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A vertically wonderful interconnected map and the greatest last boss ever
It s a cool game but u have to be prepare to endure the autism of kojima. Also if u play with the new controle the game wasnt equelibrate with thoses in mind so you ll be too powerfull and the game is trivalised
«Time-tested»
I am so captivated by how seemingly impossible Master Chief's mission is. First, you're fighting against an alien military force, then you're mowing through weird parasitic zombies, and as if that wasn't enough, you have traitorous robots led by a precursor to Wheatley. The gameplay is complimented by the sincere and almost slapstick companion found in Cortana and a life-changing soundtrack that I could only experience with the original graphics.
I'm very excited to continue playing through the Halo games for the first time ever.
I'm very excited to continue playing through the Halo games for the first time ever.
«Blew my mind»
«Just one more turn»
not my genre
too schematic
too schematic - more like puzzle than strategy
Download game download game
It's a cute little RPG with a decently interesting store. Really wish they allowed you to respec your demons because it's really easy to get into a situation where you can't down/capture any new demons.
Date Completed: 2025-08-29
Playtime: 16h
Enjoyment: 8/10
Recommendation: Yeah
Date Completed: 2025-08-29
Playtime: 16h
Enjoyment: 8/10
Recommendation: Yeah
Final Fantasy III features a brilliant growth system that lets characters change jobs at any time, giving players tens of thousands of possible strategies to tackle different enemies. It’s essentially the prototype for the series’ later peak in system design — Final Fantasy V. The game also offers plenty of side quests, greatly boosting replay value.
Unfortunately, enemy stats and abilities don’t fully take advantage of the flexible job system, making battles feel somewhat repetitive. The story takes a step back, reverting to the level of Final Fantasy I. Even so, these flaws don’t overshadow the fact that this was still one of the best RPGs of its era.
Lucas the Game is a very unique platformer game. You go along on the map entering different realms looking for keys and documents. There are scenes and enemies like I've never seen before. The mechanics in some of the levels is extraordinary. There are some tough boss battles, and it's really fun discovering how to beat each level. Lucas the Game was created by Timothy Courtney and is the first video game to have all of the art made using GIMP software. I purchased this game in the Psychic Pixel Party Bundle by Groupees and still play it. The music is also so good. It has a unique soundtrack that is in the chiptune genre. Great game.
«Blew my mind»
«Can’t stop playing»
simple: it's cute.
Final Fantasy II dared to break the mold. Instead of the usual XP and level‑ups, it introduced a skill‑based growth system where each weapon, spell, and stat improved through use. The result? Playthroughs that could feel completely different from one player to the next. Equipment and enemy stats were also more varied, shifting the focus away from raw attack and defense numbers.
But ambition outpaced execution. The system lacked polish, and balance issues crept in fast. By mid‑game, the Berserk spell could steamroll every boss, making the story‑critical Ultima spell feel like a prop. Narratively, there were sparks of originality, but thin character development and glaring plot gaps left the story feeling incomplete. Compared to the groundbreaking Final Fantasy I, this sequel showed bold new thinking — just not the refinement to match.
But ambition outpaced execution. The system lacked polish, and balance issues crept in fast. By mid‑game, the Berserk spell could steamroll every boss, making the story‑critical Ultima spell feel like a prop. Narratively, there were sparks of originality, but thin character development and glaring plot gaps left the story feeling incomplete. Compared to the groundbreaking Final Fantasy I, this sequel showed bold new thinking — just not the refinement to match.
Really great action, fun combat and good metroidvania
B.A.D
Developer: Pseudos Software
Released: 1997
Genre: Shoot ’em Up
Rating: 4/10
Overview
Released in 1997 by Pseudos Software, B.A.D is a fixed-screen shoot ’em up that mixes traditional insect and spaceship enemies with a surreal sense of humor. It borrows heavily from classic arcade shooters like Space Invaders and Galaga, but arrives late in the genre’s lifespan, when many shoot ’em ups had already evolved into more dynamic and visually impressive experiences. While B.A.D has a few enjoyable touches—particularly its soundtrack, quirky enemy designs, and power-up system—it suffers from repetitiveness, limited movement, and a lack of meaningful progression, leaving it far behind its contemporaries.
Story and Structure
The narrative is minimal: life exists on Mars, led by the tyrannical Rupert, who plans to invade Earth. Players take control of a single ship tasked with defeating him across eight levels. The story is presented briefly in an opening info screen and revisited only at the conclusion, serving little purpose beyond setting up the final boss fight. Each of the game’s eight levels follows the same three-part structure:
1. Enemy Waves – Player faces four types of shooting enemies, ranging from flies and beetles to stranger creations like bone fish, pigs, or even elephants used as hair bows.
2. Falling Objects – Instead of enemies, various objects rain down—meteors, wrecks, forks, fridges, or even smiley faces. These must be dodged or destroyed.
3. Boss Battle – Levels culminate in one or two large bosses, often with multiple destructible parts. Giant insects and powerful spaceships dominate these encounters, though they are easier than expected.
The structure provides variety on paper, but in practice the formula never changes, making the game feel repetitive after only a few stages.
Gameplay and Mechanics
B.A.D is designed for two players, and the UI is permanently split to accommodate this, which can be distracting for solo play. Controls are limited to horizontal movement, preventing the vertical dodging and weaving found in many other shooters of the era. This restriction reduces skill expression and makes encounters feel more static. The game’s highlight is its power-up system. Destroying enemies or objects can yield drops, which fall into positive and negative categories:
• Positive Bonuses: weapon upgrades, speed boosts, bombs, extra lives, repairs, and credits.
• Negative Bonuses: speed reductions, weapon downgrades, randomizers, or confiscators that strip all progress.
Credits can be spent at an always-available shop to buy positive bonuses directly, giving players some control over progression. Another unique mechanic is the dignity marker system—collecting six differently colored markers promotes the ship, strengthening its hull and awarding points. Despite these systems, the game struggles with balance. Lives are limited, and dying sends players back to level one, with no ability to save progress. Bosses, while visually interesting, lack difficulty, making them underwhelming compared to the endurance required in the earlier waves.
Atmosphere and Presentation
The game’s aesthetic mixes standard shoot ’em up enemies with bizarre, comedic designs, supported by humorous text messages between stages. These brief intermissions give players a short break and inject personality into the otherwise repetitive flow. The graphics are serviceable but dated for 1997, especially compared to the richer visuals of other shoot ’em ups of the era. The soundtrack, however, stands out as the game’s strongest feature: varied, energetic, and consistently enjoyable, it adds a sense of momentum to the otherwise repetitive stages.
Strengths
• Fun and quirky enemy and object designs.
• Positive/negative power-up system with risk and reward.
• Dignity promotions add a small sense of progression.
• Entertaining stage intermission messages.
• Excellent soundtrack.
Weaknesses
• Repetitive level structure across all eight stages.
• Limited horizontal movement restricts gameplay depth.
• Bosses lack challenge despite strong visual design.
• Long, monotonous object-dodging sequences.
• Outdated presentation compared to contemporaries.
• No save system, forcing full restarts on game over.
Verdict
B.A.D is a curious late entry into the shoot ’em up genre. While its humor, enemy variety, and power-up mechanics show flashes of creativity, they are buried beneath a repetitive structure, shallow movement system, and lack of escalation. The soundtrack keeps it enjoyable for a while, but before long, the monotony overshadows the fun. By 1997, the genre had already moved forward, leaving B.A.D feeling like a relic even upon release.
Score: 4/10
Developer: Pseudos Software
Released: 1997
Genre: Shoot ’em Up
Rating: 4/10
Overview
Released in 1997 by Pseudos Software, B.A.D is a fixed-screen shoot ’em up that mixes traditional insect and spaceship enemies with a surreal sense of humor. It borrows heavily from classic arcade shooters like Space Invaders and Galaga, but arrives late in the genre’s lifespan, when many shoot ’em ups had already evolved into more dynamic and visually impressive experiences. While B.A.D has a few enjoyable touches—particularly its soundtrack, quirky enemy designs, and power-up system—it suffers from repetitiveness, limited movement, and a lack of meaningful progression, leaving it far behind its contemporaries.
Story and Structure
The narrative is minimal: life exists on Mars, led by the tyrannical Rupert, who plans to invade Earth. Players take control of a single ship tasked with defeating him across eight levels. The story is presented briefly in an opening info screen and revisited only at the conclusion, serving little purpose beyond setting up the final boss fight. Each of the game’s eight levels follows the same three-part structure:
1. Enemy Waves – Player faces four types of shooting enemies, ranging from flies and beetles to stranger creations like bone fish, pigs, or even elephants used as hair bows.
2. Falling Objects – Instead of enemies, various objects rain down—meteors, wrecks, forks, fridges, or even smiley faces. These must be dodged or destroyed.
3. Boss Battle – Levels culminate in one or two large bosses, often with multiple destructible parts. Giant insects and powerful spaceships dominate these encounters, though they are easier than expected.
The structure provides variety on paper, but in practice the formula never changes, making the game feel repetitive after only a few stages.
Gameplay and Mechanics
B.A.D is designed for two players, and the UI is permanently split to accommodate this, which can be distracting for solo play. Controls are limited to horizontal movement, preventing the vertical dodging and weaving found in many other shooters of the era. This restriction reduces skill expression and makes encounters feel more static. The game’s highlight is its power-up system. Destroying enemies or objects can yield drops, which fall into positive and negative categories:
• Positive Bonuses: weapon upgrades, speed boosts, bombs, extra lives, repairs, and credits.
• Negative Bonuses: speed reductions, weapon downgrades, randomizers, or confiscators that strip all progress.
Credits can be spent at an always-available shop to buy positive bonuses directly, giving players some control over progression. Another unique mechanic is the dignity marker system—collecting six differently colored markers promotes the ship, strengthening its hull and awarding points. Despite these systems, the game struggles with balance. Lives are limited, and dying sends players back to level one, with no ability to save progress. Bosses, while visually interesting, lack difficulty, making them underwhelming compared to the endurance required in the earlier waves.
Atmosphere and Presentation
The game’s aesthetic mixes standard shoot ’em up enemies with bizarre, comedic designs, supported by humorous text messages between stages. These brief intermissions give players a short break and inject personality into the otherwise repetitive flow. The graphics are serviceable but dated for 1997, especially compared to the richer visuals of other shoot ’em ups of the era. The soundtrack, however, stands out as the game’s strongest feature: varied, energetic, and consistently enjoyable, it adds a sense of momentum to the otherwise repetitive stages.
Strengths
• Fun and quirky enemy and object designs.
• Positive/negative power-up system with risk and reward.
• Dignity promotions add a small sense of progression.
• Entertaining stage intermission messages.
• Excellent soundtrack.
Weaknesses
• Repetitive level structure across all eight stages.
• Limited horizontal movement restricts gameplay depth.
• Bosses lack challenge despite strong visual design.
• Long, monotonous object-dodging sequences.
• Outdated presentation compared to contemporaries.
• No save system, forcing full restarts on game over.
Verdict
B.A.D is a curious late entry into the shoot ’em up genre. While its humor, enemy variety, and power-up mechanics show flashes of creativity, they are buried beneath a repetitive structure, shallow movement system, and lack of escalation. The soundtrack keeps it enjoyable for a while, but before long, the monotony overshadows the fun. By 1997, the genre had already moved forward, leaving B.A.D feeling like a relic even upon release.
Score: 4/10
A cute little puzzle platformer game. You can pick it up, 100% complete it and put it back down within an evening.
«Sit back and relax»
«Underrated»
good time killer with wide progression options
Gameplay is very limited and very simplified
The story the music and the combat is where the game shines the best the characters were really well written even though it's not one of the games main strong points I would highly suggest this game even if you don't like turn based games