In Loving Memory of Resident Evil 4’s Mystery in a Green Jacket

When I eventually came to Resident Evil 4 on GameCube over the Christmas of 2020 – and particularly when I was fighting its dodgy controls in those opening couple of hours – I didn’t quite appreciate the profound impact it (and its ultimately perfect controls!) was going to have on me! Despite my history with its predecessors and its successors, albeit more with the idea of them more than actually playing them in most cases, initially at least, with this one I’d just ignored it for fifteen years. Wasn’t a proper Resident Evil, didn’t have proper zombies, it looked all brown, I was fed up with having it shoved down my throat, and money was a bit tighter in 2005, so buying stuff day one then not playing it like I had with all of its predecessors (and I mean all, sometimes on more than one machine!) wasn’t happening this time.

Then, as we approached the end of the next decade, the whole lot clicked until that was the only one in the mainline series, up to Resident Evil 7, that I hadn’t finished – originals, variants, remakes and all – so in we went and about 25 hours and a couple more days later, I realised it was one of my favourite games of all time. Top three. And I wrote loads about it elsewhere here, so that will do on my history with it up to that point! Now, eighteen months and more on, and I can be quite the born-again bore on Resi 4, though I’ll do my best not to be for the next few minutes. I’m not some kind of gaming CrossFit-vegan! Since I last wrote about it though, there’s a few new morsels to cover before we get to the main course here…

Not long before my Plaga epiphany, I had a similar revelation with Silent Hill 2 on PlayStation 2, and between the pair of them, I’ve had one or the other or both on the go ever since. Bizarrely, they’ve joined stuff like Road Rash II on Mega Drive and Dragon Spirit on PC-Engine as my idea of gaming comfort food; places I go to unwind! Actually, I’ve already virtually retired to the foggy embrace of Silent Hill, I play it so much… And while I’m there, I’ll sometimes fire up my special Silent Hill 3 save point for my part-time job at my beloved rollercoaster control hut in its nightmare amusement park! Even though I’ve got my average game time down by about ten hours, Resident Evil 4 is still a bit more of an undertaking though, so nowadays I like to spread the love between the GameCube, Wii and PlayStation 4 versions. And that Switch version keeps staring down my soul every time there’s a sale on the Nintendo eShop!

There’s an interesting shift in dynamics the more you play Resident Evil 4. In your first and even second play-throughs, you are clearly the prey, but the more you get to know the lie of the land, particularly in the initial village areas, the more you start to recognise choke points. These could be as simple as the top of a ladder where you can pick of a massive group of enemies one at a time as they mindlessly parade up it and into your combat knife blade. But you can also funnel them into tight spots or behind gates, for example, initially focussing on the leader and then using a kick to take them all down; even better if the one at the front has something on fire or explosive in his hand when he or she goes down!

As the initial paranoia about using ammo reduces to a realistic level through extended play, coupled with the patience that comes with its overall reduced tension, you’ll also be more confident about your scoped-rifle, using gaps in fences and the like to clear out entire areas before you even open the door to it. There’s other situations where you’re now clearly leading the dance too, confidently directing whole groups towards explosive trip wires from different directions. And even in boss fights, for example with Jack Krauser, you’ll soon work out that you can use the now-familiar terrain to your advantage, although in his case, using his weakness to knives is going to save a load of time on top! Even more so, what about a certain other boss and his weakness to a single rocket launcher shot… There’s a reason you find it when you do! Anyway, the more you play, the less you’re the prey and the more you are the predator, and together with the adaptive difficulty, you’ll end up playing a whole new game, and it’s all the better for it!

One thing that doesn’t seem to change with repeated play-throughs is forgetting the snakes in boxes! Busting open every box willy-nilly with your knife is fine for the first few stages, but as soon as you reach that comfort zone, the game starts putting coiled-up snakes around the place, waiting to drop its venom on you. And they get me every time! And from that time, you’re anxiously tip-toeing around every one… You might have learnt the lie of the land, but there’s no way you’re learning the lie of every box!

Speaking of jump-scares, zombie dogs through the window in the first Resident Evil rightly gets its plaudits, but the guy on fire jumping out of the oven in the Texas Chainsaw Massacre kitchen in this game is way underrated (including in my previous War and Peace on the subject)! Oven Man appears well into the game, at the start of Chapter 5, as you’re walking through this kitchen full of rot, and your focus in on sifting your way through that rot to find shotgun shells hidden in sinks and so on. Suddenly, as you approach this huge oven, a burning guy jumps out, screaming and charging at you from out of nowhere, and unless you get a very quick shot away, you’re in for some double-damage when he latches onto you. There’s absolutely no rhyme or reason for him being in there, and, in fact, if you examine the oven when he’s dead, Leon will ask why he was in the oven in the first place. It’s potentially a nod to the zombie in the fridge in Resident Evil 0, but regardless, it’s a fantastic moment because up until then, it’s not really been a jump scare kind of horror show.

Back in May 2021, I did return to my day one Resident Evil buying habit one more time for Resident Evil Village. I’d been super-hyped up about this one since the first gameplay trailers dropped at the start of the year, particularly that breathtakingly decadent next-gen gothic castle! And given its well-documented nods to Resident Evil 4, both before and since release, I did wonder if I’d found myself another new top three game of all time! Without doubt, it’s still my game of the year at the time of writing, and I can’t see that changing unless Windjammers 2 does something really special or Hollow Knight: Silksong makes a miracle appearance! But for everything its done right in my four play-throughs so far, and for what is without doubt my favourite sight in any game ever in the shimmering golden opulence of that chandeliered staircase, despite its best efforts it’s still no Resident Evil 4! Unhelpfully, I still haven’t quite put my finger on why though – lots of small things I guess, from a bit less tension to less inspired boss fights to less cinematic cinematic set-pieces. It’s great, but not as great, by a long shot; then again, in my eyes, only Kick Off on Atari ST and Feud on ZX Spectrum can compete in greatness on these terms!

Right, I promised not to be boring, and I’m not convinced I’ve succeeded yet, so now we’re up to date, here’s a quick bonus cool thing I also found out about Resident Evil 4 since I first played it… Ashley, the slightly less annoying than you expected President’s daughter who you’ve rescued, is voiced by an actress called Carolyn Lawrence, who is also the voice of the deep-diving squirrel, Sandy Cheeks, in SpongeBob SquarePants! Who lives in a pineapple under the sea? Absorbent and tell and porous is he! And with that, let’s move on to our Resident Evil 4 mystery person main course…

I love a gaming mystery. Some time ago now, we delved deep into the secrets of the heavily advertised but ultimately unreleased Scooby Doo in the Castle Mystery for the ZX Spectrum, Commodore 64 and Amstrad, which might have disappeared in 1985, but I still refuse to accept won’t emerge again one day because it still looks incredible! Then when we covered Silent Hill 3, there was the mystery of the completely missable voice in a confessional backstage in the final church area – it was female but wasn’t instantly familiar, so who did it belong to? I’ve got some theories, but as much as I’m fascinated in finding out more about that one, I need at least one more play-through to try and get my head around the bonkers plot and where it might fit, so instead we’re going to quench our mystery thirst now with this strange, very, very distant hidden onlooker in Resident Evil 4. And after all this preamble, I really hope we get somewhere with it, because as I write this, all I’ve done is track them down; I still have no idea who he or she is or why they are there, but we’ll try and find out together!

Okay, to set the scene, we’re now at the back end of the story, with Ashley off being kidnapped somewhere as usual, and Leon finding himself on the shore of the mysterious island that you might have caught a glimpse of earlier in Salazar’s castle. This was once home to cave-dwellers that were eventually driven out by Salazar, but now there’s only ruins left as evidence of his conquest, amongst which latest big bad bioweapon guy Saddler has built his lair, comprising of research facilities (with kitchens with jumpy things in ovens), medical facilities, radio towers, foundries and furnace rooms, kennels (of course!), power plants and a big military compound.

This is Chapter 5-4, and the military compound is where you’re going to go all Rambo, with a little help from your mate Mike, who’s arrived in his helicopter gunship and is going to provide a bit of high-explosive air support as you take out all and sundry through this huge complex. Eventually you’ll make it through the mass of trenches, tunnels and various buildings swarming with enemies to emerge on a plateau, only to be surrounded by a load more of them. Fortunately, Mike appears again to sort you out, but not before one of them manages to launch a rocket and take him out, leaving you looking down a cliff face at the wreckage and saying your goodbyes. No time for too much sadness though, because there’s a couple of nice jewels glinting around the place that The Merchant will have off you shortly, then it’s through the next gate and we’re in mystery business!

You’re now back in some kind of ruined fortress, and as you wander in you’ll see a big lump taken out of the wall on your right.

Get a bit closer and you can just about make out some structures in the far distance through the gap in the wall.

Pull out your rifle with whatever scope you’ve got equipped, and you’ll see it’s that radio tower and a load of Saddler’s nefarious facilities in the distance.

Now we’re going to start zooming in down that scope, as far as we can go, slowly scanning around the area with what appears to be a collapsed roof beneath the left hand side of the radio tower.

Now imagine you’re looking out for Slimer from Ghostbusters! You’re not, but with a regular scope and its rapid movements at full zoom – not to mention the swirling fog – it’s going to be easy to miss and this will help!

Bit of a squint later, and there’s almost-Slimer peering out of the right side of a vertical column, crisscrossed by what seems to be two diagonal cables or struts going upwards to the tower on the right side, then there’s one going downwards on the left, attached to a horizonal block.

Adjust your eyes a bit more, and Slimer becomes a green puffer jacket or maybe a sweater. And here’s our mystery person, accessorised with a dark scarf and what might be denim jeans and white trainers. Hard to tell from this distance (though more so due to the massive pixellation) if it’s male or female, but having been travelling backwards and forwards to Tokyo a lot while working for a Japanese company for over twenty years, I’m feeling Japanese male with a slightly non-conformist hairstyle. They are also holding up their hands, which might be a pointing a gun at them kind of gesture, but again, from experience of being in many photos over there, it’s possibly the peace sign gesture that Japanese people often use when posing for one.

At this point I hope I’ve made it obvious that this is something I found out about after falling head over heels in love with the game and engrossing myself in its lore, rather than trying to claim I’ve come up with anything new here myself… Credit for that needs to go to YouTube user SR212787, who seems to be the first to have documented it in a video entitled “Resident Evil 4 – Girl in Green Jacket? Easter Egg” published on 5th January 2017. What a mystery though, and one I simply couldn’t resist delving into as well, while also giving this person a bit of credit because there’s not a lot out there on this that actually does!

Also keep in mind that this is all about twelve years after it was released, which isn’t bad for a hidden object in a game! My favourite’s always been the Arkham Asylum hidden room behind an unmarked breakable wall with the map giving a clue to the sequel that took almost a year for anyone to find – it was a bit like the hidden room we found in our new 400-year old house just over five years ago at the time of writing that was marked as a void in the roof and turned out to be a lot more! Anyway, the sequel, Arkham City, went one better with clues for its own sequel, and the Calendar Man secret message that hinted at Arkham Knight; this involved setting your console date to developer Rocksteady’s formation day, and I’m still amazed it only took three years for someone to find! WaveRace on the GameCube from 2001 then had a hidden miserable commentator that took eight years and a modified Konami code for anyone to find. My dear, dear love Silent Hill 2 lasted about fifteen years before giving up its save-on-demand and mini-map features by getting the secret dog ending then messing about with controller settings. There’s loads more, of course, but the longest time for a secret to be hidden that I’ve come across was the revelation from then Nintendo president Iwata in 2009 that in Mike Tyson’s Punch-Out, you can take out Bald Bull with a single body blow by looking out for someone in the audience to take a photo, and punching when you see the flash. That’s a full 22 years after release!

Back to our mystery, there’s actually not much more to say. No one seems to know who this 2D figure in the distance is. Capcom and the game’s developers have kept their mouths shut on the subject until now, so until whoever did it comes clean, we’ll never know their identity or why they are there. My best guess is in line with the consensus of other fellow Resident Evil 4 nerds, and that’s that it was probably snuck in by an artist working on the game, and is either a secret but everlasting monument to their own ego, or perhaps to a family member or friend.

What we do know, however, is that just a few short minutes later, Leon will have dispatched mutant Saddler, jumped on a jet ski with Ashley and be racing against the clock, a tidal wave and a ton of falling boulders to get out of the island’s watery tunnel network before the whole thing is blown to oblivion. And therefore we also know the dark fate that befell our mystery person. May they rest in peace!

Game Review: DariusBurst Another Chronicle EX+ on Nintendo Switch

When Darius+ arrived on the ZX Spectrum in 1990, it didn’t have any great impact on me, and certainly no signficance! It was just another horizontal shooter with big sprites that were a bit too big for the cramped undersea environments, and until you got to one of the very impressive big robot fish bosses it was all a bit of a slog… Especially when you’d been playing R-Type on the system for a couple of years by now! To its credit though, apart from the colours there wasn’t a lot in it when you compared it with the Atari ST version, which unfortunately was also enough for me to never buy it when I moved over there!

The impact would eventually come though, and that was with the arrival of G-Darius for PlayStation towards the end of 1998, and I think from HMV in Milton Keynes if I remember right! I still didn’t know anything about its arcade lineage stretching back to 1987, or even that this was a conversion of the fourth entry in that series, but I did know that those huge 3D polygons it was chucking around were absolutely outstanding! Certainly wasn’t a slog anymore either, and being taken in and out of the water while waves of enemies came in and out of your 2D plane was simply exhilerating. And who can forget their first encounter with Eclipse Eye, the giant yellow mechanical broadmouth gibberfish stage one boss!

I think the significance of the series started to dawn on me when I picked up Taito Legends 2, very late in the life of the PlayStation 2, which included the arcade versions of Darius Gaiden and G-Darius. Even with my limited exposure to the arcade games up to then, by now the war between us humans and the sealife-inspired Belsar Empire that’s out to destroy us above and below the surface was becoming a familiar one! That I was aware of, we’d had the Spectrum and 16-bit computer games, then I’d looked longingly at various exotic PC-Engine ports like Super Darius; more accessible was Darius II on the Mega Drive, and Sagaia on the Game Boy, which was a take on Darius+ which I think I prefer over my old Spectrum favourite Nemesis on there. The SNES had its own takes on Darius too (which were mostly Darius II) with Darius Twin and Darius Force. Then there was more for PC Engine, Sega Saturn, PlayStation and that new Windows PC thing before we arrived at the G-Darius release we just looked at. My own final stop with Darius before we get to my PS2 compilation though was not being able to get my hands on Darius R on Game Boy Advance when it came out in 2002 because the stupid thing was Japan-only! Turned out to be a really cool remix of various games in the series when I did finally get there a couple of years ago though…

And now we’ve got a bigger gap that brings us all the way back to today and the end of July 2021, completely up to date with my time with Darius and ready for the release of the latest installment in the series, DariusBurst Another Chronicle EX+! Let’s start by saying catchy title, and as you can maybe tell from that catchy title, by now the history of Darius is way too complex for me to go any further into than we have already, which is exactly why we stuck to my own brief encounters with it so far! In short though, this is a new revision of DariusBurst Another Chronicle, a 2010 arcade game that in turn was a remix of DariusBurst, a PlayStation Portable game from just before then that I think was only released in Japan (and the crazy prices it’s going for on eBay seem to confirm that)! Anyway, we’re here with the new one on Switch, it’s also available on PS4, and for transparency I was kindly given a download code for the purposes of my ramblings here.

We’ll come back to story (such as it is) and game modes and user interfaces and all that stuff later because I want to get one thing out of the way from the offset… the new, ultra-broad aspect ratio panorama view, modelled on the dual display of the arcade version, with the ability to seamlessly switch to a closer-up view, is absolutely stunning! Now, obviously the first time I fired it up I paid absolutely no regard to anything I was being told on the screen – I just impatiently hammered the A (and X…) buttons until it put me in a game like every normal person does with something new! Then I wondered what the hell I was looking at, with the game spread across this massive narrow band across the screen while the score was popping out of the screen in big text at the top. Then I started pushing other buttons that weren’t immediately shooting lasers at stuff to see if I could change this weird default view setting, and eventually got to the back-left trigger, and suddenly we were transitioning to a much more in-your-face, full screen view, like one of those big round magnifying glasses built into the side of a seahorse tank at an aquarium. Literally! Another press, and we’re back in this over-stretched widescreen thing again, so back again – this time to notice the splendour and detail of the stuff I was shooting lasers at as it got up close and personal – and then back again. And now the realisation that these absolutely gorgeous 3D fish monsters were part of this huge, dynamic marine vista, and I was just blown away!

This is all happening on the big TV in my living room, so after I’d composed myself again, the next thing I wanted to check out was how this was going to translate to the Switch’s handheld mode. First, once we’re past admiring visual modes and actually playing the game, we’re going to be avoiding masses of shimmering plankton-like bullet hell (almost, at times). Second, while I was hammering away at the A (and X…) button to rush into my first game, I couldn’t help but notice loads of text all over the place, and at some point I’d probably have to read some of it to get the most out of things like the new Burst Beam weapon, not to mention work out what the different game modes on offer might be!

It turned out that the text was the main issue, and actually playing felt physically good in handheld mode. Except for the rumble, which was already starting to grate when I was just holding the joy-con dock, but with the added heft of the switch vibrating around, no thanks! Easy to switch off in the options menu though. The text is a different matter. Some of it – let’s say the medium sized body text that explains things like what Original Mode entails – is actually easier to read holding the device that straining to see it on the TV from an armchair a couple of metres away. It’s a couple of screens later, where you’re looking at the stage maps for each difficulty before you start a game, that the eye strain really starts in both modes, but then from the next screen onwards you’re going from about 50% of the text getting virtually impossible to read in handheld, to almost all of it on the next! Fortunately we’re only one screen from the game finally loading here, but all the same, you’re losing all of the ship select information and then all of the how to play and upcoming boss data, which is all essential when you’re starting out. Especially as this is about the only instruction a newcomer to the series is going to get anywhere!

Just to close on our first point on handheld, apart from that, we’re definitely missing the visual wow of seeing this on a big screen, and there’s also a a definite loss of clarity, which seems to affect the backgrounds – such as distant star-fields – in the panorama view, and in the closer view, character detail seems less distinct. The power-up icons aren’t easy to read either, but not a showstopper. I don’t really play my Switch handheld at the best of times, but while the feel is good and the gameplay is intact, I reckon the loss of fidelity and generally lower impact versus a big screen isn’t really a compromise I want to make for something as grandiose as this.

While we’re on the topic of text and stuff, I’ve got a few bones to pick with the user interface! When you first load up, once you’ve pressed A to bypass several company logos, you’ve got the game logo and a flashing “Press Start” message. I guess the + button on Switch isn’t technically a start button, but it’s the start button! Press that, though, and you bring up the options menu because if you look closely in the bottom left corner, it says “X:Start” which is even less “Press Start” than the unofficial start button! Okay, we’ve now pressed X to start (although my muscle / brain tissue memory is still making me press + before I realise it means X every time I load it up) and we’re onto the game mode select screen. Now in the bottom left, we’ve got some new instructions, with “A:Decide” rather than “X:Start” or even Start start! All now goes swimmingly until we get to the ship select screen – the one where you can’t read the ship’s description because it’s too small. Now, as well as “A:Decide” we also now have “X:Entry” and I have no idea what this means – it certainly doesn’t do anything. All I can think is that if additional players are playing then they need to press X wherever they are. Doesn’t say that anywhere though! On a related subject, when I was digging around in the options menu, I noticed there’s a load of different cabinets you can change to, but I never did work out what this means either as changing it didn’t seem to do anything at all.

Last little moan, which admittedly could be down to me missing something really obvious, but anyway, the words “FREE PLAY” are in the middle of the screen in tiny letters all the time, from that initial game logo screen when it first loads through to everything you see until you turn it off thereafter, including right across the play area! You get a lot of “X:Entry” at the bottom left of the screen while you’re playing too, which I guess is inviting other players in, but who knows when you’re flying solo like me and there’s no instructions whatsoever anyway! Actually, I do know that there’s 4-player local co-op, though I think online is limited to ghost-ships and leaderboards.

Right, I lied, one more moan then the good stuff! There’s no back button on the menu-type screens. Pressing B in any of these selection or preamble screens takes you right back to the title. But be thankful for small mercies here, because every single Game Over won’t take you back to the title screen, but to the parade of company logos before it that most games only throw at you when you’re loading up for the first time, so you have to click through these with the A button to actually get back to the title screen (where you then have to click X and not Start) every time!

I like my user interfaces simple, uncluttered and consistent, which might not be rocket science, but it’s amazing how often it doesn’t happen! And I know we’re here for the shooting, but this is Taito and this is a full price release, and honestly I expect a little more attention to detail.

As far as why you’re here for the shooting goes, it would be really easy to say that the Belsar Empire is back and up to no good again so you have to stop them, but why take easy when we can easily take the description on the Nintendo UK website wholesale! And I quote:

Take part in the galaxy’s most awesome adventure yet, with this brand new update to the arcade classic Dariusburst: Another Chronicle! CHAOS has devastated the universe as the biomechanical hordes take on humanity once again. Without the support of the human network, the Silver Hawks plunge into the depths of EVIL fitted with Burst technology and set out liberate Planet Darius!

In this brand-new edition of Dariusburst, enjoy the enhanced visuals and authentic arcade action like never before! Conquer the evil Belsar forces in the complete EVENT Mode with all new scenarios exclusive to EX+! And for the first time, take flight in the Silver-Hawk Murakumo in all modes!

Rush into Dariusburst: Another Chronicle EX+! Be on your guard!

Now that’s clear, let’s take a look at the four game modes. I’m taking a bit of a flyer on this because it doesn’t really spell things out – surprise – but we start with Original mode, which I reckon is the original arcade version, where you choose from one of three difficulties and work your way through twelve branching zones, so Zone A (Easy) will lead to a choice of Zones D and E when you’ve beaten it, Zone B (Normal) leads to E and F, Zone C (Hard)… You’ve got the idea! While there might not be much in the way of instruction, there is a nice accessibility option throughout for infininite lives, so everyone might get there eventually, but whatever score you get ain’t getting recorded. I like this in a shooter though, because as I’ve said many times before, there’s a reason why the most iconic boss usually appears at the end of level one!

Right, next mode. Original EX is taking what you’ve learnt in Original mode and ramping up the difficulty, with new letters representing those branching zones all the way up to Z to prove it! This is rough, but there’s real longevity to be had here too, and we’re starting to see some value in that full price asking price! Speaking of which, next up is Chronicle mode, and this is the big one. A vast number of missions and objectives where you’re presented with a load of star systems like one of those hologram maps the Jedi have in Star Wars, then you choose the planet you want to liberate. From there, you’ll be given a stack of missions to complete, each taking in a stack of different zones, and that all adds up to a stack of time needed to see your way through all of them!

Last up is Event mode, which is another 21 new (or at least remixed) named stages with definitely all-new music that either only ever appeared on the arcade machine for a limited time, or have been created exclusively for EX+. I mentioned them being named for a reason too – the names are great! “Fierce Battle of the Cosmic Fissure Belt” or “New Assault on the Cosmic Graveyard” are a couple of highlights, but what you’re getting here is a bunch of either score attack or time attack stages (that even invite you to press any button you like to progress towards a game at one point)! Again, another stack of content to get through here, and while I think some of the stages are more new or more remixed than others, you’ve now got way more DariusBurst than you could ever wish for! That said, keep in mind that from what I understand, Event mode is the only thing that hasn’t been available in various other console releases previously, and if you already own those it would be worth checking first.

And what about all that new music! Once it fled the aural wasteland of the ZX Spectrum, half the battle for the Darius series was already won by its epic, atmospheric soundtracks, and this one, by Taito’s in-house sound team, Zuntata, is just about the best of the lot! There’s a heady mix of surreal ambience and melancholic trance, Silent Hill-style industrial and dark techno that all seems to know exactly where its place is depending on your mission and environment. There’s disco beats and J-pop, massive space operatics, haunting choirs and ethereal individual vocal performances. There’s jazz. Yuck! There’s the audio drama of the sea itself backed by militaristic drums. It’s the soundtrack that keeps on giving, and it’s stunning throughout – even the jazzy bits!

The impact of the soundtrack on your gameplay experience cannot be overstated, which is why it’s such a shame that playing handheld – where headphones are an easy option – isn’t really an option, but Nintendo makes it so impractical to use headphones when playing on a TV screen that it isn’t there either. And that’s a compromise that shouldn’t be acceptable to the gameplay here, because the complete experience is a wonderful thing! Dancing your way around the myriad sub-aquatic settings, filled with sci-fi reimaginings of marine life as a deep-sea mechanical bullet-hell menace is exhilarating enough, but when that deep klaxon sounds its warning over the soundtrack that’s already driven your adrenaline to fever pitch, the appearance of one of the giant robot monster fish bosses is nothing short of mesmerising! And it’s such a voyage of discovery too, and you just wonder what massive marine insanity is coming next – I mean, you’ve beaten Lightning Claw, Brightly Stare, Mud Wheel and Hermit Red-Purple, so where do you possibly go from there? Well, why not try Great Thing, Thousand Bullets, Brute Gluttons and Massive Whip for size! And they’re all based on the worst of what’s really lurking in the real deep, from whiplash squid to hermit crabs to, er, piranhas. Sea piranhas! And they’re all massive and epic and beautifully designed, and there’s very few that aren’t just an absolute thrill ride once you’ve got a bit of a grip on their moves!

There’s help at hand with your new multifunctional Burst Beam cannon though, opening up all kinds of tactical combat and massive score multiplier possibilities once you’ve got your head around it. This thing’s giving you the capability to turn the tide of a boss battle in a couple of button taps, whether you decide to use it as an enormous screen-slicing laser blast that you can also detach from your ship then rotate to bring down some hell of your own, or whether you decide to angle it so you’re effectively giving yourself a burning shield to obliterate enemy fire (which will also recharge it) as you blast away from behind cover. It’s got a trick up its sleeve to parry massive enemy fire bursts too, which will net you up to 96x scores if you’ve got your counter-game on. There’s enormous depth to this thing, and I’m not sure I’ve totally seen the best of it yet, but at the very least it won’t be long at all before you’re getting up close to a boss that’s about to unleash a giant lightning strike or something at you, detatching, spinning and locking your Burst Beam in its face then letting that take the brunt of its mouth juice while you do your thing in complete safety. For a few seconds at least! Quick mention for the tap of the right shoulder button to send fire backwards rather than forwards too. Why don’t all shooters do that?

I reckon that this is a rare case of the visuals playing second fiddle to the soundtrack, and I’m struggling to think of many games where that happens… Bits of Castlevania: Rondo of Blood on PC-Engine spring to mind, but not a lot else. Anyway, second fiddle or not, this is a feast for the eyes. And yes, I am still playing the Switch version and not PS4! Actually, I can imagine the loading times are a bit quicker on PS4, but to a frame-rate philistine like me I doubt there’s a lot more in it. Clearly, the boss fish are the high points; they remind me of seeing these exquisitely painted Warhammer or other nerd fantasy miniature figures being showcased in White Dwarf magazine or some unfathomable Advanced Dungeons & Dragons rule book back when Darius was flounder(!)ing on the Spectrum! Anyway, that’s good! Every metallic scale or tentacle has an air of being hand-painted then expertly dry-brushed for extra shadow or highlight, or a kind of subtle vein effect or scarring. And there’s a real mix of geometries to create life from straight edges, not to mention the mix of colours and the sinister grimace they seem to have captured on every one. And there’s more than forty of them!

A similar design philosophy is applied to even the smallest enemy that makes up the biggest of swarms, and seeing these things come at you is such a joy. I didn’t think some of the larger, more traditional regular enemy ship designs were massively creative, and they did remind me of those modern graphical overhauls of the first two R-Type games, with slightly less attention to detail than their more fishy-looking friends. The same is true of some of the asteroids (that break up old-school when you shoot them!) and big rock formations you come across, but in the heat of battle, as the actions scrolls along at some serious pace, you’re not going to complain! There’s huge variety in those backgrounds going by too, ranging from states of smoky aurora to planet-fields to complex natural and mechanical structures, but you rarely get the chance to admire their individual movement and organic transitions! There’s just so much else to take in, with the screen usually a mass of swarming enemies, laser fire, bullets, missiles, explosions (which, honestly, are mostly a bit underwhelming) and just general chaos. I think I might have seen a little judder on occasion when things got really mental, but on the whole this thing is a credit to getting the best out of the Switch.

Burst Beams, giant fish robots shooting multicoloured lasers out of one end and some kind of electric hurricane out of the other, tooled-up rock-falls, glistening razor shoals and a screen full of bullets of and explosions of every kind – all at once – with some kind of industrial-jazz booming and pumping up your heartbeat to bursting while the sounds of dozens and dozens of things shooting, exploding and dying (not to mention those terrifying boss warnings!) and this thing is just the best sensory overload you can imagine! Just play it on the biggest screen you can lay your hands on, play it loud, don’t have a heart attack and don’t forget it’s X not Start to start!

Retro Arcadia Top 10 Games of 2021 – The Half Way Point!

Not sure I’ve ever got to the end of June and had a top ten games already, but I’m guessing the jump to Xbox Series X and it’s little Game Pass feature might have something to do with it! And that’s partly why I’m doing this now, because given what’s hopefully coming for the rest of the year, I reckon it might change a bit by December, so I just wanted to give these guys some credit before they don’t deserve it!

1. Resident Evil Village (Xbox Series X)
I wasn’t fussed about next-gen until the doors of Castle Dimitrescu were swept open in that very first gameplay footage back in January, and we climbed the grandest of staircases under the grandest of chandeliers under the grandest of ceilings, and it was just the best-looking thing I’d ever seen in a game! That combined with the clear influence of Resident Evil 4 – my third favourite game ever – to have me more hyped about Resident Evil Village than even Shao-Lin’s Road on the ZX Spectrum in 1986! And it more than lived up to that hype! A beautiful time, several times and counting.

2. Cyber Shadow (Xbox One)
Back in January, on my son’s hand-me-down Xbox, I succumbed to another Game Pass subscription for this retro arcade platformer, because a second one in the house for a month was still way cheaper than getting it on Switch! Little bit Metroid and a lot Ninja Gaiden – really punishing but begrudgingly fair, controls like a dream, and the levels are really well designed with some great variety, despite a couple of overly harsh checkpoints! And it’s also the best-looking and sounding NES game you could ever dream of, oozing this oppressive atmosphere behind all that polish.

3. Ghosts ‘n Goblins Resurrection (Switch)
I’ve spent decades having the time of my life getting killed on the first two levels (but mostly the first!) of this game’s various Ghouls, Ghosts and Goblins predecessors, and I’m pleased to report that this one is no different! By far the most brutal in the series so far (although there are options for wimps and even optional mid-level checkpoints for all), and also the best looking, best sounding and, by all accounts, the most varied, though I’m unlikely to ever know about that!

4. Outriders (Xbox Series X)
Finally, I found my new Destiny! Fantastic feeling cover-shooter built around an addictive, repetitive and often joyfully mindless progressive level-up and loot loop that feels loads better if you jump in with others, though the flexible difficulty system means it works fine solo too. The magic classes mix things up, there’s various enhancement systems and all kinds of modification possible, a ridiculous amount of better weapons and armour to keep finding, and the story isn’t bad either. Looks mighty fine as well!

5. Narita Boy (Xbox Series X)
A pleasantly modern-feeling sort of metroidvania homage to the eighties that starts a bit bewildering as you’re dumped into a complex story made of complex language, but persevere a while and your back and forth will reward you with enormous environmental variety and loads of different enemies to overcome with increasingly fluid combat. And as you’re wandering and wondering at some glorious pseudo-Tron visuals and a fantastic synth-wave soundtrack, you’ll even start to work out what it’s all about too!

6. Genesis Noir (Xbox Series X)
I should hate this! Pointing, clicking and jazzing isn’t me… Unlike Howard Moon, I’m definitely not the jazzy boy! But I’m okay with some film noir, and I like some Pink Panther cartoon aesthetics, especially when they’re so painfully stylish! And this isn’t really point-and-click; it’s very tactile, and, unusually for that genre, its puzzles are mostly logical. There’s no escaping a bit of smoky jazz club in this absolutely unique anti-creation tale though, but I can forgive it that.

7. Travel Through Time Vol. 1: Northern Lights (ZX Spectrum)
For anyone interested in ZX Spectrums, you have to check this out! It’s up there with the machine’s best racing games, whether Enduro Racer and WEC Le Mans et al from its original run, or anything like 4K Race Refuelled or Just a Gal that followed more recently. Speaking of which, it’s from the same developer as Just a Gal, but this time the ingenuity, creativity and sheer craftsmanship on display here will just blow you away even more. Just stunning!

8. Pac-Man 99 (Switch)
I really didn’t appreciate having to buy a skin when it turned out I kept getting into the top ten then dying because of a red enemy Pac-Man on the black background that I couldn’t see because no settings compensated for my very common red-black colourblindness… But it was a Xevious one, and it was cheap, and the game was free, and it’s a really, really good competitive multiplayer take on the classic core mechanics, and it’s really, really addictive, so I’m going to begrudgingly forgive it that and just say it’s great!

9. Danterrifik III (ZX Spectrum)
Yes, you read that right – another Spectrum game! This is a triumph of both minimalist design and the most brutal of old-school split-second, pixel-perfect punishing platforming. The intricate black, white and occasionally red Nazi-soiled religious imagery would look like this on any platform, and the exquisite soundtrack is as good as has ever graced the Spectrum – you might even think you’re listening to a Commodore 64 while your 99 lives are being chipped away in very rapid succession!

10. The Medium (Xbox Series X)
As the first game I played that was made for my new next-gen console, this was a disappointment! Just imagine the leap from playing Zub on ZX Spectrum to Defender of the Crown on Atari ST… Well, it was pretty much the opposite of that, and I might even say was a backwards step from something like Final Fantasy VII Remake on PS4! But as a horror walking simulator of sorts with a fantastic psychic otherworld mechanic and hard-hitting story, it really hit the spot.

Most Hours Spent in Gaming

Here’s some more pure self-indulgence just because I can’t resist a list, so feel free to go and do something less boring instead! My recent examination of Elite versus Perils of Willy (here) – as well as passing the 500 hour mark in Animal Crossing on Switch – got me thinking about what games I’ve put the most time into over the decades. There’s no question about the first two, both running into thousands and thousands of hours:
1. Kick Off on Atari ST
2. Elite on Atari ST

Kick Off is my second favourite game of all time. I can’t imagine the hours I spent either playing against my brothers or in the complex single player leagues and cups I invented where every player had a name long before that kind of thing was a thing. We turned it into far more than a top-down football game, and it extended the life of my Atari ST into the late nineties, way beyond when the first PlayStation should have consigned it into the loft.

Elite is also well within my top ten games ever, and unusually for me, that opinion is not exclusive to me either! Early experiences of the space-trading sim on the BBC astounded then fascinated me, but this version absolutely captivated me. A game that never knew there were limits from the outset, and equally there were no limits to playing it, pretty much forever.

Building out my top ten, I’ve got some other contenders that immediately spring to mind in no particular order yet:
– Pro Evolution Soccer 4 on PS2
– Pro Evolution Soccer 2008 on PSP
– Destiny on PS4
– No Man’s Sky on PS4
– New Star Soccer on iOS
– Animal Crossing New Horizons on Switch
– Football Manager on C64 on Pocket PC
– Tetris on Game Boy

Thinking out loud, I reckon Pro Evo on PSP then Tetris then Pro Evo on PS2 make up the top five. The only actual point of reference (at 500 hours) is Animal Crossing, and I’m going with that next, followed by Destiny and No Man’s Sky. To round out the top ten we’re going pre-smartphone, emulated Football Manager, and its spiritual descendant (and on actual smartphone) New Star Soccer.

My wife used to go nuts about my PSP always being in my hand every evening, but actually I think it was the fact I only ever played Pro Evo that annoyed her! It was full season after full season on there, even though it was about as predictable as old-school Scottish Premier League, with only a couple of teams ever in the reckoning! Actually, in a strange twist of fate about seven years later, my top goal scorer’s son and my son would become best friends in real life!

I am very familiar with the Tetris Effect. Not the game (for motion sickness reasons), but the phenomenon. I was playing Tetris every waking and non-waking hour like it or not! I loved my Game Boy, and Tetris never stopped being an integral part of its joy, through my sixth form years, university and buying at least three houses!

PS2 Pro Evo was the first to rekindle that Kick Off experience, and now everything looked just like on Match of the Day, and like on PSP later, I didn’t need to keep score for my league and cup fixes. And that Master League was just awesome – no matter how good you got, it always seemed to come down to the wire between you and one or two rivals!

I very rarely buy a game day one, but I knew that with Animal Crossing New Horizons I’d be getting incredible enjoyment and incredible value from whatever the asking price. In under two weeks I’d played more than 50 hours, and we’re now over ten times that. It’s the ultimate in gaming escapism, making the mundane as addictive as crack!

Destiny might have delivered less than it promised in the eyes of many, but not me! The shooting is as good as it’s ever got in any game, but the continuous search for upgrade materials through a continuous search for whatever was going on in that time and place you were in provided exactly the same addictive quality as Animal Crossing; it’s a different type of mundane, but you still can’t stop! Until you move to the country and have terrible internet…

Given what I’ve said about Elite, it’s no surprise that infinite space-trading discovery adventure No Man’s Sky rounds out my top ten, and it’s a game where tinkering eventually killed it for me. I was so happy with this game when it came out – unlike the rest of the world – and the first few major updates added loads to the experience that maybe should have been there previously. But the updates kept coming, and still keep coming to this day. And the one that made my sprawling moon base end up floating in the air and completely inaccessible was the beginning of a sadly quick ending.

Football Manager was one of the first games I played on my friend Paul’s Spectrum, then played it endlessly when I got my own, but it was on that forgotten pre-smartphone gadget the Pocket PC is where I spent the most time on this. It was great for emulating the C64, and this game was great for emulation. And it’s another that used to drive my wife crazy for all the aforementioned reasons!

Moving from football manager to player, New Star Soccer on iOS is one of the most addictive games I’ve ever played, to the point that in the end I knew I had a problem and had to go cold turkey! Unfortunately (or fortunately, for my sanity) it’s now a great example of a premium game destroyed by free-to-play mechanics. As well as excessive tinkering. Again.

I’m mostly happy with my top ten, but there’s also a few wildcards that I’m struggling to quantify versus the others; I just have a hunch that they might also be up there too!
– Snoopy Tennis Game & Watch
– Alto’s Adventure on iOS
– V-Rally 3 on Game Boy Advance
– Game Dev Story on iOS

Snoopy Tennis was ubiquitous in my hands in the first half of the eighties until I got my VIC-20. Likewise in the early 2000’s, I was travelling loads and always had V-Rally on the go on my GBA, and have barely taken a break from playing it since. And by 2015 I was travelling insane miles all over the world, and Alto was my plane and hotel time-killer… Until it was almost usurped by its successor in 2018 then along came Sega Ages Out Run on Switch a year later! Game Dev Story on iPhone figures here somewhere too, but in a much more concentrated time period – I went completely nuts on that for a couple of months when it came out; also one of the most addictive games I’ve ever played!

As an aside, I can probably pick out my longest narrative-driven play-throughs without too much thought, and because they weren’t long ago I even know the timings:
1. The Witcher 3 + some DLC on PS4 – 95 hours
2. The Legend of Zelda: Breath of the Wild on Switch – 90 hours
3. The Elder Scrolls V: Skyrim – 80 hours

None of my long games list or my wildcards are much of a surprise to me. Unsurprisingly! But what I’d never thought about before was how many of these are football-related! I know your typical FIFA player is probably out-playing anything on my feeble list here every single year, but I don’t play stuff like that. Apart from the 50% of these games seemingly being stuff like that of sorts!

Wow. This wasn’t supposed to turn into an identity crisis! And let’s not even go to why a 48-year old man is spending 500 hours playing Animal Crossing in under six months… But ignoring all of that, I’m okay with representing on Atari ST with my two big hitters, and Kick Off is still my second favourite game of all time and Elite is still in my top ten, and that’s pretty cool, so let’s just stop there where everything is good with the world!

The Retro Arcadia Top Ten Games of 2018

This year my SNES Classic Mini was finally joined by its previously impossible to buy NES sibling, plus a C64 Mini and almost a PlayStation Classic – I cancelled the day before it was shipped, not because of the controversial games list, but it just sounded like the finished article was very bare-bones and the emulation was crap. On the ones I hadn’t cancelled, I’ve loved pretty much everything on them more than anything that will ever be released again. On a similar note, I also love most of the old NES stuff that came with the Switch online service – especially the wonderful Tecmo Bowl, Balloon Fight and Mighty Bomb Jack. And on another similar note, I’ve loved playing a ton of the Switch Arcade Archives releases of Donkey Kong and 10-Yard fight, as well as ACA NEOGEO Super Sidekicks 3, and the fabulous Megadrive and SNK collections. And with a Switch now in my possession, Mario Kart 8 Deluxe and Golf Story from last year, and of course, Breath of the Wild, which I sandwiched between Ocarina of Time and the original Legend of Zelda (which I played on two different platforms almost in parallel).

Hovering just outside this list would be the Williams packs on Pinball FX, featuring some of the best tables ever produced; last-gen racing powerhouse Burnout Paradise Remastered on PS4; Castlevania Requiem (if I’d played a enough of either game included in time); and a game I’ve seriously been waiting 25 years to play, Night Trap on the Switch, which might not be the most mechanically-varied game ever, but was a technical marvel at the time and is still a fun romp today. I’m sure that had I played it yet, Red Dead Redemption 2 would be somewhere around the top, but finally playing and completing Mad Max just before it was released only confirmed I’m a bit done with open worlds at the moment, and I’ve more than enough to keep me going until they finish patching it and the price drops. And I’d have loved to have Tetris Effect on here, but after fifteen minutes of my first game on the beta, the motion sickness began…

As always, the rule here is if it’s been released for the first time on a platform this year, it’s fair game…

1 Gris (Switch)

The very last game I bought in 2018 (at time of writing on Christmas Eve at least). If you ever wanted to convince a non-gamer that gaming is an art form, you’d show them this, because it really is a wonderful piece of art in anyone’s language. I don’t think I’ve ever seen (and probably heard) anything quite as stunning as this on any platform, and maybe aside from Journey, anything as powerful. It’s a dream to play, and a dream to experience as it becomes more and more beautiful as you progress, and subtly more complex. A genuine gaming masterpiece.

2 Minit (Switch)

I avoided buying Minit when it came out on other platforms in the hope it would appear on Switch one day, which seemed like the right place for it, and that day came but a few horrendously hot months later. Bizarre premise of your hero living for only sixty seconds in an old-school Zelda-esque black and white pixel art rogue-lite world, doing simple quests, solving puzzles and killing monsters. Sixty seconds at a time. But it really works! It begins with almost no context or instruction, but you soon work out how things work to progress your story, planning out your next sixty second life as you carry out the next set of activities for this one. Fantastic game, very different, and perfect on the Switch. And when you’re done with the story, there’s a couple more hours picking up the stuff you probably missed then new game plus where sixty becomes forty. Future cult classic!

3 Moonlighter (Switch)

That wonderful Stardew Valley vibe where minutes are actually hours. But with more fighting. Moonlighter is a greeat rogue-like by night, and shopkeeper-sim by day, where you kill for booty to sell to buy armour, weapons, upgrades, better shop stuff and things to liven up your town so you can access new dungeons with better booty. Fantastic to play day or night.

4 Taiko no Tatsujin: Drum ‘n’ Fun! (Switch)

I searched Tokyo in 40 degree heat and 90% humidity for this bundled with the physical drum controller. I failed, but not long after it was all announced for European release and everything was well in the world again. I can’t remember the last time I had a stupid grin on my face playing a game, but there’s little here not to smile about, from the real drum you play along to a huge, bizarre playlist with, to the completely bonkers visual feast that could only come out of Japan happening on the screen. The ultimate party game, even if you’re the only one invited.

5 Mario Tennis Aces (Switch)

I never played Mario Tennis on the Game Boy Colour or Advance, so don’t lament the depth of their story modes apparently missing here. I did, however, sink dozens, if not hundreds of hours into Tennis (featuring Mario as umpire) on the original Game Boy. Jump into an online tournament on Mario Tennis Aces on the Switch, and that’s what you’ve got, dialled up to eleven with trick shots, specials, bullet-time and more, and all against real other people. There’s depth here too – after a few hours you start to notice little things that stack up to make all the difference; you work out how to properly use the trick shot or the blue glow around the ball or the star that sometimes appears on the ground or a dozen other minor things; and then you start winning one in five matches, then one in three, then two, and you’re reaching (and occasionally winning) tournament finals… Stunning looking game, polished to hell, full of character, and utterly addictive. Who cares about story modes (which is actually pretty enjoyable too)!

6 Hollow Knight (Switch)

Specifically here for the first 30 hours, then another 15 hours after 36 hours, then a few more after 53 hours. I absolutely hated everything in between and deleted the game twice in disgust at two bosses I just couldn’t beat. Until I did. Very few games over the last almost forty years have hooked me like this gorgeous looking, vast metroidvania did – even when it was gone, it kept dragging me back. 80% love, 20% pure hatred, and probably the best £7.99 I ever spent on a game.

7 Alto’s Odyssey (iOS)

I’ve played the original Alto’s Adventure more than any other game on mobile (or tablet in my case). It’s the perfect, premium mobile game, and has been my go-to time-passer across thousands and thousands of miles on plane journeys over the last few years. Alto’s Odyssey swaps snowboards for sandboards, but is more of the same, and then some. The new desert backdrop is stunning, and the day/night cycles, variable weather – especially the storms – and multiple biomes to explore make for some outstanding eye-candy. And the one-touch, backflipping gameplay remains as challenging, skilful and perfect as ever.

8 Bloodstained: Curse of the Moon (Switch)

Old-school Castlevania in all but name with some really clever character-switching mechanics, atmospheric old-school graphics and sound that make me want to live in it, and plenty to explore and go back to when you’re able. In the five hours or so to complete first time, it gets progressively more tricky, but aside from a few frustrating sections (generally involving moving platforms in the late game), it’s all do-able after a few attempts and some experimentation with the characters, even on veteran mode. My only gripe is the checkpointing on the double final boss battle – going back to the very start is a real pain while you’re dying over and over again to learn how to beat the second part! Once you’re finally done, definitely worth playing the newly unlocked nightmare mode to explore those places you couldn’t before you had the right characters available. Great game with a lot of retro-love oozing out of it.

9 Mega Man Legacy Collection (Switch)

Much like Zelda, I’d never played a Mega Man game before this year, and now I’ve played and finished three of them; 2, 1 and 3, in that order. I’m particularly proud of finishing Mega Man 2, over a period of months, as I completely avoided all the quality of life enhancements like rewind and save in-progress that come with this wonderfully presented collection of games 1-6 in the series. It’s not just the games though, most of which are bonafide hardcore classics; those enhancements, the mass of settings options and the museum of art that accompanies every game make it one of the best compilations I’ve seen. And it’s the reason why Mega Man 11 is missing – I’ve played the demo dozens of times and it’s awesome, and would certainly deserve to be here in place of this from what I’ve seen, but I’m going to be busy with games 4-6, as well as the Mega Man X game on the SNES Classic Mini, for some time yet!

10 Owlboy (Switch)

There’s still pixel-art everywhere this year, but this really is a marvellous lesson in pixel-art design, and a great Metroidvania game to boot. The sky islands you navigate in this vertical platformer are diverse and stunning. Controlling your owl boy feels great. The evolution of the game mechanics works brilliantly as you meet new partners in crime. And those characters are ones you really care about as you make your way through the thought provoking story. Another brilliant Switch indie.

Game Review: Minit on Nintendo Switch

The minute that Minit was announced, my interest was piqued. It looked like Downwell – a big mobile and PS4 favourite of mine – had crashed an old NES RPG party. Around its launch on PS4 however, my new Nintendo Switch became all-consuming and as it looked like a perfect fit, I avoided buying my long-awaited Minit in the hope it would appear one day on there. Just a few (dreadfully hot and sunny) months later, the start of August 2018 brought that day.

The premise is unique – your weird dolpin-thing hero is alive for 60 seconds. Then you die. Within this constraint, you’re dumped into a Zelda-esque black and white 8-bit pixel-art styled world with no introduction, but once you’ve got the lie of the little bit of land around you, you’re soon doing simple quests, solving puzzles and killing monsters, and crucially exploring a little it further and teasing what might come in your next life.

Sounds stressful, but it really works! What you need to do to progress your story quickly clicks, and without realising it you’re planning out your next 60 second life as you carry out the next set of activities in this one, and thus the story unfolds with 60 seconds becoming a mechanic rather than a frustrating constraint. A very clever rogue-lite system means that 60 seconds is literally just enough to do what you need to do and work out what to do with your next minute having done all that. The progression through the story, the puzzles and the world is very intuitive, and again, literally just enough that you don’t need a map.

I love the art style, and the character and atmosphere it manages to generate despite its simplicity; and the sense of claustrophobia it creates in many areas, with very little visible inside the enveloping blackness, but which actually encourages exploration. There’s really nice attention to detail too – the little wisps of smoke coming from chimneys, washing swaying on the line and insects doing their thing all add life to what is a very sparse 8-bit styled world. Similarly sparse, simple sound effects layer to add to the sense of atmosphere depending on where you are – the seagulls crying over the sound of waves as you approach the lighthouse or an ominous fire-like crackle with some confused sounding dolphin noises occasionally kicking in when you come across the Secret Temple. And all of this regularly and organically interrupted by the game’s ear worm chip-tune soundtrack.

It took me exactly three hours to get through the story, but it told me I’m only at 51% “collectibles” which is a term I’d consider loosely – we’re not talking Riddler trophies in Batman here; more likely finding the last coin, the last heart, a few octopus tentacles(!) and some items I haven’t found yet that I think might trigger a couple more side quests I’ve noticed on my travels but don’t seem to have the right gear to access yet. There’s also the mysterious haunted house that I’m certainly missing something in! And I definitely plan on carrying on with that, and have a go at new game plus which limits your life to 40 seconds.

I can’t recommend this enough if you’re into old school Zelda-type games or just fancy a gradually evolving puzzle experience in a beautifully simple pixel-art world.

Retro Arcadia

The games that made me. All the way back to the 1970's.

Category: PlayStation 4