Metro 2033

The Short


Pros
- Gritty, dark survival/shooting game set in Russia's subway system
- Guns look appropriately makeshift and old based on the theme
- Monsters are creepy
- Lots of really cool ideas
- Really plays the whole "struggling to survive" aspect better than most other games in the genre
- Fantastic UI
- Superb sound design, particularly in ambiant noises and voices
- Visual theme is uniform and fantastic throughout

Cons
- Console versions are extremely glitchy, PC version is a little better but still has issues
- PC version is poorly optimized; expect to play it on lower settings than other games
- Ghetto guns that have poor aim fit the theme, but make the game seem unfair
- Easy to get lost or stuck on glitches
- Shooting monsters is fun. Shooting dudes is bland.
- Game ends abruptly and with little explanation

The aesthetics in Metro 2033 are perhaps its biggest strength

The Long


Metro 2033 is an interesting game to review. At its most basic, it's a "modern" survival horror game, meaning you are given a large arsenal of weapons with limited ammo and are thrown into dark corridors with lots of beasties to shoot. If I reviewed Metro 2033 based solely off these qualities, I'd say it was a pretty generic, very glitchy, extremely Russian brand of that type of game, and really only for those really into the genre. Where Metro 2033 sold me, however, was it's incredible attention to detail and complete, unabashed dedication to making it a "survival" sim, even if that meant inconveniencing the player gameplaywise.

But I'm getting ahead of myself. Let me give you the general gist.

Metro 2033 is set in...2033 deep down in...the Russian metro. Yeah, you saw that coming. Following tradition the world has been nuked to the point of total nuclear winter, so everybody has to live underground in the broken metro tunnels to avoid the dangerous radiation, cold, and mutant monsters that reside on Moscow's surface. Pretty much par for the course, right? If you are getting Fallout 3 vibes, you aren't far off.

Well, something starts happening that nobody can control. These weird, shadow-looking monsters start popping up out of the woodwork and massacring entire settlements. Your home settlement is under siege by these believed "unkillable" monsters, so you are sent out to try and enlist aid from the main city in the area. Again, hardly anything particularly new in terms of plot.

There are also some of these guys. 

The game plays like a straightforward shooter. You are given a knife, one sidearm, one rifle, and one shotgun. You are free to buy alternate versions of the weapons that sport different upgrades and perks, though generally there are two types of rifles (one automatic, one pump-powered) and two types of shotguns (a high damage double barrel, and a lower damage but bigger clip battle shotgun). The guns start out completely horrible (fitting with the "we are living off the remnants of society" theme), and you'll be desperately scrounging for ammo and praying they actually aim where you point them. By the end, however, it's pretty much a traditional shooter, with all your weapons tricked out and actually functioning properly. The bad weapons at the beginning are a minor annoyance gameplay-wise, but they do a lot to fit into the game's theme and aesthetic.

Which brings me to the biggest part of the review: Metro 2033 reeks with style. It practically oozes it. The game is very Russian, with people speaking in heavy russian accents and referencing some things we Americans might get. But the biggest attachment to form is the whole "you have to fight to survive" aspect, which really sets this game apart (both for good and ill). 

Suffer not a beastie to live

Let's first address the basics: a light. In survival horror games, your light is really important. Often they throw you into pitch black places, letting you reveal whatever scary things they have hidden with the flashlight/candle/etc. they gave you. In every other game I've played, lights either have infinite batteries or magical recharging ones that fill up after you turn them off. Keeps the tension, but without breaking the gameplay. 

In Metro 2033, your light is constantly running out of juice. But in order to recharge it, you have to hit a special button and manually crank the charge. You don't even know what your current juice level is unless you hit this button and pull up the crank, which has a fogged-over meter attached. You can sort of tell because it'll start going dim at about half-empty, but having to pull out your light and manually crank it in the middle of battles (or walking around) is both annoying and incredibly immersive. 

IMMERSION.

Same goes for the gas mask. When you go to the surface on several instance, you have to bust out the gas mask or die. They make a note that your filters will run out after several minutes of use (and I think they run out faster if you get in a lot of fights/run a lot/ do stuff that would increase your breathing rate). Rather than throw a timer at you, however, your dude literally winds up an analog timer on his watch which you have to press a special button for him to check his wrist to know if the filter is running out. Also as it starts to die your mask will fog up, making it harder and harder to see. So then you have to make a choice: do I swap a filter early and risk running out, or wait until it runs out of time but risk losing all peripheral vision? 

IMMERSION. 

You can't even check your objectives (which your dude writes down in a notebook and has to pull up) if it is dark. You have to bust out a lighter, click to light it, and then hold your notebook up to see it. Also, if you do this while trying to hide in the dark/be stealthy, people will see you. So you are essentially being punished to check your notes (like you would in real life).

IMMERSION. 

I've already made a point about the guns starting off totally awful (and they all look like they were put together with spare parts; the gun design in this game is sweet), but did you know that in this game bullets are money? Yes, the normal bullets you shoot from your guns are crappy, "refurbed" bullets (much like my "refurbed" Xbox), but you can find special "good" bullets. These do loads more damage, but they also count as the only currency in the game. So you have to decide whether they are worth shooting at the boss or saving just in case you want to buy a new gun (protip: save them. This aspect of the game is clever, but poorly executed; there is literally no reason not to just use the crap bullets the whole game). But still...

IMMERSION.

This dude is totally immersed. Also, screwed. 

And that is where Metro 2033 sold me. The shooting isn't great. The story is interesting but quickly putters out. The game is glitchy and makes you shoot too many humans at the end rather than fighting against crazy subway monsters. It also gimped my computer and would only run at crap settings even though I could play Starcraft II at way better graphics, so I knew it was Metro's fault. But despite all of this, once I started it really sunk its claws into me. I just put on some headphones, dimmed the lights, and let myself be totally taken in by the game's style. It wasn't that scary of a game, and it was extremely linear and pretty short (six hours, maybe?), but I got so sucked in I didn't care.

Though that does mean that whenever some enemy started glitching out or I got trapped in the geometry, I was totally ripped away from the main reason I was playing the game, which sucked. Also, this game has a huge problem not telling you what to do, even with your stupid objectives list that you have to use a lighter to see. I got stuck in rooms simply because I was confused, or wandered around areas (that damned library still bugs me) for quite a while before figuring out where to go next. Obnoxious.

Cranking the light! ARE YOU IMMERSED YET?!?

It is also worth noting that, unlike most multi-platform next gen games, I didn't play this one on the Xbox 360. I've heard plenty of people say it's even more glitchy than the PC version, which would be pretty rough of that's the case. I actually started this game on PC, got mad because my specs were bad, and then ended up playing it on OnLive instead. Which technically had worse graphics than my PC, but I was so fed up with settings twieking that I really didn't care at that point. I played it on mouse and keyboard, which I honestly would imagine is the best way to play it, because there are so many stupid buttons for "checking watch" or "replacing filter" or "cranking flashlight" that it would be tough to map all that crap to a controller.

So that means I actually own the game both on Steam and Onlive, which also means I've technically bought it twice. Well, whatever. I paid something like $5 for the Steam version, but the $20 I paid on OnLive I would say is a fair price, if you have a PC that can run it decently. If you are into games that really suck you in, then plug in some headphones, dim the lights, and enter the (immersive) world of Metro 2033.

If I were to give a star rating, it would be three out of five, but I will certainly be picking up the sequel, Metro: Last Light when it comes out. It's a flawed game, to be certain, but a fantastic one if you are in the right mood. 

Parasite Eve

The Short


Pros
- Unique horror RPG from Squaresoft
- Good graphics for early PS1 era
- Innovative and unique battle system and weapon upgrade system
- New Game + encourages multiple playthroughs
- Fantastic soundtrack
- Interesting story combining science with fantastic elements
- Multiple endings
- You fight a re-animated T-Rex skeleton in the Museum of Natural History. Serious Dresden files vibe.
- Only $6 on PSN

Cons
- Short
- Story hits the usual JRPG unintelligible weirdness during the last act
- Set in New York while being made by people who have no idea what New York is like
- Aya walks stupid slow
- The linear gameplay doesn't offer much in terms of leveling, weapon collection, item purchasing, etc.

Aya shows some 32-bit leg

The Long


Parasite Eve came out during Squaresoft's "silver" era of RPGs. Releasing after Final Fantasy VII but before Final Fantasy VIII and Xenogears, it was touted as an "rpg novel," based on a book by the same name published in Japan. While the sequels would take a more survival horror approach to the series, Parasite Eve is very much an RPG, combining hybrid elements from both action RPGs and ATB (active time battle, like FF IV-IX) RPGs that Squaresoft was making a billion of at the time. Completely ignoring any party systems from their previous RPGs, Parasite Eve is an anomaly in more ways than one, and because of that there is really no RPG released - even today - that is comparable with it.

Parasite Eve's story is a weird mish-mash of science, religion, and just general oddness. Basically, the mitochondria in our cells, which are the part that provide cellular energy, apparently are considered independent beings in this game. This crazy lady, calling herself Eve, has gained the power to somehow cause everybody's mitochondria to go loco, the tiny bits of the cells rebelling against the body and killing or mutating everybody (turning people into weird gel and animals into random encounters). Aya, for whatever reason, is immune to Eve's influence, and as a member of the LAPD it's her job to get rid of Eve before she royally screws everybody over.

Pictured: What nobody on the Parasite Eve dev team read

Is it stupid? Yeah, a little. But when you think of stories in video games, especially JRPGs, it really isn't that far fetched. You get to go to real-life places in New York (though the fact that Aya is a blonde bombshell and her boss is the only black man in the world just screams "Japan's view of America") just moments before (or after) Eve turns all the animals into walking mutated experience points, and it keeps the tension high while still providing enough answers to keep things interesting. It's too bad that the last chapter gets so bat-sh*t insane that I literally still do not understand what happened (it involved the Statue of Liberty and goo, which reminds me of the ending of Ghostbusters 2. Oh, and some god-baby that was born and like...blew up a boat? Oh, spoiler warning and all that) even after having beaten the game 4-5 times. Still, there is really nothing like this...well, anywhere, and especially in Squaresoft's game library, and it isn't bad enough to turn people off (until maybe the end).

The gameplay is where I really got attached to Parasite Eve. It's a totally unique experience that can be a little hard to explain, so I will provide this handy graphic I stole from the internet for your reference.

These graphics are also emulator up-rezzed. The original game looks like this, but with more BLUR

Basically, when a battle starts the camera locks and you are limited to whatever specific area of the screen you were in. Parasite Eve employs the usual "pre-rendered backdrops with 3D characters" that were a staple of PS1 era Squaresoft RPGs, so you are stuck in place until either you run or kill everything. As your AT bar (upper right, in blue) fills, you are free to run across the battlefield as much as you want, either to dodge attacks or get in a better position to shoot. That's the "active" battle part.

After your meter fills you can attack. Aya primarily uses guns, which can be upgraded to increase ammo, damage, spread, and just about everything (You can also break down guns and apply their powers to different guns, which is pretty cool if you want to make THE ULTIMATE WEAPON). When you choose to attack, that small grid appears around Aya, indicating the current weapon's range. You can shoot at enemies out of that range, but you'll probably miss. You then choose how many shots to fire off (again determined by how upgraded your weapon is), and Aya is locked in place for a second as she blasts whatever number of bullets you decided on.

It's a really clever battle system, combining ranged weapons with action-RPG elements and turn based combat to make something truly different. Back in 1990-whatever when I played this for the first time I was completely blown away. Coming off of SNES and PS1 Final Fantasy games, where characters stood on one side of the screen and waited their turn before simply executing a command, this seemed far more interactive and innovative. It's really a disappointment that they never used this again (they completely dropped it in Parasite Eve II and The Third Birthday, making them more action-shooters).

Look! I'm actively dodging attacks! In a JRPG! What is going on?!

Despite me loving this system, even I have to admit it has its flaws. Aya runs just slow enough to be annoying, making failed dodges seem more cheap than fair, and she doesn't have any other evasive moves other than simply running (no rolls, crouches, etc.). The gun upgrade system is neat but not very extensive, though it does encourage you to cycle through guns at a pretty rapid clip (lol gun pun) as you keep mixing-and-matching powers. Aya also has some magic, which is usually reserved for healing, and the gun upgrade system also applies to the various forms of body-armor you find. A major niggle I have with this game is the really, really limited inventory space. You can move stuff to a storage chest, but it's a huge pain when I can't pick up the gun I want because I have too many potions, and the game is so linear you don't always know if you can go back to a chest you left behind and pick it up later.

Parasite Eve is also a pretty short game, and not particularly difficult save the extra "dungeon" that is accessible after beating the game once. On yeah, it has a New Game + feature like Chrono Trigger, which is great feature and should be in every game. It's probably for the best that the game is short, though, since the foundations for both the story and the gameplay are a bit shaky, and trying to drag it out over a 30+ hour experience probably would have resulted it in crumbling on itself. As it stands, the 10ish hours you spend in a playthrough are a delight, like eating candy. It's great for a while, but you can't eat candy for every meal without starting to get a little sick.

Parasite Eve's soundtrack is also quite good, fitting the bill with atmospheric tracks that also make great music. The battle theme is a bit...not great, but the various places you visit have great background music, and the boss theme is quite good.

The game also looks great. If you've played Final Fantasy VIII, this game is picked right out from that era. Characters are blocky but still look better than Final Fantasy VII, backgrounds are well rendered if a bit dull (though the locals they send you to are great: zoos, hospitals, etc.), and the CG stuff was really impressive at the time, even if it hasn't aged great. The enemy design in particular is worth complimenting, taking regular animals and adding a serious dash of "messed up." It all fits into a very complete package, which is consistent with Squaresoft's standard of quality for this era. 

There is that PS1 graphical fuzziness we know and love!

As you can probably tell, I really liked Parasite Eve, despite its flaws. It's a fun ride, providing a great hybrid of horror and RPG that sticks with you even years after you've beaten it. I even liked it so much I made a game that was basically a SNES/16-bit ripoff, back when I was making DOS games in high school.

It's currently available on PSN for download as a PS1 Classic for $6. Disc copies can be found on eBay for a little more than that, used. I'd say it's certainly worth $10, which wouldn't be too hard to find. If I were to give it a star rating, it would be four out of five. 

The Binding of Isaac

The Short


Pros
- Blend of Zelda, rogue-likes, and duel-stick shooters
- Hundreds of unlockables: items, characters, power-ups, levels, bosses, and more
- Dark, disgusting, and with a unique art style
- Incredible soundtrack
- Addicting and ideally suited for short bursts of gameplay
- Only $5 on Steam

Cons
- Can be incredibly difficult
- Success is often based heavily on luck
- Disturbing characters and themes might be too much for some
- No gamepad support
- Shooting is only four-directional rather than true eight-way

Welcome to hell

The Long


The Binding of Isaac is an indie game from half of the team behind Super Meat Boy (read: one of the two people, specifically the artist) and the creator of Gish, another PC indie game. At first glance it looks like a dark, more demented version of The Legend of Zelda but don't be fooled: beneath it's bizarre art style and gross-out, dark humor is an extremely competent rogue-like that simply screams for repeat plays.

The story behind The Binding of Isaac is...well, a more modern and messed-up take on the Biblical story of the same name. Isaac's mom, who spends most of her day watching Christian broadcast stations on the TV, hears "the voice of God" one day telling her to kill her only son, Isaac. In an attempt to escape her insane mother's bloodlust, Isaac makes his way into the basement, where plenty of dark secrets and horrible monstrosities await him.

Pictured: Horrible Monstrosities

The premise is one that many might find offensive, but it generally just serves as a background for the game's many levels of questing and item discovery. You find items that fit with the theme of a Biblical parody (or mockery, depending on how you take it) such as haloes, books from the Bible, and other weird connections. All the alternate characters are also named after Biblical "baddies:" Judas, Cain, Magdalene, Eve, etc. to further fit the theme. All in all, however, while I was a bit shocked at the game's premise at first, it is clearly taken more as satire than mockery, and again it really just exists to push the game forward.

And what a game it is. The Binding of Isaac is an extremely successful hybrid of three game types: The Legend of Zelda, rogue-likes, and duel-stick shooters. While this combination might sound a little weird, let me break it down for you.

For the Zelda aspect you have...well, a general Zelda aesthetic (as you can see from the screens). You collect silver keys to open secret doors and treasure chests. You get bombs to either attack enemies, destroy obstacles, or find hidden doors. You get your main attack an one "sub-item," and your life is measured in hearts. You collect pennies to spend at stores that have a distinct "Zelda" look about them. Because of that, you might think this game really is more Zelda than anything else, when it actually isn't.

The Binding of Isaac is a rogue-like, and it follows the staple of the genre where it has to be mercilessly punishing. Death is permanent. There is no save feature: quit and your game is over. Items like hearts, bombs, keys, and coins are dropped extremely rarely. Power-up items are given randomly (you are guaranteed at least one every floor, assuming you have a spare key to unlock the door), and a "bad run" is very much possible (i.e. getting all useless items so you are extremely underpowered by the end). It offers that weighty decision in games like these: do I risk clearing out a room for the hope of reward, or do I ignore that and simply take the path of least resistance? Once you are in a room you can't leave until all the enemies are cleared or you bomb a door to break out, and the difficulty means every room has the potential to kill you. This limiting of items and power-ups makes playthroughs of The Binding of Isaac short, but short enough that you don't mind starting over for another attempt. 

As far a a duel-stick shooter goes, that's generally how you attack. You control Isaac's movement with the arrow keys, then can either use the mouse (boo) or the WASD keys (yay) to shoot his "tears" (aka your only weapon) in four directions. Power-ups increase the rate of fire for tears, damage, range, and all sorts of other crazy things (my favorites include turning them into eye-lasers and a powerful charge beam).

And speaking of power-ups, there are loads. We are talking hundreds, and with more unlocking the more you play. The game practically throws unlocks at you the further you get, rewarding you for bombing stuff, exploring secret areas, killing certain bosses, and more. These power-ups don't make runs any easier, they just basically go into the grab-bag of items available when you find a power-up room. Which means later playthroughs won't necessarily be easier, but they'll certainly be different. 

Seriously, there are a lot of items in this game. 

While on that subject, The Binding of Isaac probably has the most incentive-rich gameplay of anything I've spent time with. In addition to items there are alternate bosses, characters, and even whole levels. The first time you beat the game is actually just a warm-up: after you beat Mom the first time it unlocks a whole new world past that (which you can get on your next playthrough) which is even harder and sports an even more difficult boss. Beat that nine times (which nets you more items) and you get an even harder ending boss, and beat that and you unlock a fifth world that is just stupid difficult and with one of the hardest bosses I've ever fought. Seriously, this game is totally packed full of stuff to get. 

Which is where The Binding of Isaac's appeal really comes from. The gross-out sections and questionable story will certainly turn a lot of people off (and many of the items are also lacking in taste), but at it's core this is just a really, really solid game. Had any one part of the game not worked - the Zelda-esque layout, the balance between difficulty and reward, or the controls - it would have been regarded as just a unique idea that failed. Instead, everything ties together perfectly and makes a completely unbeatable "quick-fix" game. I've sunk at least 10 hours into this game (with playthroughs running anywhere from 5 to 45 minutes) and I keep going back to it when I can't think of anything else to play, just to see if I can make it further than "that last run." Addicting can be a hard quality to make in a game, but like Super Meat Boy, The Binding of Isaac holds no punches. 

Items actually change your appearance; Isaac usually looks pretty messed up by the end

Before I forget, the soundtrack is absolutely worth mentioning. It's by dbSoundworks, the incredible team behind Canabalt and Super Meat Boy, the author of which (Danny Baranowsky) is widely regarded as the best independent composer in the business. The songs differ from his usual retro-throwback tunes, instead focusing more on being creepy, simple, and incredibly catchy. It's atmospheric while still being musical, with nearly every song (especially the one that plays during the opening prologue) sending chills down your spine.

At an asking price of $5 on Steam (or less if it's on sale, or part of one of the previous Humble Indie Bundles), The Binding of Isaac is a downright steal. If you can tolerate the questionable content you are looking at many hours of difficult, masochist gameplay that beats you over the head but you still love it. The amount of sheer content in this title is so far beyond even the majority of full retail video games I still can't believe they didn't try to charge $10 or more for it. Add to the fact that they have already added a massive Halloween update (and have $2 DLC chock full of more items, levels, and characters on the way)

If I were to give a star rating, I'd give it five out of five. The asking price of $5 is underpriced if anything, and you can bet I'm picking up the DLC the minute it hits Steam. 

Legendary Wings

The Short


Pros
- Two-player top down and side scrolling space shooter
- Uses regular shooting and bombs ala Xevious
- Has "State of the Art" and "High Resolution," according to the box
- Lots of good powerups and secrets
- Decent music
- The cover is a picture of an angel dude with one shoulder pad holding a future space gun

Cons
- Like every other space shooter on the NES
- The whole "cross legged pink guy" thing on the side-scrolling stage is a little weird
- Limited lives and continues

DARK, the world-ruling computer has gone rogue, and so it's time to send the angels

The Long


Legendary Wings is an NES port of the Capcom arcade game of the same name, and is pretty much another space shooter. However, where Legendary Wings differs from the multitude of others (Lifeforce, Gradius, etc.) is it's unique art style as well as the clever use of power-ups and mixing overhead with side-scrolling sections.

Legendary Wings is mostly played from a top-down perspective, where you play a some pink (or blue) angel...guy. With a gun. Enemies come in waves, and power-up enemies are specifically designated. As well as being able to shoot the air, you can drop bombs (like Xevious) to blow up enemies on the ground. Power-ups also double as extra hits, and every time you are attacked you go "down" a powerup level. The exception of this is when you get five power ups and turn into some big fire bird. Then you have a couple of hits before reverting back to sucky regular pink angel guy.

And you get to kill some dragons

The "trick" to Legendary Wings is the large number of secrets. Bombing certain area unlock caves where you can go and get bonus money, continues, and powerups. On the flip side, some of these caves are bad, which forces you to go through a challenging side-scrolling section before kicking you out exactly where you were. Rude.

Bosses recycle frequently, mostly being the "shoot the weak point when it is available" variety and then in different colors. You also fight dragons on the top-down view, which aren't particularly challenging.

What is memorable about this game is how silly the angels look in the side view stages. Seriously, why are they flying with their legs crossed? Why do their wings looked tacked on? Why are they lounging back with their guns like they are on some street corner trying to pick up ladies?

That just looks awkward. 

All in all, if you like these kinds of games, Legendary Wings is certainly better than the droves of space shooter garbage that came out on the NES. It is better than it's arcade counterpart, and can be a lot of fun two-player. The game also gets very difficult very quickly (it wouldn't be an NES game if it didn't), so it can take several tries before you finally beat it.

Plus, it's state-of-the-art and high resolution! It says so right on the box!

I snagged my copy for $3, but I usually see it from $5-6. If you are a fan of these kinds of games, it's totally worth it. If I were to give it a score rating, it would be three out of five.

Lost Odyssey

The Short


Pros
- A JRPG from the original creators of Final Fantasy
- Old school, turn based RPGs with several unique twists
- A well crafted premise and story
- Fantastic music by Nobuo Uematsu (Final Fantasy's composer)
- Caps level grinding so bosses stay challenging and fun
- Unique skill learning for Immortals vs Mortals
- 30+ hour adventure
- Some genuinely touching moments in the story
- High class voice work with a decent script
- Has a female character that isn't some sort of healer or mage
- There's a character named "Sid." Wink and a nod, Sakaguchi
- Jansen might be the greatest JRPG character of all time (with the exception of the cast of Nier)

Cons
- Four discs
- Load times are atrocious unless you install it to the HDD, and even then they are pretty awful
- Bad pop-in on the graphics thanks to the Unreal engine
- Story goes completely bonkers during the final parts
- DLC is basically just challenge rooms with no additional plot
- Follows traditional JRPG tropes (stupid costumes, save points, putting kids in your party, etc.)
- Won't ever get a sequel

Get ready to go back to turn-based JRPG bliss

The Long


Lost Odyssey is an interesting game, if only because of the dev team behind it. Hironbu Sakaguchi, the director/designer behind Final Fantasies 1-9, resigned from Square just before it merged with Enix, and founded his own studio (Mistwalker). Nobou Uematsu also left Square-Enix shortly after and joined up with Mistwalker. Their first game, Blue Dragon, had heavy influence of Akira Toriyama (famous for his work on Dragonball, Dragonball Z, Dragon Quest, and Chrono Trigger), and some considered it the "dream team," much like Chrono Trigger was several decades ago. Unfortunately the game didn't do as well as they anticipated, though it was very much a traditional, turn-based JRPG in the realm of the early Final Fantasy and Dragon Warrior games.

Skip ahead a few years. Mistwalker was joined by a large number of people who worked on the original Shadow Hearts games (called "feelplus") and they created Lost Odyssey. It's worth nothing that feelplus along with Cavia (the makers of Nier) have since been dissolved and merged into a bigger company, AQ Interactive (which I expect is working on the greatest JRPG of all time right now). With the combined forces of the geniuses behind Final Fantasy and Shadow Hearts, you'd expect Lost Odyssey to be a crazy good game.

Guess what? It actually ended up being pretty quality.

Though the whole "bare midriff on a dude" thing isn't exactly my cup of tea

Lost Odyssey follows the story of Kaim, an "immortal" who is several thousand years old. He serves in the army for his country (the game starts with him fighting on a battlefield, unable to be killed) which is on the verge of a magical/technology revolution (think Final Fantasy VI). When he and another immortal are sent out with the mortal Jansen to fix some issues in the magic...producing plants (or something like that), they uncover a plot that (obviously) puts the whole world in trouble and off they go to save it.

Lost Odyssey's core story isn't that different from most JRPGs. Rag-tag group of heroes, including girls that really should put more clothes on and some random kids, go out to fight the big-baddie who keeps messing up the world. Basic stuff. Where Lost Odyssey excels, however, is in its short side stories that branch off the main quest.

For example, Kiam is married, but he hasn't seen his wife in decades. He also has a (mortal) daughter, who he believes died many, many years ago. The idea of an immortal person living in a mortal world (and making social ties with some people who, unlike them, grow old and eventually die) is a promising one, and the game manages to put some very emotionally driven, well-crafted scenes based around these ideas. While I do wish they'd taken those themes and better woven them into the main story, it's the little things in Lost Odyssey that make the story shine.

Now I'm going to ignore all that and talk about Jansen, who is amazing.

This guy is freaking hilarious

Jansen as a character is actually pretty JRPG cliche. He's a big-headed womanizer (who is assigned to your party at the beginning and shows to the rally point drunk and with three prostitutes) who finds love and that the real joy in life is helping your friends, etc. etc. I'm guessing had the voice actor just played it straight with the script, he wouldn't have been as memorable.

But he doesn't play it straight. In fact, I'm pretty sure the voice actor just did whatever the crap he wanted, because there are parts where Jansen talks and the other characters seem to completely ignore him. Jansen is basically the annoying younger brother in this game, and it is hilarious, especially considering he's basically a mortal amongst immortals and is totally outclassed.

His complaining and wisecracks drop down near the end (where he "finds the true meaning of friendship" or whatever), but for the most of the story Jansen is easily one of the most realistic, entertaining JRPG characters I've seen. In a genre filled with rote, stilted performances, Jansen is a breath of fresh air. And he's a pretty decent character in battle, too (our designated "black mage.")

You show 'em, Jansen. 

The combat in Lost Odyssey is a familiar affair. At it's core it's basic, turn-based combat with little frills. You issue commands, and then they execute in the order the "speed" stat designates. One rather big problem I found right away was the fact you don't know the order characters go in, especially relative to the enemies. In games like Final Fantasy X, it provides a handy bar on the side to let you know when your moves will go off, how you can push an enemy's turn back, etc. It added a lot of strategy. Lost Odyssey doesn't have that feature, and it's unfortunate.

Actually in battles, as stated before it's pretty standard. The only real "twist" is the "Ring System." Basically you can equip all your characters with offensive "rings," that either bestow elemental powers or status effects, that sort of thing. These only apply to melee attacks, so it's sort of useless on your mages. When you rush for an enemy (see the first screenshot), a ring appears, and if you release the A button at just the right time you get a small bonus. It's a little thing, but it keeps the battles from being pure button-mashing affairs, and finding out which enemies are weak to which rings keeps the strategy going.

Another interesting feature is the XP/Leveling, as well as ability leveling. For XP, you are essentially "level capped" in each area. You level normally for a set number of levels, then after that XP growth drops substantially. This is a way of basically reigning in your levels so the bosses will stay a challenge, and it works. There are ways, once you get a boat, to get to areas and still XP grind your way to easy victories, but until that point the bosses are very challenging and the game makes sure you don't just play for an extra two hours and then cakewalk past the boss.

Abilities also grow in interesting ways. The four immortals you get don't learn abilities through leveling, while the mortals do. The immortals instead have to learn the moves from the mortals, and they can only learn them if they are in the same party. Mortals cap out on abilities at around level 40, so after that there is no point in using them instead of the immortals (who can learn every ability and have higher stats than the mortals). This makes characters like poor Jansen useless by the end of the game, but at least the mortals have a slight advantage up until then.

Sorry buddy, that's just how it works. 

Graphically, the game looks pretty good, and by that it looks like a game made in the Unreal 3 Engine (like every other freaking game this generation). Bitmapping is there full force, the art design is your traditional JRPG variety, and as a whole it's completely passable but nothing too special. Texture pop-in is a problem, but it lessens if you install it to your 360s hard drive. Which you should because the load times are atrocious. It can take anywhere from 15-30 seconds just to go to a new area. If you are running through a city, that's more time than you actually spend in each area. Installing it drops the time to about 5-10 seconds, which is much more manageable, but since the game has four discs you either have to have a big hard drive or swap installs (which is what I had to do). I don't know why these load times are so bad (Gears of War is a better looking game on the same engine and it hardly ever has to load) but they really could have optimized that better.

Music is fantastic throughout. Uematsu doesn't really reach the same level as some of his previous Final Fantasy offerings, but still produces a soundtrack heads and tails above most other video game soundtracks. Music is atmospheric and fully orchestrated and works quite well. It also has one of the most awesome boss songs in the business. 

Overall, Lost Odyssey is a fantastic JRPG that doesn't stray far from traditional conventions, but it doesn't have to. If you like old school RPGs from the NES and SNES era, this game is perfect for you. If you've never liked JRPGs this won't change your mind, but it is still an excellent example of how the foundations of the genre still can work in a modern game setting. Just be prepared to get all the other conventions of the genre, the majority of which aren't really on par with current video game standards.

Stupid costumes are a must. 

If you are looking to buy it, I'd say $30 or below would be totally worth it. It isn't a game that particularly ages, seeing as the fundamentals are from way back in the NES era, but if it's your thing you are looking at a good 30+ hours of fun. If I were to give it a star rating, I'd give it four out of five.

As a bonus, here is Jansen being an idiot. Great character introduction. 

3-D World Runner

Video Review/Episode

Text Review

The Short

Pros
- 3D Platformer on the NES
- Created by Square (as in, the Final Fantasy guys)
- Music by Nobuo Uematsu (aka, the Final Fantasy composer)
- Eight worlds, but to quote my friend Davy "Nobody makes it past level 3!"
- Easy to play, extremely difficult to master
- If you press select and have red/green 3D glasses, you can play in REAL 3D!
- Can pick it up for about $2-3

Cons
- Gets really difficult really fast
- Some cheap deaths
- Shooting enemies kind of sucks and takes away from the platforming
- Only has two songs for the whole game
- Is really just a ripoff of Space Harrier with a platforming emphasis

Milking the power of the NES

The Long

3-D World Runner (yes, the dash is part of the title) is one of my favorite NES games. Back in my freshman year of college, my neighbor Davy had an NES hooked up to a really old TV, and a whole suitcase of NES games. After playing through a handful of them I finally got stuck on 3-D World Runner, a simple 3D platformer that was really easy to pick up and play (unlike most NES games). After several months of trial and error (and roommates/hallmates cheering me on) I finally got past the hell that was Level 3, and made it all the way to Level 6 before finally being unable to go any further. It was quite the accomplishment.

3-D World Runner is an extremely simple game that still manages to have the same addicting, "one more go" pull of great platformers like Super Meat Boy. Essentially, you hold forward to run, press A to jump, and the longer you hold A the longer you stay in the air. That's where the trick to 3-D World Runner come in: it gives you massive pits you have to traverse, and you have to figure out the exact timing of your jumps. It has liberal checkpoints (at least in the first couple of levels), lets you do the whole "hold A when pressing Start when you continue to pick up on the world you died on" (ala Super Mario Bros.), and is really just a blast to play.

Play...IN 3D! Roger Ebert, eat your heart out. 

It's lack of direction, however, can screw you up the first couple of plays. You are always going forward (the rate just increases as you hold forward...be prepared to hold forward the entire time you play) and the way to get items is to ram your face into poles and hope a present comes out. It's also worth noting that, unlike Mario, Mushrooms in this game instantly kill you. The crap you want is the rocket (gives you the option to shoot with the B button), the potion (gives you one more hit from enemies), the heart (extra life), and the little atom symbol (gives you the most useless invulnerability in any video game: it only lasts like 5 seconds, not long enough to recover your momentum from ramming the pole).

There is also a trick in World 2 where, if you are patient, you can essentially get unlimited lives. In one area you can pick up two extra lives by going to secret warp zones. Then you just die, start at the checkpoint (one life richer) and repeat. If you really hate yourself, you could do this for hours until you had 99 lives, but I can't recommend it.

The bosses really look like Space Harrier

At the end of the level you fly into the air and have to shoot some big beastie (or multiple big beasties). These fights are quite easy, even when the bosses are "invisible" (you can still figure out where they are because of their shadows), the only problem happens when there are like six of them and you are on a timer.

It would be fair to say I'm biased against this game because I really caught on to it during my freshman year of High School. In all honesty, most people probably won't get past Level 3 (Even though levels 4 and 5 are a lot easier), and the general repetition of the game will probably turn a lot of people off. It does introduce things like springboards that are required to traverse the longer pits (they are the reason Level 3 is rough), and the game was good enough to merit a Japan-only sequel, but considering Square released this the same year as the first Final Fantasy, I think it's safe to say which series took off.

The full title is apparently "The 3-D Battles of World Runner." Even though there aren't many battles. 

So...should you buy it? Well, I found it at my overpriced retro gaming store for $3, and they always seem to have extra copies. It is personally one of my most favorite NES games (and the first one I got when I got the system last year), and while it isn't exactly a well-known classic, it will provide at least a few hours of fun.

Plus...IT'S IN 3D! What more do you want?

If I were to give it a star rating, it would be Four out of Five. 

As a bonus, here is the main song in the game (the only other one plays during bosses...and I guess there is an ending song). I learned how to play it on the piano, and proceeded to bug the crap out of all my roommates for years to come.

Limbo

The Short


Pros
- Presented in only black and white with a charcoal dinge about it
- Complex platformer/puzzler with clever puzzles
- Creepy and quite terrifying at times
- Builds a unique type of suspense often absent from other games
- An excellent example of doing less with more

Cons
- Extremely short
- Low replayability
- Loses some of the suspense in the second half
- Story is relatively nonexistant

Limbo is a creepy game that isn't like anything you've played before

The Long


The premise behind Limbo is a simple one. A boy wakes up in a forest, and must find his sister. As he ventures deeper into the dark woods he finds he is not along, and each progression forward only increases the danger. Along the way he'll encounter more and more complex puzzles, some of which will prove disastrously fatal. It's a pretty basic idea, and that alone probably couldn't carry the game.

What Limbo excels at is taking a basic concept and making it extraordinary. First off you have the graphics. The game is cast in complete black and white; no color, ever. The whole thing looks like it was drawn with charcoal on paper, a very blurry vision of the world. The minimalistic view is extremely striking, especially in motion, and makes i look more like a piece of art than a game.

The second thing it does is cuts almost all sound from the game unless completely necessary. The woods are often deathly silent, as is the city and factory you eventually reach. No voices are ever spoken. There is never any actual music except perhaps a chord played for dramatic effect on very rare instances. Most of the time all you hear are your echoing footsteps as you progress forward, not knowing what horrors await you ahead.

The third thing it does is present some of the most horrific video game deaths I've ever seen. This is a "T for Teen" rated game, but honestly I'm surprised it got that low a rating. You play as a child, but deaths are long, painful, and often gruesome. Your first death by a giant spider is horrific. Your first death by a hidden bear trap is absolutely shocking. And by the time you reach puzzles that have giant saw blades, your hands begin to sweat and your grip tightens on your controller. This game is playing for serious, and it isn't afraid to show it. All with the slow, quiet, minimalistic way Limbo presents every small detail.

Mess this up, and you'll see it in your nightmares

Limbo is, first and foremost, an experience. It is dark, violent, harrowing, and suspenseful. The first area - a forest that may not be as empty as you first think - contains some of the most tense moments in any game I've played. The game knows when to give you long segments where you just walk, stringing out your anxiety as several screens pass without anything happening. It's a hard timing balance between suspense and overdrawing it, but Limbo manages to pull it off.

This suspense, unfortunately, doesn't last throughout the entire game. After the forest you enter a city, and then a sawblade-filled factory. Here the game switches from being atmospheric to being a raw puzzle game, filled with plenty of smart tricks that fit right alongside other puzzle platforming greats like Braid. While there is no doubt that the puzzles in the later sections are clever and satisfying, the fact that almost all the horror and anxiety is gone sort of bummed me out. This is especially noticed simply because the first part is so good with its atmosphere, that when you take even a little bit away the contrast is (if you forgive the pun) black and white.

It's a pity most of the creepy backgrounds disappear late in the game

Another issue with Limbo is its length. Now, since you'll probably be on edge the entire time you are playing, it'll feel like 5-6 hours as you carefully make your way through Limbo's dangerous world. In truth, I beat the game in under 3 hours which, for a $15 game (on release) was a bit of a pricy experience. You can go back to try and find secret collectables, and there is a near-impossible achievement for beating the game in one sitting, under and hour, and without dying (all in the same run), but other than that there isn't a lot to return to. Once you've seen Limbo's chilling setpieces and creepy monsters, it just isn't the same the second time around. It reminded me a bit of Portal, where the first, blank-slate run is amazing, but all the runs after that lack the "first timey" awe and wonderment. Portal made do by embedding the whole world with secrets about its story. Limbo does no such thing, and thus replayability hurts.

Speaking of Limbo's story...there really isn't one. The XBLA description, "Searching for his sister, a young boy ventures into LIMBO" is pretty much all you get. The game makes no attempt to explain anything about his sister, why he's in Limbo, or what anything that is happening means. Compare this to another puzzle platformer, Braid, which wove its story deep into both the world and the puzzles. Braid has one of the most clever and satisfying endings of any game I've played, mostly because it knew how to present information and how to withhold it. Limbo just withholds, and it suffers for it.

The quiet moments in Limbo cannot be overstated

As an experience, I highly recommend Limbo. As a puzzle game, it is well crafted and an honest brain-stumper the first time around. However, it must be remembered that this game is extremely short, and once you burn through it once you'll probably never revisit it. I've had several friends come over and simply play through it at my house, and then they get the whole experience for free. If you have a friend with the game, by all means play through it. If not, you'll have to decide if the current asking price of $10 is worth it. For me, I'd say it's an instant buy at $5, if only because the experience is so unforgettable. It'll be up to you to decide if it's worth another $5 to experience this wonderful, if woefully short, indie masterpiece.


If I had a star rating, I'd give it a four out of five. It is available on Steam, XBLA, and PSN.