2025 Special - Record of Lodoss War

Eons ago, I wrote a nothing-review for Record of Lodoss War. This Action-RPG for the Dreamcast deserves at least a semi-close look. It's a maniacal yet oddly satisfying grind. Crushing adversity under the sheer weight of huge numbers refuses to go out of style. Whatever sauce Neverland cooked up here was enough to pull me away from dozens of other games. Shoot. I've got a copy of Clair Obscur: Expedition 33 that still hasn't been unwrapped! Imagine, putting off one of the best games of the year just to follow the adventures of The World's Least Interesting Person.

See that rough fellow? That's going to be you for the 15 to 20 hours. Also, your name is Larx... or Larz, or something else, I forget exactly. Never mind, it's a useless detail. The important thing is that you're on a quest to rescue Marmo from the Evil Goddess Kardis. Also, you were brought back from the dead, but don't expect any cool undead powers. If you die again, it's back to loading that last save to try again. The bulk of your early game deaths are the result of going to the wrong place and getting immediately clobbered. Indeed, you can explore a large chunk of the world shortly after the introductory dungeon, just don't expect to get far. Marmo is packed with all manner of creeps, cluttering the largely mundane & dreary locales with monstrous visages and fireball-throwing mayhem. 

Early on, the best you can do is to simply follow the directions you're given. If Wart the wizard tells you to head north, then you should do so without giving a moment's thought to anything else. Larz is frail and a bit useless early on. However, given enough effort - and enough mythril - he'll become strong enough to take down a divine being singlehandedly. Actually, strike that. I meant to say, "a divine being, their closest allies, and a dozen friends singlehandedly". The odds are explicitly designed to be overwhelming, and that's fine. It just means more corpses underneath your boots... provided you get those numbers pumped up.

It won't take long to realize that levelling in Record of Lodoss War doesn't do a whole lot. An extra 20 HP and a +1 to attack isn't going to cut it. This is where the mythril comes in. Well, the game calls it "mithrill", but let's try and ignore that. Whether you're carving it out of monsters or off of the walls, this shiny blue ore is the currency that helps you become like a God. Early on, you'll meet a blacksmith who hammers rune words into your equipment. Explore the world to find rune words, then teleport back to base and spend the mythril on upgrades. I can't emphasize enough that this process is a massive grind, but the results are worth it. All those monsters you had to run past or away from will eventually be squashed like pitiful insects. The word eventually is doing some heavy lifting here. Some players could find themselves in a rut where they can't seem to make progress in either the story or the optional content. 

I'll admit, I took advantage of a couple exploits. There's an easy source of mythril involving a boss that can't seem to stay dead. Adversaries are generally decent at pathfinding, but it's still possible for them to get stuck on something. Consider it a perfect chance to spam walls of fire. Clever usage of a "raise the dead" spell could even the odds in a tough battle. Well, perhaps that isn't an exploit, but considering how much of the game is usually spent running up and smacking something with a sword... thinking is almost like cheating. Besides being few and far between, these moments that require strategizing will fall by the wayside once the protagonist's power level starts jumping exponentially. 

This big silver dude will keep respawning if you revisit his lair. Easy mythril.

Now rune words are usually basic upgrades like +3 Strength or whatever. Take the time to wipe out the optional lairs and you'll discover special rune words. Only one can be equipped at a time, but the right combination can turn Larz from zero to hero in a second. For example. I equipped a couple of special runes that caused my hit-points to reach an astonishing 15,000+. Another doubled my armor, so even bulky foes could only tickle me with their gigantic hammers. The grind gets intense, but the results are plain as day and very satisfying to achieve. Also, while some might view it as a negative, I really appreciate that mythril rarely drops from normal monsters. It incentivizes me to focus on the next objective and avoid unnecessary battles, particularly in the overworld. 

A philosophical question I've often run into with RPGs, whether they be action or turn-based, is what does the hero do with their unfathomable amounts of power? There are multiple points in this very game where power corrupts individuals until they become psychotic monsters hellbent on annihilating all life. I can't imagine even the most virtuous of heroes settling for field-tilling or sleeping on the couch after they had just toppled Gods. 

Though this game is 25 years old, I'm still putting up a SPOILER WARNING here and now.

Got it? 

...

Okay... let's get on with the spoiling.

Neverland answers this quandary in a manner that's blunt yet appreciable. The protagonist dies. Yeah, turns out that the whole "brought back from the dead" deal was only temporary. He stopped Kardis, completed his mission, and fell over dead after a second's worth of celebrating. Now, there is a post-game, but it's one of those post-games where you're probably better off just staying dead. The Cold Cave is a nightmare. No matter where you step, dozens of rapidly spawning monsters hound you. They might start off a bit weak, but their numbers never drop below overwhelming. The nastiest fiends become increasingly frequent with every step. It's important to note that being turned to stone is the #1 cause of death in the post-game. Given enough time, you can recover from this ailment, but the chances of being tag-teamed into oblivion by two Medusa are shockingly high. There are handful of super-bosses to pit your ungodly strength against as well. Basically, you can stick to the ending where Larz takes a well-deserved eternal rest or the extended ending where he struggles futilely through increasingly absurd situations (and dies anyway because LOL). 

Once you're eyebrows-deep in a realm of madness that only the gaming maniacs of the world can appreciate, the fact that this is a Record of Lodoss War game becomes increasingly irrelevant. Oh sure, Parm, Deedlit, and some of the other characters of the classic series, make an appearance. They'll even lend a hand for a dungeon or boss-battle. Their justifications for why they're at this otherwise abandoned island are well-reasoned. It's just... their contributions to both the story and gameplay eventually become so distant that I'd almost forgotten they were ever there to begin with. I suppose they can't get too attached to someone who is literally a dead man walking, so fair enough. 

While Neverland is perhaps best known for their Lufia games, I believe they had a clear understanding of what makes for compelling Action RPGs. Their Dreamcast effort is rough in a number of ways. The slowdown when facing a massive swath of foes is particularly outrageous. Still, there weren't any crashes in my 15+ hours of playtime. A few QOL features like equipment transformation & duplication ensure powerful gear is never lost. It's a good time and unbelievably addictive.

2025 Special - Sword of Mana

Fair warning. There will be spoilers.

Thank the goddess! Unlike the last game I reviewed, Sword of Mana doesn't go by half-a-dozen different names. Well, unless you count its original Japanese title Shin'yaku: Seiken Densetsu aka A New Testament: The Legend of the Sacred Sword. Wow. That actually sounds much cooler than what we got here in the West. Anyway, this 2003 title for the Game Boy Advance is a significant remake. The plot is roughly the same, but every other aspect has been reimagined. There are now subsystems on top of subsystems, numerous side-quests, and a handful of secrets that practically require a guide to discover. It's a layered Action RPG, and perhaps not everyone's cup of tea. 

Allow me to just come right out and say that I actually think pretty highly of this game. What stuck out to me is its approach to character development. Sure, the plot is the same, but the way characters struggle with its many setbacks and tragic events creates a melodramatic tone that I find really enjoyable. Not too long ago, I kicked around an idea for an RPG story, one where despite the protagonist's best efforts, they'd lose their friends and loved ones. Not an uncommon idea, even the greatest heroes can't save everyone. My idea was a bit different though. These relationships weren't torn apart by death, but were victim to a lack of communication, a growing disinterest in each other, words or actions that at the time didn't seem like much, but created a divide that not even saving the world would repair. 

While Sword of Mana doesn't have friendships crumbling like so many card-houses, there were multiple times where I felt emptiness. A noble sacrifice goes underappreciated. A protagonist's virtues are tested. It hurts the most when a supposedly just cause ends with what could be considered petty revenge. This is one of the darkest E-rated games I've played. There is no more death than in Final Fantasy Adventure, but every loss hits much harder, almost to the point where it loops around and becomes hilarious. Consider the story of Amanda. Shortly before dying, she begs the male lead to use her blood to rescue everyone who was turned into birds by Devius. The player can opt not to do this, since returning to the castle where everyone is imprisoned is entirely optional. However, if they decide to change everyone back, they'll quickly discover that at least a few people preferred the bird life. Like I said, noble sacrifice goes underappreciated. 

The funny thing is, I can't blame anyone who wishes they could remain a bird. Saving the world doesn't guarantee everyone a happy ending. This game doesn't often dwell on it, but there several NPCs that can't be helped. Sure, you can slay a thousand beasts, but you can't cure sickness or aging, let alone bring anyone back from the dead. It's a melancholy adventure, where sometimes the best you can do is to simply acknowledge and move on. Still, that doesn't mean you should ignore everyone, especially if they ask you for help. There are a lot of side-quests to complete. Bear in mind that the significance of the rewards is liable to be lost on anyone who isn't questing a lot. In other words, expect to receive a lot of dudbear coins. Their usefulness isn't made apparent until you've collected a large number of them. The benefit of this is that if you choose to ignore the plights of others, it isn't detrimental to your chances of finishing the game. 

Much like Legend of Mana, this adventure offers an extremely fluid approach to difficulty. There are a lot of features to engage with. If you choose to avoid them and just rush through the plot, then that's perfectly valid. You'll struggle a bit more with enemies & bosses, but that's the extent of the consequences of speedrunning. Players who decide to grind level-ups and skill-levels will have an exponentially easier time. The same can be said if they learn the class-system to get the best possible stat-boosts. The same can also be said if they master crafting. Those who take the time to obtain the best gear, explore the world with the finest comb, and learn all those guide-necessitating subsystems, then the difficulty becomes nonexistent. The developer expected most players to only mildly experiment with everything available to them but left the door wide-open for the maniacs to crush the game into the tiniest fragments. Speaking as someone who barely scratched the surface, I still ended up with a lance that was slaying bosses in three to five hits. 

Perhaps breaking the combat system is the fastest way to make it tolerable. I'll admit, I wasn't too fond of it. Somehow fighting is less refined than previous entries like Trials of Mana. Regular attacks can only hit one enemy at a time, which is awfully odd for a 2003 release. Many foes are strong or weak against various types of damage. This means a lot of switching between weapons. The menu isn't as efficient as I would've liked. Some sort of quick-select would have been wonderful. Alas, the GBA control pad lacks the extra button necessary for such a feature. After a long enough time, I learned to run past enemies that were immune to physical attacks. Learning to use spells outside of puzzles often isn't worth the trouble. Heals and buffs are all you really need. Surprisingly, the one title that kept coming to mind was Vagrant Story. I mean, there's undoubtedly a lot less friction to deal with, but the basic aspects are familiar enough. Switching weapons to deal with different enemies, sitting still for extended periods of time to replenish MP. Shoot, there are even some minor jumping puzzles. No crate pushing though. That's a damn shame (I'm joking! Please don't remake this game to add crates!)

Did I mention that bosses were dying in three to five hits? Yeah, so I'm afraid there's not a lot to discuss there. I guess it's cool that not every fight is just some big slug bug thingamathing that just has to be stabbed repeatedly. There are often environmental hazards like a spinning floor or health-depleting lava. Enough for me to say "oh that's something" the moment before the boss itself is obliterated. Hey! That's another Vagrant Story commonality right there! I don't think I fought a single boss that had more than 750 HP. I figure this was all designed that even players who didn't choose optimal weapons or leveling strategies didn't fall victim to HP inflation, and that's fine. though now I'm left wondering if I could've had a more fulfilling experience if my lance wasn't so gosh darn strong. Oh well.

Shame there's not much that can be done to make your allies anything but useless. I don't want to dwell on this feature for too long, because picking on something this half-baked simply isn't fair. I'll consider it a nod to the original, where the AI partner just wandered every which way and maybe chucked a fireball towards a monster. Still, it couldn't hurt to upgrade your partner's armor, because seeing their ghost follow you around for extended periods of time might wear upon your soul.

Sword of Mana's early 2000s localization is one of the highlights. Everyone is a total corndog. The male lead is always yelling "Whoooooaaaaaaaa!" and at one point drops an honest-to-goodness "Say WHAT?" The female lead can also be endearingly dorky. Everybody else they run into is probably, eventually going to say something quirky. It never gets overwhelming or cringe*, and I think that's what kept me looking forward to whatever someone has to say. However, since the plot is relatively unchanged from a 1991 Game Boy release, there will be an excess of unnecessary words.

All in all, this game tries for the same uniqueness that made Legend of Mana so appealing. It doesn't quite capture its flavor and richness, but I admire the effort. The developers put a lot of love into this adventure. They made some bold decisions that I might've slammed other games for. Did you know that there are hidden geodes that are impossible to see but are required for a side-quest? I stumbled onto one by wandering into an inconspicuous corner. Chances of acquiring any of the others without a guide are less than 1%, but whatever. When I think "artistic expression in a video game", that's exactly what comes to mind. 

*I'm guessing people don't say cringe anymore.

2025 Special - Final Fantasy Adventure

Seiken Densetsu: Final Fantasy Gaiden is about what you'd expect given the title. It's the humble beginnings of a franchise that would develop its world and characters over several installments. What started as essentially a spin-off of Square's most popular brand would eventually become a brand all its own, the Brand... of Mana. I've been a Secret of Mana fan since forever ago, so it was a real treat seeing all of the little references that would be expanded upon in future installments. Not to mention, there are a ton of enemies & bosses in Adventures of Mana that would be revisited in glorious 256 x 224 Super Nintendo resolution. If all these names weren't confusing enough, an entry titled Sword of Mana was released on the Game Boy Advance. From the jump, it's a modernized - by 2003 standards - take on the Game Boy original. I'm sure I'll get to it someday.

Didn't I fight this guy in the beginning of Secret of Mana?

For now, let's try to get on track for what is a surprisingly solid take on the Zelda formula. The hero, who like always, goes by the name of Larx, escapes the carnage of the arena but takes a nasty tumble down a waterfall. With sword in hand and courage in heart, he must take on scores of fell beasts, explore a multitude of dungeons, while utilizing both weapons and spells to solve puzzles. It's a remarkable adventure that doesn't wear out its welcome. The pacing is smooth and efficient, with a consistent rate of new areas and monsters to overcome. In fact, I'm pretty sure there isn't any backtracking. The game has aged a fair bit though. Not excessively, but noticeably. 

Noticeably aging isn't the worst thing to happen to a video game, but it can affect the player's enjoyment. The combat is fine. Not as refined as it could be, but serviceable 98% of the time. In those rare cases where it felt like your weapon didn't connect when you felt that it should, the consequences of that are nonexistent. More to the point, unless you're trying to speedrun, you'll never once face the possibility of death. The protagonist starts off meager, but upon level up, you can decide to push the bulk of your stat-gains into stamina. Before long, your hero becomes a brick shithouse, a shitting bricks house, a brick that shits houses, whatever. Point is, unless you do something wild like get turned into a moogle or run into lava repeatedly, Larx's HP will never reach a critical point. Healing spells are cheap, you can save anywhere, there's nothing to worry about on that front.

You'll obtain weapons for breaking rocks, cutting down trees, and crossing gaps.

The dungeons are the one aspect that has aged the most. The overworld is mostly linear, so you'll rarely struggle with the point A to point B navigating. The dungeons are a bit more complicated, and not in the fun way. First off, you'll want to stock up on mattocks & keys. You don't want to end up in a situation where you run out of either. The game tries to throw you a bone by having certain monsters drop these necessary items, but you might end up having to leave to restock. The problems here are twofold. Leaving a dungeon resets the in-game map. Worse, leaving the room resets any unlocked doors or holes you've bashed in the walls. I hate to make direct comparisons, but when you unlock a door or blow up a wall in The Legend of Zelda, it stays that way forever. The same convenience couldn't be extended to Final Fantasy Adventure. A shame, but I suppose that's just the nature of game development. Again, if you've got enough stock, then it's not too big an issue. 

Knowing which walls are of the breakable kind is another story I'm afraid. To its credit, the game provides subtle hints for most of them... most of them. Checking the map can also help, though most dungeons are typically too straightforward for players to develop suspicions that something is being hidden from them. Necessary traversal weapons are acquired between dungeons, so the only real incentive to explore is for the very slight possibility of a hidden piece of equipment. I'm fairly sure that these specials occasions happen less than five times throughout an entire play-through. A few end-game enemies drop rare armor, and that's rad. Altogether though, you're probably better off keeping a guide within arm's reach just so you don't find yourself running in circles. 

Still, aside from a couple potentially annoying instances, this is exactly the sort of breezy adventure you want after a stressful workday. Dealing with adversaries is no sweat, though they can cause any number of status effects. I mentioned that there's no threat of death and that remains the case, but there's fun in trying to avoid getting poisoned, moogled, turned to stone, etc. The near-constant supply of level-ups and armament upgrades are more than enough for your daily dopamine intake. Also, I can't think of anyone who'd turn down save-anywhere functionality.

It's a fine weekend game. All I need to say, really.

Before I forget, the reason the game looks so colorful here is because this is the Final Fantasy Adventure DX romhack. There's another hack called Legend of the Mana Sword that looks really good. Maybe one day I'll give that one a try.

  

2025 Special - The Legend of Zelda: Link's Awakening DX

The Legend of Zelda: Link's Awakening is one of those games that is known and beloved by practically everyone. It's also significantly more difficult to write about than almost every other action-adventure I've covered in the past couple of months. Everything that can be said has already been said... or something. I forget how that cliched line is supposed to go. Point is, I've got the ugly task of coming up with a worthwhile thought for a game you already know everything about. 

Before going any further, it must be mentioned that this is the first time I've played through the game in over thirty years. I used to own the original version of Link's Awakening. The actual cartridge, if you can believe it. A lot of hours and batteries were spent on Koholint Island. 

A clearly tired Gabriel who spent all night and all morning playing Vampire Survivors has just sat in front of the keyboard.

Okay no, this isn't working.

I mean damn. What was I doing waxing nostalgia just a second ago? Gross! C'mon Mr. Jones, get it together! This isn't some untarnished symbol of hope. It's not a faint reminder of better days. It's a video game, so treat it like one. Let's get down to brass tacks, or rather... brass swords. Yeah, I haven't talked all that much about the swordplay in these Game Boy entries, and that's probably because it's perfectly functional. Perfectly functional, and maybe a little bland. What I'm saying here is that there's not enough spice in the sauce. Link's sword has this huge area of effect that instantly shreds any opposition. It's not 3D Dot Heroes' ridiculously thick sword swings, but it's still quite a lot. Like, I can't help but think about the original Legend of Zelda, back when Link's hit & run tactics were the only thing keeping him out of the grave. There were limits to his abilities, particularly his little stibbety-stab sword. A small sword trapped in a room with so many nasty monsters, that is one spicy recipe. Maybe the monsters of Koholint could've tried a little harder.

See what I mean? Everyone's a quitter.

All told, the swordplay is not a subject that I want to dwell on for too much longer. The combat is fine, serviceable, does what it needs to do. I wish it did a little bit more, but that's partly on me for revisiting the game after 30+ years and fresh memories of its successors. The Oracle duology, might I add, came out in 2001, nearly 8 years after Link's Awakening. That's a lot of time for analysis and player feedback. Still, I wouldn't be able to forgive myself if I didn't mention the reverse-difficulty issue. One of the hardest bosses is the clown genie from Bottle Grotto. It was in his second phase that I noticed the fireballs he was chucking around liberally swallowed hearts like donut holes. I set myself up thinking there'd be more adversaries like him, but nope. Bottle Grotto was also a lot shorter than I remember. Over time, the dungeons become larger and more complex, but the threat of death slinks further and further into the background until it almost disappears entirely. Almost, because the last phase of the final boss hits hard. It's especially painful if Link didn't bother to grab the blue tunic from the DX-exclusive dungeon.

Much like the simplistic swordplay, I can't complain overmuch about the reverse-difficulty. This is such an intricately-crafted game that its few issues never affected my enjoyment. Koholint Island. Hot damn. This might be one of the best overworlds I've ever explored. It's not densely packed with a gazillion secrets and things to interact with. It actually feels real, well... as real as a dream world in a video game, but whatever. Just the fact that I can come back to Koholint after 30+ years and still navigate it as easily as my own living room is unreal. 

Side note: I have got to stop saying "30+ years". Every utterance is causing me to age like that one asshole from The Last Crusade who drank out of the wrong cup. I'll be dust in the corner by the time 2025 finally ends.

Seriously though, this is one top tier overworld. One of its underrated qualities is that most of it can be explored with just a couple items: the feather & the bracelet. Link can visit several points of interest after clearing a mere two dungeons. He doesn't have to constantly swap items to get around either. The amount of time spent in the inventory screen is comparable to the NES game, which all things considered is pretty amazing. The Oracle entries deserve a ton of praise, but retrofitting an N64 Zelda's worth of items onto a two-button platform got to be really burdensome. Not only are there just enough items to make the adventure fulfilling, but players aren't obligated to swap their entire loadout every other screen. I love this amount of restraint. Nintendo has always had a keen understanding of game-design, and Link's Awakening is absolutely a showcase.

The dungeons themselves are also really good. Indeed, they are shorter than I remember, but let's be real here: I've got these two elephants sitting on my shoulders and I can't keep mentioning them. Besides, what's important here is the pacing. Each labyrinth is designed to be just long enough to warrant the player's full attention. Puzzles are often easy to understand and take very little time to solve. It just makes sense for a battery-powered platform aimed predominantly at kids to feature dungeons that can be completed in a brisk 10 to 20 minutes apiece. Eagle Tower, the 7th dungeon, features probably the most complicated puzzle in the entire game, which involves carrying an iron ball through several rooms to destroy four pillars. I actually got stuck here for a hot minute, and that's probably because I was going around it the wrong way. I mean that literally; I was trying to throw the iron ball across a chasm that's much too large. The game even casually drops a "if this isn't working then try a different approach" hint. Awfully kind of them. It's like they've noticed all the brainrot I've accumulated from playing forty action-adventures in four months.

Smashing the pillars is pretty satisfying.

Time spent in-between dungeons never feels wasted either. There is usually a small task that Link has to complete before he can proceed to the next dungeon, and I'm pretty sure I enjoyed all of them. They're an excuse to see the world, return to previously visited locations, and utilize acquired tools to find new paths or hidden rewards. Again, this is smart design. The subtlety is what brings everything together. I'm not just going from point A to point B so an NPC can hand me a key-item. I'm making my way around Koholint in ways that feel natural, as if I'm just as much an inhabitant as anyone else.

I've also gained a deeper appreciation for all of this game's smaller details. Like, I just noticed that Prince Richard is actually the guy from The Frog for Whom the Bell Tolls and not a random vampire with frogs in his house. The cameos by Wart and a Shyguy from Super Mario Bros. 2 are cute reminders that Koholint Island is not what it appears to be. Oh, and how could I forget Link lifting Marin over his head while the "item-get" jingle blares away. This entry had a lot of fun with the fourth wall. One other thing: the shop. If the "999" didn't give it away, I was never struggling for rupees. Despite this, I was always stealing from the shop. That probably says many things about me as a person, none of them good. Oh well.

When you're "low" on health and slashing a bush is too much trouble.

All in all, The Legend of Zelda: Link's Awakening is one damn good game. More than that, it serves as a stalwart reminder of what drew me to the series in the first place. There's this great sense of discovery when walking from one screen to the next. It's hard for me to describe, but it's something that I've always missed in the 3D games. Maybe it's because oftentimes they rely on taking control away so that the camera can point at objects of interest. Then again, I could just be that type of gamer who's tired of always moving the right analog stick and locking onto anything that breathes. Whatever the case, this entry in the series has aged miraculously. Try to replay it whenever you can. You definitely don't want to catch yourself saying shit like "30+ years"... 

2025 Special - Arcus Odyssey

In ancient times, there was a Sorceress by the name of Castorina. She sought the destruction of the world. Total annihilation, remaking it in her image, all the usual stuff. Her plans were ultimately foiled by Leaty, the good witch of the north, who banished her to the realm of darkness. Finally, as insurance in case the Sorceress ever returned, a legendary sword called The Power of Leaty was forged. Huh. I get that Leaty is the sole reason why the world hadn't succumbed to an eternity of destruction, but what an awkward name for a sword. Alright, fine. I'll stop with the lame jokes. Arcus Odyssey, the 1991 action-adventure by Wolf Team, deserves a lot more respect than that. Point is, Castorina is back and none too thrilled. It's time to save the world yet again.

Right after choosing a 1 or 2 player game, you (and a friend?) are greeted with the choice of four heroes. Naturally, I've decided on Jedda Chef. He's a swordsman befitting the 2025 Special so- ehh!? You've got to be kidding me. I've seen a lot of goofy names over the past few months, but Sir Chef over here takes the cake. Each of the four characters have a ranged attack. Its power and coverage increase whenever the player picks up a red crystal (up to three times). One of the delightful aspects is that everyone can move while shooting. There aren't very many occasions where it's in your best interest not to shoot. Enemies respawn ala Ninja Gaiden, so go crazy and stay alive. Everyone also has access to five spells. The cost/effectiveness varies wildly. Oh, and holding down the fire button creates a projectile-blocking shield. Don't underestimate the usefulness of this technique. 

Let me emphasize that despite the overhead perspective and somewhat similar core mechanics, this is not a Gauntlet situation where the four heroes are mostly the same in terms of strengths and weaknesses. In fact, I've made things harder on myself by going with the choice. Mr. Chef's regular attack has meager coverage and requires some heavy button-mashing to destroy bosses. His level 2 spell is pretty strong, crushing most bosses in 1-3 hits. However, late game adversaries require the level 4, which is expensive and tricky to use. The crazy part is that even as the worst character, he still kicks ass. Everyone in this game is just that wicked-strong. Erin, the lady with the flail, can kill most bosses with one swing. Diana is an archer with a level 1 full-healing spell. Bead's regular attack ensures that most foes aren't alive long enough to appear onscreen. 

I'm going to run with an assumption here that Wolf Team intended for each character to be ultra-powerful. They wanted everyone self-sufficient, lending the player enough allowance to approach the game however they choose. Basically, if you're confident in your gamer abilities, you can rush through Arcus Odyssey without hunting down items. Newcomers or those seeking a more relaxed adventure are free to explore, gathering whatever's necessary to defeat Castorina. This setup is also a boon in two player mode. If there's a skill-deferential, then you or your partner can grab the items. Nobody is forced to steal from each other just to survive. Besides, passwords are handed out after every level. This is a game intended to reach a wide audience, while still allowing the maniacs to play their own way (no items, no continuing, etc.). 

On my first couple play-throughs, I was initially put off by the level-design. The stages are often labyrinthian in design, requiring multiple objectives or key-items to complete. Imagine feeling put off that Wolf Team wanted some adventure in their action-adventure game. Yeah, this was something that I had gotten over after a bit more playtime. Each area is usually small or focused so that players aren't wandering around for very long. The few NPCs generally say everything you'll need to know. If you have to do a lot of running around, then you're likely going to stumble upon powerful stuff like invincibility and full-heal potions. Respawning enemies can be troublesome, especially for the one or two Chef fans out there, but even the longest stages shouldn't take more than 10 minutes to complete.

Indeed, this is one of the shorter games I've reviewed this year, and that's fine. The multiple playable characters as well as support for different play styles make this an easy revisit. There's a decent breadth of variety in both locales and fiends. It's an adventure that feels sufficient, making full use of its limited runtime. Boss battles can be tough, but only if you approach them with the intention of playing fair. Personally, I reveled in the fact that so many of them can be killed outright. The developers didn't skimp on the power in their power fantasy, and I totally admire that. Perhaps, I'd have felt differently at another point in my life and demanded that every encounter be a life-or-death slugfest as finely tuned as the average Cave shmup, but... Nah! I'm going to savor this.

Arcus Odyssey is yet another Sega Genesis game that is prone to slipping through the cracks and getting ignored by even the hardcore gaming community. I mean, I'm absolutely speaking for myself here. This is the first time I ever seriously played the game. Wolf Team did some great work here. A rad intro, a sometimes-silly localization, and Motoi Sakuraba's classic Mega Drive sound round out the package nicely. 

Give it a go. 

2025 Special - Radia Senki: Reimeihen

Released way back in November 1991, Record of Radia War was a really interesting departure for Tecmo. It is, by my recollection at least, one of the first party-based Action RPGs made for consoles. Players control the hero and give basic commands to the other members of their party. When they aren't under orders, the allies will attack nearby monsters. There are also a handful of available spells and items for when circumstances demand them, but most anyone can get by with just restoratives. The combat system might be a little too basic by today's standards, but it's functional and entertaining.

Now is it entertaining enough to last eight or so hours? While considering the answer to this question, I can't help but stumble back to the past. Decades ago, at a time when I was hunting for anything that received a fan-translation, I gave Radia Senki: Reimeihen a shot. After ten minutes of playing, I concluded with a dispassionate "This is neat." and then dropped the game immediately afterwards. Looking back, it was rude of me to so casually dismiss what was clearly an innovative game. Now, after seeing the adventure through from beginning to end, I'm left with the possibility that perhaps my younger self made the right call. Excuse me, I meant to say the right call for him, it's his opinion after all...

...There it is again, the sickening feeling that I've just wandered into another moment of existential dread. 

Although I'd love to say that my tastes have become more sophisticated with the passage of time, it's hard to ignore the obligation I placed on myself to see all of these sword-guy-games to the end. For some absurd reason, I'm not inclined to believe that my opinion has actually changed. A ridiculous thought, considering all past-Gabriel did was string a few words together. However, I've had both past & present opinions laundering in the abyss of my skull for a little while, and the words "This is neat." continue to appear. 

Alright, so I spent 8 hours on this game, clearly there should be substantial things to talk about. Maybe an explanation of what exactly happened in all that time would help. The story being a potpourri of kidnapped princesses and MacGuffin chasing isn't substantial, so let's look past that. Well, there was a lot of fighting. Combat is the one constant throughout this adventure. The bulk of exploration occurs in dungeons, and even then, it's mostly just a detour or three to grab treasure. A "lost woods" dungeon is probably the closest Radia Senki ever gets to a puzzle, which is mostly just trial & error. The solution to every other problem involves repeated stabbings, which would be fine, but what's here isn't enough to last.

Let me be clear for a moment; while battling enemies is "functional and entertaining", there's simply not enough meat to it. Like any other RPG, enemies grow in strength and durability the closer the hero gets towards his ultimate goal. Sadly, their strategies never evolve beyond "find someone to attack". A boss might have a gimmick like teleportation or cloning, but it's never enough to save them from being overwhelmed and slaughtered. Still, there is joy in ping-ponging hapless fiends between allies or reenacting the Ides of March on a larger foe. Every encounter taking place in the game-world and not in a separate battle-screen is actually pretty amazing for the NES. Though it can rarely have an adverse effect, such as aerial enemies deciding to fly out of the party's reach.

While the combat leaves behind a mixed impression, other aspects of the game hold up quite favorably. The "advice" feature is one of the standouts. Choosing it prompts a brief conversation between the main characters where they outline their destination and how to get there. An invaluable feature for when the player is coming back to the game after a long hiatus and doesn't remember where to go next. Barring some flicker, the visuals and performance are solid. Being able to rest and save the game on any bed is also a lovely convenience.

If there was ever a timeline where Record of Radia War had released in the west, and kid-Gabriel had gotten it for a gift, he'd probably still be defending it today. This is not a deep game, but it is ambitious and... neat. An impressive effort from Tecmo.

2025 Special - Golvellius - Valley of Doom

One of the many games that I finally played through for the first time this year was The Guardian Legend. Let me just go ahead and say that it was really enjoyable. There is an inherent coziness to exploring a hostile facility in search of carnage and power-ups. The shmup stages were also totally Compile, with a wildly uneven level of difficulty. I was either drowning in health restoratives or clutching my nether regions trying to take down a boss with hardly a pixel of life. Still, it was a great time and by every metric a certified NES classic. Sadly, that's the closest to a review you'll get out of me, since this game doesn't meet the 2025 guidelines. The protagonist is a woman. Also, her main weapon is a gun...or is it an arm cannon? Whatever. It shoots bullets and isn't shaped like a sword. What a shame.

"Oh, if only Compile had made a game that fit my arbitrary criteria." I wonder aloud. Somewhere in the world, the finger of a monkey's paw curls in response. Compile did in fact develop an action-adventure that stars a guy with a sword. The only catch is that...well, it's a very individual game. I was originally planning on calling it unique, but individual sounds so much more exclusive. Here's the product of developer that clearly knows their stuff but played around with the rules to create a one-of-a-kind experience. There will be friction, and sometimes pain. Not too much pain, mind you. This is still one of the fluffier action-adventures out there. Deaths are expected, but not overly punishing. Still, you might become the butt of some practical joke.

Before going any further, I have to make a confession. I've been writing these reviews for a while, yet not once have I ever mentioned one of the titans of the genre: The Tower of Druaga. Namco's 1984 arcade hit spawned damn near every "guy-with-a-sword" adventure that I've so readily taken for granted. Seeing as how I'm now talking about two games that aren't the subject of this review, I'll try and keep this short. Basically, the player is tasked with climbing 60 floors to save a princess. Climbing floors is the easy part, since it's just a matter of grabbing the key and reaching the exit. The challenge - besides the monsters stalking the halls - is the fact that there are treasures you need to find. Each floor contains hidden treasure, but you aren't given any clues on how to find it. That's by design. Players are obligated to experiment, take notes, and share any information they've gathered with friends. This feature is likely what made The Tower of Druaga such a massive influence. Most other games expect you to know the answer, while this demands you to find the question. 

The PC-Engine version of The Tower of Druaga.

While I'm not particularly familiar with the game - though I spent a little time with the PC Engine version - understanding it is helping me see the genre in a new light. Everyone making action-adventures in the mid-to-late 80s had Druaga on the brain. Sure, they'll make concessions to attract a wider audience, but they intended for their games to have little to no clues, leaving players to figure everything out on their own. Now bear in mind, just because the player is thrown into the deep end, doesn't mean that they have to drown. There is a logical throughline that helps keep all of these games functional and entertaining. For example, in The Legend of Zelda, every screen contains one secret. In Neutopia, every screen contains one secret. Golden Axe Warrior? Yes, there is one secret in every screen. It is this logic that leads to the schoolyard conversations, the notes and maps shared between friends. One screen, one secret. 

Which finally brings us back to Golvellius - Valley of Doom. The goal is quite simple. There are seven crystals and a princess to find, so get to work. Where Compile's game sets itself apart is that it plays with expectations. Upon hitting the start button, the player is treated to an introductory dungeon, and it's a side-scroller. Kelesis, the hero, jumps and swings a sword. He'll make short work of everything that gets in his way, which is all well and good. However, the intro dungeon establishes more than just "stab anything that moves". Take note that Kelesis doesn't turn around when he moves to the left. The screen doesn't scroll left either. This will become important later.

Get used to farming mice for easy cash.

Upon reaching the overworld, players should quickly familiarize themselves with the "one screen, one secret" rule. Indeed, they have to adhere to it, because their life depends on it. Kelesis starts off incredibly squishy. Monsters spawn in almost every screen, and there is no end to them. The only way to survive is to obtain power, and to obtain it quickly. Naturally, power takes many forms, including potions that increase their maximum life. However, everything has a price. If you don't have enough gold, then you either have to kill baddies for a bit, or purchase bibles to increase the size of your wallet (which means killing more baddies to fill that wallet). A not insignificant chunk of this game is spent farming. Maybe it gets repetitive for some gamers, but I never had a problem with it. Then again, I'm also that guy who seeks out the best spots to efficiently hunt monsters for their rare drops in all those Igavanias. 

Most of the time, finding the one secret in a screen is a simple task. Many of them are uncovered just by killing a couple of nearby monsters. Keep in mind that the secrets unearthed through such a menial task are not often valuable. You might stumble upon a fairy chilling with a sno-cone. Another fairy might offer some encouraging words. A few just laugh and send you on your way. Though you'll never be robbed or attacked for finding a secret, your pride is sure to take a mild beating. Still, it pays to be thorough. Hints to the valuable treasures can be uncovered, even if a couple of them are... really not helpful at all.

If you've played through Golvellius - Valley of Doom, then you're familiar with the blue rock puzzle. For everyone else, take a gander at the following screenshot.

 

You can tell just by looking at this screen that there is an important secret. A nearby fairy says that you should "push the blue rock". Seems pretty simple, right? Just give these... 24 rocks a push in whatever direction while being endlessly swarmed by frogs and bats. Something good is bound to happen. Actually, that's a lie. I'm not sure if this was supposed to be a joke that got lost in translation, or it was a reference to the original MSX version of the game. In any case, what you're supposed to do is attack the rock with your sword. It's a pretty nasty bit of misdirection, especially since the game has only just started. If you didn't know that you're supposed to use your sword on anything suspicious, then you could end up stuck here. Then again, hitting up the internet for the answer only takes a second, but you get what I mean... I think. Anyway, this is the worst puzzle in the game for the wrong reason, the only blind spot in what is usually a very logical adventure.

The level of difficulty is also what I'd call very individual. The first several minutes will be rough. Kelesis is almost always getting hurt. He's a large target. You'll be guiding him on frequent trips to the friendly (but not free!) healers. Again, this is to emphasize the importance of grabbing every last health potion and equipment upgrade. Only a true maniac would dream of attempting a low% run. Given enough time, you'll no longer fear death, in the overworld at least. The bosses will remain a threat throughout your playthrough. Be patient and don't overextend yourself when fighting them.

Now I mentioned that an aspect of the introductory dungeon would become important later. That later is right now. When exploring dungeons, the fear of death will be replaced by the fear of setback. Basically, since you can only move forward, the chances of walking yourself into a corner are high. You never get stuck, because leaving the dungeon is as simple as walking backwards and offscreen. That of course means you have to start over, which is enough to strike fear in anyone's heart. If you miss a jump, accidentally set off a trap, or get pushed offscreen by an enemy, then that's a rude little setback, isn't it? The overhead dungeons aren't any less troublesome. They're auto-scrollers and not shy about presenting multiple routes where at least one leads to a dead-end. In fairness, none of the dungeons go on for an especially long time, and you're not expected to have super reflexes to avoid setbacks. Frankly, I applaud their inclusion. They're appropriately absurd, as fitting as anything else in this charming game.

One of the reasons why I never seem to get tired of action-adventures - despite playing through 30 of them in a row - is that there's always something intriguing to learn. Golvellius - Valley of Doom isn't nearly as polished as the best of the genre, but it is a special experience all the same. If any other game tried to pull off half the stuff that Compile did, I'd probably still be complaining about it. There's a lot of heart in this light-hearted take on an established genre. A fine piece of history. Recommended for anyone who isn't afraid of a few setbacks.