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Beating Games
- Thread starter Octopus Prime
- Start date
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- Tags
- the end times
If you’re going to play any firefighting game, make it Nuclear Blaze, as it’s a really fun puzzle platformer take on the concept where you have to make use of a constantly expanding set of tools to deal with a fire at the local SCCP style monster zoo.
And if you’re going to play two firefighting games, play Nuclear Blaze on hard mode since it’s a completely different set of harder levels with new and different abilities.
And if you’re going to play two firefighting games, play Nuclear Blaze on hard mode since it’s a completely different set of harder levels with new and different abilities.
Violentvixen
(She/Her)
Squeezed in Beacon Pines right before it was taken off Gamepass last night. It took me about five hours to finish and I absolutely loved it, very much due to the main mechanics being a system I haven't seen before that works with how I play games like these. There are definitely a few more things I could have done to 100% it and I would go back and do that if it was still available.
Decisions in the game are based on player choices, but not the Bioware wheel or "pick one of these three prompts" which is likely what you're thinking. Instead you find word options by doing certain activities or having certain conversations. Poke around in a drawer? New option. Find out a little more about an NPC's past? New option. I have never felt so rewarded for how much I love just investigating things in games.
The implementation is great. You have these choices and occasionally one will be an immediate bad ending. But you're able to quickly go back to another decision point, even if it is on a branch much earlier in the game. And it goes right back to that point so no redoing scenes you've already seen. Backtracking is required to (dunno if this is actually a spoiler, but it's about how the mechanics play out) get the true ending as you need options from multiple branches and I did that but never felt like I was redoing things or getting bored, the options (other than the first tutorial one) do often significantly change how things play out.
If there are other games that have a mechanic like this I'd be interested to hear about them, it was really neat.
Decisions in the game are based on player choices, but not the Bioware wheel or "pick one of these three prompts" which is likely what you're thinking. Instead you find word options by doing certain activities or having certain conversations. Poke around in a drawer? New option. Find out a little more about an NPC's past? New option. I have never felt so rewarded for how much I love just investigating things in games.
The implementation is great. You have these choices and occasionally one will be an immediate bad ending. But you're able to quickly go back to another decision point, even if it is on a branch much earlier in the game. And it goes right back to that point so no redoing scenes you've already seen. Backtracking is required to (dunno if this is actually a spoiler, but it's about how the mechanics play out) get the true ending as you need options from multiple branches and I did that but never felt like I was redoing things or getting bored, the options (other than the first tutorial one) do often significantly change how things play out.
If there are other games that have a mechanic like this I'd be interested to hear about them, it was really neat.
finished front mission after chipping away at it occasionally (mostly on bus rides) for most of the year. can't say i was thrilled about the writing overall, as much as it's nice to see a pretty diverse main cast (even if it's one that leans on stereotypes hard for a few of them) in a near future sci-fi story, but everything else was good enough to keep me looking forward to playing more of the series. great soundtrack, the building and part-based mechanics are a really nice match for srpg conventions, and even once it gets a lot easier after the first third (since the rng starts to sand off, your characters start really popping off with skills, and the gap between your guys and enemies with parts you haven't gotten to buy shrinks a lot relatively) they manage to come up with some scenarios and setups that don't feel totally rote and boring. my favorite level was probably the one where you take the fort and there's huge turrets around you have to blow up; they're threatening enough to really define your approach without making the mission feel too annoying or punishing.
plus sometimes gyokuran's arm gets blown off on like turn 3 and suddenly you have to heavily rework your strategy on the fly. the truck mechanics and very minor penalty for losing mechs do a lot to make the occasional swinginess of the game even down the stretch feel like something you can play into in a rewarding way instead of wanting to trash the map as soon as you get unlucky once or twice
plus sometimes gyokuran's arm gets blown off on like turn 3 and suddenly you have to heavily rework your strategy on the fly. the truck mechanics and very minor penalty for losing mechs do a lot to make the occasional swinginess of the game even down the stretch feel like something you can play into in a rewarding way instead of wanting to trash the map as soon as you get unlucky once or twice
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Finished my annual replay of Demons Crest; went with the “Id Rather Die Than Be Killed!” ending.
Just now realizing that the quality of the ending is based on how the villain feels about it since Firebrand walks away perfectly content regardless.
Just now realizing that the quality of the ending is based on how the villain feels about it since Firebrand walks away perfectly content regardless.
Spider-Man 2 talk in brief, but since it's new I'll talk about everything openly under the pop.
This is the third time Insomniac has made this same game, and it's just kind of funny how unchanging it all is. The same map, the same combat, the same movement, the same unlocks and upgrades, the same plotting... yes, all with "expansions" or a shifted context to them, but with a conservative and iterative touch that resists change more than anything. The sterility of their game design is magnified by this game's particular emphasis on leveraging the new hardware standard, for which it seems more interested in acting as a showpiece for than anything else; you can point to the impressiveness of its technical performance, which casts the production more suited for rating high among tech analysis geeks before any other consideration.
Otherwise, it's by-the-numbers cape comics derived media, with all the usual hardships of that adaptative friction: references are made to famous or iconic stories but the years of narrative context that made them land in the first place are absent or ignored. As a Kraven mark (we exist), I'm resigned to every story told after "Kraven's Last Hunt" taking cues from it, and it is resignation rather than excitement because they take the shallow nods and don't do anything that made that story hold the weight that it did--they do not reframe a character with a quarter-century of history between him and his obsession, they do not center his perspective in the story told, and they do not mostly shunt Spider-Man himself off-stage rather than the opposite.
Kraven is used as a Mean Faction Leader Guy (because these games cannot conceptualize villains as not facilitating their own themed paramilitary forces) in this story to engineer fodder to fight, and to subserve the Harry Osborn and Venom drama, for a story that is the third time Insomniac has devoted their Spider-Man yarn to a conflict of a Spider-Man having to put down a loved one, seemingly the only story they're capable of telling. The sappy sentimentality and saccharine schmaltz levels are off the charts for the general writing voice, in a kind of performative race to concoct the most "wholesome" interactions among a cast of walk-ons that seem to exist to prop up an image than any real intent to tell a story with them; a one-off featuring of a hugs-only gay student couple and Felicia's offscreen girlfriend are the "representation" that check boxes for this endeavor while hetero couples face-suck every other scene in their normalized idyll.
The hollow formalism reaches almost comical stages of dissonance as the game gleans grand drama from three or four "I know you're in there, please fight, I'm so sorry" reluctant boss beatdowns, which not only narratively mine the same tonality but also play identically, in colour-coded parry-this-dodge-that homogeneity that never deviates. When the game does delve into palate cleanser intermissions, its most recurring play is to drop Mary Jane into Last of Us or Mass Effect-come-lately stealth and cover shooting milieus, likely insecure about the grievances her previous nonviolent sections in the initial game generated. When writing Strong Female Characters, just give her a gun to justify her existence with.
It's easy in the moment to be swept up in the literal momentum of these games, because they are built around just that, but so long as they're not only web-swinging simulators and make the pretense of telling a story with Big Moments or engaging in really any other aspect of interactive media than guided, scripted setpieces, that's the critical sphere they occupy, and I find it increasingly difficult to find any reason to care other than gawking at newly reached console gaming benchmarks that they act as vehicles for.
Otherwise, it's by-the-numbers cape comics derived media, with all the usual hardships of that adaptative friction: references are made to famous or iconic stories but the years of narrative context that made them land in the first place are absent or ignored. As a Kraven mark (we exist), I'm resigned to every story told after "Kraven's Last Hunt" taking cues from it, and it is resignation rather than excitement because they take the shallow nods and don't do anything that made that story hold the weight that it did--they do not reframe a character with a quarter-century of history between him and his obsession, they do not center his perspective in the story told, and they do not mostly shunt Spider-Man himself off-stage rather than the opposite.
Kraven is used as a Mean Faction Leader Guy (because these games cannot conceptualize villains as not facilitating their own themed paramilitary forces) in this story to engineer fodder to fight, and to subserve the Harry Osborn and Venom drama, for a story that is the third time Insomniac has devoted their Spider-Man yarn to a conflict of a Spider-Man having to put down a loved one, seemingly the only story they're capable of telling. The sappy sentimentality and saccharine schmaltz levels are off the charts for the general writing voice, in a kind of performative race to concoct the most "wholesome" interactions among a cast of walk-ons that seem to exist to prop up an image than any real intent to tell a story with them; a one-off featuring of a hugs-only gay student couple and Felicia's offscreen girlfriend are the "representation" that check boxes for this endeavor while hetero couples face-suck every other scene in their normalized idyll.
The hollow formalism reaches almost comical stages of dissonance as the game gleans grand drama from three or four "I know you're in there, please fight, I'm so sorry" reluctant boss beatdowns, which not only narratively mine the same tonality but also play identically, in colour-coded parry-this-dodge-that homogeneity that never deviates. When the game does delve into palate cleanser intermissions, its most recurring play is to drop Mary Jane into Last of Us or Mass Effect-come-lately stealth and cover shooting milieus, likely insecure about the grievances her previous nonviolent sections in the initial game generated. When writing Strong Female Characters, just give her a gun to justify her existence with.
It's easy in the moment to be swept up in the literal momentum of these games, because they are built around just that, but so long as they're not only web-swinging simulators and make the pretense of telling a story with Big Moments or engaging in really any other aspect of interactive media than guided, scripted setpieces, that's the critical sphere they occupy, and I find it increasingly difficult to find any reason to care other than gawking at newly reached console gaming benchmarks that they act as vehicles for.
I just finished Judgement. I think its the first Ryu Ga Gotoku Studio game I've played.
I had a blast with it.
The mix of melodrama in the main story and goofy side quests was a nice balance for me. I liked exploring Kamurocho and seeing all the mini games the team put into the game. The city in this game felt alive with people going about their businesses.
Combat was the one weakness of the game for me. It wasn't terrible, but it wasn't compelling either. Battles got repetitive after a while. (Although this critique is hardly unique to Judgement. I feel like FFXVI also had pretty repetitive battles after awhile.)
Thinking about picking up The Man Who Erased His Name when it comes out. Jumping into the Yakuza series at this point feels a little too daunting to me.
I had a blast with it.
The mix of melodrama in the main story and goofy side quests was a nice balance for me. I liked exploring Kamurocho and seeing all the mini games the team put into the game. The city in this game felt alive with people going about their businesses.
Combat was the one weakness of the game for me. It wasn't terrible, but it wasn't compelling either. Battles got repetitive after a while. (Although this critique is hardly unique to Judgement. I feel like FFXVI also had pretty repetitive battles after awhile.)
Thinking about picking up The Man Who Erased His Name when it comes out. Jumping into the Yakuza series at this point feels a little too daunting to me.
The Man Who Erased His Name is the continuing story of the protagonist of the first 7 games of the series so I'm not sure how it's less daunting.
Didn't know that. I guess the title change, not calling it Yakuza 7, had me thinking it was a stand alone story.
I'm the type of player that usually wants to play a whole series if I'm going to get it into which is why 6 games the size of Judgement is daunting. Its a personal hang up of mine that maybe I should get over.
I'm the type of player that usually wants to play a whole series if I'm going to get it into which is why 6 games the size of Judgement is daunting. Its a personal hang up of mine that maybe I should get over.
I haven't played Like a Dragon yet, but it's probably a good jumping on point since it's a new protagonist.
MrBlarney
(he / him)
I actually played through, and completed, Omori a few weeks ago. I wanted to post about it right after completing it, but decided that I should give it some time for its impact to settle in and not be too hasty. And now here we are. What a ride. If you haven't played it yet, but have any inkling of wanting to play, I seriously recommend you go into it with as little pre-knowledge as possible. The story and how it unfolds is what the game is really about, and you'll want to experience that from the seat of the player.
Through the first day of play, I thought the game was just metaphor for dealing with, and overcoming loss and grief. During the first headspace part, I thought Mari was suspicious and didn't let her in during the first nighttime section; fortunately I decided to answer Kel's knock on the door and go out during the day, to learn more about how long Sunny had locked himself away, and what had changed in the outside world in the intermediate years.
And I thought that Mari had died in some noble or self-sacrificing way, and that Sunny and Basil had some shared guilt over something Mari had done to try and protect them. So I don't think I was really prepared for learning the truth behind Mari's death, and the unraveling of Sunny's psyche and the thick shell placed over that heavy reality. The shared burden and trauma between Sunny and Basil, of a terrible accident made into Something worse by their panicked actions. I actually messed up in the climactic final night by going back to Sunny's home since I thought I needed to bring something back from there first, and ended up with Sunny killing himself (and I assume Basil ending up doing the same). But I did the endgame sequence again, and followed through properly to the good ending, to get to a place where everyone could start healing.
Despite deciding to take some time to collect myself, I'm still not really sure about how I feel about it overall. I don't think I have the right words to describe my feelings. But I think that, for me, Omori exposes more of my own fears about trying to change and improve myself. I don't know if I'm truly honest with myself as much as I need to be. I tend to wall myself off emotionally sometimes and put on airs of aloofness and detachment to my own detriment. I don't really rely or engage with other people, including friends and family, as often as I should, because I'm afraid I'll be a bother, when it would in fact be much less trouble to ask for help earlier. (I also don't really like to post on forums and social media because I want to feel like I'm contributing something substantive to conversations.) I don't know if I deal with friction in my life as healthily as I should.
Is typing that complaint out just a platitude without substance, or is that actually a step towards betterment? It takes perseverance to face oneself and change for the better. It takes a lot of deliberate work. It won't be easy or come naturally. Can I actually follow through, and enact a positive effect on how I live? It's a work in progress.
And I thought that Mari had died in some noble or self-sacrificing way, and that Sunny and Basil had some shared guilt over something Mari had done to try and protect them. So I don't think I was really prepared for learning the truth behind Mari's death, and the unraveling of Sunny's psyche and the thick shell placed over that heavy reality. The shared burden and trauma between Sunny and Basil, of a terrible accident made into Something worse by their panicked actions. I actually messed up in the climactic final night by going back to Sunny's home since I thought I needed to bring something back from there first, and ended up with Sunny killing himself (and I assume Basil ending up doing the same). But I did the endgame sequence again, and followed through properly to the good ending, to get to a place where everyone could start healing.
Despite deciding to take some time to collect myself, I'm still not really sure about how I feel about it overall. I don't think I have the right words to describe my feelings. But I think that, for me, Omori exposes more of my own fears about trying to change and improve myself. I don't know if I'm truly honest with myself as much as I need to be. I tend to wall myself off emotionally sometimes and put on airs of aloofness and detachment to my own detriment. I don't really rely or engage with other people, including friends and family, as often as I should, because I'm afraid I'll be a bother, when it would in fact be much less trouble to ask for help earlier. (I also don't really like to post on forums and social media because I want to feel like I'm contributing something substantive to conversations.) I don't know if I deal with friction in my life as healthily as I should.
Is typing that complaint out just a platitude without substance, or is that actually a step towards betterment? It takes perseverance to face oneself and change for the better. It takes a lot of deliberate work. It won't be easy or come naturally. Can I actually follow through, and enact a positive effect on how I live? It's a work in progress.
Replayed Deedlit in the Mystery Labyrinth, and saying it might be the best adaptation of Lodoss Wars is accurate but… like… what does that mean.
However saying it’s among the uppermost tier of Troid-em-ups I’ve played is also true and a much more informative metric for quality.
However saying it’s among the uppermost tier of Troid-em-ups I’ve played is also true and a much more informative metric for quality.
Is there anybody here who can speak to how well this game’s color-switching mechanic works for people who have some red/green colorblindness?
The colours used for the wind and flame elements of Deedlit's magic are displayed here, with the two leftmost columns a blue-tinted white, and the rightmost one an orange-tinted white; same for the "3" numerics in the center of the HUD. If they can be discerned between, it'll probably work fine.
More subtle but also the animation of your attacks is different; producing little wind gusts when you’re Blue and little flames when you’re red
Spider-Man 2 is a fun open-world superhero thing.
The Last Metroid is on our payroll
The Galaxy is at Peace
I never thought of it this way before, but I guess Samus, as a bounty hunter, would be an independent contractor. Does that mean she doesn’t get any benefits from blowing up planets for the Federation? Does she pay out of pocket for healthcare? Does she have a retirement account?
Well her healthcare is taken care of by picking up little purple balls that come out of dead enemies
Do those things clean your teeth, too, I wonder?
I just beat Metal Gear Solid for the first time on the Master Collection. A few random thoughts:
The game play variety is very good. New weapons or items are introduced and they are used in clever ways. I was amazed at how well this 1998 early 3D video game held up. Once I got past the graphics I was pretty absorbed in the game.
I started the MGS series with MGS4. The plot often lost me; and I figured I would have to play the earlier entries to make the MGS4 plot make sense due to the references. While MGS1 is a little more straight forward, MGS1 has revelations that assume you know your MG history or else the revelations don't make much sense or are not impactful. Ninja is really Gray Fox!?! And this is impactful why? I kind of admire the rabbit hole Metal Gear history that Kojima expects of his players to know.
Even with low polygon models and low res textures Kojima found ways to be perverted.
The MGS Motorbike ending was surely the inspiration for the RE4 jet ski ending right?
I've now finished all the MGS games I rank them as follows:
MGS4*
MGS3
MGS1
MGS5
MGSPW
MGS2
*This is the first one I played and that fact surely influences my ranking; but I like MGS4 a lot. I'm hoping a Master Collection 2 comes out with MGS4.
The game play variety is very good. New weapons or items are introduced and they are used in clever ways. I was amazed at how well this 1998 early 3D video game held up. Once I got past the graphics I was pretty absorbed in the game.
I started the MGS series with MGS4. The plot often lost me; and I figured I would have to play the earlier entries to make the MGS4 plot make sense due to the references. While MGS1 is a little more straight forward, MGS1 has revelations that assume you know your MG history or else the revelations don't make much sense or are not impactful. Ninja is really Gray Fox!?! And this is impactful why? I kind of admire the rabbit hole Metal Gear history that Kojima expects of his players to know.
Even with low polygon models and low res textures Kojima found ways to be perverted.
The MGS Motorbike ending was surely the inspiration for the RE4 jet ski ending right?
I've now finished all the MGS games I rank them as follows:
MGS4*
MGS3
MGS1
MGS5
MGSPW
MGS2
*This is the first one I played and that fact surely influences my ranking; but I like MGS4 a lot. I'm hoping a Master Collection 2 comes out with MGS4.
I finished Dragon Quest VII (3DS), and then for good measure I grinded while semi-engaged in other activities, and finally challenged the superboss. Beat God in 40 turns, which is okay for a first try. I think this is where I get off. Final time on the clock was 91 hours, so it does go faster than the original.
In my previous attempt, I completely ran out of momentum right at the front door of the final dungeon. Coming back to it forearmed with knowledge of the game's overall structure made it much more enjoyable. It's a masterpiece for sure. Too complicated to put into such a tawdry thing as a ranking. Not my favorite, but endlessly impressive.
In my previous attempt, I completely ran out of momentum right at the front door of the final dungeon. Coming back to it forearmed with knowledge of the game's overall structure made it much more enjoyable. It's a masterpiece for sure. Too complicated to put into such a tawdry thing as a ranking. Not my favorite, but endlessly impressive.
I played Dead Space over the last week. I think you can make an argument that they didn't need to remake the game: the original is still playable and modern, but the new game is really good looking! The encounter design and weaponry still doesn't really touch what the OG Dead Space 2 does, and I was a little disappointed they didn't try to incorporate some more of the thrills of part 2 in this, but it's still a rock solid title. The one segment they fully remade (one of the bosses) was geniunely thrilling with the addiction of true zero G gravity.
I also really liked Issac being fully voiced; that more than anything makes feel like they're 'finishing' the original game, rather than remastering/remaking it. Moving onto RE4 in the near future hopefully!
I also really liked Issac being fully voiced; that more than anything makes feel like they're 'finishing' the original game, rather than remastering/remaking it. Moving onto RE4 in the near future hopefully!
FelixSH
(He/Him)
After, uh, 25 years I guess, I beat Tiny Toon Adventures (NES) fair. When I was 12 or so, a cousin borrowed me his NES with a ton of games. Most weren't my thing (I had an N64 at this point), but there were some interesting things, like a Megaman (I think 5), Duck Tales, Faxanadu and Tiny Toon Adventures. Just couldn't get past the boss of World 4.
A few years ago, I beat it, with excessive use of savestates. It never felt right, so I tried again over the last three days.
It starts well enough. It looks great, and while the music is repetitive, it's the Tiny Toon theme, so it's fun to listen to. Especially because the game isn't long. It's a platformer, you can even slide down slopes like in Mario Bros 3. You play as Buster, but you also get to choose before each level one companion - Furball, Dizzy and Plucky. When you find a certain power-up, you change to the chosen companion. Buster can run, I guess, but is basically the worst of the four. Dizzy can spin, and is invincible during that time - reusable after charge-up time. Furball can climb walls, which is great in some cases - if there is a wall, up to the top of the screen, you can climb it, and then run above the screen over the wall, letting you skip parts of levels. Plucky is also great, he can flap his....arms...and glide down slowly. Also, he swims great.
Depending on the level, there is often a specific companion who is the best choice. The second world has a water level, so it's Plucky. The third world has trees, which you can climb over with Furball. And if you have to move through corridors, or don't know who to use, a bit of invincibility is always nice.
The game starts really fun. Most of the six worlds have three short levels. If you die, you have to restart the level. If you lose all your lives, the whole world, with infinite continues. Normally, you die in one hit, except if you find a (rare) heart in a level, which gives you an extra hit. The first three levels are fair here, despite one-hit kills, they are pretty easy. At the end of the second level of a world, you are stuck in a room with Elmyra, having to wait for a door to appear, and reach it. If Elmyra catches you, you lose a live. At the end of the third level, there is a boss.
World 4 is a huge difficulty spike. There are monsters who appear fast and shoot stuff immediately. You easily die here. But the level wasn't the problem. The other bosses are easy, but here, you have to wait out a gorilla, who stomps the ground, sending small monkeys from the sky. The stomps make the earth shake, you can't move, and it's enough time for the monkeys to fall onto you. I could never get past this, also because I had no idea how to hurt the gorilla. Normally, you jump onto bosses. You can't here. Instead, you have to defeat enough monkeys. And you are save on the left side. But because you have to restart the whole level with each death, and the whole world is pretty hard, I never got past that. Learned with savestates here, before beating the world legitimately.
World 5 was fair, but the last world was dumb hard again. Monsters who you had to jump, but who could through at any seconds something, which you then couldn't avoid. I did learn the world (Dizzys invincibility helps a ton), and beat it fair, in one go. It's a long one, with a somewhat tough boss, and redoing it is a bit much. Still easier than world 4, I think.
Anyway, I beat every world now without savestates (only saving between worlds, so I could come back the next day), so I considere this finally beaten.
A few years ago, I beat it, with excessive use of savestates. It never felt right, so I tried again over the last three days.
It starts well enough. It looks great, and while the music is repetitive, it's the Tiny Toon theme, so it's fun to listen to. Especially because the game isn't long. It's a platformer, you can even slide down slopes like in Mario Bros 3. You play as Buster, but you also get to choose before each level one companion - Furball, Dizzy and Plucky. When you find a certain power-up, you change to the chosen companion. Buster can run, I guess, but is basically the worst of the four. Dizzy can spin, and is invincible during that time - reusable after charge-up time. Furball can climb walls, which is great in some cases - if there is a wall, up to the top of the screen, you can climb it, and then run above the screen over the wall, letting you skip parts of levels. Plucky is also great, he can flap his....arms...and glide down slowly. Also, he swims great.
Depending on the level, there is often a specific companion who is the best choice. The second world has a water level, so it's Plucky. The third world has trees, which you can climb over with Furball. And if you have to move through corridors, or don't know who to use, a bit of invincibility is always nice.
The game starts really fun. Most of the six worlds have three short levels. If you die, you have to restart the level. If you lose all your lives, the whole world, with infinite continues. Normally, you die in one hit, except if you find a (rare) heart in a level, which gives you an extra hit. The first three levels are fair here, despite one-hit kills, they are pretty easy. At the end of the second level of a world, you are stuck in a room with Elmyra, having to wait for a door to appear, and reach it. If Elmyra catches you, you lose a live. At the end of the third level, there is a boss.
World 4 is a huge difficulty spike. There are monsters who appear fast and shoot stuff immediately. You easily die here. But the level wasn't the problem. The other bosses are easy, but here, you have to wait out a gorilla, who stomps the ground, sending small monkeys from the sky. The stomps make the earth shake, you can't move, and it's enough time for the monkeys to fall onto you. I could never get past this, also because I had no idea how to hurt the gorilla. Normally, you jump onto bosses. You can't here. Instead, you have to defeat enough monkeys. And you are save on the left side. But because you have to restart the whole level with each death, and the whole world is pretty hard, I never got past that. Learned with savestates here, before beating the world legitimately.
World 5 was fair, but the last world was dumb hard again. Monsters who you had to jump, but who could through at any seconds something, which you then couldn't avoid. I did learn the world (Dizzys invincibility helps a ton), and beat it fair, in one go. It's a long one, with a somewhat tough boss, and redoing it is a bit much. Still easier than world 4, I think.
Anyway, I beat every world now without savestates (only saving between worlds, so I could come back the next day), so I considere this finally beaten.
Johnny Unusual
(He/Him)
I owned this game and got a lot of playthrough out of it. I was always excited when I got a chance to do the Duck Vader bonus boss level.
Violentvixen
(She/Her)
I never got past this either! Maybe I should give it a shot sometime.
FelixSH
(He/Him)
In that case, to be a bit more precise:
There never seem to drop any monkeys on the left steal beam. Standing there should be save. I just waited until the shaking was over, and I could move again. If he second monkey was still on the right steel beam, after I could move again, I would jump there and kill it. If possible, both. Then jump back left, and wait for the next round. If they spawned too close to the hole, I would wait.
I think one of the blocks the gorilla stands on falls, after two monkeys are defeated. Don't have to be the two monkeys that spawn together. So you need to defeat eight monkeys. I think Dizzys whirlwind doesn't count, you have to defeat the monkeys by jumping - but maybe I miscalculated at some point.
I think one of the blocks the gorilla stands on falls, after two monkeys are defeated. Don't have to be the two monkeys that spawn together. So you need to defeat eight monkeys. I think Dizzys whirlwind doesn't count, you have to defeat the monkeys by jumping - but maybe I miscalculated at some point.
It's a shame that this level is so hard, I found the next one pretty enjoyable, again. The last one is just a bit of a slog, because you have to do the whole thing in one go, including the boss. The whole world is one big level.
Sarge
hardcore retro gamin'
Tiny Toon Adventures gets love from a lot of quarters, and it looks the part... but the small details hold it back. Unlike SMB3, power-ups are very, very rare. So are extra lives. What's really crazy about the game is that they reverse-engineered the physics from SMB3 and used those values for the game, so that's why it controls so much like that game.