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Tuesday, April 6, 2021

Narita Boy Review – Easier On The Eyes

Publisher: Team17
Developer: Studio Koba
Rating: Teen
Reviewed on: PlayStation 4
Also on: Xbox One, Switch, PC

Narita Boy's slick presentation hooked me before I even picked up my digitized sword. 1980s homages are nearly played out, but Studio Koba’s action title manages to reinvent that retro style of cool with an imaginative presentation that goes a step further than “let’s just slap neon and grid lines everywhere.” Narita Boy’s gameplay doesn’t quite live up to its killer looks, but if you can put up with some headaches, it winds up being an enjoyable romp. 

I can’t stress enough how awesome Narita Boy’s presentation is. Studio Koba borrows heavily from Tron in that the entire game is set inside a computer world known as the Digital Kingdom. Your goal: eradicate an evil program and restore the memories of the Kingdom’s human creator. This monarchy, consisting of a desert kingdom and coastal village, among other locations, feels fully realized, both in visual design and lore. The synthwave soundtrack rocks, and the CRT-style overlay is the chef’s kiss of the whole package. I loved gawking at Narita Boy’s art, and even those lacking programming knowledge or nostalgia for the time period should appreciate the creativity on display, like “what if digital horses were just four-legged computer rigs?” 

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Narita Boy almost plays as good as it looks. The combat consists largely of satisfying hack n’ slash action using your legendary sword, but you also have a shotgun side arm. The shotgun sounds cooler on paper than in practice; I regularly forgot about it as it never feels useful or necessary. Slaying enemies starts as a basic affair but becomes more robust, and entertaining, as you unlock new sword attacks and screen-wiping summons. Color-coded power-ups offer another cool perk; it lets you kill enemies of a matching color (represented by a flame) more easily, though at the risk of taking more damage yourself. Best of all, Narita Boy doles out new abilities and mechanics until the very end, including neat, one-off sequences like piloting a giant mech version of yourself. 

You’ll need all the help you can get because Narita Boy is no walk in the park. The game boasts a plethora of challenging enemy types and has no problem dumping them all over players, which feels overwhelming at times. There’s a fun challenge in figuring out how to use your arsenal of moves to take down combinations of vastly different opponents but a few of the enemy types are a flat-out pain to fight. For example, an armored foe with a nigh-impassable shield was never fun to deal with, and I always groaned when it appeared. The worst part about getting your pixelated butt handed to you are the inconsistent checkpoints that feel almost arbitrary. Some start you close to where you died, but too often are you kicked back further than you’d expect.

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Combat isn’t perfect but offers a good time overall. I wish I could say the same for the platforming. Jumping feels stiff, slippery, and floaty all at once. I’d often land on a ledge only for the sensitive movement to take me over it. Jumping wall to wall can take multiple attempts due to how wooden your character feels. Upgrades like a rising sword attack/high-jump doesn’t feel satisfying since you can’t use it as an actual double-jump and hitting the Up and attack buttons at the same time is tough to pull off in hectic scenarios. 

It wouldn’t be so bad if the game was largely action with basic platforming, but Narita Boy falters by routinely introducing obstacle courses it doesn’t feel equipped for. Riding atop a computer horse sounds great until you’re crashing through spikes you can’t reliably dodge thanks to your character’s deliberate animations. The same is true of surfing atop a giant floppy disk; it’s awesome in concept, less so in execution. This becomes especially irritating in combat. One boss lobs energy cubes that require precise dodging; I crashed through half of them, and my survival boiled down to having enough hit points to absorb the onslaught. 

Still, as much as I didn’t like gingerly hopping across platforms and would yell “come on!” after failing another difficult combat arena, I couldn’t help but fall in love with Narita Boy’s style once the dust settled. I love every inch of its wonderfully designed world, and the gameplay is good enough to carry the adventure. In a way, it’s like booting up an old computer. If you can put up with the cumbersome interface and some outdated design, there’s a beauty and appreciation in how it still manages to get the job done.

Score: 7.75

Summary: Narita Boy has more style than it knows what to do with and boasts a killer-looking world, but setbacks in gameplay can make it more fun to admire than to engage with.

Concept: Liberate a digital kingdom from a malevolent code while uncovering the memories of your human creator

Graphics: Creative character designs, such as horse-like computer monitors, look awesome. Having the entire game viewed from a CRT is the icing on top of the nostalgic cake

Sound: The groovy synthwave soundtrack will have you bopping in your seat as it injects even more style into the experience

Playability: Combat generally feels good, but the stiff jumping makes platforming and dodging an annoying exercise

Entertainment: Narita Boy has more style than it knows what to do with, and that helps carry it past its gameplay flaws

Replay: Moderate

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Wednesday, March 31, 2021

Disco Elysium: The Final Cut Review – Still A Superstar

Publisher: ZA/UM
Developer: ZA/UM
Rating: Mature
Reviewed on: PC, PlayStation 5
Also on: PlayStation 4, Switch, Stadia

I wish I could play Disco Elysium for the first time again. This unconventional RPG from developer ZA/UM casts a spell unlike any other game; its surprising narrative, complex world, and flawed characters have the power to transport your mind to dark and delightful places. Though Disco Elysium was exclusive to PC when it originally launched in 2019, The Final Cut brings the experience to consoles, opening this strange world up to a new wave of superstar detectives. And even though it can’t turn back time for those of us who want to relive the first playthrough, The Final Cut’s additions provide a rewarding return trip. 

If you’re new to Revachol, the main thing you need to know is Disco Elysium is a story-driven, combat-free RPG that puts you in the role of a police officer investigating a bizarre murder. But as the game begins, that police officer has traveled a drug-addled road to destruction. Through your actions and dialogue during the investigation, you veer toward redemption or ruination (or somewhere in between) as you contend with the warring voices in your head. The tone can shift from hilarious to poignant to soul-crushing in the span of a single conversation, but the writing has a particular knack for highlighting beauty amid bleakness. I don’t want to say too much and risk spoiling any great moments, but Disco Elysium’s unique approach to melding storytelling and gameplay is really something special. For more of the basics, read my original review.

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Disco Elysium won acclaim from critics and players, but The Final Cut isn’t just a re-release. ZA/UM has made several important adjustments to refine the game, but my favorite is the inclusion of full voice acting. Instead of just getting a few sentences to paint the outline of the characters, you now get a more complete sense of their personalities and mannerisms. I enjoyed all of the performances, but the main narrator (voiced by Lenval Brown, who you can hear in the trailer above) especially stands out; this is a text-heavy game, and Brown delivers a staggering amount of information with a style that fits the atmosphere perfectly.

While most of the core content remains unchanged in The Final Cut, new political vision quests let players choose one of four new tasks tied to different ideologies. These mutually exclusive quests open up based on your detective’s political leanings – like communism and fascism – and you ultimately choose which one you’re going to pursue. After saving/reloading to see what they all offer, I am impressed at how well these new objectives fold into the original experience. They don’t feel tacked-on or extraneous; they are natural extensions of the themes that were already there, acting as satisfying punctuation marks. Some of them introduce new characters and areas, while others let you interact with familiar faces in different contexts. The fascist (a.k.a. racist) thread made me laugh the most, but whichever one you choose, the vision quests are cleverly written and have minor-but-lasting effects on the game once you complete them – like visual changes to the big statue in the roundabout, for example.

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As an isometric RPG, controlling Disco Elysium was previously a mouse-and-keyboard affair. That obviously wouldn’t work for the console versions, so the interface has been adapted for gamepads (and the PC version supports them now, too). However, the controls are the only part of this package that don’t feel improved. The trade-offs aren’t exactly surprising; moving your character directly with the analogue stick is nice, but the map was still originally designed with a point-and-click interface in mind, so certain paths through the world are difficult to see and navigate. I also had several instances where I pressed a button to interact with an object, but nothing happened until I repositioned myself and tried again. On the one hand, that inconsistency is frustrating. On the other hand, Disco Elysium is not a game in which rapid action and response is necessary, so it didn’t interfere much with my overall enjoyment. 

No two run-throughs of Disco Elysium are quite the same. If you’re returning to it, The Final Cut is a great opportunity to try out different choices, pursue different ideologies, and see new branches of the story. Plus, if you already own the game on PC, The Final Cut is available as a free update. For console players who have waited to see what the fuss is about, this version presents the complete picture of why this unique setting and story have earned so much praise. Disco Elysium is a must-play game, and The Final Cut is the best (and only, for many people) way to play it.


Disco Elysium: The Final Cut is currently available on PS5, PS4, and PC. It will launch on Xbox Series X/S, Xbox One, and Switch this summer.

Score: 9

Summary: The Final Cut opens this strange world up to a wave of new superstar detectives on console, and the additions provide a rewarding return trip for the rest of us. 

Concept: Update an award-winning game with new features, then bring it to consoles for the first time

Graphics: The actual character models are unimpressive, but the stunning art direction and an evocative world present plenty of gorgeous visuals

Sound: Full voice acting gives you an even better sense of the characters, with especially great work from the main narrator

Playability: Adapting a traditional mouse-and-keyboard interface to gamepad involves some trade-offs, but it works (and it’s certainly better than not playing at all on console)

Entertainment: Disco Elysium can be thoughtful, funny, sad, and profound. To see how it artfully navigates that spectrum, you simply need to play it for yourself

Replay: Moderately High

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Monday, March 29, 2021

Evil Genius 2 Review – A Foiled Plan

Publisher: Rebellion Developments
Developer: Rebellion Developments
Release: 2020
Reviewed on: PC

Evil Genius 2 sounds zany and clever in concept: You control a maniacal overlord who tries to take over the world by building a sprawling base full of disposable minions and devious traps. Plus, it’s all wrapped in stylish audio and visual riffs on ‘60s spy movies. This was also the same pitch as its predecessor (which released in 2004), but the sequel leverages new features and technology to bring the concept to a modern audience. However, the inelegant systems and unsatisfying progression throw a wrench in the grand plan.

I reviewed the original Evil Genius for Game Informer, but you don’t need any familiarity with the first game to understand this one. In fact, Evil Genius 2 hits so many similar notes that you’ll probably enjoy it more if you go into it fresh. But regardless of your prior experience, Evil Genius 2 shines brightest during the opening tutorial. It gradually introduces an array of different options for your base, like an inner sanctum with your impressive throne, and the ability to train guards to defend your corridors. This steady unlocking of devices to build and subordinates to train left me excited about my lair’s trajectory and how my operation would eventually expand. Unfortunately, once all the basic room types are available, everything plateaus; you spend most of your time performing slight variations on the same repetitive tasks.  

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The main campaign is a series of missions that take you through the process of conquering the world (each of the four available geniuses has a unique doomsday device, which I like). But instead of hatching schemes within schemes, the limited mechanics of Evil Genius 2 make each mission feel like the one before it. You can only arrange “capture someone, research something, train someone, build something” so many different ways before they start to bleed together.

Certain objectives are also tied to finishing tasks on the world map – an abstraction that tries to make you to feel like you have global control, but only provides frustrating busywork through initiate-and-wait missions that gate your progress toward other tasks. Your interactions on the map consist of clicking on pins and launching missions to earn money; it’s a tedious combination of shallow and necessary, requiring just enough babysitting to be distracting, but not enough depth to be interesting.

When you aren’t pursuing formal objectives, you are usually just trying to get more of something. You need more power for your holding cells. You need more traps to fend off infiltrating agents. You need more broadcast strength to upgrade your criminal networks. This kind of ramp-up may be expected from a strategy game, but the problem is how few of these improvements result in interesting changes to your routine. They just feel like numbers going up with no meaningful effect. And the upgrades that do make a difference (like minions automatically attacking trespassers, or being able to cut through hard stone) aren’t available until many hours past the point you recognize the need for them. They are still nice when you get them, but the pacing of the progression feels weirdly throttled.

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For all of my complaints about the experience, Evil Genius 2 still taps into a simple vein of diabolical entertainment. It features a funny, cartoonish representation of evil. I cackled as agents triggered traps, cheered on my robotic assistant as she interrogated intruders, and steepled my fingers as I activated my doomsday device. The thrill of optimizing your layout and allocating your workforce is enjoyable; it’s often just buried under inconvenience. For that reason, I’d especially recommend starting up a game in sandbox mode after you finish the main tutorial. This mode gives you unlimited resources and unlocks various options that you’d normally have to play for hours to obtain. Though sandbox mode also lacks the clear structure to propel you forward, it at least lets you enjoy the fun of base-building without several of the annoyances that hold the campaign back.

While playing Evil Genius 2, I couldn’t stop thinking about the movie Austin Powers. That probably seems natural at first; in terms of their characters and general aesthetic, both of them lampoon the early era James Bond films. But that wasn’t what I was dwelling on. At one point in Austin Powers, Dr. Evil (who was cryogenically frozen for many years) suggests a paltry ransom of “one million dollars.” His henchman needs to explain to him how times have changed, and such a demand doesn’t really meet villainous standards anymore. Just like Dr. Evil, the Evil Genius name has been on ice a long time, and despite being full of nefarious intent, this sequel’s methods feel outdated on the current world stage

Score: 7

Summary: Inelegant systems and unsatisfying progression throw a wrench in the grand plans of this criminal mastermind.

Concept: Construct a lair, command your henchmen, and take over the world as a criminal mastermind

Graphics: Expressive animations look great when you zoom in close, but you’re usually looking everything from a distance

Sound: The music expertly captures the ‘60s spy-movie aesthetic. It would be the best part of the whole game if there were a wider variety of tracks

Playability: Navigating the menus feels natural with time, but poor minion A.I. and a few unclear requirements makes the simulation feel unresponsive to your commands

Entertainment: Managing your base and bossing people around can be fun, but that simple joy is often obscured by layers of repetition

Replay: Moderate

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