Katamari Damacy Reroll Review

*Review based on Katamari Damacy Reroll’s release on Nintendo Switch*

Coming out of the 1990s, which perfected gaming up to that point and then revolutionized it with the third-dimension, the 2000s had a lot to follow-up on. While some games from the early years of the 2000s did prove influential – such as Halo or Grand Theft Auto 3 – it didn’t take long for the decade to become complacent with where they were at. Games were determined to be “edgy” and “gritty” in the wake of GTA’s influence and the FPS boom of the time. Gaming seemed determined to rid itself of its so-called “kiddie” past by embracing violence, sex and adult themes (though in execution, gaming was arguably more juvenile at this point than ever). Color and creativity had no place in gaming anymore, all that mattered was being “cool” and “mature.”

Then along came Katamari Damacy.

Originally released in 2004 on the Playstation 2, Katamari Damacy injected some much-needed personality and humor – not to mention gameplay innovation – back into the medium.

The brainchild of Keita Takahashi, Katamari Damacy is delightfully silly. A bizarre, god-like entity called The King of All Cosmos has gone on a drunken stupor, and carelessly crashed into every star in the sky, destroying them. The King of All Cosmos then commands his son the Prince to replace the stars by creating “Katamaris.”

What are Katamaris? To put it simply, they’re sticky clumps that are made bigger with… stuff. The player, as the Prince, must roll a Katamari along the ground, collecting more and more stuff to make the Katamari bigger. The bigger the Katamari gets, the bigger the objects that can be attached to it.

The goal of each main level in the story is to make the Katamari a certain size by the time the timer runs out, while side levels (which see the Prince recreate the constellations) will have more specific goals, like collecting a certain amount of a particular object.

Earlier stages will have the Prince collecting office supplies and other such trinkets, while the later levels naturally keep upping the ante, with no person, thing or even place being safe from being clumped into the Katamari. It all culminates in a beautifully absurd finale which – in regards to bringing together every element a game has introduced up to that point in a fitting crescendo – should stand as one of the best final levels in video game history.

Katamari Damacy is as fun as it is nonsensical, with the game taunting players with any and every object around them. Players will likely try to discover their own paths through a stage, following a path of objects that gradually get bigger until they can best their high scores.

The graphics are nothing to write home about. Even with its HD gloss in its 2018 “Reroll” release, Katamari Damacy was clearly made with a budget. Thankfully, the humorous nature of the game gives it an art style that plays into its visual limitations, with the human characters looking like blocky Playmobil figures.

The music, however, is phenomenal. While there may have been some cut corners in terms of visuals, Namco (now Bandai Namco) clearly spared no expense when it came to the soundtrack. Almost every track in the game has  Japanese vocals, and while I may not be able to understand what they’re saying, each tune creates a distinct personality for each stage. Some of the songs are riotously funny, while others are cute and soothing. Aside from Katamari’s own sequels, you won’t find many other game soundtracks like it. It’s wonderful to listen to.

Not every element of Katamari Damacy has aged well, unfortunately. This is a PS2 game at heart, and boy does it play like one. You use both control sticks on your controller to push the Katamari, while only moving the left stick moves Prince around said Katamari, and turning the right stick on its own moves the camera (even if you do get the hang of it, the camera isn’t too reliable, as fitting into a crowded space or taking a rough bump can send the camera careening out of whack). You can also supposedly dash by moving both joysticks up and down opposite of each other, but as you can imagine given the primary control of the game, the dash only seems to work some of the time.

The awkward controls and clunky camera may be products of their time, and if memory serves correctly, I’m tempted to say that its immediately successor, We Love Katamari (the only other entry directed by Takahashi) was an improvement. But in terms of personality, humor and innovation, Katamari Damacy played a role in elevating gaming out of a creative dark age, and reminded us all that, deep down, games should be fun.

 

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Top 5 Sonic the Hedgehog Characters

After nearly three decades, Sonic the Hedgehog finally has his first outing on the big screen. To celebrate the occasion, I figured I’d write at least a few thing relating to the speedy blue hedgehog.

Let’s start with an obvious choice: the top 5 Sonic the Hedgehog characters! The Sonic series has introduced many, many characters over the years (too many), and while making a full-on top 10 list would have been nice, this is Sonic the Hedgehog we’re talking about. So let’s settle for five.

Keep in mind that, for my list, I’m only including characters from the games. While Sonic has branched off into other media which introduced characters of their own, I’m a bit of a purest when it comes to making lists like this. Since Sonic the Hedgehog is first and foremost a video game franchise, we’re only counting the video game characters.

Without further ado, let’s see who are the best of the best Sonic the Hedgehog characters!

Continue reading “Top 5 Sonic the Hedgehog Characters”

Joe & Mac 2: Lost in the Tropics Review

*Review based on Joe and Mac 2’s release as part of the Nintendo Switch Online Service*

Developed by Data East and released on the Super NES in 1994, Joe & Mac 2: Lost in the Tropics is the third game in its series (yeah, it’s one of those video game sequel situations), being the sequel to the original Joe & Mac, and Congo’s Caper, which was a sequel in world and gameplay but featured a different character.

Joe and Mac are two cavemen on a quest to reclaim a crown that was stolen from their village elder by a rival clan. Equipped with (what else?) clubs, Joe and Mac venture to various lands, fight rival cavemen and vicious dinosaurs, and in a strange, quasi-RPG twist, can find brides and build up their homes on the side.

The core game is an action side-scroller with a dash of platforming, where the aforementioned bashing of enemies with clubs takes place. But the game also features an old RPG-style world map where you travel between the stages, which is a nice touch that I wish more action and platformer games of the time would have adopted. Once the first stage is completed and you’ve visited the local village, you can basically choose the order in which you complete the other stages via the world map which, again, is a really nice change of pace for the genre.

On the downside, there are only six stages in total (not counting the final level, which is a boss rush), but at least they’re decently lengthy for a game of its time. While the stages follow usual platforming themes (there’s a snow level, a volcano, and a swamp), the level design is distinct enough to make each stage stand out. I especially like how different segments of each stage are given different titles, which pop up in a window in the middle of the screen.

As you might expect, each level comes with its own gimmicks. The snow level, for example, has a section that sees Joe and/or Mac cling to ropes to prevent getting knocked off the stage by an avalanche. Other stages have portions where the cavemen can ride on cute dinosaurs, who each have their own projectile.

“Shouldn’t I feel MORE powerful when riding a dinosaur?”

Although the core gameplay is decently fun, these gimmicks drag the game down somewhat. While Data East’s attempts at level and gameplay variety are commendable, the level gimmicks aren’t nearly as successfully realized here as those in more famous platformers like Super Mario World or Donkey Kong Country. It’s way too easy to let go of the ropes by accident in the avalanche segment, making it more difficult than intended. And as cool as the idea of riding dinosaurs is, they feel extremely underpowered. Remember how powerful Mario felt when riding Yoshi in Super Mario World? Well here, it’s the exact opposite. The dinosaurs Joe and Mac ride on die in one hit, while Joe and Mac themselves take six hits to take down. Worse still, each rideable dinosaur only appears in a single segment of the game. So chances are your experiences with each dinosaur will be insanely brief.

One cool aspect is how healing items also serve as power-ups. Eat a piece of meat to heal Joe or Mac, and then you can spit out a few bones as projectiles (although I wish using the club and spitting bones were used with different buttons, since it’s difficult to hit smaller enemies with the bones, but you have to use them up before you can use the club again). Eat chili peppers and of course you can spit fire, just like in real life. Joe and Mac can even gulp a handful of water to spit at enemies. It’s simple stuff, but I like the idea that these items both heal the characters and give them new abilities. Additionally, you can also get upgrades to your club, allowing them to shoot shockwaves in addition to simply bashing someone on the head.

The highlights of the platforming stages are the large dinosaurs that serve as the boss fights. Though most of the bosses are pretty easy, I like the simple idea that each stage gets its own dinosaur as its boss. It’s kinds of ideas that give retro games a fun sense of personality that many modern games lack.

While the main stages feature action and platforming, Joe & Mac 2: Lost in the Tropics attempts something of an RPG element in its town. During the levels, you can pick up stone wheels (think Mario’s coins or Sonic’s rings), which can be spent in the village as currency. Unfortunately, it’s here where the game really drops the ball, as the RPG element feels pretty pointless and tacked on.

“Insert “I’ll only hear these words in a video game” joke here.”

Aside from purchasing the same healing items you can find in the stages themselves, you can also purchase melons which – as far as I can tell – don’t do anything of note (a window pops up to tell you that the melon tasted fresh, but I never noticed it had any utilitarian usage in gameplay). Additionally, you can purchase flowers, which you can then give to one of three cavewomen behind a curtain. If the girl likes the flowers, she’ll marry your character. If you can get her flowers she likes two additional times, she’ll produce a child (just like real life). Finally, you can also buy upgrades to your home, making it bigger and have more in it.

What’s the point of all this? Nothing, really. You can go back to your home village and enter your home, but all that gives you is some basic dialogue from your wife and then you automatically leave the house. You also get to see your house during the end of the game, but again, it’s no different from when you drop by any other time. It’s bizarre, you go through all the trouble of collecting the stone wheels, only to spend most of them on a pointless side quest with random elements (you’ll probably spend a good few wheels on flowers only for them to fail to impress the girl). It’s as if the developers wanted to add this whole other side to the game, but barely got started on it before they had to ship the final product.

Still, the core gameplay in the platforming stages is decently fun and fluid, though they aren’t immune to what can only be described as “old video game jank.” That is to say, certain clunky elements that feel like the product of their time. For example, there’s one instance in the swamp level where you climb down a rope, and an enemy spawns mid-jump as you’re heading down. Unless you know that’s going to happen, you can’t avoid it on the first try, so hopefully you have more than one hit point when you get there. Another such instance happens in the caves of the snow stage, when an absolute barrage of enemies just keep coming at you. Perhaps this section (and others) isn’t so bad when you have two players and both Joe and Mac can take on the enemies. But the developers clearly had the idea of a solo player as an afterthought, because so many sections feel overwhelming for a single player.

If there’s one area in which Joe & Mac 2 gets things consistently right, it’s in the aesthetics. Visually speaking, the game looks amazing! I have stood firm in my claims that the 16-bit generation of gaming remains its most timeless era, and Joe & Mac 2 is another example why that is. The background graphics are rich in detail, and the character sprites are vividly animated (I especially like the contrast of the boss dinosaurs with everything else in the game. The cavemen and friendly dinosaurs look cartoony, but the boss dinosaurs are highly detailed and more realistic, relatively speaking). And though the soundtrack isn’t one of the many all-time greats to come out of the SNES library, it’s still upbeat and pleasant.

Joe & Mac 2: Lost in the Tropics can be a fun game at times, and with two players, you’re probably going to get even more enjoyment out of it. Unfortunately, without a buddy by your side, its faults are more apparent. Some poorly-realized elements in the main stages hold the fun back a bit, but the utter pointlessness of the RPG stuff on the side is what really feels like a missed opportunity.

Still, in this day and age of nostalgic comebacks, I wouldn’t mind seeing Joe & Mac make their long-awaited return. Hey, if Bubsy can do it, anyone can.

 

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Weathering With You Review

Back in 2016, director Makoto Shinkai released Your Name, a film that ended up being more successful than anyone could have anticipated. Your Name became something of a pop culture phenomenon, not only was it the highest-grossing Japanese film of 2016, but it climbed the ranks of Japan’s box office to become the country’s fourth highest-grossing film of all time (keep in mind that Japan’s box office record holders don’t fluctuate year by year as they do in the west). Though it wasn’t Shinkai’s first feature, Your Name metaphorically strapped a rocket on the director’s back, suddenly ascending him to become one of Japan’s leading filmmakers.

The pressure was certainly on for whatever Shinkai decided to direct next. And in 2019, Shinkai followed-up his breakout Your Name with Weathering With You, which similarly captured audiences around the world. Like Your Name, Weathering With You became the highest-grossing Japanese film of the year, and climbed Japan’s all-time ranks (it currently sits at 12th place of all time, as of this writing). Though Weathering With You is a charming and sweet film in the same vein as Your Name – and is certainly visually captivating – it too often feels derivative of its predecessor, while never hitting the same emotional highs. Despite its merits, Weathering With You ultimately feels like a pale imitation of Your Name.

The story here centers around Hodaka Morishima, a high school student (this is anime, of course he’s a high school student) who has left his island home in search for a bigger, better life in Tokyo. Hodaka’s trip almost ends in tragedy as a storm thrashes the ferry he’s traveling on, nearly sending him plummeting to the sea below. Thankfully, he’s saved by a fellow passenger, Keisuke Suga, who gives Hodaka his business card in case he ever needs further help.

Hodaka doesn’t fare very well in Tokyo – which seems strangely trapped in a perpetual downpour – as he is unable to find work wherever he goes. The only solace Hodaka finds are in his encounters with a girl named Hina Amano, who works at a local McDonald’s.

“Natsumi is best girl. She should be in this movie more.”

It doesn’t take too long for Hodaka to take Suga up on his offer. Suga hires Hodaka as an assistant in his small publishing company, which also consists of Suga’s niece, Natsumi. Hodoka and Natsumi then begin investigating Tokyo’s unusually rainy weather, which leads to them discovering the legends of “Weather Maidens,” who are said to be able to manipulate the weather.

After Hodaka has another chance encounter with Hina and saves her from some lowlifes, she reveals to him that she is in fact a Weather Maiden, and can clear the skies by praying. Inspired by her abilities, Hodaka suggests they set up a business together, with Hina using her powers for people hoping for clear weather for special events. Together with Hina’s kid brother Nagi, they set up said business, and quickly find success through it. But Hina’s powers may come at a great price, which will also prove to test her and Hodaka’s relationship.

I really like the concept of Weathering With You. The idea of a girl being able to stop the rain by praying is both cute and intriguing. It’s just a shame that – whether by trying to repeat past success or being intimidated by it – Makoto Shinkai ends up turning the idea behind Weathering With You into a kind of Your Name Lite (or Diet Your Name, if you prefer). The supernatural setup may have changed – with the body-swapping of Your Name being replaced with the aforementioned Weather Maiden concept – but otherwise, Weathering With You seems to be repeating the same story beats as its predecessor.

Hodaka and Hina almost feel interchangeable with Your Name’s Taki and Mitsuha (who also have cameos in this film, further reminding you that this is Shinkai’s follow-up to his record-breaking picture). And the story doesn’t take too long before it starts treading the same ground as its predecessor. Young love is at the heart of the story. There’s a tragic element to the supernatural aspect that serves as the emotional crux in the two main characters’ relationship. Natural disasters ensue as a result of these happenings, and evoke the same real-world parallels that Japan faced in the early 2010s which Your Name also addressed (a perfectly reasonable allegory to make, but one that somehow just doesn’t work as well here).

Considering Your Name was a really good movie, Weathering With You’s similarities to it aren’t a horrible thing, but they do prevent it from becoming something greater than an echo of its predecessor. Certain characters are forgotten about for lengthy stretches of time, with Natsumi taking a backseat once Hodaka and Hina start their Weather Maiden business, while Nagi doesn’t seem to be of particular importance at all (his only real character trait being that he’s something of shameless flirt for his young age).

I’d like to reiterate that Weathering With You is a good movie, and a serviceable follow-up to Your Name. The problem is that Your Name was something special, so for Shinkai’s follow-up to merely be ‘serviceable’ is a bit of a letdown. Weathering With You may follow the same formula as Your Namebut somehow, it just doesn’t resonate in the same way.

Aesthetically, however, Weathering With You is every bit as beautiful as you would expect from one of Shinkai’s films. This is a film whose visuals you just wish you could soak in. There’s beauty and attention to detail oozing from every last frame. Weathering With You is a visually arresting work that is simply a joy just to look upon. And like previous Shinkai films, these outstanding visuals are complimented by a terrific musical score which helps elevate the emotion of the film (though admittedly I could have done without some of the vocal tracks, which seemed a tad distracting in certain key scenes).

Weathering With You is a good movie that I very much enjoyed while watching it, with its aesthetic pleasures particularly drawing me in. The issue I have though, is that it didn’t stick with me long afterwards like Your Name did just a few short years ago. It’s a good movie in the shadow of a great one, either too intimidated by that shadow or trying too hard to live up to it to find a voice of its own.

 

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The Top 10 Characters of 2019

 

*Caution: Some implied spoilers ahead!*

I figured it was about time I did something a little different. So here’s something a little different!

2019 was an interesting year for movies, television and video games, to say the least. It provided some real winners in each of those areas, as well as more than a few duds. But with the good came some truly memorable characters, so I decided to compile a list of the ones I personally found to be the most memorable.

I have decided to simply acknowledge film, TV and video game characters into one list this time around. Because of that, this list also isn’t numbered. Instead, I’ll simply list these characters in alphabetical order. It is also for this reason that I’ll limit each individual work to one character (or two ‘tied’ characters if I feel said characters were of equal importance, and those ties will be listed by which character’s name comes first alphabetically).

Also, it’s important to note that characters are memorable for different reasons. Not every character has to be a deeply-written character. Their status in the public conscious and how well they played the roles they were made for often dictate how iconic a character is destined to become.

Because I am also busy compiling my lists of best films and video games of 2019, and planning my ‘Best of the Decade’ stuff, I will keep this short and sweet.

With that said, let’s move on to the top 10 characters of 2019!

Continue reading “The Top 10 Characters of 2019”

Bombshell Review

Bombshell is the 2019 biographical drama film that chronicles the 2016/2017 sexual harassment cases against Roger Ailes , the CEO of the Fox News Network, and the women who worked for the network who ended up exposing the story, primarily Megyn Kelly and Gretchen Carlson. The film stars Charlize Theron as Kelly and Nicole Kidman as Carlson, and while the acting is great and this is a relevant, timely story, the good intentions of Bombshell can sometimes get clouded by Hollywood-style creative liberties.

The most glaring such creative liberty being the film’s third central character, Kayla Pospisil (Margot Robbie). Though Margot Robbie’s performance is another highlight of the film, I found myself unfamiliar with who Kayla Pospisil was, since the name didn’t ring any bells. Turns out the reason I couldn’t figure out who she was is because she’s a fictional character, composite of a few different women’s stories from real life. While  adding such composite characters to biographical films is pretty common, it does seem kind of cheap to add a fictional character to a real life story that’s still so fresh in the memory. Especially seeing as the film revolves around three central women, it just feels odd that one of these women isn’t based on any real world counterpart.

It’s probably no surprise that the film mostly focuses on Kelly and Carlson, who played prominent roles in bringing down Ailes (portrayed in the film by John Lithgow in a fatsuit). Ailes is fittingly depicted as a pompous and often paranoid propaganda spewer, though his enforced political biases pale in comparison to his crimes against his female employees. Along with creating a toxic atmosphere for the women working for him, Ailes would eventually be outed for sexual harassment by over twenty women, including Kelly and Carlson.

Bombshell also covers the 2016 presidential election, with its opening moments focusing on Megyn Kelly’s moderation of the Republican debate, and her now-infamous feuding with Donald Trump (or, more accurately, Donald Trump’s immature responses to Kelly’s perfectly reasonable questioning). Megyn Kelly then becomes the target of harassment by Trump supporters both online and in her personal life. And although Ailes at first seems supportive of Kelly (if maybe paranoid at times), as soon as Trump becomes a ratings-grab for Fox News, he quickly shifts priorities.

Meanwhile, Carlson is removed as a co-anchor on the Network’s Fox and Friends program, after she began defending herself against sexist remarks both on air and off. Carlson then meets with lawyers to file a sexual harassment suite against Ailes. But she’ll need evidence and testimony from other women to bring down Ailes. When the case is made public and no other women speak up, Carlson starts to lose face. But Megyn Kelly, having been a victim of sexual harassment in the past, begins uncovering other women who have been victims of Ailes’s in the past, which – in the film – includes the newly-hired Pospisil.

As stated, this is a recent and very relevant story worth telling in a film, and the cast is excellent, particularly of its three leads (most especially Theron) as well as John Lithgow. The film’s focus on some fictional characters and elements does seem to undermine some of its relevance, however.

Another troublesome aspect of Bombshell is that it sometimes seems to be using the serious issue of sexual harassment as an excuse to take shots at some of Fox News’s on-air personalities who aren’t guilty of any crimes other than having differing politics than Hollywood, which seems beyond petty. For example, the film has one moment that needlessly takes a stab at news anchor Neil Cavuto, which seems particularly strange given the man’s now-famous spiels against Donald Trump. But he’s a republican, so he has to get some comeuppance! I don’t know, it just seems so petty to throw those kinds of jabs into the film when it’s supposed to be focusing on the much bigger issue of sexual harassment, which certainly knows no partisan politics (funny how we aren’t seeing a similar movie being made about Harvey Weinstein. I wonder why that could be?).

could potentially write that off as Hollywood being Hollywood. However, there is one scene in the film that ultimately makes me unable to recommend Bombshell. Yes, even though I think the film is well-made in most respects, and makes good use of a stellar cast, there is a single scene in Bombshell which I feel undermines the integrity of the film.

The scene in question happens later in the film, and sees Pospisil – who has since been a victim of Ailes’s sexual harassment – question Megyn Kelly about why the latter didn’t come out about her past victimizations sooner, as it may have prevented the same thing from happening to others. Think about this, for a moment: we have a fictional character essentially victim-shaming the character based on a real person who actually suffered through sexual harassment. This scene may have had a chance to be redeemed, if Pospisil later came to acknowledge that Megyn Kelly is in no way responsible for Ailes’s continued harassment, but no such scene occurs. So again, we have a fictional character (written by a man, no less) putting part of the blame on a real life victim. Despite Bombshell’s merits as a film, this one scene ultimately plays against its very purpose.

The real life Megyn Kelly, when discussing the film, rightfully found the scene in question to be a case of victim-shaming. Although Kelly acknowledged that she could have done more sooner after seeing the film, that in no way makes her responsible for what happened to other victims in any way, shape or form. It’s nothing short of despicable to accuse a victim of any responsibility for the crimes committed against them.

Again, I can’t help but feel this is a case of petty politics getting in the way of something much bigger and more serious. It’s like the film is saying “yeah, these women are victims and we should feel sympathetic, but they’re still conservatives so we can’t feel too sympathetic.” Bigger picture here, people!

I do have to reiterate that Bombshell is a well-made film, and I appreciated it for the most part. But because the film needlessly wags its finger at one of the real life victims of the story it’s covering, I feel I can’t really recommend it. Though the story and issues Bombshell is dealing with are timely, this is a rare case of a single scene undermining that story and those issues.

 

4

Frog Detective 2: The Case of the Invisible Wizard Review

One of 2018’s surprise Indy hits was The Haunted Island: A Frog Detective Game by Grace Bruxner. A (very) simple point-and-click adventure that was more of an interactive joke than a game. Bruxner followed-up her sleeper hit in December 2019 with the release of a sequel, Frog Detective 2: The Case of the Invisible Wizard. Much like its predecessor, Frog Detective 2 may be light on gameplay, but is swimming in so much harmless stupidity and innocent charm that it makes for a fun little game that’s worth an hour of your time if you just want a good laugh.

Like the first game, Frog Detective 2 is short and sweet point-and click game which essentially revolves around a simple trade quest: Talk to the characters in the game, find out what each one wants, figure out who can give you what, and enjoy all of their nonsense along the way.

Our hero – the simply-named ‘Detective’ – is on a very tough case: In the small town of Warlock Woods, a new resident has moved in. This new resident happens to be a wizard. A wizard who’s invisible! To commemorate the arrival of the titular Invisible Wizard to their town, the people of Warlock Woods planned a welcoming parade. The night before the parade, however, someone destroyed the floats and decorations. Thus our (Frog) Detective has been called in to investigate the scene and figure out who wrecked the parade. That’s right, The Case of the Invisible Wizard isn’t about the Invisible Wizard themself, but their ruined parade.

Yep, this certainly is a Frog Detective sequel.

I have to emphasize that, under different circumstances, I probably would not care for a video game that has so little in the ways of gameplay. I’ve played more than my share of Indy titles that try to mask their lack of substance and depth as “minimalism,” or that try to claim that “games don’t need to be fun” as a lame excuse for their lack of actual game. But what wins me over about the Frog Detective titles is that Grace Bruxner uses this same lack of ‘game’ as the basis of a joke. I’m not sure if she intends Frog Detective to be a commentary or parody on the often overly self-important attitude of the Indy scene, but it works as such nonetheless.

There’s an endearing quality to the innocence and stupidity of the Frog Detective games that make them easy to love. They may not be what I would traditionally consider to be “good games,” but their sense of humor and charm are undeniable.

“New gameplay features include: Putting stickers on a notebook… and that’s about it.”

Though Grace Bruxner promised this second Frog Detective game would have “more gameplay” than its predecessor, that in itself is also part of the joke, since the only additional gameplay elements this time around are decorating a notebook with stickers at the beginning of the game, and picking up pies as part of the game’s aforementioned trading quest. Otherwise, the game is – once again – all about the silly dialogue provided by the characters. The non-stop, innocuous humor is complimented by simple, cartoony graphics and an equally simple, jazzy soundtrack.

Bruxner’s writing is delightfully absurd, and is reminiscent of early 2010s cartoons like Adventure Time and Regular Show, or internet comics like Axe Cop. It’s void of that self-aggrandizing YouTube humor we see far too much of these days. Instead, Frog Detective just feels like a showcase of its creator’s personality.

Like the first Frog Detective Game, The Case of the Invisible Wizard can be completed in about an hour, and the end blatantly informs us that our (Frog) Detective will return in another sequel. We even get a hint that there might be an overarching villain at play (though I can’t imagine anyone could be too villainous in this game’s world). I do kind of hope that by the time the third title comes out, the Frog Detective games can add a little something extra to the proceedings. But even if they don’t, Grace Bruxner’s unlikely Indy hit series is a uniquely charming experience.

 

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