saw no less than 4 videos touting this as a masterpiece and just going real hard on the worship ****'s just say I'm not Team Myst and I'm offering my experience in case someone wants an opinion that doesn't carry nostalgia and experiences from the original. To say I'm disappointed is sugarcoating it. This is not something I'm going to revisit or recommend. And the sad part is that with some tweaks, I'm sure this would have been an epic **** well.

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

When a game is over 20 years old, it begs the question, how does the experience hold up after all this time. This goes for controls, story, graphics, and soundtrack. Curiously, I didn't remember a LOT of this game though did remember I'd enjoyed it and LOVED the soundtrack. The soundtrack holds true and several aspects of the game do hold up remarkably well where so many others fall short. It's a unique game whose recipe for success probably can't be replicated. You play as Jade AKA Shauni and are working with some people to reveal the truth of what's happening in the world. Mechanics go from puzzle solving, light combat, exploration, and taking pictures to progress the plot. There are a variety of mini games that work remarkably well, most notably the controls of a hovercraft that still hold up. The story is interesting enough though you can easily imagine it digging deeper than it does in the game. What is pretty fun is the character development when it is actually done. Pey'J, Jade, and Double H get some love while most everyone else is kind of relegated. The visuals have been brought off to speed enough for you to notice and combat is functional even if not necessarily exciting. At least it doesn't **** or interfere with the experience. What I have to pinpoint as the highlight is the soundtrack. I mean, I remembered it was good, though didn't remember the specifics, but it's worth it to look up online or even buy/download a copy. in general, this felt like an experimentation and I definitely still enjoyed the experience of the game **** the need to link to an Ubisoft account deserves its own section. ------ Why? Why do I need to create and log into an online account to have my in-game activity monitored while I play? It is as unnecessary a requirement as it is intrusive and creepy. I play to disconnect and I don't play multiplayer games. I play to enjoy and escape. This linked account dynamic was consistently off-putting and uncomfortable and I won't be playing Ubisoft games in the future because of this. I get bombarded with enough ads as it is and I don't need a developer being obtuse enough to force players to do this. So if you're interested in the game, consider playing the original Game Cube version so you don't have to deal with this BS.

It’s been 12 years since Donkey Kong Tropical Freeze released on the Wii U and this is my first time playing it. So how does a game over a decade old and adapted to another platform measure to other games? As far as pure platformers go, rarely will it get better than this game. Gruelingly difficult at times, the controls for the most part are responsive and your cast of supporting Kongs definitely even up the grind. I’ll admit, I tried using Funky Kong mode and it just felt odd for my timing and gaming style and found that once I settled into the groove, normal play was the way to go and that 4 out of 5 times I’d choose Dixie Kong as my sidekick because her power really helped me out to reach new areas and pass stages that would otherwise be even harder. As far as platformers go, this game demands precise execution and is rarely forgiving often veering the other direction and intensely at that. To say you’ll die a lot is sugar coating it. Hard games like Super Meat Boy might be crazy…but stages are short. If I had to think of games where the difficulty matches Tropical Freeze, some people might say Cuphead, and they wouldn’t be wrong. But I think Celeste is a better example, except that checkpoints in that game are glorious in comparison to DK. Some stages you have to do it in one go…and I expect a lot of people cursing the gaming gods. I stuck with it and eventually got 100%. To do this, I got all hidden puzzle pieces which vary from stage to stage from 5-9 pieces. I also got all K-O-N-G letters in each stage, which reminds me of getting the S-K-A-T-E letters in Tony Hawk pro gamer games. You can also do time attack mode, which I did NOT do and there’s also a HARD mode if you are that much of a masochist. Graphics and stage design are charming, fun, creative, and more than once I was giggling at how clever they were. Other times I would huff a laugh while struggling with a particularly hard stage. Storyline is not too deep but animations are fun and although there is no gravitas, it is still incentive to beat the game. Boss fights were pretty good but can’t say they’re the reason to play this game. That would be level design and challenge. If you don’t mind pushing your platforming skills to the brink, this is a great game even by today’s standards showing once again that design, creativity, and fun outshine graphics most times.

That a game inspires you to play through twice and that on your second playthrough you push to finish at a higher completion level is a testament to what excellence in videogaming is all about. After playing Silk Song, I felt the need to revisit Hollow Nest and I definitely pushed myself further than the first time. Having recently played Silk Song and seeing this as its base, I can't help but still marvel at the achievement Hollow Knight is. Mysterious, engaging, challenging, gorgeous, immaculately programmed, and destined to thrill for generations of gamers in the future. When it comes to a Metroidvania type of game, Team Cherry is in the upper echelons of developers and storytellers and this game shall stand the test of time, because you can't hit a homerun of these proportions without making waves.

Some games are easy to the point where they feel TOO easy. Then, other games feel as if they're a bit on the easier side, but intentionally so. I can honestly say only 2-3 puzzles gave me pause but didn't have to look up a single puzzle. It's also designed so you can 100% it, with subtle hints from your campfire guides, and on screen cues to let you know when there's a chest in the area. All in all, it works wonderfully and it feels like a puzzle game made for people starting off in the genre or if someone needs something more relaxed to tackle. Music is lovely, story and voice acting are sweet and melancholy, and it's a game that is long enough, hard enough, and all in all, much more than just enough. If you want to explore the genre, this is a great introductory title.

Sometimes a game exceeds expectations and sometimes it is exactly the expectation. Not one bit more OR less. Planet of Lana lands firmly in the meets expectations side of life. The game controls well, soundtrack is pretty good, story is relatively interesting, and it keeps you engaged. But I don't think it ever wows. It never swings for the fences or goes beyond what it's meant to be, a fun, slightly charming, decent puzzle platformer. And that's OK. Not all games have to be vying for Game of the Year. The premise is pretty direct. You live on a planet invaded by odd mechanical aliens. Your sister is taken captive. you go on an adventure across the world and beyond in an attempt to rescue her. If you've played Inside, this is the mega light version of that game, which challenges, engages, thrills, creeps you out, and scares you. In Planet of Lana, you're always aware you're playing a game. So if you want something light (which I did want), this might be worth your time. Only two puzzles stumped me and it's odd, because 98% of puzzles are intuitive and then you get them. then there are two that ask you to retrace steps, and that's fine, and then one of the last puzzles was obtuse to a level you don't see anywhere else in the game. Still, lovely game that will entertain without punishing your brain OR wrists.

While some people want a chill gaming experience, others want a challenge. Cuphead should definitely be filed under the CHALLENGE section. It is a classic run and gun game and when I say classic, think NES classic. The ONLY benefit you have in this game is that stages are separate and you can tackle them with an endless amount of lives. Other than that, this game gives Mega Man and the like its run for its money just in the sheer difficulty. Stages are divided in three types. Run and Gun, which are platform stages you have to traverse while picking up coins for power ups. Flying Ace stages where your trusty character takes hold of a fighter plane and you shoot anything that’s on the screen. Boss fights, i.e. the reason you picked up this game. Boss fights are tough, relentless, and are the type you decipher phase by phase learnin g how and when to dodge, gauging how aggressive you can be, and rewarding strategy and patience over reckless aggression. Controls are tight, precise, and if you die, it shall not be the controls’ fault. The music is an absolute 1930’s big band blast and definitely lets you get in the rhythm of any of the gauntlets you’ll face. Consistently retro enjoyable. The storyline is whacky and worthy of 30’s cartoons which were actually on the dark side. Animation is fluid and consistently stunning, a visual tour de force in every single stage. All in all, if you’re up for a challenge and willing to endure the carpal pain, this is a must play. In its genre, top of the class and then some.

I cued up Blanc thinking I needed to play in co-op though ended up playing it solo. Playing it co-op has to be way easier though I was curious about the mechanics in a solo adventure so ventured and tackled it pretty quickly. If you’re looking for puzzle platformer that’s more on the easy side of games, then this might be for you or if you want something sweet to play with the kids. There are some moments that are a bit tense though fortunately no tragedies occur during the campaign. For a game that has no color, it’s a colorful and charming story that draws you in. Consistently sweet without having to utter a word, you play as a dog and a deer lost in the wilderness trying to find your way back to your respective packs. You will have to take turns and leverage strengths and skills of each character and the size and strength of each will factor in, as well as having to collab. Two or three puzzles were a little confusing because they don’t really give you many hints and a quick check shows you have to do a hop that doesn’t feel intuitive or have to have other NPCs mirror your movements and tag along for a chunk of the story. That said, one of the most enjoyable moments actually has you going with the flow and I think more moments of levity and a slightly longer campaign could have bumped this game up to a GREAT status. That said, it was enjoyable, soundscape is beautiful, and the game controlled great. If you want something to soothe and relax, definitely a good option for you and the fam.

Pepper Grinder is a curious game because part of it I really enjoyed while another part, well, it was kind ****. First off is that this isn’t a particularly long game so if you’re looking for something light in between bigger games, it’s a good option. As a platformer, it brought some interesting mechanics that often were a cool surprise, but I don’t think it’ll revolutionize the platformer genre. As is, the stages were pretty fun, fresh, and with two playthroughs I was able to get all Skull coins in each stage so it’s not a game that’ll torture you to get the milestones. Skins and stickers are there to kind of add some replayability but nothing I was craving to get. Stages also offer a variety of new tidbits that are curious, from a gatling gun, lava, ice, and the usuals presented in a way that isn’t usual. All of this was well and good and the controls are curious and quirky though wouldn’t call them tight. Accurate yes because it does feel like you’re steering a runaway drill. For stages, this works for the most part, but where I actually struggled at was with the boss fights. Unlike the stages, I didn’t find the boss fights compelling and oftentimes they were more frustrating than fun and the uncanny nature of bosses doing exactly what they need to to get double hits was especially UN-fun. That said, it was a fun enough game. Just didn’t blow me away and would have enjoyed it if it were longer and boss fights were more fun. There are 4 boss fights and only one was really fun for me and after seeing the masterclass of boss fights in Silk Song, well, they were a bit underwhelming. So if you want a short campaign that has some curious tidbits and is hard enough in stages and a bit of a slog in the boss fights, then give this a go.

It’s been a while since I played a game where I didn’t have to look for one tip, yet Creaks challenged me and stumped me enough to make me think, but never look for a quick fix or answer. It’s wonderful when any game does this, but for a puzzler, it’s extra rewarding because although I love the genre, sometimes this one goes to great and ludicrous lengths to stump you, i.e. go back five screens, do one thing, go ahead 2 screens, do two things in the correct order, then go back to the screen you’d been in. None of that nonsense with Creaks. Some people might claim that it’s not hard enough, I think it’s the right level of hard because every screen is its own puzzle. This means that everything you need to solve the puzzle is right there in front of you. You just need to do the right things in the right order and you’re on your way. The game also does a brilliant job of feeding you enough information for you to figure out how the game mechanics work. There are four types of baddies and two or three other environmental hazards. Won’t spoil them but will say that each one adds a new layer to the game that makes you think a little more every time. In terms of game design, it’s 6-8 hours you should enjoy very much and I wholeheartedly encourage you to NOT look up any tips. This is coming from someone who doesn’t always have patience and sometimes I need a nudge in the right direction. I didn’t do that and found it endlessly more rewarding. I played this on the Nintendo Switch so controls were responsive for the most part but if you have to leap to one side or another or DROP down, make sure to press in the direction you want to go before hitting the action. It might seem silly, but some puzzles require you to do certain actions with a degree of timing that doesn’t allow you for mess-ups. Fortunately, if you do mess up, the game saves your progress. At the very least, the beginning of the puzzle you’re on and in certain puzzles, once you’ve progressed enough. This brings me to another detail of the game I truly appreciated, when you’re progressing or do something right, the game offers you audio cues to let you know you’re on the right track. It’s subtle, though VERY welcome because it nudges you in the correct direction and soundtrack and sound design are topnotch. The graphic style was what drew me into the game and I found the game visually rewarding on so many occasions. The hand drawn style really comes to life and it’s almost like playing a video game drawn by Maurice Sendak (From Where the Wild Things Are). Creative and visually rich, the world you’re exploring is technically a massive mansion that you enter via the roof and have to reach the basement while a curious cast of character push forth a narrative that has no words but is still compelling. Which actually brings me to the start of the game. You begin your adventure in a small sparse room where you’re writing and a light bulb decides to flicker and ultimately crap out. Soon, the wallpaper in your room peels back and you find a door. Afterward, in the age old tradition of portal fantasies, you crawl through a tunnel and are on your way. I mention this last because the storyline doesn’t explicitly say anything or have any dialogue, but you can get the gist of it…and the entire game is like this, which made it super enjoyable. So if you like puzzle platformers that make you think without absolutely being unnecessarily obtuse or difficult, I highly recommend this mid-range puzzler and if I may add one bit of advice, if there’s a dark corner, a long set of ladders, or something where you think you can walk to or climb onto, do so, there are plenty of things hidden and I found each an extreme treat. Also, this was a game I truly enjoyed as a slow burn, a couple of puzzles at a time. Like the solutions, it takes a little time, and it was fantastic to unwind.

So the game is gorgeous and has a wonderful retro vibe, but it's a classic beat em up with the good and bad. This means that cheap hits can and do happen, difficulty is pretty doable and then Stage 12 exists to see how much you can hold until you either grind through or drop the game. But what I can say is that while other games invite me to push harder, explore more, and dig deeper, if you're in solo play, which I normally am, this game won't have much lasting power and the storyline is paint by numbers at best. Add a block/parry button and the game immediately becomes more enjoyable, but without it, it's easy to think that stages get cheap real quick and difficulty is arbitrary more than by design. In short, I think some tweaks would add plenty of life to the game and if you're into classic beat em ups, you will be a happy camper.

It’s not every day you play a game so good that you’d replay its predecessor, yet that’s how good Hollow Knight: Silksong is. Creating a sense of wonder in art is always special and I do not overstate that this game is a work of art. Musically, in graphics, in lore, in mechanics, there is no aspect of this game that isn’t amazing and absolutely top shelf. It is also not a game for everyone, but due solely to its difficulty. If you don’t enjoy a game where you’ll die a TON, don’t pick Silksong up. If you don’t like having to face a boss upward of fifty times until you hone your strategy and luck out to get the win, don’t play this game. If you don’t platforming that may cramp your hands because it is demanding if you want to get 100%, again, don’t play this game. If, however, you’re up for a challenge in every sense of the word, buckle up, this is one spectacular ride. Like its predecessor, Silksong has tight controls where if you fall down a chasm, get hit, or fail at any task, you feel like it’s your fault. Does the game offer some brutal areas that will punish the smallest mistake? Yes. The game will humble you quickly and often. Fortunately, for the most part there are accessible save points (with some frustrating exceptions, looking at you Hunter’s March & Bile Water). In terms of things to do, there is no shortage here. The lore is much like the first game, though Hornet has much more dialogue which I welcome though others didn’t care for. It is rich, dense, and I will admit that some of the hints to find areas, items, or next steps were a bit too obscure and I had to look up enough help to get past the hump. Also, make sure you buy all the tokens to mark things on the map that look suspicious…as well as the boss fights that break you down to revisit later when you power up enough to pass them. Oh, and there are a LOT of boss fights. I mean a LOT. I read somewhere that it’s 48 boss fights…I think there are more and if you count sections with mini bosses, that number goes up further. I knew to pass a boss, check a nearby section, fight another boss, go up two screens, left one screen, up another screen, and another boss fight. This is not a bad thing, by the way. I’m just laying it out there so it doesn’t take you by surprise. I’m also saying this so that you save often and use prayer beads (the game’s currency) as often as you can or to make bracelets (a way to ensure you don’t lose all your beads), because if you have the beads loose and get KOd, your beads are saved in a cocoon that if you don’t retrieve, you will lose them permanently. Graphics wise, rather than a huge step up in terms of visuals, it remains loyal to the art style and explores a new fascinating world. The amount of variety in enemies, habitats, and pretty much everything is staggering, and writing this, I still can’t believe basically three people designed this game. It is so gorgeous, runs so well, only crashed on me once in 100+ hrs of gameplay, and is consistently surprising. The music, the lore, the areas, the enemies, the controls, the items, the main quests, the side quests, everything in this game is a love letter to gaming and like I said at the beginning of this review, it makes me want to play the first game again. Why? Because if I was able to conquer Silk Song with 100%, I can do anything in Hollow Knight (he believes foolishly). I’ve seen a lot of people complain about the difficulty. Fair critique, but I recommend pushing yourself further because unlike Cuphead, I always felt like I could do the thing if I only did things right. Cuphead is brutal and rewards perfection and memorization of sequences. Silksong rewards creativity, caution, and patience. It does so CONSISTENTLY. I don’t know how many times all it took for me to get closer or beat a boss or section was to just settle down and not rush. Instead of going for three hits, hit once, parry, dodge, heal, reset. Aggression consistently had me messing up with very very VERY few exceptions…and I don’t mind. Is it hard? Yes. Is it impossible. Not by a longshot. It took me 100 hours to beat this game. Do you think it was because I was exploring for that long or because I had to retry plenty of fights or areas dozens of times, white knuckling and with elevated blood pressure? Oh, and that’s not an overstatement. If you get invested, your BP will rise, and your focus will be honed almost to the level of Hornet’s pin. I rarely if ever buy games right when they release. With Silksong, I dove in headfirst paying full price and all I can say is that $19.99 for this masterpiece is a steal. Team Cherry have done something extremely special and I suspect that for 2026, one of my first games will be to replay the original Hollow Knight and maybe replay Silk Song. If that’s not a testament to greatness, I don’t know what is.