#but yeah. putting the fact that every single time i see kiryu i think about doing unspeakable things aside... | Explore Tumblr posts and blogs

beevean · 4 years ago

Note

How about a top 5 (or 10 if you prefer) best and worst bosses in video games? :D

I’m not very well versed in videogames, but anyway...

WORST

10) Chaos 4 (Sonic Adventure): Not a big fan of bosses who waste so much time - ooh, look at that, trying to hit me with very slow, very telegraphed attacks, and taking more and more time to becomes vulnerable the more the fight progresses. Also not a big fan of Tactical Suicide Bosses (excuse me Chaos, why is your strategy “stay in the water for increasingly amounts of time and then decide to raise my head to breathe”? In this form you’re a fish!). Even less of a fan of bosses that you have to fight three times to complete the game.

9) Sonic and Diablon (Shadow the Hedgehog): They couldn’t have come up with a more boring boss if they tried. Shoot the shield, shoot the cannon, avoid the hand, run away when you hear the word “anti-matter”, kick Sonic in the head, slowly chip at the large energy bar, rinse and repeat. The G.U.N. Fortress version is particularly painful, too, as the arena only offers those piss poor pistols with 10 bullets and minimal damage. And much like Chaos 4, you have to fight this lovely boss three times to get to the Last Story, except you don’t even get a different character with different abilities. Also, poor Sonic, from protagonist of the series reduced to nothing more than a footstep.

8) Collision Chaos boss (Sonic CD): Try to play a boss that relies on wonky pinball physics, that shoots projectiles with the only purpose of changing your already precarious trajectory, in the Bad Future that adds slightly more bumpers to destroy, with the American music (I linked the extended version to properly depict the experience). Pain is real.

7) Egg Pinball (Sonic Advance 3): Surprise! I find this boss worse than the more famous Egg Chaser. Yes, the Egg Chaser is very anxiety-inducing with its bottomless pit and the ball chain sending you into it, but once you learn the pattern of the platforms and that Amy as a partner makes it a joke it’s not that bad. This one, though? Even with Amy/Sonic, which is the only team where your partner is useless but you aren’t, this boss relies too much on luck, expecially by the end when way too many balls are flying across the screen. It’s almost funny, in a “screw you” way, that this is one of the two bosses in the game that can’t be hit by Cheese, in the stage where you finally unlock Cream. Pinball and Sonic don’t mix as well as Sonic Team thinks, apparently.

6) Boost Guardian (Metroid Prime 2, Gamecube): This boss’ strategy isn’t even that bad, it’s just that it hits you like a truck in an environment that is already sipping you of health. If being hit was less punishing, guessing the correct timing to jump over it would be fun. Too overkill for its placement in the game.

5) Mother Brain (Metroid Zero Mission): MB in the original Metroid 1 was... there, with the difficulty of the final boss coming from those stupid Rinkas pushing you into the lava below. In the remake, which otherwise is much easier than the original game, you have to think about the Rinkas, the lava, and MB who shots you fireballs! And if you fall into the lava (and you will spend half of the time in the lava)? She closes her eye and protects her only weak spot, forcing you to wait at the mercy of the Rinkas hitting you all over again. Asshole.

4) Dark Gaia (Sonic Unleashed): Dark Gaia, as a whole, is a stain on an otherwise beautiful game. Setting aside his “character” for a while: this boss is way, WAY too long (the first time I clocked at 11 minutes, like hell I’m trying again), the Gaia Colossus phase is frustrating for how slow it is and for having a nigh-unavoidable attack, the running phase requires pitch-perfect timing otherwise say bye bye to your life, and the Super Sonic phase is essentially “slipping down the shield to run over a bunch of snakes, then QTE up your ass”. Riveting. At least it has some banging music...

3) Egg Saucer (Sonic Advance 2): The bosses in SAd2 are already questionable with their “wind pushing you backwards” physics, but this one flings you enough bullshit to make you ragequit. Whoisthisgit made an excellent video explaining everything that makes this boss such a miserable experience. I am so sorry, Knuckles, that you had to be associated with this tragedy.

2) Antlion Mecha (Sonic 2, Game Gear): So let me get this straight devs, you take a boss that is already a little too had as the first boss in the game, you put it in a console with a much smaller screen, you screw up the slope physics making it just a little too easy to slide into the antlion’s jaws (and of course you don’t have any Rings), and on top of that you make the trajectory of the projectiles random when in the Master System they were consistent? Great game design there, guys :V

1) Spider Guardian (Metroid Prime 2, Gamecube): I was never as close as bestemmiare ogni santo e pure il padre eterno as I was when I was trying to beat this abomination. I love the Ing theme, but FUCK if I wasn’t hating every single sound of it while playing, OH MY GOD I envy the people who played it on the Wii so damn much

BEST

10) Robot Carnival/Storm (Sonic Heroes): Yes! Yes, I do like this boss! I’m probably the only one, I don’t care, I find these fights cathartic, especially with Team Chaotix <3

9) Jet Drill (Sonic 3 & Knuckles): The strategy may be simple, but I love the setup of Eggman destroying an ancient garden just to kill Sonic and I love how it emphasizes how much of a reliable bro Tails is. (let’s just ignore the fact that with Tails alone this boss is a pain...)

8) Doomsday Zone (Sonic 3 & Knuckles): The series had its fair share of Super Sonic bosses, but so far no one has beaten the original. It has excellent music, you can feel the tension as you smartly redirect Eggman’s missiles to him and as you chase him down through space, and Eggman in this game is really ready to do anything to win, I love it

7) Beta mk. II (Sonic Adventure): This is probably the best part of Gamma’s campaign. 90% of it is kindergarten-easy, and then Hot Shelter and the final boss are a sudden, but welcome spike in difficulty. Beta mk. II is a far cry from any other E-series robot you’ve faced, being almost completely invulnerable, hitting you with straight up nukes, and the time is still ticking in the corner. Then you add the context of having to kill your brother, and the deceptively upbeat theme, and it becomes a memorable experience.

6) Cykka (Metroid Prime 2): The first phase is fairly boring, but Adult Cykka is really fun to fight for some reason. Not only it has a cool design, but it’s a fast-paced battle (due to having to use the Grapple Beam to swing from platform to platform) where you have to go ham on the boss at certain points (when it becomes Dark Cykka), my two favorite styles for a boss.

5) Nightmare (Metroid Fusion): A name, a certainty. This boss looks, sounds and attacks in a way that makes you feel confused and powerless. Even at it becomes a game of “climb the stairs, shoot at its ungodly face, jump around to avoid it”, it’s still tense.

4) Ridley (Super Metroid): SM isn’t famous for having great bosses, but they put all of their effort into Ridley and it shows. There’s no strategy here, it’s simply “kill him before he kills you”. At this point you’re pretty much at the peak of your strength, you went through literal Hell to get The Baby back, you’re not going to be stopped by the asshole who killed your parents.

3) Shibusawa Keiji (Yakuza 0): What a beast of a final boss. The first Dragon of Dojima is the perfect foil to Kiryu, having all of his strength and style but none of his compassion, and beating him up to a bloody pulp, especially as you see him become sloppier and sloppier, is so, so cathartic. Also, Two Dragons, what more can I say?

2) Egg Dragoon (Sonic Unleashed): Best boss in the series? I don’t know but it’s surely in the top 10, and it’s ironic that you play as the hated Werehog. Not only it has some delicious music (that generations ruined), but it’s such a fun climax after the hell and a half that is Eggmanland! On one hand, Eggman sounds seriously angry and he is ready to kill Sonic (and if you take too much time, which admittedly is hard if you’re not doing it on purpose, he is positively gleeful while he sends you into a fiery death); on the other, Sonic just rips this giant robot apart like tissue paper, and even if it’s done through QTEs, it looks awesome.

1) Kuze Daisaku (Yakuza 0): I’ll let this say it all. If I had to pick a favorite version, the fifth one was my favorite to fight (by that point you have likely upgraded Kiryu’s abilities to the point of making him a juggernaut), but the second one is iconic for a reason... multiple, in fact. “DIE, YOU LITTLE SHIT!”

Special mention to Majima in Y1, YK and YK2 because he looks really fun, but I have never faced him myself so yeah.

#sonic the hedgehog #metroid #yakuza #sorry for the random italian #not my fault you guys don't have a word for insulting god himself #spinningbuster98

10 notes · View notes

bluerosesburnblue · 4 years ago

Text

Nothing upsets me more than a legitimately good story being ruined by “extra” content. I’ve already complained at length about Pokemon Ultra Sun and Ultra Moon’s story changes over the original games so now it’s The World Ends With You: Final Remix’s “A New Day’s” turn because CHRIST

I’m writing this as I come across points while watching a playthrough, so:

God, Coco is the single most insufferable being. “totez hilar” just dated this content so baaaad, and I’d even say it was dated language when Final Remix came out. No other character abuses modern slang as their entire character. Like, slang is used but not as a substitute for personality. Beat speaks in a very casual, urban style but it never ends up being detrimental to his character as a bit of a punk with a “perfect little sister” that he wasn’t as naturally smart as, so he just gave up on trying and ended up being a bit of an aggressive slacker. Heck, he tones it down a bit for emotional moments, too. Coco, though, comes across like her ultra-modern “cutesy” text message slang is supposed to be her personality, and even when it’s revealed that she’s the villain of the episode you just can’t take her seriously through the “like, ohmigosh, I can’t believe you’re ruining my plaaaaaans” bullshit. What does she have going for her if you rewrite all of her lines without that speaking style? She’s just a generic manipulative brat

Frankly I also just disagree with the entire premise of A New Day and the plot threads it sets up for a potential sequel, i.e. “having Neku and Beat run through a game again as a trap to get Neku into yet another game in a possible sequel.” TWEWY is a complete experience and had been for at least a decade. Literally every character had a complete arc. The worldbuilding was rich enough that they had more than enough to come up with a sequel set in the same world, but in an entirely different town with an entirely new cast and, heck, even entirely new rules for the Game that would’ve expanded upon the world of the games without taking away from the characters whose time in the Underground was already done

But, noooooooo, we’ve gotta bring Neku back. Can’t have a game without Neku they literally SAY THAT (”The Game, like, literally can’t go on without Neku.”). And let’s bring Minamimoto back, too, as a good guy! The fans loved him! This doesn’t come across as pandering at all!

Just... you have the girl with the red headphones designed! Make the sequel set in Shinjuku with her as the main character! (Hell, I don’t think I would have even minded Minamimoto coming back for that because there was enough leeway in the base TWEWY for him to have survived his encounter with Josh, just leave Neku out of it). This is the most infuriating part because it actually takes away from Neku’s story. The entire GAME was a test of character to see if even the worst, most closed off person could learn empathy and respect and Neku DID. And in return, that sparked a change in Josh. His story is done. Coco using Neku, though, has nothing to do with him as a character and everything to do with him being the face of the game and it shows

And why the hell is Neku so trusting of Coco anyway? I get that he opened up over the course of TWEWY, that was kind of the point. But you come back to life, everything’s fine, and then suddenly you’re in a death game again and so is one of your best friends, like, he should be WAY more concerned and suspicious. But one little Reaper gives him the sad eyes and he just caves instantly like “fine, come along.” Even when Neku grew to like some of the Reapers, like Uzuki and Kariya, it was still far more of a rival-like respect. He knew damn well that it was their job to see him gone and while he accepted their help when they gave it and helped them when their lives were in danger (possibly, up to player choice), they weren’t buddy-buddy with each other, knowing that as soon as the immediate danger to them had passed they’d be on opposite sides again. And these are the Reapers he’s closest to, even at the end of the game. And then all of a sudden Coco goes “but I’m a wittle wost baby weaper” and Neku’s response is, “well, shit, welcome to the team.” WHAT

I hate using the term “Mary Sue” but Coco is absolutely a Mary Sue in its original meaning. The plot bends over backwards to accommodate her at the expense of the main characters’ personalities or reason, all while giving her a clothing style incongruous with everyone else’s meant to stand out and make her look special and not having her face any repercussions for her actions (so far which is, again, another issue with the very premise of A New Day since that’s exactly how things will end off if TWEWY doesn’t get a sequel, the possibility of which is not a guarantee AT ALL)

Shiki and Rhyme start saying blatantly false things about themselves and handwaving it away with “ohhh, that must have been our new Entry Fee! Just the exact same ones as the first time again!” and only BEAT is suspicious and NEITHER OF THEM are suspicious of Coco, the only non-generic Reaper they’ve met so far. Christ, I appreciate Beat being attentive with matters of his sister because that’s in-character but NEKU was always the more paranoid AND observant one yet all he thinks about is “gee, I’m sure having weird visions today, huh?”

And then Coco starts BLATANTLY gaslighting them about Kariya and Uzuki’s personalities and they’re STILL not suspicious of her like ughhhhhhhhhhh. Nekuuuuuuu you LIVED THROUGH JOSH WEEK 2, you have BEEN IN A SITUATION where the mastermind partnered up with you to divert your suspicion and keep an eye on you how are you less suspicious of this brat than Beat is???

And why are none of the characters bringing up the fact that you have to be DEAD to be in the Game??? You all spent three weeks of hell to claw your way back to life, how are you not more upset about what seems like you all dying again, basically immediately after you just got brought back? And I know the Shiki and Rhyme in A New Day are illusions, but Neku and Beat AREN’T. Nobody even comments on the implication that they’re dead again and what that means!

I can’t believe they made new expressions for the fake Josh’s changed personality but still refuse to make anything for Shiki’s true appearance

Hell, there’s enough lore with Josh that you could make an entire prequel about him becoming the Composer instead of this mess and, you know, EXPAND on someone’s character and what led to him being so disillusioned with Shibuya as the Composer instead of employing the Happy Ending Rewrite on Neku and then gutting his personality to make Coco the focus. I’d LOVE a Josh prequel with competent writing. Kingdom Hearts made the Xehanort prequel and hooked me in a single chapter with expanded worldbuilding and interesting ties with Xehanort’s character to friends that humanize him, do the same for Yoshiya “Joshua” Kiryu!

Pfffffff hire me and let me make the dream TWEWY trilogy: Joshua prequel > TWEWY sans A New Day > sequel set in Shinjuku starring Red Headphones Girl with Occasional Josh and Hanekoma Interaction

It is so unnecessarily cruel to make Beat relive Rhyme’s erasure and subject Neku to believing that Shiki was erased as well, and yet they do NOTHING with it except have it be cheap tension for five minutes. The characters basically say “wow, I’m so sad!” and then IMMEDIATELY move on to “OMG is Neku seeing the fuuuuuture?” Your LITTLE SISTER and FIRST REAL FRIEND IN YEARS just seemingly died permanently! When Rhyme was erased the first time it took Neku one and a half in-game days to even talk about it because he was so upset, and from then on he was focused on avenging her/bringing her back. Shiki was his entry fee in Week 2 and that made him hyper paranoid the whole time! WHY ARE WE JUST GLOSSING OVER THIS especially since they made SUCH a big deal about how they just finally started believing that the fakes were real (after a whole TWO conversations)

And then at the end they say that they’re inside Coco’s Noise that is SO BIG that it has an ALTERNATE DIMENSION INSIDE IT and Hanekoma’s like “I’ve never met a Reaper POWERFUL enough to make a Noise like this. Wow, Coco, you’re so POWERFUL that even I, an Angel, am impressed!” This. Coming from the guy who specifically chose Minamimoto as his failsafe to kill the Composer should the Game go wrong because a Taboo Minamimoto, heavily refined using forbidden methods, would be strong enough to defeat THE COMPOSER. And he’s now going on about how Coco’s the strongest Reaper ever, basically admitting that she’s probably stronger than the Composer of Shibuya. SURE. BECAUSE COCO WASN’T BAD ENOUGH ALREADY SHE HAS TO BE THE STRONGEST REAPER EVER, TOO

And then it just ends with Josh and Hanekoma exposition dumping about how Shinjuku got erased as Noise entered the RG (WHAT?), Neku’s visions were probably caused by the red headphones girl who’s super special (who???), and Coco’s just so special powerful (why...), but it’s not their problem so fuck it. Oh, and also Josh doesn’t care about Neku anymore, despite that being the whole point of TWEWY. Yeah, the guy who flew off all upset when Hanekoma asked him if he wanted to hang out with his friends at the end of the game. Uh huh. Even if he’s lying, why even put that THERE instead of saving it for the sequel?

And then Coco just... revives Minamimoto. Even though, oh, right, the Taboo Refinery stuff was so precise that the only reason Minamimoto came back the first time was because Hanekoma, THE PRODUCER AND AN ANGEL, set it up for him. But I guess Coco’s just soooooo super powerful and knows FORBIDDEN HIGHER PLANE KNOWLEDGE and can just do whateeeeeever she wants. Not like Hanekoma was so paranoid about someone finding out what he did for Minamimoto that he went into hiding, certain that he’d be reported to the higher Angels and destroyed

A New Day is so painfully shallow from a writing experience. It’s a poor continuation off of the solid, complete TWEWY story experience that just doesn’t have a handle on Neku’s character, turning him into this bland vision machine with no emotional connection to anyone. The way that it expands the worldbuilding with “Inversion” does one thing that I HATE, which is taking an emotion-and-character driven story and turning it into a generic “end of the world” scenario, “raising the stakes” in a way that divorces it from what made it memorable in the first place. If Kitaniji directly effecting the RG during the main Game’s plot was the point where he crossed the line in-universe, then that loses its special nature and impact if you then go “oh, btw, Noise can destroy the RG city if you let them”

And then there’s the absolute black hole of a character that is Coco Atarashi. She wasn’t designed to fit into the world of the game, she was designed to stand out. On its own that’s not a bad thing, especially given the themes of the game that revolve around owning your true self and baring it to the world, but then you combine it with no personality beyond being a manipulative brat obsessed with the events of TWEWY, extremely lazy text message slang dressing up her dialogue to make it stand out, the way that Neku and Beat’s personalities change to accommodate her presence just to shoehorn her in and then have a cheap “omg she was bad” twist, and then dumping powers on par with Josh and Hanekoma on her and there is NO saving her character

The only good part of A New Day is “Wake Up.” And even then, there’s better TWEWY songs, I just like the vaguely Kingdom Hearts Dream Drop Distance vibes it has in parts

#the world ends with you #the world ends with you spoilers #liz's shenanigans #the playthrough i was watching to refresh myself on twewy's story hit a new day and my blood pressure spiked instantly #i have never lost interest in a sequel quite as fast as i did this #i just... how do you fuck up this bad???

11 notes · View notes

j-exclamationmark-l · 6 years ago

Text

Kiryu Youtube video synopses

From November 2018 - December 2018 These are synopses, not direct translations, despite the fact I began to forget that during the top one, which I wrote last.

【本人解説】己龍最新アルバム「転生輪廻」マル秘トーク！ Kiryu talks about their new album Tenshou Rinne!

Synopsis: The five members gather together and give their thoughts about their new album.

Tsurushi Mitsuki: This is an older song I wrote, back in 2017. I made Mahiro sing in a very low register. Mahiro: I like the distortion effect in doubling my voice. Junji: I was surprised by this song, it has a nice balance between quiet and movement. Muku Mitsuki: This is the song where I began using a seven-string guitar. Hiyorin: The balance is very difficult to achieve, but once you get it, it's incredible. Junji: Between quiet and movement... THIS SONG IS DEFINITELY MOVEMENT. Oborodzukiyo Hiyorin: This kind of sounds like the kind of song we would have written in our early days. Takemasa: I think this song is more popular with our male fans since it's kind of R-rated. Mitsuki: I wanted to make a song that was dark and disturbing. Mahiro: I like this song. Junji: Between sun and shadow, this song is shadow. Ibitsu Mitsuki: This is maybe the prettiest song on the album, and a bonus track. It's a song about pain. Hiyori: The bass solo is very significant. Takemasa: After having written some hundred songs together, we've yet to have made a song like this. I'm glad we put it out now. Junji: Between strength and gentleness, this song is gentle. Hansuu Mitsuki: This is a song Takemasa wrote for us. It has a nice balance and it's really fun to play. Hiyori: It's fast and busy. Takemasa: I wrote it mostly on my iPhone. Mahiro: The speed and rhythm of it really makes it a unique song. Junji: This isn't a normal rhythmic pattern for Takemasa. It's all... (sings the pattern). That's it. That's all it is for me. [Then Junji compares it to some manga thing I'm not familiar with]. Tenshou Rinne Mitsuki: This is the kind of song that people who like Kiryu will enjoy. It's a very Kiryu song. We don't use normal phrases for us, though. Hiyori: It's really nice to hear you singing for us, Mitsuki. Mahiro: That was my idea. I thought it would add a nice kind of unique sparkle to it. Junji: This is a fast song. Watashi ha Kairai, Sarugutsuwa no Ningyou Mitsuki: This is a rather slow song for us. Hiyori: I felt like this song was a sort of turning point for us, that this is the song that shows we're no longer kids. Like we grew beards for this song. Mitsuki: I don't understand what on earth you're talking about. Hiyorin: Don't you feel like you finally grew pubic hair? Mitsuki: What? Like in junior high school, weirdo. How old are you, do you still not have hair there? Mahiro: I really like the balance and sound of this song. Basara Mitsuki: This song is called "Basara," AKA Take-punk. Takemasa: WHAT? WHY?? Mitsuki: Every time you submitted a demo of this song, the feeling of it was very uncertain. But the underlying sound was always kind of punk. Hiyorin: Thank you for all the deep feelings held in this song! Mahiro: I like this. Junji: I hate the rhythm. It's the same thing over and over again. Nopperabou Mitsuki: This song was born out of my want to write a song that had this sort of bass rhythm. For you, Hiyorin, it's all bass slaps. Hiyorin: Oh yeah! This is the most difficult song to play on this album! The rhythm is hard, and when I was recording, you kept asking for more and more. Mitsuki: And the lyrics, I really felt like I was able to write something significant and deep... Hiyorin: It is a sufficiently Micchan song. Junji: When you sent it to me, I couldn't even begin to imagine what the chorus would be like. Takemasa: We had to do so much reamping and such, this was also the most expensive song to make. Mahiro: There were just so many levels to making it. But in the end, it was fun. Mitsuki: How about it, Hiyorin? Can you go more? Hiyorin: ..I'm going to have to say for now, I'd like to stay at this level. Gekkabijin Mitsuki: This is the most Japanese-sounding track on the album. It's like Kiryu-pop. Takemasa: I had absolutely no idea where to insert this song in the album. Mitsuki: Maybe we should have made it a bonus track? Mahiro: Sometimes I forget we have songs like this, too. Junji: It's Mitsu-punk. Basara is Take-punk and Gekkabijin is Mitsu-punk. Harushigure Hiyorin: This song really conveys the feeling of now. This is really Takemasa's song. Kairai is Mitsuki's song of growth, and Harushigure is -- Takemasa: HAIR? HAIR? HAIR? Hiyorin: Your beard. Mitsuki: This is the world's beard. Mahiro: From the start, I knew this would be a good song. Junji: Takemasa wrote the music and Mitsuki wrote the lyrics, so it kind of feels like a thing you both peed on together. (Everyone laughs). No, it's a good song. It's good. I just hate it. I only play TAN-TAN-TA OVER AND OVER. Except at the end, I play DO-DO-DO. Then tan-tan-ta. But it sounds nice and sparkly. Jou no Ka Mitsuki: This is THE single Junji: The song that charmed the world. Mitsuki: We used this song in an anime. The concept came from trying to tackle something we couldn't do before. I wanted to do that. Everyone: Thank you. Hiyorin: I didn't cry, but I felt as though I might. It's a moving song. Junji: But then, seeing your name appear on the opening credits as the writer was kind of a blow. This song... between light and dark, this song is light. Mahiro: I really like this song. Kuroyami ni Madou Esoragoto Mitsuki: This song is "Kuroyami ni Madou Esoragoto," AKA the Take-ballad. Junji: This sounds like something he wrote when he was in school. This is back when it was just us in a Take-band. Prince Take hasn't changed a bit. Mitsuki: This song is just so heavy. Takemasa: I thought about all the things I wanted to say, the messages I wanted to get across. But I wasn't the one singing it, so I knew if Mahiro couldn't feel it, this song wouldn't resonate. Mahiro: It was really difficult to sing. Every line felt like a wound. Hiyorin: Usually songs feel like a journey. You hit this place, then return. Then you hit this place and return. This song starts with an intro that I expect to come back to, but you never come back to it.

https://www.youtube.com/watch?v=S4Rv-pyuEXE

5000万円以上⁉コンビニATMに入金できる��の限界を調査 Over ￥500,000,000!? Let's see how much money a convenience store ATM can take.

Synopsis: Takemasa gathers a TON of money and tries to break the ATM by putting too much in at once. Result: Eventually, the ATM does stop accepting the money after depositing ￥305,000,000. Notable: Holding THAT MUCH money at once is genuinely terrifying. Takemasa tries to make a joke about it, but you can tell he's truly nervous to be holding that much in public.

https://www.youtube.com/watch?v=a4SRtOUadMs

【黒崎眞弥を観察する会】サイン書き Watch Kurosaki Mahiro write his signature

Synopsis: Mahiro announces he will now sign posters. He then begins silently signing posters. Result: Posters have been signed. Notable: That one time he moved a poster. It was magical.

https://www.youtube.com/watch?v=1tmRaTSFRys

己龍九条武政より、今までありがとう。 Thank you for everything up until now. -Kujou Takemasa, Kiryu

Synopsis: Takemasa talks about his past in an overly dramatic way, how he decided that as long as he's in public, he will always wear his mask. As long as he has his mask, he is Kujou Takemasa. Result: In Macau, while bungee jumping, his mask flies off, and he pretends he died the moment the mask came off his face. Notable: OVER THE TOP.

https://www.youtube.com/watch?v=xNb_NqnO9Fs

【初体験】まだ見ぬ仙台の味を求めて【雑談有り】 [First Experience] We found a new flavor of Sendai (chat included)

Synopsis: Mitsuki and Hiyorin go to Sendai and talk about the kinds of food it's famous for: gyuutan, zunda, sasakama... but NO! They will not try these foods today! Instead, they'll try the first hamburger shop that was opened in Japan. Result: The two agree the hamburgers are good. Notable: Mitsuki relays a story. "Sometimes, when I go buy food, an old lady will say, 'please enjoy this with ketchup.' Sometimes the kids will write their names on their food in ketchup, too. And young couples will write each other's names." "That's sweet," Hiyoin comments. "They even draw a heart around it... the little shitheads," Mitsuki laughs. "GROW UP, MITSUKI!" Hiyorin manages through his own laughter.

https://www.youtube.com/watch?v=6CEiLBSyab8

メントスコーラリベンジ Mentos-Cola Revenge

Synopsis: Mitsuki analyzes what went wrong in the first mentos and cola video and decides to try again. Result: A huge mess explosion. Notable: Mitsuki isn't sure about trying by himself, and wonders if someone very special will hear him call out for help, no matter where they are... he calls out, "HIYOOOORIIIIIIINNN!" and surely enough, Hiyorin sweeps in to save the day. Notable 2: It's rather humanizing to see Mitsuki and Hiyorin cleaning up their own mess.

https://www.youtube.com/watch?v=an_JFW6ck3o

【企画会議】みんなでネタ考えよう！ [Meeting Regarding Future Plans] Let's all think of ideas for videos!

Synopsis: Chamu (Codomo Dragon) and Mitsuki ask for help thinking of Youtube videos people would like to see. Mitsuki claims he's only good at thinking of food-related things. Later, Mitsuki recruits Zero Hertz's Gaga and Rio to help him try different toast toppings while Chamu films them. Result: Nori tsukudani (seaweed simmered in soy sauce) Mitsuki: Too salty, but otherwise good. Rio: It's like jelly. Gaga: Salty, but good. Ume gonomi (pickled plum) Mitsuki: Too sour. Rio: Too sour. Gaga: (feigns vomiting) Ika shiokara (salted and fermented squid) Mitsuki: SALTY!! Rio: (makes a face and groans while Mitsuki asks "is it that bad?") Gaga: Yum! Delicious! The best one we've tried so far. Salmon flakes Mitsuki: It tastes like margarine. Rio: (no comment) Gaga: It tastes like normal bread. Tarako flakes Mitsuki: Where did the tarako go? Rio: It's bread! Gaga: It's like eating sand. The ensuing laughter sounds like agreement from everyone. Minorusaki menma (fermented bamboo shoots) Mitsuki: It's good! Rio: Good! Gaga: Yum. Tastes like something sold at a ramen shop. Nametake (enoki mushroom) Mitsuki: I don't taste it. It's good, but it doesn't taste like nametake. Rio: (makes a face) Gaga: (nods) Natto (slimy fermented soybeans) Mitsuki: DELICIOUS! Rio: Yum! Gaga: It's good! Mitsuki's conclusion: Everything needs more mayonnaise.

https://www.youtube.com/watch?v=29Z1sMuQQxM

【武道館ドラマーが】ドンキーコングトロピカルフリーズをまったりプレイ Part.2 A Drummer Who Has Performed at Budoukan plays Donkey Kong Tropical Breeze part 2

Synopsis: Junji plays Donkey Kong. Result: Junji plays Donkey Kong. Notable: Nothing.

https://www.youtube.com/watch?v=cNUb1GWaEg8

おまえは誰だ "Who are you?"

Synopsis: Hiyorin tests the urban legend about going insane from asking your reflection in the mirror "Who are you?" repeatedly. Result: Nothing happens. Notable: A weird tapping around the 64th time Hiyorin asks his reflection "Who are you?" Hiyorin says that this must be the spirits coming after him.

https://www.youtube.com/watch?v=iWNJvrJO2V8

【悶絶】辛味の奥に眠る旨味は見つけ出せるのか！？ [Watch as we pass out in pain] Can we bring out a dormant, delicious new flavor from spicy foods?

Premise: Mitsuki and Hiyorin try mixing a number of spicy soups together, despite both hating spicy food, in their quest to find something new and delicious. Result: Mitsuki decides, after getting over the initial pain, that it really does taste kind of good. Hiyorin dies from agony and says he can't tell if it tastes good or not because it's too painful to eat. Notable: Mitsuki flailing in pain.

https://www.youtube.com/watch?v=1E6vfta-eF8

#kiryu #kiryu youtube #english kiryu #sakai mitsuki #kurosaki mahiro #kujou takemasa #isshiki hiyori #tokai junji #chamu #codomo dragon #zero hertz #gaga #rio

30 notes · View notes

coolgreatwebsite · 7 years ago

Text

Cool Games I Finished In 2017 (In No Real Order)

Civilization The year is nearing its end, so that means it’s once again time for one of these. 2017 has been rough for pretty much everyone, but even divorced from the state of the world this was unquestionably the worst year of my life. 2017 was a goddamn nightmare where nearly everything went wrong for me in the most major way possible. Consequently I didn’t get to do as much writing as I would have liked, and I ended up playing fewer games with almost all of them being 2017 releases. But! The video games were very fun!! So it all cancels out!!! Everything’s okay!!!! Here’s a bunch of cool games I experienced for the first time in 2017.

Dandy Dungeon: Legend of Brave Yamada (iOS, 2017)

Dandy Dungeon is weird as hell, which makes sense given that it was made by a lot of people who originally worked on games like Chulip and Freshly-Picked Tingle’s Rosy Rupeeland. It’s a free-to-play phone game that’s sort of a cross between a puzzle game and a dungeon crawler. Guide your semi-nude hero Yamada to the exit of the 5x5 dungeon grid in a single line, trying to touch every tile along the way, gathering treasure and beating up enemies to level up. Solving the floors and making the perfect line is satisfying, the story and enemies are all very strange, and there's a ton of content. The free-to-play monetization isn’t too obtrusive either, you can either buy straight up convenience features like unlimited energy and a mid-dungeon item storage system or buy rice balls that can be used as gacha entries or continues if you die in a dungeon and don’t want to give up your treasure. I felt 100% okay with giving the weirdos who made this game money. The same people put out another game this year, Million Onion Hotel, and I barely put any time into it because I just kept playing Dandy Dungeon. I’m very much looking forward to really playing that whenever the hell I finally burn out on this.

Yakuza 0 (PlayStation 4, 2017)

Yakuza 0 is a hell of a game, and a hell of an introduction to the Yakuza series for anyone who hasn’t played it. Set in 1988, the game follows series mainstays Kiryu and Majima as they deal with the events that made them who they are in the games to follow. While I ended up still liking Yakuza 5 more if only for the sheer scope and variety of it, Yakuza 0 is very easily the second best game in the series. It has one of the most straightforward, coherent and engaging narratives out of all of them, it pulls off its setting so well that it made me sort of nostalgic for an era I wasn’t even alive for, and the localization/writing is unquestionably the best the series has had. Almost every single sidequest is funny or memorable in some way and I just can’t say that about the rest of the games. It’s not flawless. The combat unsurprisingly pulls very heavily from Yakuza 5 but with multiple fighting styles for Kiryu and Majima taking the place of multiple characters, and I mostly found myself just sticking with one style for each of them. Beast and Breaker were just too good. The story, while mostly good as previously stated, does have its stumbling points. Some characters and events definitely aren’t given enough breathing room, mostly on the Majima side of things, and weirdly enough the game holds back on having Kiryu and Majima interact for the most part. Overall though, Yakuza 0 is a fantastic encapsulation of why I love this series so damn much and the absolute best jumping on point a newcomer could ask for. Plus Space Harrier is in it! Every game is better when you can also play Space Harrier.

NieR: Automata (PlayStation 4, 2017)

I feel like every year I do one of these lists there’s a game where I start off by saying “This game is good, but”. NieR: Automata is this year’s game. NieR: Automata is a good game, but I did not have the fervent, visceral reaction to it that most other people seem to have had, and my feelings are muddied even further by the lingering feeling that I SHOULD have. I love the first NieR. It’s one of my favorite games of all time. I love PlatinumGames. They’re one of my favorite developers of all time. Yet I came away from Automata somewhat... I don’t know if it’s disappointed. I guess “left wanting” might be a more accurate description? Again, don’t get me wrong here, this is a good game. There’s a lot to like in NieR: Automata. It’s a wild ride, but for me that’s... kind of it? The game shuttles you from crazy setpiece to crazy setpiece, but the second I stopped to think about anything that happened in any sort of detail it all just got real murky. I didn’t feel connected to any of the characters, outside two exceptions, and one of those is a character from the first game that I already loved. NieR: Automata’s storytelling is much more reliant and focused on its themes and imagery than anything that really actually happens during the course of the story, and I’ve never been a huge fan of narratives like that. I need a strong connection to characters and events and places, and whereas the first NieR had that by the truckload, Automata super doesn’t. There’s also the part where a lot of what Automata does, I feel the original game did better. Automata’s music is good, but NieR’s is better. The multiple playthrough system feels like it’s just tacked on because the first game did it, where in the original it was absolutely vital to that game’s story. Same goes for the choice you make in the final ending. The most I can say as far as improvements go is that the combat, while about as mindless, certainly looks better and overall the sidequests are less tedious and grindy. It’s been a very weird experience seeing the huge, widespread positive reaction to this game essentially mirror my feelings on the first game while I’m just sort of left to grumble about how the first game did all that better under my breath. Not that I’m not glad it got a positive reception! It’s great that this game has been such a success and that so many people have finally had their Yoko Taro Moment™. Like I’ve gone out of my way to state multiple times: the game is still good. There’s some wild shit to see in NieR: Automata, and while it didn’t leave a positive lasting impression on me, I very much had a good time with it in the moment.

The Legend of Zelda: Breath of the Wild (Nintendo Switch, 2017)

I thought I was done with open world games. I had pretty much decided I was two years ago. I was so tired of the checklists, the boring traversal, the endless swaths of fucking nothing between mission A and mission B, the heaps of useless collectible garbage littering the ground trying to trick you into thinking you’re doing something. I was perfectly content with never playing an open world game again, and when Nintendo started promoting the new Zelda with that familiar Bethesda-esque “go any direction, climb any mountain” rhetoric and showed you climbing towers to reveal the map, I for all intents and purposes checked the fuck out. I didn’t care that it was Zelda, I didn’t care that it was Nintendo, I was just fucking done with all of that... I thought. The more time went on, the more impressions got out, and the more impressions got out, the more of my individual sticking points seemed to have been addressed. Yeah, you climb towers, but all that does is fill in the topography of the map. You don’t get flooded with a million activity and collectible icons, it’s up to you to scope out what looks interesting. And most importantly, while the landmass is large, there’s always something around the corner. I decided to get Breath of the Wild along with my Switch and I’m so glad I did. If I hadn’t been whittled down by pre-release chatter I would have missed out on one of the best games I’ve ever played. It’s like Nintendo explicitly set out to fix every problem I had with open world games. The way the systems in the world interact with each other, how much of a joy it is to explore and traverse the terrain, and the fact that there really IS always something to find make for a breathtaking game. If you go in any direction, you’ll trip over dozens of neat things to do and see. If you climb any mountain, there’s a good chance there will be something waiting for you at the top (and along the way), from a simple Korok seed puzzle to a full-blown shrine dungeon. The game gives you no truly firm direction once you leave the tutorial area, so it really is up to you to explore and find what you want. You can even run straight for the final boss if you want! The traditional Zelda-style puzzles are all super smart and satisfying to solve. I even liked the Divine Beast dungeons and boss fights, which I feel like I’m in the minority about. I finally took on Ganon after about 100 hours of playing the game and I hadn’t been so sad that a game was over since I beat Persona 3. Breath of the Wild is just an incredible, once in a lifetime game. I can’t wait to do it all again next year when I do another playthrough with all the DLC.

Persona 5 (PlayStation 4, 2017)

Persona 3 will likely always be nearest and dearest to my heart, but Persona 5 is objectively the best Persona game. They’ve polished the Persona formula to such a perfect mirror sheen in this one and I’ve never seen a game so consistently and effortlessly ooze such a concentrated amount of liquid capital-“S” Style before. The plot doesn’t intimately revolve around the cast to the degree Persona 4′s does, but they’ve made another charming band of anime teens nonetheless. They’ve either restored or re-worked nearly every mechanical aspect that was dropped between Persona 3 and 4. The soundtrack is incredible, there’s actually a decent amount of non-party S-Links again, the end of the game sticks the landing in a way Persona 4 very much does not... I could keep going. Persona 5 just plain rules. It’s the only game in the series where (even though I haven’t yet) I’ve actually wanted to jump in and do a New Game+ run.

Wonder Boy: The Dragon’s Trap (Nintendo Switch, 2017)

As I may have mentioned in a certain other article from this year, I have had very little love for Wonder Boy over the years. That changed a bit when I decided to try out Monster World IV a few years ago, and I think I’m officially a Wonder Boy Liker after playing The Dragon’s Trap. A remake of Wonder Boy 3 for the Master System, Dragon’s Trap is essentially just an extremely pretty coat of paint on a very early Metroidvania sort of game, but it’s remarkable how well the core gameplay holds up. You start as a human and very early on you’re transformed into a dragon, and you explore the world until you reach a boss which, upon being defeated, transforms you into a mouse. Your mouse form has the ability to enter narrow spaces and stick to certain walls, which allows you to reach new areas, bosses and transformations. Defeated enemies drop coins that you can use to purchase new weapons and armor from shops hidden across the world. It’s fairly simple, but I think that’s the reason it’s still so enjoyable today. The controls are tight and responsive and it doesn’t really date itself in too many ways. They went to great lengths to recreate the original game, down to being able to swap between the remade and classic graphics and music with a button press. Old passwords from the original game even work in the remake. The new art and music are beautiful and the game is the perfect length to not overstay its welcome. You can tell the people who made this really love the original game, and they absolutely did right by it.

Resident Evil 7: Biohazard (PlayStation 4, 2017)

I never in a million years expected to like Resident Evil 7 as much as I did. I played the demo back when it came out and thought it was okay, and I mainly got the full game so I could play something on my PSVR. It’s kind of crazy how, after so many years of Resident Evil stumbling, Capcom managed to just get everything back on track just like that. They made Resident Evil tense and scary again. The VR is insanely effective but even playing through on a regular ol’ TV, which I did multiple times after my initial VR playthrough, they manage to capture a really good, persistent sense of dread. For most of the game, anyway. The last third definitely slips a bit too far back into action game territory, and while it’s still enjoyable it’s definitely weaker than what came before. I beat this for the first time right before the next game on the list came out, and even while super deep into that I couldn’t stop thinking about Resident Evil 7. I really need to go back and play all the DLC.

Super Mario Odyssey (Nintendo Switch, 2017)

2017 was Nintendo’s year. They released my favorite console in a good long while with the Switch, launched it with one of the greatest games of all time, and closed out the year with another incredible game in Super Mario Odyssey. Mario Odyssey has finally dethroned Mario 64 as my favorite 3D exploration Mario game. It’s like Breath of the Wild in that there’s something to find in every nook and cranny, but condensed down into multiple, more tightly designed areas. It’s an absolute joy to play. I 100%ed the game and not once in the 50-ish hours that took did I get tired of controlling Mario. The movement options all flow together so naturally and complement the spaces you explore so well. Landing a long jump > hat throw > dive > hat bounce > dive combo across a huge gap was the most satisfying thing in the world to pull off even as I grabbed the very last power moon. The variety of the worlds and challenges and things to capture kept me in a constant state of excitement about what was coming up next, and the game is consistently charming in both weird new ways and a couple of very effective nostalgic ones. My only real complaints are that I think it’s maybe the easiest Mario game ever made, and I wish more of the platforming challenges were baked into the worlds proper instead of cordoned off into their own little challenge rooms, but basically everything else about the game manages to make those minor somehow. Mario Odyssey is distilled happiness in video game form, and the world needs more of that.

Sonic Mania (PlayStation 4, 2017)

Ohhhh myyyyy Goddddddddddddd Sonic Mania. I cannot fucking believe how awesome Sonic Mania is. I love the Genesis Sonic games so fucking much and while I like Sonic Adventure 1 despite itself, there hasn’t been a good Sonic game since Sonic 3 & Knuckles. The Genesis games always were and will always be great fucking video games, despite what internet fuckboys say because Sonic’s an easy target to dunk on. I’ll take Sonic 3 & Knuckles over Super Mario World any day of the fucking week. Fight me. I’ll cut you. With Sonic Mania, there is FINALLY, fucking TWENTY-THREE GODDAMN YEARS LATER, a legitimately great Sonic The Hedgehog game again, and I’m stunned. I was INSANELY skeptical about this game from the minute it was announced until basically the moment I played it. Yeah, they brought in people from the hacking and fan-game community to work on this one instead of letting Sonic Team touch it, but I’m close enough to those communities to know that that on its own is NOT enough to guarantee the game would be good. Yeah, Taxman and Stealth made an extremely good replica of the Sonic 1-3&K engine, but they absolutely did not have the design chops to tackle anything but ports successfully. That new version of Hidden Palace they added into the iOS port of Sonic 2 was a complete trash fire. Thankfully they linked up with PagodaWest Games, a company made up of a lot of the non-insane elements behind the old Sonic 2 HD project, who as it turns out very much did have the design chops. Together they made something incredible. It obviously controls perfectly given the engine, but the levels are so fun and well-crafted. The classic levels manage to mix in so many different elements from other levels that didn’t quite make it in the game on top of there being weird twists on those on TOP of all the completely new elements, and the brand new levels are lavish with all sorts of super fun new gimmicks and details. The game looks fucking gorgeous, going for a sort of “what if they had made a 2D Sonic for the Saturn” look that it pulls off great, even going so far as to render the special stages in low-poly 3D. The music is P-H-E-N-O-M-E-N-A-L, sounding like a lost ‘90s Japanese arrange CD but without all the bad aspects that usually come with those. There’s so many dumb, great little details for hardcore classic Sonic and Sega fans littered throughout the game. They managed to fucking combine Oil Ocean and Sandopolis, my least favorite zone from Sonic 2 and one of the worst zones in the entire SERIES, and have me come away from it not hating it. It’s masterful. It’s beautiful. It’s right up there with Sonic 3 & Knuckles for best in the series. Nothing this year made me so genuinely, personally delighted. Sonic Mania was made just for me and I love it and I want another one with all original levels as soon as possible. Please let these people make video games for me forever.

Xenoblade Chronicles 2 (Nintendo Switch, 2017)

The original Xenoblade is one of my favorite RPGs of the last generation. Then they released Xenoblade Chronicles X for the Wii U and broke my goddamn heart. They tossed out nearly everything I loved about the first game in favor of haphazardly dumping as many disjointed game mechanics as they could on top of bland open world exploration and needlessly grindy progression. It was such a hard swerve that by the time they had gotten around to announcing a proper Xenoblade 2 for the Switch I had basically abandoned all hope of it being a game I’d like. But for some reason, I still decided to give Monolithsoft one last shot. And I’m glad I did! While not quite as cohesive and instantly-endearing as the original, they definitely righted the ship. There’s a bunch of weird mechanics, but in the good Xenoblade 1 way where they mete them all out at an appropriate pace and explain them and they all fit together. The cast of characters is likable, the music is great, the gameplay is engaging all the way through. They managed to pull it off, and I’m back on board for a potential Xenoblade 3.

These games were also cool, I just had less words to say about them: Splatoon 2 (Nintendo Switch, 2017): Splatoon is great. Splatoon 2 is more of that. The new weapons are fun, the new maps are cool, Salmon Run is the most fun I’ve ever had with a horde mode. I played it for like 100 hours already. Not too much else to say! Play Splatoon 2! Hitman (PlayStation 4, 2016): Hitman is an amazing sandbox. Whether I was following along with the authored ways to kill my targets, doing things my own way or trying to get out of a situation that went completely south, Hitman constantly surprised me with the variety of things I could do and options I could take advantage of. And there’s so damn much content to do it all in. DDRMAX, DDRMAX2 & Dance Dance Revolution Extreme (PlayStation 2, 2002, 2003 & 2004): This doesn’t really teeeechnically fit on this list but I would be remiss not to bring up my rekindled love affair with DDR this year. My very good friend who I am very appreciative towards at all times Geoff generously gifted me an old Cobalt Flux dance pad back in like June and I have been playing DDR again ever since and it’s still great. I can clear some songs on heavy now. Thanks Geoff. Glittermitten Grove (Steam, 2016): A very normal game about fairies, and not about shaving. Tekken 7 (PlayStation 4, 2017): Tekken 7 is the first Tekken game I’ve cared about in like a decade. I couldn’t really tell you exactly why, to be honest, but the fact of the matter is that Tekken 7 is very fun to play and I highly recommend it. Wolfenstein II: The New Colossus (PlayStation 4, 2017): I think the gameplay of this is worse than the first game, but everything else is stronger. Hopefully they fix it up and make a game that’s great all around next time. Gundam Versus (PlayStation 4, 2017): Gundam Versus is basically a team based Virtual On. I had a lot of fun with an old version of the game at various events I went to throughout the year and I had a lot of fun with this one even though I didn’t play it nearly as much as I wanted to. Clowning on people with Guntank in 1v1 is probably the hardest I laughed all year.

And that’s it! That’s 2017! It’s done! Good riddance! Thank you all again for bothering to read my video game words. If you need me, I’ll be training to deliver many extremely savage elbow drops to 2018 until it gives me what I want.

#article #year wrapup

15 notes · View notes