Review: Drift along, Xeodrifter

I’ll say it right from the start: I didn’t love Xeodrifter.

It bears obligatory mentioning Xeodrifter pays particular homage to Metroid, which is to say the first Metroid on the NES specifically. This is actually what drew me to the game more than anything else.

Xeodrifter is a side-scrolling action platformer released in 2014 that is currently available on the 3DS, PS4 and PC (via Steam). The premise is you are a spaceman (or spacewoman or alien – I don’t know, the game doesn’t specify so just use your imagination) with a damaged spaceship, who is in range of four planets with seven energy signatures among them that must be investigated in hopes of finding a replacement warp core to fix the ship. I’m not even summarizing anything there; that is the story from the beginning of the game and it doesn’t really get any more complicated than that.

You can travel between any of the planets from the start as you like, with Xeodrifter offering zero amount of handholding or direction. That much feels liberating – at least initially, yet it also eventually leads to annoyance.

The level design is pretty dull. At any given time you’re unlikely to need to deal with anything more complex than a single corridor forward, twist and turn though that corridor probably will. Sure, there are a few secret tunnels off the beaten path (usually devoid of anything besides a power up to reward your luck, perseverance or ability to look up a full map online) and there are some alternate paths accessible by using at least one of six unlockable abilities. Typically though you’ll only be mining one way forward on any one of the given planets. Until, that is, you encounter one of the obstacles requiring an ability to bypass that you currently lack. It’s like hitting a brick wall and it happens a lot in Xeodrifter. I know, for those experienced in Metroidvania games, that sounds like par for course. Coming from someone who has played and loved many a Metroidvania title, I will say I still found it surprisingly irksome. The game basically boils down to finding the correct corridor over and over again among the four worlds. I’d keep in mind the impediments that blocked my path and return once I had the necessary ability to proceed, often only to find the only thing beyond that was yet another roadblock of some kind.

Alright, I admit I might be a little grumpy right now (I played Xeodrifter and wrote this review while starting to come down with a cold for what that’s worth), but the game doesn’t really have anything in my eyes that redeems it of this issue. Once you’ve spent a minute walking down any particular corridor on a planet, you’ll probably see nearly every art asset such planet has to offer. There was never a point where I thought a particular part of a level stood out or was of particular interest, and there was nothing that made me think about what kinds of places these planets were, their ecology, civilization and whatnot. Whatnot. What what.

The six abilities are serviceable in that they aid exploration, and using a few of them to navigate the usual obstacles offers a few fun moments. Phasing into the background is kind of cool and is put into some creative application for both exploration and combat. I understand this particular gameplay mechanic was also featured in the developer’s previous game, Mutant Mudds.

There aren’t many different enemies to run into. Most can be described as “some kind of bug monster” and all but I think two of them are more like traps than actual living creatures that are aware of your presence and want to make you dead. By traps, I mean they just repeat the same movement or attack over and over regardless of your presence or position in relation to them. For me, the primary danger from enemies was how quickly either they or their attacks came at me from beyond the edge of the screen. Simply being methodical and proceeding carefully will defeat most of the difficulty of exploring.

Speaking of enemies, there is only one boss creature in Xeodrifter. You fight it multiple times and each time you do it is a different color and has a new attack to add to its arsenal. I’m not going to necessarily knock the game for this though, as the boss battles actually felt like solid, challenging fights. The relatively unforgiving game, offering only a single save point located on your ship, at least gives a checkpoint before each boss to give some leeway to learn how to fight it. For a game with a minimum of story, there is also a certain ambiguity about this creature. Is it a single entity or is there more than one? Does it/they have a goal similar to the protagonist? Again, the only resort is to use your imagination.

Briefly, I will say the graphics, sound and controls are all serviceable. In aesthetic the graphics have an 8-bit NES look while taking advantage of effects only possible with more powerful hardware. For what Xeodrifter was clearly going for, there’s nothing wrong with the graphics here – they are colorful, clearly portray what they intend to, and offer a consistent style. As I said before though, the level design that makes use of these perfectly functional art assets was sadly bland. The sound likewise has an NES midi ring to it. Nothing is obtrusive, but nor did I encounter any music that stood out or helped give any particular planet a certain feel. While precise overall, a few of the game’s controls were more unyielding than I’d have liked. Every jump goes up to the same height regardless of how the button is pressed. Shooting the gun up is possible while stationary - not while moving though (kind of a missed opportunity).

Xeodrifter is on the short side, taking only several hours to beat even with lots of backtracking. I found that once I had all the abilities and was finishing up my exploration of each area, I had a much better time with the game when I was rampaging around with my superior weapons and abilities than I had when I was feeling lost and vulnerable with only a peashooter.

And so, I will now ask, who is this game for? Xeodrifter’s spiking difficulty and blind progression rules out the casual gamer crowd. If story, atmosphere, characterization and complex environments are all must haves for you, it’d be best to look elsewhere too. I wouldn’t even automatically recommend this game to someone who has an overall love for the Metroidvania archetype. Still, if you like old school, side-scrolling action platformers, you could do much worse than Xeodrifter. Somewhat barebones perhaps, it still feels like an earnest effort to pay homage to the memory of Metroid and deliver some similar gameplay. It is inexpensive, especially if you find it on sale, so at the very least I’d say the game is more or less worth the price for admission.

My rating: 6/10

8-bit retrospective: 8 Eyes, the Castlevania clone that could have been good

Even if you have been gaming since the early 90s, I’d be a little surprised if you knew what game I was talking about when I say 8 Eyes. Somehow or another, child me ended up getting it for my NES collection. There are a lot of interesting and noteworthy things to say about 8 Eyes. Obviously the developers were looking at Castlevania as a template for their own game. Some factors of this include: the perspective of the action, the look of the protagonist and most enemies, the way stairs both look and function, and in particular the prevalence of a near exact looking stone block in level design. I don’t bring this up as a negative, just as an obvious note.

8 Eyes also has some flair from the Mega Man series thrown in, as there is a lineup of eight castle stages that can be picked among in any order. Also like in Mega Man, there is an advantageous order to do them in. The game is no slouch copy and paste though. Levels are varied and interesting looking, and enemies likewise look detailed and are well animated – for NES standards obviously. Music is likewise a high note, with music that stands out and fits the locales it’s paired with, even if sometimes stereotypically. It’s not really anything I’d seek out just to listen to it again, but it was memorable.

So we have a game taking cues from two popular side-scrolling action titles. It both looks and sounds good for its time. Why is this retrospective about to take a more downward tone? Despite its merits, 8 Eyes is punishingly difficult.

Game balance and difficulty were areas I think a lot of developers were really struggling with in the NES era, and that’s very much the case with 8 Eyes. For starters, you only get a single life. One … single… life. For a game with eight stages plus a final level, most of which are quite long, grueling slogs through dangerous enemies, that’s pretty extreme. Once you beat a level you can get a password allowing you to pick things up with your progress intact, although that still means you both have to beat a level on one life and necessitates entering a long password. Password-based saving isn’t around anymore for several good reasons, not least of which is that nobody wants to deal with that crap.

Next up on the extreme difficulty train: attacking. Whereas Castlevania provided a lengthy whip to fight enemies from a relatively safe distance, 8 Eyes offers no such amenity. You get a sword and its range is quite short. This requires some fancy footwork to adequately defeat enemies while avoiding damage, so lots of back and forth with hitting and retreating. Some adversaries are quite mobile too or possess a long-reaching attack, presenting significant challenges. Once you reach a boss though, if you do, care and precision tends to go out the window. The boss fights are wars of attrition: you need to do as much damage as fast as possible because these opponents are fast and unpredictable.

Assuming you are up to the challenge of triumphing over every obstacle in a single stage, you pretty much need to make use of an assortment of hidden items. These are randomly hidden, often in the middle of a wall with no clues. To help access the items, you have an animal friend. The bird is actually a pretty unique gameplay mechanic for its time. Mostly you’ll want to keep the bird perched on your character’s shoulder. At the right times though, he can be launched off to fly around and then be commanded to attack enemies or nab hidden items. The attacking part would be a lot more useful if he weren’t so fragile, hence it usually being a good idea to keep him benched.

In addition to all the things I’ve already mentioned, two levels are also particularly fiendish, requiring a very specific set of movements to proceed, naturally without any good clues.

If you beat 8 Eyes back in the day, that would be quite the accomplishment indeed. I managed it a few years ago, but only after watching a YouTube playthrough by a gamer who knew the game very well. 8 Eyes is an odd, easily overlooked page of gaming history. I wouldn’t recommend playing it and it doesn’t even have any contemporary ports to make playing it easily accessible. Giving it a watch may be interesting though. The sad part about 8 Eyes is there was a good amount of work put into the game, and with only a few easy changes it could have been much better.

A worthy project: Keiji Inafune’s Mighty No. 9

I emerge once again from blog hibernation in response to something in the video game industry I’m actually rather excited about, and that is Comcept’s Kickstarter campaign for a future game titled Mighty No. 9. It is being made by a veteran team of Mega Man developers. Comcept is Keiji Inafune’s company; Inafune being the Japanese game producer who worked on the Mega Man/Rockman series up until his departure from Capcom. If you’re in the mindset to be as excited as me about this, while somehow not yet knowing about the Kickstarter, then what I already said is probably all you need to know. To spell it out, the man behind Mega Man is going to be making a new, "evolved" classic-style side-scrolling game, which I personally consider to be the spiritual successor of Mega Man.

At time of writing, there are nine days to go for the Kickstarter. It has been a considerable success so far, currently at nearly $2.4 million, having surpassed its’ $900,000 goal within the first several days. So the game is a go even if the Kickstarter doesn't raise a dollar more, although the more it continues to get and the more stretch goals it reaches the better the end product should be. Under the topic of money, I do want to be clear I’m not asking for anyone to help fund the Kickstarter. My goal of this post is to just talk about something that I think is really great for several reasons I plan to explain further. This is the first Kickstarter I've ever put money on. I think the project speaks for itself whether it’s something others want to support.

So why am I so eager? Well, to begin, Mega Man is one of my favorite video game series (or perhaps franchise as there are actually multiple series under the name of Mega Man). The name of my blog is inspired by something in a Mega Man game after all. Yet where is Mega Man now? Despite being Capcom’s most recognizable property, there hasn't been a Mega Man game published since 2010, not counting a Japanese-only Apple iOS game that apparently few liked anyway. Inafune, the biggest name behind Mega Man, left Capcom in 2010. I don’t know what Capcom’s intentions are for Mega Man now, but while I’m sure there are still many good, creative people within the company, I just don’t trust Capcom anymore. Another Mega Man game may eventually be inevitable. Such a game might be one I get and enjoy, but I’m tired of looking to Capcom with hope.

Inafune, who worked for Capcom for 23 years and had become its’ global head of productions just before leaving, certainly had his own frustrations. His frustrations encompassed not only Capcom and the ability he had to pursue his own ideas, but the standard Japanese model of game development in its entirety. I don’t think I could give this topic the finesse it deserves though if I were attempt to speak in detail about it, so instead I will refer to a translated transcript of the initial interview of Inafune himself by 4Gamer announcing his departure from Capcom and the reasons behind it. I already liked Inafune before he set off on his own, but now he is easily one of my top favorite people in the entire video game industry.

Inafune, being outside Capcom, no longer has access to the characters and intellectual property he helped make great. With Mighty No. 9, it’s clear he’s starting something of his own design to bypass that issue, something familiar yet also something new. Inafune was restricted in what he was able to accomplish with Mega Man, so one of the other reasons I’m excited is he’s no longer restricted in his ability to manage his own creation. Sure, Mighty No. 9 may be classic side scrolling and by itself that sounds good to me, but I want to see how Inafune’s team is going to be able to go beyond the usual formula. Beck, the titular Mighty No. 9, will have the ability to transform his body to make different weapons and possibly even vehicles – one example of something I look forward to see how it plays out.

Important note: while this concept art looks pretty cool,
it is only art and not from actual gameplay.

Another important point is that, while I just mentioned that Inafune is no longer restricted in managing the prospective game, Comcept is voluntarily relinquishing some control to the fans. Part of that is the Kickstarter itself, but in a larger sense this is Inafune’s response to the business-as-usual Japanese game development process. It’s in this element of Mighty No. 9 that I am the most excited about. From what I've seen the community springing up around Mighty No. 9 is a very positive one. So far Comcept has been very welcoming and encouraging to its’ fans, whether they are in Japan or overseas.

Thinking beyond just the game, I also have a hope that this method of development could help revolutionize areas of the entire game industry. Perhaps that, to quote Marty McFly, is bit "heavy" though. I’ll store that hope away for safekeeping for now and primarily concentrate on eventually playing the outcome of this project.

The mood to sandbox: an overview of Crackdown and Prototype

As I've established, the mood tends to strike me to play a specific game, series or even particular genre. Recently that particular genre was the sandbox, which I suppose is more like a style of game rather than a genre, but whatever. Sandboxes are a favorite of mine. I like virtual worlds, I like to explore, and - while I am also a fan of simple, relatively linear games - I like broader games with lots of freedom sometimes too. During this mood I made it through two slightly older games I'd never played before: Crackdown and Prototype on the Xbox 360. I enjoyed both significantly.

Crackdown could well receive my award for best Xbox 360 exclusive (not that such an award exists). I've been interested in it since I saw it played back when it was a launch title for the system and I'm glad I finally made my way to it. It only took a few days to go through it, but it was a great experience. I liked the game's simplicity, roaming the city at my own pace, searching for collectibles and going after gang leaders as I went. No missions, no hand holding - just you (a genetically-enhanced super cop), a general premise of what to do and very little keeping you from going about it however you want. That Crackdown is short yet very replayable is also a strength in its’ favor.

Finding the location of a gang leader, learning the boundaries of their area and then choosing usually one of several entry points to begin a bloody path toward the target is certainly fun and an element central to the experience. That said, I spent the majority of my time with Crackdown by doing super jumps from rooftop to rooftop, seeing the sights of Pacific City and occasionally shooting a rocket launcher at a cluster of gang members. It didn't get old and honestly it wasn't long enough to wear on me, so I look forward to a similar experience when I feel like going through it again (your agent becomes more powerful at various skills the more you use them and the game does have a "new game+" style option, so there’s also that).

Another perk of Crackdown: I found it used for a couple bucks. Money well spent.

Moving on, I’m going to now talk about Prototype. How I let this game pass me by until now is practically beyond me, but at least I've now remedied the situation. There’s just something about this game that makes it particularly appealing to me. It’s another game where you have superpowers but the word "superpowers" isn't nearly description enough. Sure, the player character (Alex Mercer, a freakish shape-shifting antihero) can change his limbs into various accouterments like a blade, claws or a shield, but that’s just the beginning.

Mercer can run up buildings from street level to the top of the tallest skyscraper, and he runs fast whether it’s on the ground darting over vehicles or at a more gravity-challenged angle. He can leap over several buildings. He can glide and do air dashes, which can turn a single jump into a vertical maneuver spanning the length of a city block or two. He can consume any character in the game’s world, taking their appearance if they are human, which comes in handy mostly for sneaking into military bases. He can rip open tanks from the top, climb inside and take command of the tank, which for this game is one of my favorite versions of this powerful military vehicle I've encountered. One thing I've regularly done with Mercer is had him run across the sides of buildings along Time Square, leaping back and forth between buildings as I went. He can do all these things, and much more, all while the game does well to show the speed and strength he has.

So like Crackdown, it largely comes down to mobility and how fun it is to get around in the game world, which Prototype excels at. The combat is fine too and there’s certainly a lot of fighting in the story missions. Outside the story missions you can pretty much do whatever, but a small complaint I have is the shallowness of other activities open to you. Like Crackdown it has collectibles scattered around the city, but unlike Crackdown these collectibles are somewhat difficult to spot and not really worth the effort. It also has various challenges, mostly combat with some more obstacle course ones thrown in, but these are mostly uninteresting. Despite all my praise for how fun it is to get around, I do kind of wish the game also had a truly long-range travel option, because there’s only so many times I can go from one end of Manhattan to the other, jumping and gliding the whole way, before it gets old.

I could talk about the story a bit, although I don’t want to delve deep. I’ll just say it plays somewhat like a mystery and is told in a very fragmented fashion. Going through the game normally and consuming certain targets gets you memory scraps (usually pretty creepy scenes) to help you piece together what happened. These scraps get added to a "Web of Intrigue" menu screen, where these scenes can be watched again, ordered in how the people involved relate to one another to help get a bigger picture of what’s going on. It’s a largely optional system, but it’s certainly unique.

Oh yeah, besides the military enemies there is also a faction of infected who are essentially zombies for the most part. Zombie-themed movies and other media are kind of a guilty pleasure of mine (I feel the phrase "guilty pleasure" is sometimes said flippantly, but in this instance I mean exactly what I say), so it has that going too for Prototype’s appeal to me. The game’s overall tone is bleak, bloody and disturbing, which neither really helped nor hurt it in my eyes.

When I was first considering this game, I thought about going directly to Prototype 2, but I’m glad I decided to begin with the first. Mercer isn't exactly likable, but it was interesting being in his shoes for a while. I plan on getting to the sequel eventually. Unfortunately, from what I gather, the likelihood of the franchise making it to a third installment seems slim. Also, one last random thought on the game, exactly how many collars does Mercer need? The more I look at the amalgam of what he’s wearing the more ridiculous it gets. It was genuinely distracting in the cut scenes while I was trying to figure out how many shirts and jackets he was wearing.

For now I’m going to call my mood for sandbox games sated. After the rooftop jumping extravaganza that was Crackdown and the speedy vortex of carnage that was Prototype, playing pretty much any other sandbox game right afterward would be a difficult shift just from the mobility perspective alone. You want me to drive a car in a game? I just played two games where I could pick up a car, hop onto a nearby roof and then throw said car over several other buildings. So yeah: video games.

So I managed an apartment building (in a game)

There are a few games I want to take some time to talk about, but since I don't quite feel like any of that yet I'm going to just quickly mention a game I recently gave a shot. The game is One Piece Mansion for the PS1 and one thing that can be said about it is it's unique. If you are familiar with the Japanese manga and anime called One Piece, it's important to note this game has nothing to do with them whatsoever. I understand the word mansion in Japan is used to refer to an apartment building with thick walls, and that's about the extent that I can explain the game's name.

Anyhow, in the game you are a landlord who manages their apartment building by placing and moving tenants and rooms. Some tenants have positive effects on their neighbors, others have negative effects. If a tenant's mood takes too much of the latter they leave and you take a monetary penalty. So at first glance it becomes a matter of placing everyone so all their moods are more or less balanced, but another twist comes in with criminals who come into rooms and cannot be moved. You essentially need to "attack" these criminals by placing unpleasant tenants near them to get them to leave. Since the criminals are always coming and going, the need to constantly move tenants around never really ends. You can also take direct control of the landlord and move around the building, which is necessary when criminals leave their rooms and need to be shooed away before doing something like set fire to a tenant's room. Things can get frantic and chaotic quick.

I don't usually feel the need to give a detailed explanation of a game (since such descriptions can easily be found elsewhere typically) but an exception here is that this game is a rather unique puzzle game and also a pretty obscure one as well. When I heard about the game I was intrigued, so I thought it was worth sharing. Unfortunately, this may end up being somewhat of a tease because at time of writing it's not easily available like many PS1 titles in the Playstation store, so you would actually need to get access to the PS1 disc to play. It's also a very short game. Over the course of a few days of light playing I've finished off the story mode twice and tried the equivalent of a survival mode a few times, and that's about the extent of what the game offers.

So if it sounds interesting and you get the opportunity to try it, have at it.

Review: A new Castlevania approaches... in 3D!

So I guess I'm going to talk about another game for the Nintendo 3DS, that game being Castlevania: Lords of Shadow - Mirror of Fate this week. A few times now I think I've mentioned that Castlevania is among my favorite series. However, I don't feel that completely includes the Lords of Shadow games, which are practically a different beast altogether. Lords of Shadow is a reboot essentially, although I like to think of it more as a project of some new hands trying to get in and do their own thing and then get out before they overstay their welcome.

All that said however, I enjoyed the first Lords of Shadow game and I enjoyed this one as well. Yahtzee's Zero Punctuation review of the game on The Escapist heavily compared this game to God of War and at one point jokingly calls it 'God of War: Germanic Mythology Edition'. Honestly, that's relatively accurate. It does feel like God of War in many ways. While there are token Castlevania elements like a guy whose last name is Belmont and many of the standard vampire hunter weapons, a significant portion of the game felt like it had no business being named Castlevania.

I mention this because Mirror of Fate feels significantly more like a Castlevania game. There are familiar faces like Simon Belmont and Alucard (not the same versions of them but still), and now the entirety of the game takes place in and around Dracula's castle. That's actually a pretty bad explanation of how it has the good old Castlevania feel, but maybe it will become clearer as I go along. You explore the areas of the game in a method similar to the 'Metroidvania' titles like Symphony of the Night. Unfortunately, although there are many side paths and little nooks tucked away, most of the areas of the game are very linear. It's more like if a series entry such as Super Castlevania IV were mapped out but the game allowed you to backtrack to earlier areas, with the added utility of things like unlocking shortcuts and the rare teleporter. Also unfortunately, the most interesting things you come across in the trouble spent exploring and backtracking are mostly boring old upgrades to your maximum life, magic and item capacity.

What didn't change from the first Lords of Shadow was the combat, which I didn't really mind. Granted the combat is now in a side-scrolling environment and you don't need to worry about enemies coming at you from every direction, but it still has the same combo-able feel and it's pretty fun to just wale on things. Attacks chain together fluidly, they feel like they have some real power to them, and it's easy to go into and out of aerial techniques. I didn't find the game very challenging overall and most enemies are easy to deal with. Keeping an eye open for a white glow (signaling an un-blockable attack that typically also cannot be interrupted) and a finger over the dodge button is enough to casually deflect most of the danger the typical enemy offers. Bosses are another story as their massive amount of life and powerful attacks mean memorizing their attacks and looking for openings is the way to go usually. The frequency of checkpoints does offset the difficulty the bosses offer by a lot though.

The look of the game is one of its' strengths I think. Plenty of interesting architecture, varied areas and relatively detailed environments along with some nice enemy design all go toward this strength. Castlevania games are generally known for looking and sounding pretty good, but I didn't think as highly of Mirror of Fate's music. I'm not saying it was bad, but I found almost instantly forgettable. Sound effects were better.

Mirror of Fate's story is relatively interesting, although difficult to talk about without revealing certain things. You play Simon Belmont, Trevor Belmont and Alucard, taking different paths through the castle and dealing with different challenges. After the rather unique ending of Lords of Shadow, I went into this game expecting something similar. In this I was disappointed. I saw the story's big twist coming a mile away. Other parts like the explanation of the masked creature and the titular Mirror of Fate itself fell completely flat for me.

I have my complaints with the game, but I will say I enjoyed it for what it is. I wouldn't be against seeing another game like it. However, it in no way replaces the 'Metroidvania' games of the series. These offer a certain something that Mirror of Fate just can't.

My rating: 7.5/10

Retreading the legend... in 3D?

Obviously, it has been awhile since my last post. So, that said, moving on.

Awhile back I went and played some game called the Legend of Zelda: Ocarina of Time. Apparently it has some name recognition. Okay, to be more technical I replayed it for... I don't know, somewhere in the vicinity of the fourth or sixth time? But ah ha - it was the first time I played it on the newfangled Nintendo 3DS doohickey (says the guy who bought it nearly two years after it came out).

So how did it stand up? Approximately the same, which is to say approximately the same amount of awesome. I mean, it's Ocarina of Time, it really doesn't need to be elaborated on too much unless I'm talking to someone who really needs to brush up on their Zelda's.

The most noticeable thing about the 3DS version is some highly polished visuals. Then I looked between the new polish and what it looked like on the N64, and I realized just how significant an upgrade it was. The textures are now greatly improved and look much nicer. Overall the game looks more detailed and less murky. Many objects also have quite a few more complex polygons for their model. A good example of this is to compare the roots of the tree-like houses in the Kokiri village between the versions. Yet, it struck me as odd that so much was done on this front but the angles and such of the environments themselves were essentially copy and paste. It doesn't bother me really and I guess it goes along with the game providing a more perfectly accurate translation of the gameplay, but I wouldn't have minded if the very unnatural angles in the mountains, hills, cliffs and the like were given a more stylized look.

The only thing that really bothered me is there are a few icons on the bottom screen that must be touched to use - there is no button for them. Considering there are three directions of the D-pad that more of these functions could have been mapped to (in addition to being functional as touch screen icons), this was a baffling design choice. My hands hurt playing this game due to the way I naturally hold it to use L targeting. Although some extra button mapping probably wouldn't change that, it might have helped a little.

To kind of undermine the praise and fanfare I introduced Ocarina of Time to in this post, I will say it's not my favorite Zelda game. That honor goes to Wind Waker on the Gamecube. It's not even my favorite Zelda title on the N64. Gasp! That goes to Majora's Mask. But, you know, Ocarina of Time is still up there. Wind Waker I love for so many reasons: the unique art style, the ocean setting, the finely tuned gameplay, the fun exploration, the merging of new and classic ideas, and more. Majora's Mask... is harder to define. To simple it up, I'll just say it fits my tastes better. Also, I love the creepy moon, the mask transformations, the day/night passage combined with the schedules of people in town, and all the bizarre moments the game offers.

I haven't talked about the 3DS before, so I guess I'll go ahead and say I think the 3D functional is an unnecessary gimmick (again, says the guy nearly two years late to the 'party'). I don't hate it, but it's not something I'm interested in. From my experimenting with the 3D slider and after careful analysis, I've determined it results primarily in headaches. I also am not sure my eyes pick up the 3D in an optimal way. Still, I think it can have some extremely marginal value so I keep the 3D on the most minimal setting possible. That way there's some visual addition from this gimmick that's supposed to be a selling point on this thing and it doesn't seem to cause the headache effect. Other than the stupid 3D, it's basically a more powerful DS, which is far from a bad thing.