Izzy's 2024 gaming year in review.

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canedaddy
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Re: Izzy's 2024 gaming year in review.

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isthatallyougot wrote: Mon Mar 17, 2025 1:44 pm On the other side of the coin, I will first say that I have no issue with anthropomorphic characters. Plenty of great platformers have used such a thing, but the "furry" character designs here are not attractive to me. Here they're a relatively recent and particular style of art that makes me feel like an out-of-touch old man - they're a little strange and unsettling without having much funny or charming appeal. I don't know when this art style came into fashion or if it has a name, and I've seen it elsewhere, but I do not get furry culture in any way, and I feel like an outsider when I see art like this. Just weird to me.
Ha, that's the first thing I thought when I saw your screen shots. I do not get "furryism" at all. Thankful for that, really. :P


isthatallyougot wrote: Mon Mar 17, 2025 1:44 pm Also, while the narrator enunciated clearly and had good emotion and excellent vibrancy in her role, she's got that “modern” female tone (I'm sure some would hate me for this idea) to her rhythm and intonation that just comes off as falsely upbeat and/or (maybe) condescending - that “vocal fry,” maybe. I'm not sure how to properly express it. When I hear this delivery in media or in real life, I want to punch someone. Seriously, I HATE it! If someone speaks to me in this manner, I will make a quick exit and every effort to avoid future interaction.
I don't hear that much in real life, but there's plenty of it in media, and it is the worst. Another thing to gripe about in our old gamers' retirement home. :lol:
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Re: Izzy's 2024 gaming year in review.

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canedaddy wrote: Tue Mar 18, 2025 9:52 am
Ha, that's the first thing I thought when I saw your screen shots. I do not get "furryism" at all. Thankful for that, really. :P
Yeah, that's a good point. I'm grateful that I don't "get it". What kind of bizarre mental space would understanding that occupy?!? :P
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Re: Izzy's 2024 gaming year in review.

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#26 Halls of Torment (PC - 2023) 3/5 (39 hours playtime)

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Earlier this year (I think it was anyway, lol.) when Vampire Survivors fever had already taken hold, they notified potential customers of a permanent increase on the horizon. It was already pretty popular and pretty cheap with a very modest price increase coming. But being the cheapskate that I am and already knowing I would buy it sooner or later, I decided to go ahead and save a couple bucks. (I think I got it for $2.99 instead of the current $4.99 or $5.99 -whatever it is.) Anyway, because of the huge popularity (and sales) of the game, there were soon waves of me-toos littering the marketplace, as is always the case with success. Before I had the chance to fire up Vampire Survivors, I had noticed and bought another entry in this new ‘reverse bullet hell / bullet heaven’ or ‘survivor’ genre, whatever its moniker of consensus at this point. For some reason I ended up playing a “clone” prior to the original, and that game, Halls of Torment, is the focus of this review.

I'm not sure why I installed this one immediately after purchase. Maybe it was the darker Diablo-style graphics that drew me in. I know I was surely drawn to the presentation I had seen, which had tons of skeletons, monsters, and beasts for the slaying along with a corresponding darker, Gothic-style vibe. Well, for whatever reason, I started it up and soon discovered the nature of this genre. It's (at least in this flavor) sort of a mix between a twin-stick shooter and a “clicker” style game (which I've never played but am familiar with) where you're just incrementally and consistently improving things while watching things play out. There is player control and movement as a part of the package, but it's really a process of choosing a character with their own unique traits and weapon, and as you level up within stages and acquire item drops from bosses, you choose new abilities that level up as well until you are this unstoppable warrior dropping innumerable foes in your wake as you move about the game world. There are options to increase your level of control or remove it. You can toggle on or off auto-aim and auto-fire. While it made sense to have auto-fire enabled since you'd otherwise simply be holding down the corresponding button for the entirety of the run, I didn't have any desire to have auto-aim be a part of the experience. Choosing to aim on my own is what gave this more of the twin-stick-shooter vibe I mentioned. So essentially, there are (at the time of this writing) six levels with 11 selectable heroes - some of which must be unlocked. For each run, you enter and try to survive for half an hour before a final boss appears, which, if defeated, grants completion of the level and a shard of some sort that allows for additional permanent character upgrades via a vendor. You also collect cash from breakable objects and some enemies, which can be used for buying permanent upgrades across all of your characters as well as purchasing items and equipment that you find within levels and send up through “the well”. These items must first be sent up and then purchased above in the central hub prior to having unlimited access. There are also some additional variables to play with, such as agony levels that are significantly more challenging, but when completed grant you an artifact that can even further increase the difficulty of those levels. There are also quests to complete, most of which are tied to an absurd achievement list totaling 500 “things to do”. Without going into everything, there are plenty of reasons for making many runs through the various levels with the assortment of characters. In short, there's plenty of incentive for the player who connects with this to invest a significant amount of their time.

But the crux of the experience is really a power fantasy where you are utterly swarmed by crazy numbers of enemy waves and, through incremental upgrades, are granted more power for more destruction in the face of ever-increasing and more powerful foes. There's really a sort of sensory overload with all manner of hypnotic clinking and collecting, the clattering and rattling of the bones of crumbling skeleton sounds along with the continuous movement of both your character and all the damage erupting into a hyper-frenetic light-show of destruction. It's a type of engagement that demands continuous focus, if only due to the spectacle, and leaves you breathless in that fixation. It's kind of digital crack in that it pulls you in and has that just-one-more-go-type of draw where you can lose hours before you know it.

But there are surely some things that detracted from my evaluation and appreciation of Halls of Torment. In some ways this kind of feels like a power trip for the ADD/narcissistic generation. It's kind of shallow ultimately, despite the flashy “look at me”, attention-grabbing circus on the surface. It's just a bit vapid when you strip away the admittedly fascinating audiovisual hyper-stimulation. I mean, there are builds and circumstances where you can have things so that you can literally stand in place doing NOTHING while foes just vanish before your might. That's right; you can achieve a state where the game is controller-optional. And that's part of the reason this is ultimately, despite some similarities, not a true twin-stick shooter and definitely more of a clicker / idler or incremental game, whatever the label people may choose. It just never has the same “tactile” feel as a legitimate twin-stick shooter. It's much more automated-feeling, and I suppose that's the nature of this new “survivors” genre, for better or worse. It doesn't have that “punchiness” or thrill of the better twin-sticks. And for me, it also has a cynical, formulaic feel, almost as if the developers were primarily interested in exploiting fundamental human stimulus-response patterns more than truly making a game, if that makes any sort of sense to anyone. It surely feels good to play in the moment and captures your attention quite easily, but it also feels cultivated from a place of grasping for my neurons (and ultimately dollars/attention) as the primary driver more than “hey, I have this cool idea for a game that people might enjoy.” Maybe this modern world has just worn me down so that I've become overly cynical myself, but that is the feeling I got at times when playing. But man o man, what I wouldn't give to see the areas of my brain that are lit up while playing. I think someone knows what they're doing. I'm truly afraid of what's coming in the very near future with AI exploiting our fundamental nature and predilections. Also, the core gameplay loop can feel very repetitive. Even though the visual expression and effectiveness of a run can vary due to equipment, abilities, and stat modifiers via level-up opportunities, it's essentially just a cycle of powering up and carving a path through swathes of foes over and over again. What you experience in the first few hours is more or less what you'll be experiencing no matter how much time you invest. It's engaging and somewhat addictive, but the essence of things doesn't really change much. To be fair, it is fun to experiment with different characters and their available loadouts through each run. But if you want to see “everything,” you'll soon feel like you're retreading your steps over and over again. The whole thing is stretched too thin relative to the core experience / gameplay. Those 500 achievements I mentioned are also part of the cynical feel I experienced with this game. It's like the developers were desperate to reinforce your commitment to playing. Every few minutes you'd be hit with a pop-up reminding you, “Yay, you did it!” yet again. I played close to 40 hours and had close to 300 of these little reminders about how awesome I am, lol. I don't mind trophies or achievements if they are thoughtful and really add a sense of accomplishment to a game I'm already enjoying, but these were not that. I also started playing prior to the 1.0 release, and I had a good number of hard crashes to desktop. That ended after I went back to it in the full release, and I guess that's part of the risk in playing an early access title, but it was frustrating to have played 20 minutes or so of a 30-minute run and lose all your progress from a technical problem. So eventually, I just decided to wait for the game to leave early access before resuming and playing to “completion”.

So yeah, there's plenty of both good and bad with Halls of Torment. Hordes, you say, you want ****HORDES*****?!? There's an absolutely insane number of enemies coming in waves, ready for you to dish out your brand of punishment. And that sensation was quite thrilling, both visually and in terms of my level of general engagement, at least for a while. But the core of the experience is far less mechanical and more one of optimization and observation. In other words, I was experiencing things, but I wasn't really doing much outside of making some decisions, if you understand. Not that this is inherently bad, but again, it had more of an “idler” type of flavor than that of a game I was playing in a mechanical sense in many ways. Having acknowledged some issues I had with it though, I still played it for a long while, and even though I enjoyed myself, it's not something I find myself missing or with a strong desire to revisit like I usually feel with games I consider to be of a very high quality. So for me, it grades out at the high end of average/good as a game. I surely don't regret my time with it, but it's also not something that has left a strong or lasting impact on me. 3/5. Maybe I'll give Vampire Survivors or another entry in this genre a try at some point to see if this type of game has more to offer or is perhaps just a bit of light fun yet ultimately more of a comfortable time waster for me.
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Re: Izzy's 2024 gaming year in review.

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That one is supposedly coming to consoles at some point, so maybe I'll give it a try.
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Re: Izzy's 2024 gaming year in review.

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canedaddy wrote: Fri Mar 21, 2025 10:55 am That one is supposedly coming to consoles at some point, so maybe I'll give it a try.
I would have assumed it was already there. It's got close to 30K Steam reviews. It's obviously popular. But yeah, it's good fun, despite the criticisms I offered. I may still go back to it one day if I get that itch to just obliterate *everything* - ha, even if I'm satisfied with the time I played. They seem to be still updating / adding content pretty regularly.
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Re: Izzy's 2024 gaming year in review.

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#25 Prince of Persia 2008 (PC - 2008) 3/5 (10-ish hours played)


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I was in the mood for some light entertainment in the video game realm, and I decided it would be a good time to fire up a Ubi game. I'd had the Prince of Persia (2008 edition) in my backlog for a long time, and having only played one other entry in the series in 2003's The Sands of Time on PS2, I was interested in experiencing another example of that franchise. I enjoyed The Sands of Time long ago. I remember that the presentation was very nice, and the time mechanic of reversing your mistakes felt novel at the time and was incorporated well via the Prince's memory when he stated, “No, that's not how it happened.” as you rewound time and corrected your errors. The Sands of Time is probably one of my favorite Ubi games, and so The Prince of Persia has been a series that remained in the back of my mind for a revisit, sooner or later.

This reboot of sorts sports some nice visuals - a cel-shaded, painterly set of imagery along with a nice variety of color and world geography. The scope of the levels feels quite vast, and because of the size, it does a nice job of imparting a sense of adventure and scale to the world. It's essentially a limited open world where you navigate across four different regions to cleanse the land of the baddie's bad mojo, encountering different bosses in each to progress. Each of the four regions is comprised of four regions of their own, and once cleansed, the lands change from dark and foreboding to lush and alive in a sort of Okami-inspired renewal - probably not coincidentally given the close proximity of release after that magical work along with Ubisofts love of plagia…efficiency. Once cleansed, the levels are imbued with “star seeds,” which function as a gating collectible that gradually unlocks progress as you accumulate more by traversing over the levels again, picking up these glowing orbs. There are tons of these to gather, but only…"only" 540 are needed for ultimate progress to the conclusion. (I think I ended up with about 630 or so when I'd finished.) Ubisoft sure does love that continuous sense of reward and reinforcement. Pavlov the company.

The platforming around this world is handled on a sort of auto-pilot almost. You automatically cling to walls for wall running and to platforms in the direction you've jumped. There's no precision or much player execution involved other than remembering the right button press for the right circumstance along with your desired direction. It actually functions in a way that reminds me of rhythm games, as you see your upcoming line and queue up your inputs as the world essentially flows underneath your character. In that way, you don't feel as attached to the Prince as he moves as you might in a more traditional platformer, but there was a nice rhythm and flow to the way everything unfolded as you climbed, ran along walls, swung upon bars, bounced upon beams, and so on. There are also some really nice sections where you land on special “plates” that you unlock where you and your partner character, Elika, work together to move in a variety of ways, from running on walls to flying through the world geometry. These were visually fun and offered a nice variety to the normal movements of the Prince and Elika through the levels, and they served to offer a nice sense of their bond visually over the course of the game. I also liked the way they incorporated Elika's assistance as the method of Prince's double jump move as she helped hurl him forward for extra distance rather than the character simply catapulting off the air - nice touch. Overall, the animations and flow of things were very graceful in their appearance, and I really enjoyed that dance-like presentation and character symbiosis.

And speaking of their bond, there was a nice sense of banter between the two as the witty Prince and Elika exchanged playful back-and-forths throughout, interactions that carried a sexual/romantic tension along with comic relief in the face of the dangers they were fighting. It was nice that much of the narrative was optional as well. At breaks in the action, there is a button prompt that offers the chance to engage in further conversation, but you're not forced to do so if you'd rather not. I must admit that I didn't find the narrative that compelling, though. I listened to many of the details for probably 2/3rds of the game, but it didn't have that pull that made me really care in the end. It all boiled down to a simplistic “good guys versus bad guys” without any really interesting characters or plot points to grab onto in my opinion. I also had a bit of a tough time listening to Nolan North here. He generally sounded exactly like Nathan Drake in terms of delivery, which really didn't help matters. I kept expecting to see Victor “goddamn” Sullivan walk out from around the corner. The voice work was well done, to be clear, but it didn't vary enough in terms of character and was pretty jarring to me. But without a strong narrative hook, it didn't matter too much. The atmosphere and music, which was really nice as well, carried this game far more than the minutiae of the story.

There were some things that frustrated quite a bit with this version of the Prince as well. In the first place, as is my gripe with so many Ubisoft titles, everything just felt extremely formulaic. It was...go to a region, combat encounter, revive area, collect shiny things, repeat...until the end. From a practical standpoint, you've really played the whole game in the first half hour, in retrospect. I figured out what Ubisoft is good at. They take something very structured that has little imagination, and they add a shiny coat of paint along with a stream of positive reinforcement. That's essentially all they do. The template is so transparent. Sure, many games have a structure/formula, but it feels so obviously calculated and cynical/lazy in so many Ubi games for me. Their games so often feel like they just finished reading a “How to Make a Video Game for Dummies” (or Complete Idiot’s Guide to…) book right before they made their game. Everything just reeks of spreadsheets, focus groups, and PowerPoint presentations. There is such a distinct flavor that I find in the bulk of what I've experienced from them. Also, the combat was flashy but pretty boring. There's no real variety, even though there are multiple types of combos. It's parry, attack, and repeat with some light variation that's ultimately only window dressing. Just rote, like the platforming. And coming back to the platforming, there's some input delay, which could be infuriating at times. You have to wait for the Prince to finish his movement in some cases before making another input, or you'll end up doing something you didn't intend to do as his previous animation is completing. You can get things linked together right, but the animations get in the way of the joy, fluidity, and accuracy of movement too often. There's this scripted feeling since you're not really moving with any real freedom in space but are instead attached to the “sticky” environments and animations. That was frustrating sometimes. And while the chemistry between Prince and Elika is enjoyable, it feels really out of place contextually. Their exchanges don't belong in the world they inhabit and had an anachronistic flavor to both tone and sometimes content. It clashes pretty harshly with the setting. Yeah, it's just a game, but it felt strange and at odds with the setting much of the time. Another complaint that I have is unrelated to the game itself and more of a complaint against MYSELF, lol. Even though I had this on PS3, I wanted to pick it up for PC. I found it on sale on Greenmangaming quite a while back, but I forgot to check the launcher I was buying it for, and it turned out to be a copy for Ubisoft Connect (or whatever it's called now) instead of Steam, and I didn't want a non-Steam copy. Oh well, it's played and deleted now, lol. And overall, PoP 2008 just had a “style over substance” flavor that permeated everything. That's not to say that this was a bad game or that I didn't enjoy it at all. It just was what it was. It was ultimately AAA comfort food - no real "nutrition", but it tastes pretty good on the palate even if it won't sustain you. It satisfies when you're in the proper mood, I suppose...when you want some easily digestible, low-resistance entertainment. Just turn your brain off, push a few buttons, and zone out to "the pretty”, ha. Yeah, it's fun, but it's calculated, template-infused fun without too much in the way of real spirit. I realize that is an ethereal non-quality to many, but I surely feel and recognize it. But it's pleasant enough, and I did enjoy myself here. When you're in the mood for this sort of thing, it gets the job done. 3/5
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Re: Izzy's 2024 gaming year in review.

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#24 Embracelet (PC - 2020) 3/5 (4.7 hours playtime)

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Having played and enjoyed Milkmaid of the Milky Way a few years ago, I was interested in sampling this creator's other work. Mattis Folkestad's other game, Embracelet, was released in 2020, and rather than being a 2D point-and-click adventure, he tried his hand at the third dimension of gaming in another adventure of a different kind. The first impression was very positive overall. The simple, low-poly visuals are nonetheless sharp and attractive, presenting a world with nice lighting and a good sense of scale via the panning camera and often-beautiful scenery. There's also a pleasant mood imparted by the audio. It can be relatively silent at times, but there are some soothing and reflective pieces that enhance this journey. The overall tone is incredibly mellow and inviting. There is, despite the conflict and struggle of the main character, just a really peaceful aura to the proceedings, and it's very easy to inhabit this role.

In terms of the tale itself, you play as a young boy named Jesper who is a bit of a loner and struggling with his adolescent life. He has gone from excelling in school to really struggling, and he is in that transitional stage into adulthood where things can get a bit bumpy and uncertain. His father passed away before he was born, and so he lives with his single mother, who is struggling to keep it all together herself. Amidst that general scene and complicating things is his grandfather's ailing health, and it is in the hospital where we begin this adventure. At a visit to see his grandfather, he recounts some important bits of his life and shares some details that will affect Jesper in profound ways. Jesper's grandfather grew up in an isolated fishing village on an island called Slepp, and while there he came upon a random bracelet that is imbued with magical powers. He has carried it with him throughout his life and decides to share this unusual object with Jesper. It seems this bracelet can manipulate physical objects, and while the power is enticing, he warns his grandson to never use it on another person. In fact, it is his wish that Jesper return this object to its “home”, to where he feels it belongs. He won't give the details of exactly why he feels this must be done, but he feels that his grandson is most certainly the boy/man for the job, and he readily entrusts this task to him. However, Jesper's mom is against him going alone, and neither will she go with him. Eventually she relents after her father's passing though, and it's off to Slepp to uncover this mystery, fulfill his grandfather's wishes and hopefully have some formative and rejuvenating experiences that he so desperately needs at this point in his life.

The fundamentals of the game are simply highlighting things with which you can interact or extract more information and sometimes manipulating them via this magical piece of jewelry. There are a variety of small quests to uncover beyond the main path, and you can choose to help or ignore these side distractions. As you explore the island of Slepp, you'll eventually meet up with two other kids around your age, which serves as a much-needed boost for Jesper's mostly isolated state. He develops a friendship with these two other kids while they all share their lives and help one another on Jesper's quest. Overall, I found the majority of the game to be quite enjoyable.

There were some missteps for me as well, unfortunately. The animations can be very choppy sometimes. The camera can be frustrating, swinging around where you don't want it to be, which is compounded by the fact that you have no user control over perspective. Some environmental objects could be finicky to highlight, which annoyed on occasion. And there was just this general amateurish feel that permeated a fair bit of the experience, understandably given the solo creator. Also, while I enjoyed the mellow tone, it was almost TOO mellow, sleepy even. Even the moments of drama could feel subdued and lacking impact because of the generally laid-back atmosphere. I'm not trying to be harsh, to be clear. This is a one-man project, and given that fact, it's quite the feat. It feels very personal and a little peculiar at times because of that, and I like that aspect of things. It's not trying to be all things to all people, and I really appreciate that. But it did have some misfires that brought it down a notch for me. Overall, it was a good game in the end. I certainly enjoyed my roughly five hours with it despite a few shortcomings, and it's something I would recommend to anyone who might find the premise interesting or is looking for some low-key and de-stressing gaming time. For me, it's still a solid 3/5. I think I preferred Milkmad of the Milky Way slightly, but this is another good work by a solo creator in my opinion, and I'd be open to playing anything else he makes in the future because he's got some skill and his games are distinct and lacking that cut-paste feel that can permeate so much of mainstream gaming. It's got a lot of heart, and in fact the theme of the game is “Follow Your Heart.” Beautiful sentiments indeed.
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Re: Izzy's 2024 gaming year in review.

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#23 Lost Kingdoms (GameCube - 2002) 3/5 (8+ hours playtime)

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Thinking about FROM before they became “FROM”, I was considering how much I love King's Field IV (The Ancient City), and I was wondering how I might feel about some of their other earlier works. I've played several of their pre-Souls era games, and the only one that is a true classic for me is the aforementioned King's Field. But I've enjoyed some of those other entries, which predate their status as modern-day beloved mainstream creators, to a greater or lesser degree. This time, I decided to look at a very early GameCube release by the name of Lost Kingdoms, which released only a few months after the console dropped.

The game's form is that of a card-collector and battler. You're a princess of a kingdom (one of 5 in this world) whose father, the king, has gone missing and which has become overtaken by a black fog that is consuming all the land. (Reminiscent of Demon's Souls and other Souls games in terms of general tone and concept in some ways. You can see little pieces of that FROM DNA that has been present for so long in the company - long before Souls.) The narrative is rather sparse but offers enough flavor and context throughout to provide impetus to drive things forward. There are a number of cutscenes and character interactions providing dialogue to move things along without getting in the way of the action. There is no voice, however. Everything is delivered via speech bubbles for all conversations. I wouldn't say the narrative was really compelling, but it wasn't off-putting either, serving as a decent enough backdrop without intruding on player agency and forward momentum.

The gist of things is that those who hold special runestones are able to cast magical cards on the battlefield, cards representing and that take the form of creatures in order to aid the caster in various ways. There are a total of five runestones that must be gathered, and there are a variety of quests that build this world and provide opportunity for combat. The first of these runestones is held by her own kingdom, and Princess Katia collects this stone from her homeland's castle to begin her journey, allowing her to engage in combat against monsters that have come to inhabit this world along with other “casters” who hold their own special stones.

There are 16 main missions along with 5 side missions to complete, and they all take place in a pretty diverse set of locations and environs. I appreciated the variety, and the visuals were decent for the old hardware, if not always excellent. Once a mission opens up, you must complete it in order for another to populate the world map. And once completed, you cannot return until after you've beaten the whole campaign. So, it serves you to fully explore and interact with everything possible before fulfilling the conditions necessary to clear each level. You are also ranked on your performance within each level - from 1 to 5 stars - and this ranking grants you a corresponding number of bonus cards for finishing. So, the better your performance, the more cards you can choose from a random set at level's end.

The combat itself is different in that rather than being turn-based as might be typical of the genre, it is a real-time set of encounters, with you and the opponents actively moving about the field of battle as things unfold. The attacks consist of three different types of creature cards. Creatures with a sword icon indicate a weapon-based creature, and these function as a direct attack, and with these you control the direction and timing of the strike. You will briefly embody the image of this creature and strike in the direction of your orientation at the time of deployment. These cards can often be used multiple times before exhausting their energy. There are also independent monsters which you can throw onto the field of play. These creatures will move about and attack foes on their own without your input once they've been cast. Finally there are “summon” creatures, which are essentially the same as weapon-based creatures in that you embody them and attack. However, these creatures come with their own short cutscene when cast, and you embody this creature who does a very powerful attack in the direction you're facing. And all of these interactions are handled via a hierarchy of elements that inform the effectiveness of every creature against every other. In short, water is favored against fire, fire against wood, wood against earth, and earth over water. That's not to say that you cannot cast creatures that don't fall beneficially on that hierarchy. They'll still do damage, but they just won't be nearly as effective. So it's important to be cognizant of these dynamics as you play and construct your deck for each level. And speaking of decks, you are given a maximum of 30 slots for cards, and you can populate it with any creature cards you've collected. There will be many duplicates and a large variety of different types, so the building of your deck will have a great impact on how things play out, along with your selection of when and how to use the various cards. There are 105 total to collect, and I finished with 79, so there is an incredible potential for diversity of strategy, which I really appreciated. And when you factor in the fact that you could theoretically compose a deck of just a handful of different card types if you really find a synergy between them that you like, there's plenty of room to play around with deck construction, which was a really fun aspect of the experience for me. And you can also duplicate cards you like on your own at a certain location and/or evolve them if the card has acquired enough experience via use. All things considered, this was really engaging conceptually, and I was very drawn to the possibilities on offer. You can also sell cards you don't like in order to fund the purchase of cards you are interested in, so there's a constant evolution to the form your deck and strategy takes on. Additionally, you can have the game “remember” decks that you like so that you don't have to rebuild them every time you might think to try a strategy again. Good stuff. A final note on the cards. The artwork on many of them was really nice, and each card not only provides detailed information on their utility but also offers flavor text to give each one a more interesting backdrop to feed the imagination.

In the actual flow of battle, you need magic stones in order to pay the (varying) cost of casting creatures. (Better creatures generally require more stones.) These stones are dropped via creatures you've damaged on the battlefield, and so you must rush to pick them up before they quickly vanish in order to fund further casting. If you run out of sufficient stones, you can still cast, but now it will be at the cost of your health. So everything was very dynamic with the real-time battles, securing more resources to keep casting along with orienting your attacks against a battlefield of moving and counterattacking creatures. The premise was very nice, all things considered. And you can run out of cards on a level if you're not careful, especially early on before you're playing with a full deck. (No pun intended) I found myself in a couple of spots where the level was not complete, and I was running around without a card to cast and had to let myself be killed so that I could retry the level. It becomes less of an issue after the first couple levels, but it's certainly a possibility. There are also certain “pillars” in most levels that will restore your health and allow you to add any cards you've found within the level into your active deck, and there are also certain creature cards that will restore a random number of spent cards back into your usable library, so in practice, it's not too much of a worry outside the opening areas when you're still building an effective roster of cards.

But as much as I enjoyed much of what Lost Kingdoms offered, I did have some issues. Some battles can get a little too busy. Whenever you enter a battle screen, the combat area is a shrunken and dissected section of the place you were already in, and there are some encounters where you're dealing with a variety of your own creatures as well as a variety of opponent creatures, and things can get pretty congested and a little hard to follow in the worst-case scenarios. Also, environmental geometry can get in your way. You can end up getting a bit stuck occasionally, which is not a good place to be in when you're getting peppered by enemy attacks. Or you can get knocked down right as you've killed a creature, and by the time you've dusted yourself off and gotten back up, the magic stones you needed as currency to keep casting had already vanished - they don't stay on the battlefield very long at all. Navigation can be a bit problematic sometimes too. When you go into the battle screen, the field you fight in is still in the space you were navigating prior, albeit shrunken and with borders, as mentioned. But when you're fighting, you are moving around, and it can be easy to lose your orientation in the context of the overall map and direction you were heading, sometimes causing you to retread your steps unintentionally when the larger map reopens. It wouldn't be an issue if the game's camera weren't overhead/isometric without the ability to look at things from ground level. Even though you can zoom in and out of the top-down view, the world geography isn't always distinct enough to identify your sense of direction. It wasn't a major issue, but it did frustrate a bit on a few occasions. There is a mini-map too, but it didn't always help enough to reorient myself. This wasn't a major or prominent issue, but it did cause a couple of moments of frustration. It could also be a little hard to remember or to be able to implement the best strategy since you get a random assortment of 4 cards that continuously refill as used (from your constructed deck) that are assigned to the four face buttons. Every time you exhaust a card, another takes the vacant spot, but you can build an appropriate deck for the level and still find yourself with a group of selectable cards that isn't ideal for the situation sometimes. To be fair, you can discard an active card, but it's hard to justify doing so when you've only got (a flexible) 30 to finish the whole level. You won't know when the level is going to end, and wasting a card is hard to swallow. And things can devolve into spamming cards rather than feeling like you're really executing with finesse sometimes. As fun as it could be, it felt like things could have been tuned and balanced better. There was too often a feeling of randomness to everything. Not in the sense of what cards were good to play, but the movement of opponents could be hard to predict, and you'd end up wasting cards because they missed altogether. Granted, I suppose it made things feel more exciting in some ways, but overall I just felt like things didn't come together as cohesively as I would have liked in terms of the practical execution. It was a fun game to be sure, but it was just missing that element that makes you feel like you're playing a truly compelling package, if that makes sense. Just a hair off from being a very good game. And the final boss (well, two back-to-back bosses) was a large difficulty spike. The first one was frustrating because you're also battling another caster, and when you are both casting “summon” creatures, it really interrupted the flow of that battle because each time a summons card is played, there's an animation that lasts a few seconds. So, the battle had this really herky-jerky and disorienting flow due to those interruptions as well as the large number of creatures, including you and your opponent, running about. It was just too busy. And the final...final boss could wreck you in an instant. I had to kind of cheese my way through that fight, but in true Souls-fashion I “got gud”. :P These battles were really tough, but also appropriate for a final encounter, I suppose, minus the awkward flow of the first of the two.

Overall, I did enjoy my time with Lost Kingdoms though. It took me a bit over 8 hours, and I did all 16 regular missions along with the 5 bonus missions, so it's not an overly lengthy campaign. There's also multiplayer if you happen to find someone else who really enjoys the battle system here, which was a nice addition in theory. And as mentioned earlier, there is the potential to return to get better grades on the missions you didn't do so well on as well as collecting all the (100) red fairies, which can be turned in for special cards with a certain character, and simply filling out the complete catalog of cards if you are a completionist. But I had my fill after the final boss and the credits rolled. Like I said, it's got a really interesting premise. A real-time card battler is an interesting twist, and the potential strategies had me salivating. But as much as I enjoyed it, it was just missing that certain quality that makes me feel like I've played something REALLY good. Too many little issues that prevented a strong recommendation. But I'm glad I played it, and I'll be interested in giving the sequel a chance one day to see if it improved on the missteps in this entry. A solid and enjoyable 3/5, and just on the cusp of being a 4 for me.
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canedaddy
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Re: Izzy's 2024 gaming year in review.

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Those last two are interesting. I played the Prince of Persia reboot and enjoyed it for the most part, but not as much as Sands of Time and the sequels.
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isthatallyougot
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Re: Izzy's 2024 gaming year in review.

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#22 Bulb Boy (PC - 2015) 4/5 (Playtime 3.3 hours)

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Looking to play something a little off the beaten path, I pulled a game called Bulb Boy out of my backlog in 2024. It's one of those I don't exactly remember picking up, although it obviously drew my attention in that curiosity-to-cost ratio that sees so many games wind up in my backlog and forgotten about until they somehow make an appearance on my screen - through choice or destiny, who can say? And I have to say I'm quite glad the great unfolding presented this into my field of awareness.

So what is Bulb Boy? Well, in terms of structure, it's a point-and-click adventure. There are puzzles to solve, but there is no real exploration, as everything is quite linear. You move into a room or area, and everything for that section is contained within. There will be a minimal amount of objects to gather and utilize, and once you've completed an area, it's on to the next without any backtracking or roaming about. The puzzles aren't very tough for the most part. Everything you need to use is highlighted by mousing over, and there's even a hint system if you should be uncertain about how to proceed. While the puzzles were mostly easy, they were still decently satisfying, and making progress was consistent and mostly enjoyable. There was one puzzle that I got stuck on towards the end, and I turned it off for a day to chew on what I must be missing. However, upon reloading my save next time, an ability to interact with the world that was NOT present before was now available to me. So there must have been some bug. I'm a bit relieved that it wasn't my own stupidity because I truly had no idea what else to do, appropriately enough, because there WAS, in fact, nothing else I could do, lol. I'm glad the game sorted itself out, though. Other than that, there were some sections where you had to move BB around with some precision. These could be fun, but I felt they sometimes asked for more fine-tuning and speed than was afforded by the input methods. The mouse controls were fine for most things, but these fine and sometimes speedy interactions could lead to a little frustration. But overall, mechanically and structurally things were adequate if not particularly compelling.

But where Bulb Boy really shines (no pun intended) is in tone, imagery, and “narrative”, a term I use rather loosely here. We're introduced to this little big-headed guy and soon find out that his world and the character himself are quite peculiar. Not long into things we discover that he can detach his head from his body and hop or roll around, which is used in many puzzles. And his world is beyond strange. In the introduction, he is in his home with his grandpa and his flying “dog” thing, and right away things get bizarre. The TV starts showing some strange imagery, and there appears to be an invasion of some sort of entities that are causing trouble in his world. This story is not something that is easily deciphered or maybe even intended to be understood on a left-brain level, and I really love that abstraction. It seems to have a lot to do with bodily functions and fluids and some sort of battle with these hostile entities that require him to save himself along with his family, consisting of said gramps and doggo. Oh, and there's some crazy poop, one massive and malevolent, masticated, malodorous mound of mush, oh my, lol. Everything is very much a fever dream or drug trip type of vibe, a vibe that is only accentuated by the visuals. The look is simplistic albeit striking. Most scenes are a combination of green and black with excellent contrast and sharpness, while some others (when you fail) are a combination of red and black. But everything is very vivid and odd, in a good way. The whole thing is just adorably twisted, and I couldn't help but be charmed by the mix of disgusting and cute, opposites that played off one another in a delightful way. And Bulb Boy himself was such a little mischief maker. When he succeeded - often by utterly wrecking his enemies - he expressed himself with these cute little laughs and grunts that really added a lot to his personality. And because of his detachable head, he can sometimes embody other creatures like a fish and a spider, with his face taking the place of the other being, giving him this chameleon sort of persona. And the grandpa can't even stay awake long enough to walk across the room. The dog (or whatever it is) can use his barks to aid their quest in addition to flying around where the other characters can't go. There are so many wonderful animations and character mannerisms that make things memorable and interesting. But the game has no dialogue. All communication is conveyed with little thought bubbles for the characters and hints, if you use them. So all is open to interpretation, a form of expression I find particularly compelling.

Originally, I pulled out Bulb Boy from my backlog in the hopes of just knocking out a “quickie” as an interval between other games, knowing that it wasn't particularly lengthy. But as I played, it kept growing on me, and I really enjoyed it, despite a few problems. I really love being surprised by games that you don't really expect to click so nicely. It's a shame that this game is the only one by the developers. Hopefully they continued working under the banner of another label because they're very creative. I sometimes wonder about the soil that grew some of the minds that grace us with such wonderfully twisted creations, but I'm always grateful for such oddities - in the world of gaming and otherwise. It's not a game I'll soon forget, if only due to how unusual it is. I'm really glad I gave it a few hours. 4/5.
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