Eric Sleeps Sometimes

Decent — 6/10 Though my enjoyment of Tomodachi Life runs high, I wish I could see the simulation’s outline less. It’s supply of funny scenarios is admittedly hilarious, but it also feels notably finite, limited first by the relatively low amount of situational templates, and second by your own imagination. Playing the game a bit each day with my wife, we’re still having fun realizing a list of ideas for our island — though once we hit the population limit, and the novelty of Miis saying inappropriate jokes looses more of its charm, I know everything will only feel more repetitious.

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Great — 8/10 A charming experience, made up of interactive moments. The story has heart, though I wish it felt a bit stickier.

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Excellent — 9/10 Falters in minor ways here and there. Specifically, a lack of new events or encounters in the last few runs before the credits tends to stall the pacing. It manages to stick the landing with a satisfying conclusion regardless — reigniting my interest for its endgame content. Hades II is largely a masterclass in worldbuilding and presentation, with an almost-always rewarding and addicting gameplay loop. The characters respond to your specific actions in a way that makes it feel as if the game holds unlimited dialogue webs. It takes the best of its predecessor’s qualities, and elevates the experience further, through its recontextualization of this particular take on Greek mythology.

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Good — 7/10 Scattered thoughts: As the game developed, I found more disappointment in the plot. Lots of characters surviving moments thanks to plot armor, plot twists unfolding too abruptly, obvious conclusions being spelt out much more than they needed to be, and general supposed plot holes as well. That being said — there are a handful of truly great, memorable moments. Whether those be horrifying threats, references to past RE lore, or awe-striking action sequences. I love the concept of the genre mashup between the Leon and Grace sections. I think the highs of their respective gameplay moments are only reached because of the balance of tension and release between them. But, I became so tired of the "find scattered keys to open the locked gate" puzzle set-up. Both characters have major segments defined by this structure, and it became a slog. Most of Grace’s sections in particular felt solid, but also same-y after a few hours, especially with the same minor villain and survival gimmick present in many, many moments. Wanted to like Grace more in general. I wish her purpose to the story felt less forced, and I found the direction behind the character’s vocal performance to be more annoying than not. On the other hand, I know it’s stupid, but Leon made me smile a whole lot. Love that guy.

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I’m late to the party on this one, but absolutely loved it. As many have said before, this completely satiates the craving for a new Wario Land game, through its inspired presentation, soundtrack, and mechanics. More than that though, it’s firmly better than every Wario Land entry — rising above shared tropes and carving out its own space. Every stage flaunts worthwhile, unique level designs. And almost every gimmick feels fully fleshed out. A very impressive batting average on display for an indie developer’s first published game. The music is phenomenal. I have no notes on those... notes. The visuals are maximalist in approach, and intentionally chaotic, yet the world here carries so much charm in each frame. The overall presentation calls 90s and early 2000s cartoons straight to mind, while its memorable supporting cast, and protagonist, Peppino, live by Nickelodeon and Cartoon Network-esque humor. If you’re a fan of Wario, 2D platformers in general, power-up gimmicks, chasing high scores, or pizza — play this one ASAP!

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