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‘Metal Gear Solid 3’: A Perfect Circle

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“After the end of World War II, the world was split into two – East and West. This marked the beginning of the era called the Cold War.”

Metal Gear Solid 2’s ambiguous nature, lack of resolution and all, was meant to signify the definitive end to the franchise’s overarching narrative, and nothing proves that more than the very existence of Metal Gear Solid 3: Snake Eater. In establishing the next game in the series as a prequel, Hideo Kojima effectively told audiences that there was no story left to be told in a post-MGS2 world. At the same time, however, Kojima took this opportunity to bookend the Metal Gear saga by going back to the series’ previously unexplored roots: the rise of Big Boss. While already deceased by the start of the original Metal Gear Solid, his presence loomed over Snake, Liquid, Ocelot, Solidus, and Raiden like a shadow, framing their character arcs and driving the central conflict of the story at all times. It was Big Boss’ legacy that defined the series, and MGS3 went back to his beginnings not only to impart the origin of the most influential man in the franchise, but also to recontextualize Metal Gear Solid as a whole. Although Metal Gear Solid 3 would inevitably be followed by a direct sequel to Sons of Liberty, and a myriad of games chronicling Big Boss’ life post-MGS3, Snake Eater, to this day, still presents itself as an alternative end to the franchise; one that reflects on a definitive beginning to contrast MGS2’s definitive end.

At its core, at least up until Metal Gear Solid 3’s release, Metal Gear was a series that focused on the conflict between Solid Snake and Big Boss’ legacy. The first two games, Metal Gear and Metal Gear 2: Solid Snake, saw Snake confronting Big Boss directly. Both games capped off with Snake presumably killing Big Boss and going into retirement. While the pair certainly had an intimate dynamic, that of a soldier and his commanding officer, it wouldn’t be until Metal Gear Solid where Kojima would add in the father-son angle that would redefine their relationship for the Solid titles. With one small edit, Snake’s war against Big Boss’ legacy took on new meaning. It was his own heritage that he was now fighting. Along with his new parentage, the revelation that Snake was a clone of Big Boss likewise added a new layer to their rivalry. Snake wasn’t just rejecting his legacy and heritage, he was diametrically opposed to his own birthright. Even with Big Boss dead, Liquid and Solidus attempt to carry out his will, giving Snake something to fight against. By the end of Sons of Liberty, Liquid is still alive through Ocelot, ensuring that the eternal struggle between Solid Snake and Big Boss remains as such. As a prequel to the entire franchise, one that takes place eight years before Solid Snake is even born, Snake Eater naturally cannot tell a story revolving around the conflict between Snake and Big Boss. What it can do, however, is establish where Big Boss’s ideologies came from, the kind of man he truly was, and why Snake would go on to become the one man capable of stopping his father.

via pinterest.co.uk (Todo Sobre Videojuegos (TSV))

“You’re not a snake, and I’m not an ocelot. We’re men with names.”

Given Ocelot’s role in the previous Solid entries, especially considering his ultimate fate as the host for Liquid’s persona in MGS2, it’s only natural Snake Eater take the time to explore his origins alongside Big Boss. Metal Gear Solid 1 and 2 saw Ocelot becoming a rival of sorts for Solid Snake. He’s the villain players interact with the most in the first game, and the antagonist for Snake’s portion of MGS2. In that sense, it’s fitting and quite poetic that Big Boss and Ocelot find themselves rivals throughout the course of MGS3. In both MGS1 and 3, Ocelot serves as the first true boss fight and reveals his role as a traitor in the post-credits stinger; while in MGS2 and 3, he vanishes but not without the promise of a future altercation. Ocelot’s role in Snake Eater is effectively an amalgamation of his role in the two preceding Solid titles. Even concerning the games released after MGS3, Ocelot’s role here is by far his most complete. Snake Eater stands out as the only entry to give Ocelot a full character arc. Ocelot begins the game as a naive rookie who slowly develops an appreciation for revolvers, torture, and Big Boss. While Ocelot finds himself in direct opposition to Big Boss many times in the narrative, he is very blatantly infatuated with him. There are many moments within the story where Kojima depicts more chemistry between Ocelot and Big Boss than between Big Boss and his actual love interest, EVA.

In that regard, the relationship between Big Boss and Ocelot parallels the relationship between Solid Snake and Meryl from the first Metal Gear Solid. Where there was a mutual attraction in the latter, the former takes a mostly one sided approach from Ocelot’s perspective; where Snake’s advice to Meryl was often gruff and dismissive, Big Boss’ advice to Ocelot is patient and kind hearted; and where it’s implied through MGS2 that Snake and Meryl ultimately didn’t work together as a couple, a look back on the series with MGS3’s context strongly implies that Ocelot inevitably found himself working closely together with Big Boss, even without confirmation from later installments. What would be considered the more “traditional” relationship, the one between Snake and Meryl, ends up falling apart whereas the relationship between Big Boss and Ocelot is implied to, at the very least, continue. Through Ocelot, Kojima is continuing the theme of love established in Metal Gear Solid with the same, exact context. Otacon asks Snake if love can bloom on the battlefield, and Snake Eater proves that, not only can love bloom, love blooms with a fervor. More importantly, through Ocelot, audiences get to see Big Boss in his most natural state. He’s confident, sensitive, and almost lighthearted. In many ways, he’s depicted as a less damaged version of his son; but that damage is still to come.

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“One must die and one must live. No victory, no defeat. The survivor will carry on the fight. It is our destiny… The one who survives will inherit the title of Boss. And the one who inherits the title of Boss will face an existence of endless battle.”

Big Boss’ goal throughout the original series, which would later be adopted by Liquid in Metal Gear Solid and transposed onto Ocelot in Metal Gear Solid 2, was to establish a world of perpetual warfare: Outer Heaven. In Outer Heaven, soldiers would always have a place and always have a purpose. While Metal Gear 2: Solid Snake and Metal Gear Solid took a grey approach to the concept, forcing players to question whether or not Big Boss’ paradise truly was the den of evil it was implied to be, it wouldn’t be until Metal Gear Solid 3 that the philosophy behind Outer Heaven would be explored more in-depth. To fully understand what Outer Heaven represents, however, requires an understanding of The Boss’ role in the franchise. Present in only Metal Gear Solid 3, The Boss is the Big Boss to Big Boss’ Solid Snake. To further parallel the dynamic, Kojima sets Snake Eater before Big Boss earns his title. For the majority of the game, he’s known only as Naked Snake. When The Boss seemingly betrays the United States, Naked Snake is tasked with infiltrating Russia, putting a stop to her plans, and ultimately killing her. Up and through their final confrontation, Snake questions how a patriot like The Boss could betray her country. She led America to victory in World War II; she was the first human ever to reach outer space; and she sacrificed everything she ever loved for the benefit of what she believed to be a better tomorrow. By the time Snake discovers the truth, that she was framed but had to die regardless, Naked Snake becoming Big Boss signals more than the adoption of his mentor’s former title: it signifies the moment Big Boss’ life is divided between before and after.

Disillusioned with his country and the very notion of patriotism, Big Boss inevitably defects and establishes Outer Heaven, a safe haven for soldiers like The Boss; soldiers who have been deemed “purposeless.” While Big Boss’ desire for Outer Heaven makes sense given the context, and is almost sympathetic, it does stem from a place of misunderstanding. During their final battle, The Boss says that whoever “inherits the title of Boss will face an existence of endless battle.” While The Boss is clearly trying to warn Snake of the life he’ll lead as Big Boss, it’s the notion of “endless battle” that he ends up latching onto for the rest of his life. It certainly doesn’t help his misunderstanding that The Boss takes a rather poetic approach to their final battle, referring to it as the “greatest ten minutes” of their lives. Given the life Big Boss ends up leading after The Boss’ death, it is entirely possible that his final moments fighting The Boss truly were the greatest he ever experienced leading to an almost psychological need for Outer Heaven. The real tragedy of their battle, though, as sad as it for Snake to become Big Boss through a ritualistic killing of his mentor, comes from the message The Boss tries to impart, a message that ends up disregarded in its entirety.  

via comicvine.gamespot.com

“Is there such a thing as an absolute, timeless enemy? There is no such thing, and never has been. And the reason is that our enemies are human beings like us. They can only be our enemies in relative terms. The world must be made whole again.”

With the constant shifting of political contexts, the enemies of today aren’t necessarily the enemies of tomorrow, nor do they have to be. What matters most is preventing cultural division and ensuring the world remain “whole.” It’s no coincidence that The Boss states her desire for a united world in a game that begins by explicitly informing audiences of the division caused by World War II. Unfortunately, Big Boss doesn’t so much as pay any mind to The Boss’ desire for a complete world. Instead, it’s Solid Snake who carries out her legacy. Even to his present enemies, Snake shows them respect. He is a man who takes time to listen to the parting words of Psycho Mantis, Sniper Wolf, and Vulcan Raven in Metal Gear Solid; still considers Frank Jaeger his best friend despite meeting each other for the last time on opposite sides of the battlefield; and even shows Big Boss a level of respect despite their strained history. Along with recognizing his enemies as enemies through circumstance, Snake’s desire is “to let the world be,” as evidenced by the motto of his anti-Metal Gear organization in MGS2, Philanthropy. Without so much as knowing her, Solid Snake embodies the manifestation of The Boss’ will.

Big Boss rejecting The Boss’ true message only for Snake to come upon it on his own harkens back to Snake’s message to Raiden at the end of Metal Gear Solid 2: the future is only decided by what’s passed on. The Boss genuinely does attempt to pass on her legacy, but Big Boss misinterprets it, instead putting his faith in a world where war has no end. Metal Gear Solid 2 ended on a note of ambiguity, with passing on one’s message as a critical element for social advancement. Metal Gear Solid 3 takes that message and uses it to demonstrate what happens when someone carries out a passed upon message. The Boss was not clear, or perhaps even misguided, in her parting words to Big Boss, and the world suffered for it. Her mistake was trying to pass on an unclear message to an unstable man. Snake, at the end of Sons of Liberty, doesn’t pass on any such message to Raiden. Instead, he passes on the concept of passing on one’s legacy. That, in itself, lets the world be while also ensuring a better tomorrow. Much like how Snake had to come to the conclusion of letting the world be and keeping it whole on his own, Raiden has to discover a message to impart without guidance. With The Boss, and with Metal Gear Solid 3, Kojima recontextualizes the entire Metal Gear narrative to tie into Metal Gear Solid 2’s ending. In that sense, the series also becomes a story that was always leading to an ending like MGS2’s. Metal Gear becomes a perfect circle.

via venturebeat.com

No, Metal Gear Solid 3: Snake Eater is not a story about the conflict between Solid Snake and Big Boss, but it is one that sets up their relationship, and the course of the series, in a complete sense. Without stepping on the toes of Metal Gear Solid 2’s ending, MGS3 offers an answer to the identity of the Patriots, chronicles Big Boss’ downfall, establishes Ocelot’s role in the story, and re-explores themes from both MGS and MGS2 in order to weave a cohesive line throughout all three games. MGS3 is everything a prequel should be. Its existence only enhances the previous games and ties the entire narrative together without resorting to the convoluted retcons future games in the series would become known for. While it would be possible to set an MGS before the events of Snake Eater, Metal Gear Solid 3 establishes itself so powerfully as the starting point of the franchise that any amendment to its status would likely do the same damage towards it that Metal Gear Solid 4 did for Metal Gear Solid 2. When a story has a definitive beginning and end, it’s best to let the world be.

An avid-lover of all things Metal Gear Solid, Devil May Cry, and pretentious French lit, Renan spends most of his time passionately raving about Dragon Ball on the internet and thinking about how to apply Marxist theory to whatever video game he's currently playing.

1 Comment

1 Comment

  1. Martin Henebury

    April 9, 2018 at 6:05 pm

    An ingenious perspective on one of the more excellent franchises in video games that may just explain away some of the hopelessly convoluted, intertwining narratives present in the MGS series to its bewildered audience.

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PAX South 2020 Hands On: ‘The Artful Escape,’ ‘Foregone,’ and ‘Tunic’

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PAX South

This past weekend, PAX South 2020 brought a huge variety of promising indie games to the show floor in San Antonio. Here are just a few of the most remarkable games I got to try, including a hardcore action game, a classic adventure, and an experience that can only be described as dreamlike.

Tunic

Simply put, Tunic is a Zelda game, but foxier. Tunic takes significant inspiration from the classic Zelda formula, complete with an overworld to explore, puzzles to solve, enemies to fight, and a protagonist clad in green. My demo even began by leaving me weaponless and forcing me to venture into a nearby cave in order to discover my first weapon.

Yet there’s nothing wrong with following such a traditional formula. At a time when Nintendo has largely stopped creating new games in the style of its classic Zeldas, it’s left up to other developers to rediscover the magic of the original gameplay style. Based on my time with the game, Tunic achieves exactly that, reimagining the charm of A Link to the Past for the current generation with gorgeous visuals and modern design sensibilities. The biggest difference from its predecessors is its green-clad hero is a fox, and not a Kokiri.

All, that is to say, is that if you’ve ever played a 2D Zelda, then you’ll know exactly what to expect from Tunic. It starts by dropping the foxy little player character into a vibrant, sunny overworld, and true to form, your inventory is completely empty and the environment is full of roadblocks to progress. Simple enemies abound, and although its greatest Zelda inspirations lie with those from the 2D era, it also includes an element from the 3D games due to its inclusion of a targeting system in order to lock onto specific opponents. What followed next was a linear, straightforward dungeon that focused on teaching the basics of exploration and item usage. It was extremely simple but hinted at plenty of potential for the full game later.

Tunic’s gameplay may hearken back to the games of old, but its visual presentation is cutting edge. It features gorgeous polygonal 3D visuals, loaded with striking graphical and lighting effects, making its quaint isometric world truly pop to life. My demo didn’t last very long, but the little bit I played left me excited for Tunic’s eventual release on Xbox One and PC. It could be the brand-new classic Zelda experience that fans like myself have long waited for.

Foregone

Foregone

These days, nearly every other indie game is either a roguelike or a Metroivdvania. Just by looking at Foregone, I immediately assumed that it must be one of the two based on appearances alone. Yet when I shared those assumptions with the developers, Big Blue Bubble, the response in both cases was a resounding, “No.”

Foregone may look like it could be procedurally generated or feature a sprawling interconnected world, but that simply isn’t the case. The developers insisted that every aspect of the game world was intentionally crafted by hand, and it will remain that way in each playthrough. Likewise, although there is some optional backtracking at certain points in the game, Foregone is a largely linear experience, all about going from one point to another and adapting your strategy along the way. In a generation where nonlinearity reigns supreme, such straightforward design is refreshing to see.

If there’s any game that seems like an accurate comparison to Foregone, it would have to be Dark Souls. From the very start of the demo, the world of Foregone is inhabited with fearsome enemies that don’t hold back. If you don’t watch what you’re doing, it can be easy to get overwhelmed and fall under the pressure. Thankfully, there’s a broad assortment of abilities at your disposal, such as a wide area of effect move that can stun enemies within a wide radius, and a powerful shield that can block many attacks. I fell many times during my time with the game, but it never felt unfair. Rather, it merely felt like I wasn’t being smart enough with my own ability usage, and I was encouraged to keep jumping back into the world for just one more run, this time armed with better knowledge of my own abilities and potential strategies.

And it’s a beautiful game too. Rather than featuring the typical pixelated aesthetics often associated with platformers, the world is actually built-in 3D with a pixelated filter applied on top of it. This allows for a uniquely detailed environment and distinctly fluid animations. Foregone looks to be a worthwhile action game that should be worth checking out when it hits early access via the Epic Games Store in February, with a full release on console and PC to follow later this year.

The Artful Escape

Bursting with visual and auditory splendor, The Artful Escape is easily the most surreal game I played at PAX South. The demo may have only lasted about ten minutes, yet those ten minutes were dreamlike, transportation from the crowded convention to a world of color, music, and spirit.

As its name would suggest, The Artful Escape is an otherworldly escape from reality. Its luscious 3D environments are populated with 2D paper cutout characters, its dialogue leans heavily into the mystical (the player character describes his surroundings with phrases like “a Tchaikovsky cannonade” and “a rapid glittering of the eyes”), and its music often neglects strong melodies in favor of broad, ambient background themes. This all combines to create a mystical, almost meditative atmosphere.

It only helps that the platforming gameplay itself is understated, not requiring very much of you but to run forward, leap over a few chasms, or occasionally play your guitar to complete basic rhythm games. This gameplay style may not be the most involved or exciting, but it allows you to focus primarily on the overwhelming aesthetic majesty, marching forward through the world while shredding on your guitar all the while.

This Zenlike feel to the game is punctuated with occasional spectacular moments. At one point, a gargantuan, crystalline krill called the Wonderkrill burst onto the screen and regaled me with mystic dialogue, while at another point, I silently wandered into a herd of strange oxen-like creatures grazing in a barren field as the music began to swell. The demo was filled with such memorable moments, constantly leaving my jaw dropped.

For those who think that games should be entertaining above all else, The Artful Escape might not be so enthralling. Its platforming is extremely basic and its rhythm minigames are shallow at best. For players who think that games can be more than fun, however, The Artful Escape is set to provide an emotional, unforgettable experience, an escape that I can’t wait to endeavor.

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PAX South Hands On: ‘Boyfriend Dungeon’ Wields Weapons of Love

A weapon is an adventurer’s best friend, and Boyfriend Dungeon is focused on deepening that relationship.

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Boyfriend Dungeon

In most games, weapons are straightforward objects. Sometimes they can be upgraded or personalized, but at the end of the day, they function as little more than tools for a single purpose: to cut down enemies and make progress in the game. Boyfriend Dungeon, however, proposes a different relationship with your weapons. They’re more than just objects. Instead, they’re eligible bachelors and bachelorettes that are ready to mingle.

Boyfriend Dungeon is a dungeon crawler and dating sim hybrid all about forging an intimate bond with your weapons and, after demoing it at PAX South, this unique mix seems to be paying off.

There are two main activities in Boyfriend Dungeon: exploring the loot-filled dungeons (referred to as “The Dunj”) and romancing the human forms of your weapons. There’s been plenty of great dungeon crawlers in recent years, but Boyfriend Dungeon sets itself apart by humanizing its weaponry. This concept may sound strange on paper, but Kitfox games director and lead designer Tanya X. Short is confident that players have long been ready for a game just like this.

“A weapon is an adventurer’s best friend,” and Boyfriend Dungeon is focused on deepening that relationship.

“I think the fans of Boyfriend Dungeon have been out there for years, waiting. I remember when I was in university ages ago, I was sure someone would have made a game like this already… but I guess I needed to make it myself!” She adds that “A weapon is an adventurer’s best friend,” and Boyfriend Dungeon is focused on deepening that relationship.

Boyfriend Dungeon

My demo with Boyfriend Dungeon began simply enough. After a brief character creation phase where I chose my appearance and my pronouns (he/him, she/her, or they/them), I was dropped into the stylish, top-down hub world of Verona Beach. Here I could explore the town and choose where to date my chosen weapon. I decided to head to the public park to meet Valeria, a swift and slender dagger.

“Today I’m writing dates with a scythe, and that’s beautiful.”

Upon reaching the park, I discovered Valeria in her dagger form. When I picked up the weapon, a beautiful anime-style animation commenced in which she transformed into her human form. What followed was a visual novel-style date sequence complete with detailed character art and plenty of dialogue options to help romance your date.

The dialogue is full of witty, self-aware humor and charm – there were more than a few jokes about axe murderers along with other weapon-related puns, for example. Short herself put plenty of love into the writing. “Writing dates with weapons is a joy I never knew could be part of my job, but here we are. Today I’m writing dates with a scythe, and that’s beautiful.”

Boyfriend Dungeon

I loved my date with Valeria, but she’s not the only potential mate in Boyfriend Dungeon. Rather, there’s a cast of five potential partners in the game, each of them hailing from distinct backgrounds and identities. “When I was coming up with the cast for Boyfriend Dungeon, I tried to imagine as many kinds of people and personalities that I could be attracted to as possible.”

Short drew from her own personal experiences in creating the cast. “I was very lucky to meet my partner many years ago, so I haven’t actually dated many people in my life, but I become fascinated with people I meet very easily, and they can provide inspiration. Whether they’re upbeat and reckless, or brooding and poetic, or gentle and refined…there’re so many kinds of intriguing people out there. And in Boyfriend Dungeon, I hope.”

After building up this bond during dialogue, it was time to put it to the test by exploring the Dunj. Of course, this isn’t the typically dreary dungeon found in most other dungeon crawlers. Instead, it’s an abandoned shopping mall overrun with monsters to slay and loot to discover with your partner weapon.  

Boyfriend Dungeon

Combat is easy to grasp, focusing on alternating between light and heavy attacks and creating simple combos out of them. Just like how the dating content aims to be inclusive for people of different backgrounds, Short hopes for the combat to be accessible for players of different levels of experience as well. “Hopefully the dungeon combat can be approachable enough for less experienced action RPG players, but still have enough challenge for the people that want to find it.”

Based off the demo, Boyfriend Dungeon seems to achieve this goal. I loved learning simpler moves and discovering new combos with them. Movement is fast, fluid, and intuitive, making it a pleasure to explore the Dunj. Succeeding in dungeons will also result in a stronger relationship with your weapons, so it’s in your best interest to perform well during combat. Of course, your weapons don’t simply level up – instead, their love power increases.

An arcade environment

“Our approach has been that the point isn’t the destination — it’s the journey you take, and who you choose to take it with.”

Fighting and dating may seem like two disparate concepts, but in practice, they manage to mesh surprisingly well. “The game is mostly about switching from one [gameplay style] to the other,” Short says, “and it’s nice for pacing, since you often want a breather from the action or get restless if there’s too much reading.”

The overarching story and general experience remain relatively firm throughout the whole game regardless of your decisions, but Short encourages players to enjoy the ride they take with the weapon they choose. “Our approach has been that the point isn’t the destination — it’s the journey you take, and who you choose to take it with.”

In Boyfriend Dungeon, your weapons can wage more than just war. Rather, they can spread love and lead to deeply fulfilling relationships. Boyfriend Dungeon is one of the most refreshing games I played at PAX thanks to its engaging dungeon exploration and combat and its surprisingly positive view of weaponry. That’s the mission of peace that Short had in mind with the game: “It feels like a difficult time in the world right now, but that’s when we most need to find love and compassion. Let’s try our hardest to be kind.”

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‘Sayonara Wild Hearts’ is the Rhythm Game of a Lifetime

Few Rhythm games can boast the sheer strength and variety of gameplay and stellar soundtrack that Sayonara Wild Hearts offers the player.

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Sayonara Wild Hearts

Rhythm games can sometimes be a dicy prospect. As well populated as the genre is, the possible variety in musical style, required skill set and game length can make it hard to parse whether a rhythm game will be a good fit for an individual player. With that in mind, few rhythm games nail all of these attributes as perfectly as Sayonara Wild Hearts does.

A neon-drenched fever dream of a game, Sayonara Wild Hearts tasks the player with driving, flying and sailing through an increasingly elaborate world of giant robots, sword battles and laser fights. In this ethereal plain you battle other wild hearts as you seek solace from a broken heart and navigate around the obstacles of each course.

Though this may already sound very gnarly, or even radical, if you will, what really makes Sayonara Wild Hearts work so well is the diversity of of its levels. Some stages will see you weaving in and out of traffic while dodging oncoming street cars and the like, while others will see you navigating a ship across storm drenched waters or working your way through a retro inspired shooter. There’s even a first person level that calls to mind old school PC classics like Descent

Sayonara Wild Hearts

It’s really something to see so much variety packed into a game that it nearly defies classification as a result. Few games can offer the depth and breadth of gameplay that Sayonara Wild Hearts does, and that’s part of its enduring charm.

Of course, a rhythm game is only as good as its soundtrack. Luckily Sayonara Wild Hearts soars in this regard as well. The soundtrack contains pulse-pounding beats by Daniel Olsén and Jonathan Eng, with dreamy pop vocals by Linnea Olsson. Inspired by the likes of Sia and Chvrches, the killer soundscape of the game will keep you powering through time and again in hopes of attaining the ever elusive perfect run. A rank system and collectibles keep things interesting as well.

The unique look of the game is another feather in its cap. Pulsing neon lights pump to the beat while pinks, purples and blues color the world around you in a unique 1980’s dance club aesthetic. All of the elements coalesce together to make a game that looks and feels like nothing else you’ve ever played.

Sayonara Wild Hearts

As mentioned at the top, sometimes rhythm games live or die based on their difficulty and accessibility. Fortunately Sayonara Wild Hearts manages to nail this aspect of gaming too. All you need to do to pass a level is get a Bronze ranking, which is attainable even for those of low skill sets. My 5 and 6 year old daughters were able to beat several of the levels, even some of the harder ones. Better still, less skilled players can skip the more challenging areas of the later levels with a prompt that comes up automatically when a player fails three times in a row.

With a stellar attention to all of the aspects that make for a successful rhythm game, Sayonara Wild Hearts is the rhythm game of a lifetime. Destined to be listed among the best games of 2019, and in the company of the best rhythm games of all time, Sayonara Wild Hearts is revolutionary entry into the genre and one of the best indies to come along in years.

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