Monday, November 9, 2026

First Impressions: The Legend of Zelda: Ocarina of Time (NS2)

 

The Legend of Zelda: Ocarina of Time
System: Nintendo Switch 2
Release Date: November 5th, 2026
Publisher: Nintendo
Developer: Nintendo EPD
Time Spent: Unknown / First Played 4 Days Ago (November 5th, 2026)

Prior to watching the announcement during the Nintendo Direct five months ago, I wasn't very excited about the rumors I'd been hearing for a while about an Ocarina of Time remake.  It was admittedly not my favorite game of the franchise, as I much preferred the sequel, Majora's Mask, when comparing the two.  I had never been really happy with the sound chip quality of the music, especially when there was music that was the quality of ActRaiser on the SNES eight years earlier and on the previous console.  I'd already played through the game dozens of times on the N64, and I have a copy of the 3DS remake (which I haven't played yet).  I felt that going backwards from Tears of the Kingdom to such a smaller, more contained version of Hyrule wouldn't do the series any favors, at least in my opinion.

But that Direct lit something in me that I thought had long fizzled out.  Then Nintendo released their Legend of Zelda 40th Anniversary Direct with a three-and-a-half-minute gameplay trailer, and that solidified the decision to pre-order the game.  And so I set up the pre-order that afternoon after weighing my different retailer options.

I haven't played that much of the game so far, maybe around three hours.  I've only just talked with Princess Zelda and Impa at Hyrule Castle, but I have been wandering around and looking at everything in the game.  I haven't so much as B-lined my way through the game as A-to-N-to-K-to-D-to-E-lined my way through.  I don't know how much time I spent wandering around Kokiri Forest before I even made it to the Great Deku Tree, but it was easily an hour.  I should also mention that I have the In-Game Interface set to Pro, which states "Display with minimal information," and what little information there is seems to only be button cues such as "Press A to Talk"; hearts are visible when I take damage, but then disappear, and a counter shows up when I collect items like rupees, Deku seeds, and the like.  I'm also enjoying the fact that there is no map because it's easily been, at least, 25 years since I last played Ocarina of Time, but I'm still finding the world to be nearly the same.  I am finding that the added jump mechanic to be intuitive, but I did move the jump button from the X button to the B button, because it just feels better.

I'm really happy with this game so far, and I especially feel that Koji Kondo's score, arranged here by Masato Ohashi, Hayato Sato, Kairi Hamada, and Rika Hayashi, has been what I've wanted from this music from when I first listened to the soundtrack 28 years ago.  Being performed in-game on real instruments has brought this soundtrack more life than I'd given the MIDI compositions credit for.  There have been so many times I've thought while playing that "this is now the definitive version of the game," and "This must've been what Nintendo's original vision for the game was, before the tech was developed."

I am having a blast, and I love it.  I'll have more to say as I play more of the game, or I'll just come out with a Game EXP by the end of the month.




~JWfW/JDub/The Faceplantman/Jaconian
Did You Capture the Euphoria

Wednesday, November 4, 2026

MIDI Week Singles: "The End (Reprise)" - Mass Effect (PC)

 


"The End (Reprise)" from Mass Effect on the Xbox 360, PlayStation 3, Windows (2007)
Composer: Jack Wall, Sam Hulick
Album: Mass Effect Original Soundtrack
Label: Sumthing Else Music Works
Publisher: Microsoft Game Studios
Developer: BioWare


I felt that this song as the MIDI Week Single was apt, considering EA announced the closure of BioWare last week.  This track plays as the game reveals the final outcome of the decisions the player made as Shepard and the Council's decision on who should lead the Human race.  The track then leads straight into the end-credits song "M4 Part II."

The song itself is rather simple, yet effective.  The first half is driven forward by the electronic drum beat, accompanied by ambient strings that feel very vibe-based, reminiscent of, if not nearly identical to, the beginning of "Mass Effect Main Theme."  There is a feeling, a hint of melody that really only comes about when the brass comes in about 45 seconds in.  Then, at 0:54 seconds, and I might be hearing it wrong, there are three descending notes, played in the most victorious way possible, that sound vaguely reminiscent of a few notes from "Saren's Theme."

I've talked a bit about the closure of BioWare in Monday's article, but I'll reiterate that the studio's closure is sad, even if it felt inevitable at this point.


~JWfW/JDub/The Faceplantman/Jaconian
Han lämna plogen vid årkerns teg

Monday, November 2, 2026

Monthly Update: November, 2026

 


Damn, where do we start?

First off, if you're reading this on Monday, February 2nd, then please drop off your ballot if you have a mail-in ballot.  No matter where you live in the US, it's likely too late to mail your ballot and have it delivered to the designated location in time to be counted.  If you don't have a mail-in ballot, then please go out and vote tomorrow, Tuesday, November 3rd, 2026.   It's likely the only way that the next two years are going to be tolerable for a good portion of us, and for others actually able to survive.  Maybe that sounds a bit hyperbolic, but is it?

And maybe, just maybe, with some checks and balances in place after two years, there might finally be some kind of federal pushback against all of this AI infrastructure, which is set up to run more and more AI models that totally won't do something they're not supposed to do.  Again.  Maybe that will lead to a "more" normalization around RAM prices as mega data center production is brought under more federal/state regulations.  Because I don't think the gaming community as a whole has realized how much this "RAM shortage" will affect them until the prices for both the PlayStation 6 and Xbox "Project Helix" are set.  $1,800 for the next Xbox console is absolutely bonkers.  Then the PS6 swooping in with a price tag of potentially only over $1,000 seems downright reasonable at this rate.  I get that it's not all just RAM prices but also impacted by the instability caused by Trump's tariffs and Trump/Israel's war against Iran (and the resulting increase in fuel prices, thereby having an impact on nearly every sector of the global economy). Still, the RAM issue is what caused the most recent price increase, from $449.99 to $499.99 for the gameless base model of the Switch 2.

In other uplifting news, I'm sure that everyone has now been made aware of BioWare shutting down, although Jason Schreier (Triple Click, Bloomberg), in a recent interview with Polygon's Simone de Rochefort and Matt Patches, said that the writing has been on the wall for some time since BioWare was down to a staff of 50 from 300+ in 2019.  Schreier also goes through a whole host of issues EA had with BioWare over their last three games (Mass Effect: Andromeda, Anthem, Dragon Age: The Veilguard), compounded by the debt incurred by EA when EA was purchased by Saudi and American private equity firms, and a large chunk of the debt incurred by that purchase was put on EA's books.  But it's not like I've been an avid supporter of BioWare in the last 20 years, only having "recently" purchased the Mass Effect Legendary Edition, which is only the first three games in the franchise.  It's a legacy thing.  Like when that one diner you visited a lot 14 years ago, that you've only been to once in the last three, closes.

But what have I been playing recently?  Dr. Potts and I started up Big Walk because I kept hearing great things about it, and it had been a long-ass while since I've played video games with that kid who I played in the gutter with when we were wee babes.  We've played three times, meeting once a week, and each time has been a lot of fun, exploring a fictionalized mountainous Australian region with a funky bird-like creature.  I just finished Still Wakes the Deep, also on the Steam Deck, and I'm hoping to have a Game EXP article up on Friday.  On my laptop, I'm coming to the end of Ace Combat 8: Wings of Theve and that story, while heavily anime-like, has been chock full of more emotion than I was expecting from an air-combat flight shooter.

On the Switch (family of systems), I've been playing Fire Emblem: Fortunes Weave a bit and still playing Final Fantasy III Pixel Remaster.  Did I mention that I finished Triangle Strategy?  After 81 hours, which doesn't seem like that much time considering how long I've been playing it, I have a lot of thoughts about the game; we'll get to that article next week.  I also picked up Nintendo Switch Sports Resort on the Switch 2 since I never really experienced Wii Sports much outside of two of the jobs I worked (assisted living facilities), and I thought The Squire would love to play a "motion" game where he gets to swing his arms around.  I'll probably have a First Impressions article coming up for that in the next two weeks or so.

Let's call it there.  Some bad, some sad, some good, and maybe some hope on the horizon.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental

Friday, October 30, 2026

First Impressions: Still Wakes the Deep (SOS)

Still Wakes the Deep
Systems: Windows, Xbox Series S/X, PlayStation 5, Linux, Steam OS
Release Date: June 18th, 2024
Publisher: Secret Mode
Developer: The Chinese Room
Current Time Spent: 4.7 Hours

I love the games developed and published by The Chinese Room, so I already knew ahead of time what I was setting myself up for with Still Wakes the Deep.  I already enjoyed narrative-based walking simulators (Amnesia: A Machine for Pigs, Dear Esther, Everybody's Gone to the Rapture, Gone Home, Kholat, Sagebrush, SOMA, What Remains of Edith Finch), so playing another horror-based walking sim that took place on an oil rig in the North Sea felt like a great place to spend a handful of hours.  And by handful, I mean just under five, as of this writing.

I'm not really sure where to start.  You play as a character named Caz, an electrical engineer on an oil rig operated by a Scottish company in the North Sea, around December 1975.  I haven't found any contextual clues for the game set in 1975, so my immediate assumption is to limit the amount of available technology (e.g., cellphones, satellite phones, social media, etc.).  A cursory search also brought up several articles about oil rig accidents in the North Sea in the 70s and 80s, and it looks like that had a significant impact on the story and location, as well as being an isolated location where The Chinese Room could tell a "Thing on an oil rig" type of story.

Like any good horror story, the game starts out with a normal world.  Caz greets other members of the crew on his way down to the canteen, and then to the supervisor's office for a reprimand; I haven't figured out why yet, which is odd because I don't think the supervisor is of sound mind at the point I'm at in the game; but I'm getting ahead of myself.  On his way to a helicopter to fly him off of the oil rig, there's a drill-induced explosion that rocks the entire structure, and in the process of trying to help a fellow crew member who's hanging over the edge of the helipad, Caz falls overboard.  After being rescued, the rest of what I've been playing has been one thing going wrong after another in a series of events that Issac Clarke from the Dead Space series could empathize with.  

I won't go into too much detail, but it's events like having to get from Point A to Point C to fix a mechanism so that Caz can access Point B back at Point A while also trying to rescue anyone else he comes across along the way.  Once he gets through to Point B, though, one of the crew that he thought he had rescued ends up dead like Satipo in Raiders of the Lost Ark (minus the betrayal subplot).  Caz then receives (another) intra-rig phone call asking for his help getting to the helipad, but first something needs to be fixed, repaired, or moved to a different location before he can get back to his friend in the canteen or find a way back up to the helipad to let the pilot know that something horribly wrong is happening to the crew members on the rig.

I'm playing on the Steam Deck, thinking that it would be a fun game for Conklederp to watch at night (when the game isn't filled with the screams of Caz's crewmates, or the mechanical whirring and chunking of machinery being ripped apart by [REDACTED].  For the most part, the game runs fine on High graphical settings (a step below Ultra, or whatever the highest setting is) with the frame rate capped at 30 fps.  The most aggravating thing, though, is the load times.  The game takes between two and three minutes to load up to the starting screen, then an additional minute before I can actually start playing the game.  Dying too often requires a minute of loading before I can respawn at the previous checkpoint, which thankfully is usually pretty close to where I died.  

I'm not overly bothered, though.  Sure, it can be annoying when I want to start playing or jump back in after getting killed for the third time after misjudging the distance I was from [REDACTED] or how fast [REDACTED] could move around a shipping container or through a hallway.  I'm sure there's meaning behind the imagery in the loading screens post-death; I just haven't quite figured out what it means yet.

I am having a great time with the game, and I'm very happy to be playing another game from The Chinese Room, a studio Dr. Potts first introduced me to over 14 years ago at the beginning of the baseless accusations that walking does not constitute a video game.  Now, if I could just help Caz survive in a fashion that couldn't be described as Lovecraftian.


~JWfW/JDub/The Faceplantman/Jaconian
Transfixed in a Stare


P.S.  After I finish the game, assuming it isn't a 30-hour endeavor, I'm probably going to play through it again, but turning the spoken language to Scottish Gaelic, because how often is that an option in a game?  And it wouldn't just be for the achievement either.

Wednesday, October 28, 2026

MIDI Week Singles: "Vacant Room" - Resident Evil (NGC)

 


"Vacant Room" from Resident Evil on the GameCube, Wii, PlayStation 3/4, Xbox 360, Xbox One, Windows, Nintendo Switch (2002 - 2019)
Label: SULEPUTER
Publisher: Capcom


"Vacant Room" first plays in the 2002 remake of the original Resident Evil when you play as Jill in the Dormitory/Guardhouse after leaving the mansion.  It plays when you first enter the room using the Residence Key where the Umbrella Employee has hanged themselves.  Just this song and the slow, metronome-quality creaking of the rope as the body gently sways.  What happens next has been burned into my memory since I first played the game on the PlayStation 26 years ago, and I was thankful the scene was kept.  After Jill enters the bathroom, there is a sound.  In the original PlayStation version, I recall it sounding like a digitally compressed "thump,"* but in the GameCube remake, it was a snap and thud simultaneously.

It's pretty obvious what this meant, but to 20-year-old me, who had never played a survival horror game extensively, I really hoped the sound didn't mean that the person who had been hanging just a moment ago was now up and moving around.  But that's exactly what that sound meant.  And that's an awesome, fun realization.

Musically, the star here is the tinkling piano with the accompanying "aahing" vocals.  And the tinkling piano part is really just two notes, repeated over and over with slightly different note lengths.  Then at 9 seconds into the song, the tinkling piano part doubles (triples?), creating a frantic rhythm while the tempo remains the same.  I used "tinkling" to describe the first piano, because the second piano that comes in at 0:35 has a more typical sound while it plays a slightly off-kilter run with seemingly no tonal center.

I believe this song is used again in another Residence room where the player learns about the V-Jolt substance (if they don't know already) and leads into the fight with Plant 42.  For me, though, "Vacant Room" will always be the theme for the Residence room where the developers did exactly what I had hoped wouldn't happen, which is exactly why it needed to happen.


~JWfW/JDub/The Faceplantman/Jaconian
I Really Don't Know Why I Can't Spit it Out


*The problem with trying to locate a YouTube video focusing on this specific moment is that the majority of the longplays I found all skip going into the room and instead head straight for the bathroom and drain the bathtub.  All three longplays I watched could have been the same video except for the channel tag or watermark, but their actions were all in the same order and nearly identical.  I guess I'll just have to replay the original version and make sure that I get the bad (which is actually the best) ending.

Friday, October 23, 2026

Game EXP: lily's world XD (PC)

lily's world XD
Systems: Windows
Release Date: September 17, 2026
Publisher: Kwalee
Developer: SonderingEmily
Time Spent: 5 Hours

Maybe it's a cop-out as someone who plays video games and attempts to write reasonably well-thought-out reviews, but it's one of those games that the less that's known about the finer points of the story, the better.

lily's world XD is in the genre of "found device" games where you play as a person who's found a laptop straight out of the early-mid 2000s.  After logging into the computer, you have access to a handful of files and a Netscape-era web browser complete with access to MySpace-era social media pages and LiveJournal-type blogs of introspection.  The sound of the mouse clicks and even the animated mouse icon are all straight out of the early to mid-2000s.  There is a choice to have an optional ambient audio track in the background, and while I did try turning it off to maintain the immersion, I found that it actually accentuated the "feeling" of playing in the world created by SonderingEmily.

Like other "found device" games, lily's world XD is full of puzzles to access different parts of the laptop, unlocking private folders, and accessing online accounts that have been dormant for the last 20 years.  There is a compelling narrative mystery as new areas of the laptop are uncovered and communications with long-silent accounts are rekindled.

The game is broken up into several gameplay loops.  You solve puzzles, gather information through conversations, and discover other details on your own.  Using information that's given to you and that you read about on your own is what gives you the answers to the puzzles.  And repeat.

 You are presented with a handful of puzzles to solve, such as figuring out a password or where ot use a login ID from only a handful of available websites, where you end up finding a new website through a hyperlink on another website.  Then there are information/context/exposition dumps you receive from the laptop owner's friend Iris, who is your primary messenger contact.  Then it's rinse and repeat, but not in a bad way.  Several of the puzzles actually reminded me a lot of playing an escape room with Conklederp, Himo, and Folly (friends from college who we've been doing escape rooms with for the last 10 years), if we were all working to unlock different parts of a single laptop.

That's all I'm going to say about this amazing game (except for the P.S., but that's optional).  If you like 'found device' games and/or escape room-style puzzles and have a nostalgic view of early-mid 2000s computer aesthetic, I can't recommend lily's world XD enough.


~JWfW/JDub/TheFaceplantman/Jaconian
Katkeruuden liekin polttama?


P.S.  The quick and easy explanation for why I don't have a lot of images up for the game is that I inadvertently had the Notes app open on the in-game desktop, which contained a lot of the answers to passwords, email addresses, and other bits of information that I took down while playing.  Most of the pictures would then include a mass of censored lines to prevent spoilers.  I guess that's one of the biggest issues with not thinking ahead while taking screenshots during the game.  And so I decided to only include a few screenshots, ones that give off more of a vibe that the SonderingEmily was creating with the UI, and not include a bunch of screenshots with information blacked out.

P.P.S.  Below are spoilers of sorts, so proceed with caution.







There were several instances where the game messed with me in a way that can best be described as Eternal Darkness-esque and fourth-wall-breaking.  How that manifested (I'll link here if you're interested, but I won't include it in the article to avoid spoilers) was in ways more personalized than I've ever experienced in a video game.  More often than not, I was more excited by the creepy things happening than genuinely scared.  

There was also one instance where my webcam was accessed, but because I had the shutter closed, I didn't realize what was going on until after the scene was over.  There was a later moment in the game where the webcam footage was called back up, but because it had originally been closed, there was just a grey placeholder image, which was a little disappointing.




Wednesday, October 21, 2026

MIDI Week Single: "The City of Ruin" - Resident Evil 3: Nemesis (PSX)

 


"The City of Ruin" from Resident Evil 3: Nemesis on the PlayStation, Windows, Dreamcast, & GameCube (1999-2006)
Composer: Masami Ueda
Album: Resident Evil 3 Nemesis Original Soundtrack
Label: Mars Colony Music
Publisher: Capcom
Developer: Capcom


"The City of Ruin" is a great song that plays right after Jill leaves Bar Black Jack after her conversation with Brad, but only if you're able to save Brad.  During that conversation, Brad warns Jill about someone hunting STARS members and that they're all going to die.  Brad flees the bar on his own, allowing Jill a moment of respite and time to find the ammunition hidden by the cash register.  When Jill leaves the bar, that's when "The City of Ruin" first plays, with Jill now (vaguely) knowing that something is hunting her and her fellow STARS members.

What I really like about "The City of Ruin" musically is how sad the song feels.  Chock full of slow MIDI strings and a choir, all in a minor key.  Then, at 18 seconds in, there's a chime followed by five percussive notes that come across as ominous, foreshadowing Nemesis's arrival outside the Raccoon City Police Department.  At that point, the song changes from one of melancholy to one of menace and dread.

My biggest critique of the song is that those five percussive notes and the later presence of the MIDI French Horn don't actually play "Nemesis's Theme," or that those five notes are not incorporated into "Nemesis's Theme," even though both songs were composed by Masami Ueda.  But that one thing aside, "The City of Ruin" is a great transition song between the first section of the game, where Jill only has to contend with the zombies she was familiar with from the original game, and now having to avoid the stalking horror of Nemesis.


~JWfW/JDub/The Faceplantman/Jaconian
On With Hope to the Grave

Friday, October 16, 2026

Game EXP: Platform 8 (PC)

 


Platform 8
Systems: Windows, Nintendo Switch, PlayStation 4, PlayStation 5
Release Date: May 31, 2024
Publisher: PLAYISM
Developer: KOTAKE CREATE
Time Spent: 76 Minutes
First Play Series on YouTube

In theory, this will be a short article because I've only played Platform 8 for 76 minutes, and I've seen most of the game, including two different (colored) credit sequences.

Platform 8 is an anomaly-spotting game from KOTAKE CREATES, the same developer behind The EXIT 8, and, with some experience in the liminal anomaly-spotting genre, I felt it was played against me as a player.  But in order to talk about how to play the game itself, we're going to have to jump right away into spoilers.  So, be warned.  

~SPOILERS~

In several of the anomaly-spotting games I've played, there's frequently been a mechanic that tells the game you've seen an anomaly so you can proceed safely.  In The EXIT 8, if you spot an anomaly, you turn around and walk the opposite direction.  In The 18th Attic, you have to take a picture of the anomaly.  In Room 713, if you spot an anomaly, you take the hallway to the right, or the left if you don't spot anything.  In Platform 8, the mechanic is almost simplisticly nuanced to be overlooked or misinterpreted, potentially making the player feel that they're playing the game incorrectly.  Maybe that's a feature?  Unlike the list of rules you have to follow in The EXIT 8, the only direction that's given to the player is a small sign on both the front and back doors of the metro train you're riding in that simply reads, "Please check electric signs."

The direction is simple enough, but only if you register it as a sign put there by the developers to tell the players what to do when they spot an anomaly.  You'd be forgiven if, like me, you thought maybe that's a perfectly normal sign to find in a Japanese subway car, directing the passenger to look at what the sign above the door says regarding which stop is coming up next.  But no.  The key to progressing in Platform 8 requires the player to take into account two main facts.  The first is to look to the digital sign above the door for direction.  The second is that passing from one car to the next does not immediately count as progressing through the game, and progression only happens after you've seen an anomaly.

Anomalies in this game also work differently than they do in The EXIT 8 or other anomaly-spotting games.  Platform 8 feels like it forces the player to witness anomalies before you can continue.  You might pass through the double doors into the next car, and the lights flicker, and the door at the other end begins opening and closing on its own.  As you approach, the door closes and stops.  That's it.  You saw an anomaly and can continue.  You might pass into the next two cars without seeing anything.  Then, in the following car, you see the flickering image of a woman standing.  Above the doors, the electric sign flashes in red text: "Do Not Look Away."  If you follow the directions of the sign, you're allowed to proceed to the next car; otherwise, you run the risk of being "caught" or "killed" and starting over from the beginning.

Of all of the anomalies I saw in Platform 8, I didn't come across any that were as obscure as ones in The EXIT 8, like the face in the ceiling tiles or a poster slowly growing in size.  The developers want you to see the multitude of bloody handprints covering the windows or the little girl who writes "Find Me" on the ground and prevents the door to the next car from opening until after you've found her.  The game is having fun with the anomalies as opposed to making the player feel frustrated when you pass from Hallway 7 back down to Hallway 0.  That's something that I greatly appreciate because that tells me that the developer respects my time as a player without padding the hell out of their game.  It also shows evolution in a developer, not rehashing the exact same formula and mechanics in a different setting.  I did go into Platform 8 expecting another The EXIT 8 set in a series of infinitely connected subway cars, but what I played was so much better.

I enjoyed the anomalies and was creeped out by several of them as well.  I came across one anomaly multiple times because I couldn't figure out how to get past it, but I never felt the frustration of being sent back to the beginning of the subway terminal.  I wanted to see the different anomalies, not just because they were how you progressed, but because they felt unique, and odd, and kind of absurd.  Yes, having a nearly faceless creature make noises at you is unnerving; seeing a giant hand pass through an open subway door and pad around for a few seconds is just bizarre.  That's what makes Platform 8 so much fun to play.



~JWfW/JDub/The Faceplantman/Jaconian
You Hold Your Power As Your Fears

Wednesday, October 14, 2026

MIDI Week Singles: "The Front Hall" - Resident Evil 2 / Bio Hazard 2 (PSX)

 


"The Front Hall" from Resident Evil 2 / Bio Hazard 2 on the PlayStation, Windows, Nintendo 64, Dreamcast, GameCube (1998 - 2003)
Composer: Masami Ueda
Album: Resident Evil 2 Original Soundtrack
Label: Geimu PIONEER, VIZ Music
Publisher: Capcom
Developer: Capcom


"The Front Hall" is the first song you hear when you enter the Raccoon Police Department after escaping the city streets, whether you're playing as Leon or Claire.  The song starts as soon as you open the door, even before you get inside, with a chime that, to me, sounds like something you'd hear in a church or sanctuary, a secure place away from the world's horrors.  Then there are the synths that add an air of danger, immediately reminding the player of the zombies outside.  Then the piano comes in, and it immediately reminds me of "Peace of Mind" from the first Resident Evil.  That calming piano line lets the player know they're safe.

The front hall of the RPD is the first full room in the game where there are no zombies, and the player can finally relax, but only just.  It's like the piano can't finish its phrasing because ominous chimes/synths/bass threaten to take over in the most aggressively passive way possible.  

It's a great piece that feels quintessential to the game and the location's memorability, as it was reused a year later in Resident Evil 3 when Jill returns to the RPD, and in the 2019 Resident Evil 2 remake.  If Resident Evil 2 had a theme, this would definitely be one of the primary motifs.


~JWfW/JDub/The Faceplantman/Jaconian
Don't Let Him Come Too Close To You

Friday, October 9, 2026

Thoughts About the Music in the Final Fantasy Pixel Remaster Collection

 


I bought the Final Fantasy Pixel Remaster Collection a while back, both on Steam and on the Switch.  All six NES/SNES-era Final Fantasy games in one collection, but each game is its own separate game.  But I'm not here to talk about the games, but the presentation within the games and the choice of which version of the music is played.  Each game comes with the original NES/Famicom sound chip soundtrack and a newly arranged version performed by the Japanese Century Symphony Orchestra.  The fact that the entirety of the soundtrack has been performed by a live orchestra is an amazing accomplishment in and of itself, and 14-year-old me would have been absolutely floored with this knowledge.

That being said, I have some thoughts.  Some curmudgeonly thoughts.  Some thoughts from a person born in the last century and last millennium.  

And I should preface that these thoughts are my personal opinion.

I love the orchestrated arrangement of each of the soundtracks.  I've listened to them all.  Final Fantasy I through VI, and they're amazing.  

But I don't have them playing when I'm playing.

For me, there's a kind of mental disconnect.  Something is off when I'm playing the original Final Fantasy that has a palette similar to that of Final Fantasy II (on the SNES), and I hear music performed by a live symphony orchestra.  It's similar to the "demand" from players when the pixel collection first came out in July, 2021, and the only font was a modern-looking one.  A pixelated font was added to the Steam and smartphone releases in a future update when it was released on PlayStation 4 and Nintendo Switch in April 2023.

I did try having the newly orchestrated music playing when I first started playing Final Fantasy in June of 2025 (not my first time playing Final Fantasy, mind you), but I wasn't fond of the orchestrations for the "Chaos Temple," "Matoya's Cavern," "Dungeon," and "Mount Gulg" in the context of the video game.  On their own, I enjoy them significantly more, but they just didn't sit well with me.  So I reverted back to the original MIDI score.

Let me give you a brief example from Final Fantasy III, because it's the one I'm currently playing; brief because the Switch can only record 30-second videos.


That's really it.  I could give side-by-side comparisons to nearly all of the songs in the early games of the franchise, but I won't, for both our sakes.  I love listening to the newly arranaged/orchestrated/recorded music on their own, but when playing, I have to have the original music on.  The instrumentation of the MIDI instruments just sits better with the visuals for me.  The one exception, because of course there's an exception, was "Pandemonium Castle" from Final Fantasy II.  Because spending close to 15 hours in that dungeon, even when using the new sprinting mechanic, I was going to listen to this amazing and completely overblown arrangement instead of the original 27-second song.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental

Wednesday, October 7, 2026

MIDI Week Singles: "Peace of Mind (Save Theme)" - Resident Evil / Bio Hazard (PSX)

 


"Peace of Mind (Save Theme)" from Resident Evil / Bio Hazard on the PlayStation, Windows, SEGA Saturn, Nintendo DS (1996 - 2006)
Composers: Makoto Tomozawa, Akari Kaida, Masami Ueda
Album: Resident Evil Original Soundtrack
Label: Laced Records
Publisher: Capcom
Developer: Capcom


As I started to write this article, I was convinced we'd already covered this song before in a MIDI Week Single, but that turned out not to be the case.

I feel like this theme is a quintessential "it's safe here" music cue.  The first time you hear it after stumbling upon an unmarked room on your map, you've already come across the first zombie and several others, and you're likely already starting to calculate how many more zombies you can take out with how much ammunition you have left.  You open a door tucked away behind a flight of stairs, and this music starts.  It's almost like your brain registers the calming tones before your eyes have time to register that there's nothing harmful in this tiny little room.  That small room with its warm orange glow is a haven, the first you find, and that cue, burned into your brain, signals safety away from the horrors of the mansion.

It's a wonderful little piece of music that has received variations throughout the series, at least in the games where safe rooms were utilized.

It's safe here; you can finally rest.


~JWfW/JDub/The Faceplantman/Jaconian
And Then You Smile, And Hold My Hand

Monday, October 5, 2026

Hot Take: ACE COMBAT 8: Wings of Theve is Playable with a Subpar Graphics Card

This isn't a first impressions article for ACE COMBAT 8: Wings of Theve because I've only played the first three missions in the game for about 3 hours, and easily half of that was just watching replays. The other hour was playing ACE COMBAT Zero: The Belkan War, which is only accessible by launching AC8.  Anyway, this is my hot take about ACE COMBAT 8: Wings of Theve, and I'm sure that it will be a controversial one in the ACE COMBAT community.

Like the title says, ACE COMBAT 8: Wings of Theve is, at least through the first three missions, playable with a subpar graphics card.  So y'all know where I'm coming from, here are the general/basic stats for my laptop:

OS: Windows 11 Pro
Processor: AMD Ryzen 7 7735 U Radeon Graphics
Memory: 32 GB RAM
Graphics Card: AMD Radeon Graphics 995 MB

For reference, the "Minimum Specs" as recommended to play AC8 are as follows (taken copy/paste from the Steam store page):

Requires a 64-bit processor and operating system
OS: Windows 11
Processor: Intel Core i7-10700K / AMD Ryzen 5 3600X
Memory: 16 GB RAM
Graphics: NVIDIA GeForce RTX 2060[6 GB] / AMD Radeon RX 6600 XT[8 GB]
DirectX: Version 12
Storage: 150 GB available space
Additional Notes: This game requires an SSD, a hardware ray tracing-enabled graphics card, and DirectX 12 with Shader Model 6.6 or higher. Estimated performance: 1920×1080(Upscale)/30fps with graphics settings at "Low". Framerate might drop in graphics-intensive scenes.

Yeah, that graphics card is the main issue here, and I'm more or less okay with that.  It's not like I'm looking to play the newest high-end AAA video game releases over here.

I tried to run AC8 on the Steam Deck, but I couldn't even get the game to start, so I figured I'd try my laptop.  And you know what?  It worked.  Kind of.

On my laptop, the game automatically lowered all graphical settings to Low, which I fully expected, and I left them alone.  During the first mission, I had the FPS settings at 60 max, but then lowered it to 30 after Cinema scenes maxed out in the mid-to-high 30s.  While playing the campaign (I have zero interest in online play*), I'm anywhere between 13 and 20 fps.  No, that's not at all ideal.  But I was able to play through the first three missions.

I'm including what I recorded natively from Steam while playing, and yes, it's nowhere near as crisp and smooth as it should be, but I'm still really surprised that what I played was as playable as it was.  After a few minutes, I grew accustomed to the lower frame rates and, in all honesty, when you're watching FPS consistently between 15-20, a brief dip down to 11 for a half second is nearly imperceptible, as compared to a drop from 60 down to 10.

Obviously, I'd much rather play this on a system that could handle at least the recommended specs and was playable at a minimum of 30 FPS, but I'm making do with what I have.  I'm really just going to play as long as the game remains playable like this because I very much enjoy this series.  

So the tl;dr for those of y'all who've skipped to the end.  Ideal: no.  Playable: yes.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental


*P.S.  Once more for the people in the back.  I don't have any interest in online play, so needing a higher-end system to play online with up to 100 other people in the HUB world or eight other players in a sortie is a non-issue for me.  Even if I had a top-of-the-line desktop, zero interest.

Friday, October 2, 2026

Monthly Update: October, 2026

 


I don't really even know where to start with October.  So let's quickly glance back at September while we ruminate.

I'm really enjoy doing the Game EXP Trilogy series, if only because it's gotten me to play or at least give a damn good, honest try, on older games that have been sitting in my Steam Queue for nigh on a decade or more.  I think Super Meat Boy surprised me the most; I'd written it off as too difficult before I came back to it, but that quickly faded as I started beating more and more stages in World 2.  I already have the next three games queued up for Game EXP Trilogy Part V, but I'm taking a month-long break between articles because a couple of these games will take me longer than the others.  Howlongtobeat.com has one of the games at 21 hours for a completionist run, not that I plan on 100%ing the game, but I find I tend to play slower than someone who's trying to beat the game faster than the average player.  Another game is estimated to take me up to 34 hours, but I don't know if I'll beat it, as it has a mechanic I've never been a fan of and has been something that's stopped me in the past.  The third game might only take me 8 hours, but it's a mind-bending puzzle game, so if I do beat it, I will likely use a walkthrough or a guide.  But anyway, that article will probably go up in the middle of November; then we'll likely take another break and post Part VI in January.

On the Switch OLED, I'm in the final battle in Triangle Strategy, and it's definitely kicking my ass.  Again.  Still.  I'm really tempted to lower the difficulty from Normal down to Easy because of how frustrating the whole stage is.  There are 15 enemy units while you're only allowed to choose 10 from the nearly 20+ that I have in my roster, which seems utterly ridiculous, especially for the final battle.  And then the game does the really annoying mechanic of enemy reserve troops showing up after a certain number of rounds.  So shortly after killing two knights, two archers spawned, and later, three more enemies spawned.  It's definitely crossed my mind that I built up my characters through skill purchases wrong and that I'm just ill-equipped for this beast of a fight.  I've already failed it three times.

Speaking of failing, on the Steam Deck, I'm still playing through Red Dead Redemption, and I might be in the final act on that as I'm doing quests in and around the town of Blackwater.  I've got John Marston's fame up to the point where everyone comments to/at him whenever people walk by, and I am no longer charged for drinks at taverns.  I did run into a bit of trouble the other night when I was outflanked by a bear that was off-screen and just knocked me over and proceeded to use John as a trampoline.  And then I was approached by a person who I only realized too late was affiliated with the bounty I was hunting, and got shotgunned in the face.  And then killed by another pair of bears while trying to rescue a man who was being run down by another bear.  And then I was swarmed by the bounty's bandits.  It took a total of six attempts to capture this bounty, and I ended up killing him because he burst through a door and I didn't have the lasso out, so he, too, got shotgunned multiple times.

On my laptop, I finished lily's world XD, which I will have a Game EXP article for in the next week or two.  That was a really fun and unsettling found laptop-type game, but I'm going to leave it at that so I can cover the rest in the article.


~JWfW/JDub/The Faceplantman/Jaconian
I'll Never Forget


P.S.  And a big fucking P.S. at that.  "Promising young men don't rape people."  Burn their world down.

Wednesday, September 30, 2026

MIDI Week Singles: "Charge Assault" - ACE COMBAT 7: Skies Unknown (SOS)

 


"Charge Assault" from ACE COMBAT 7: Skies Unknown on Windows, PlayStation 4, Xbox One, Linux, Steam OS, Nintendo Switch (2019 - 2024)
Composer: Keiki Kobayashi
Label: SuperSweep


"Charge Assault" could easily have been an unforgettable song for your first mission in ACE COMBAT 7.  The stage plays somewhat like a tutorial mission, getting the player comfortable with flight controls, recognizing and customizing the HUD, and gushing at how great the game looks, even for a seven-year-old arcade flight sim.  Nothing really to distract the player from completing the mission.  Loud driving drums, synths, and "bwoooaaammmms" are all the hallmarks of a Harry Gregson-Williams score you'd find in a Simpson/Bruckheimer film from the mid-1990s.

But that lasts only 1 minute and 45 seconds, because that's when the proverbial beat drops.  The theme of AC7 blares, adding to the feeling that you're an amazing fighter pilot.  Every time this particular theme plays, not only during this song but also during at least five other songs during the game, I can't help but feel amazing.  

This song is victory incarnate.


~JWfW/JDub/The Faceplantman/Jaconian
I Might Have Looked the Other Way

Monday, September 28, 2026

Game EXP: Ace Combat 7: Skies Unknown (SOS)

Ace Combat 7: Skies Unknown
Release Date: January 31, 2019
Systems: PlayStation 4, Xbox One, Windows, Linux, SteamOS, Nintendo Switch
Publisher: Bandai Namco Entertainment
Developer: Bandai Namco Studios
Time Spent: 21 Hours 42 Minutes
Post-Game Playthrough Videos on YouTube

[For my first impressions and initial thoughts about this game, you can read my First Impressions article here.]

I think I can safely say that it took me six years to come back to the Ace Combat series because Ace Combat: Assault Horizon left such a bad taste in my mouth that I felt completely disillusioned with the series.  I had no desire to return to this franchise if that was the direction Project Aces was taking.  I had ignored all trailers for the game, didn't read any of the reviews, and had just written off Ace Combat altogether.  That was a mistake since, for me, Ace Combat 7 felt like a return to form, to a type of arcade shooter flight-sim that I loved, although it still has some elements that I'm not particularly a fan of.  That's bound to happen with nearly any franchise, so I'm not salty about not liking every single little thing about this game.

Ace Combat 7 follows the familiar gameplay loop that I love about the series.  There's a debriefing about the mission with computerized gridlines and arrows in place of planes and enemy troops, with the audio and dialogue as if you're in a briefing room receiving intel before a mission.  Occasionally there's banter between characters, but the protagonist is always silent.  You then proceed to the hangar where you select your plane, weapons loadout, and modifications you want to add to your plane, such as increased standard missile load (from a measly 60 missiles up to 80ish+), increased armor to buff guns and missile defense, or whatever is needed to outfit a plane to increase maneuverability.  You can also select the paint job on your plane if that's your thing, although it's really only beneficial in a superficial way for multiplayer and has zero impact on actual gameplay.  Then you're off in your plane and participating in the mission.

By completing missions, you earn points you can use to buy more advanced planes, special weapons (like advanced missiles and bombs), or modifications that work on any plane, regardless of type or where you bought the upgrade in the plane/skill tree.  Think of it like spending experience points in an RPG.  By completing the main campaign, which took me about 19 hours on Easy (there were some instant death missions that I was struggling with that I'll get to later), there were still a lot of planes that I hadn't unlocked because of how expensive they were, and I would tend to buy any modification I came across because I wasn't sure if it was something that would come in handy in a mission down the road, or if I thought I might actually need to have a quick de-icer on my plane while flying through clouds at high altitudes.  The point is, at least on Easy, and a handful of missions I've beaten on Normal and Hard difficulty settings, that you're going to need to do a bit of grinding in the campaign mode to unlock all of the planes; some of which you have to buy to gain access to other planes along the same airplane tree (ie, if you want to buy the F-15E Strike Eagle, you'll also have to buy either the F-15J or F-15C Eagle first).

Let's briefly get to the aspects of the game that I wasn't a fan of, because while at times it felt like a lot, looking back, it really wasn't.

The first time the game throws something at you that isn't a straight "go kill enemy bogies" is Mission 7: First Contact.  You're initially tasked with destroying radar sights in a mountainous area filled with sky-reaching pinnacles.  You soon discover that a thunderstorm has encroached on your area, and so you have to now fly through heavy rainfall while tracking enemy planes and radar sites, which isn't too bad until you factor in the lightning.  If/when you get hit by lightning, you briefly lose control of your plane; your radar and HUD fail, leaving you to have to target enemies manually while also fighting to regain control of your plane while not crashing into the surrounding mountains.  Then at the end of the mission, you have to fly against an enemy plane that's effectively a mini-boss fight, rain, lightning, and all.  I'm sure the lightning strike RNG is purely random, but it's really hard not to feel that the game is purposefully targeting your plane specifically when you're about to either lock on or fire a missile.

Immediately following Mission 7, in Mission 8: Pipeline Destruction, you have to fly through a desert during a sandstorm, which restricts your radar capabilities.  In the back end of the mission, you have to track down 20 tanker trucks moving speedily through the desert like they're in a Mad Max movie, again, while you have limited radar capabilities that will flicker on and off during the sandstorm.  And then in the back half of this part of the mission, you have the additional headache of dealing with the super agile UAV (Unmanned Aerial Vehicle, an attack drone) which doesn't seem to be affected by the sandstorm at all.  If any of the fuel tanker trucks make it out of the combat zone, you have to start over from the last checkpoint.

The last gimmick that I want to harp on about is that, in the second half of the game, the antagonists have knocked out GPS systems, which means that while your radars do work, they have limited functionality.  First, targeting is spotty, so sometimes you might be able to lock on to an enemy, and other times your HUD will flicker off.  Combined with this is the added complication that, for some missions, because the loss of GPS is a multi-mission problem, you can't tell who is a friendly and who is an enemy until you're almost within a hundred yards or so.  So when you're flying 2,560 kph, that distance comes up on you really quick.

Not so much a gimmick but more of a feature in this game is that the enemy have a hard-on for the aforementioned UAVs.  Once they're introduced in Mission 2, almost every mission, at some point, will feature a veritable swarm of these quick little bastards.  What makes these speedy little shits so annoying is that it makes the missions hard to plan for if you're trying to roleplay in any kind of logical manner.  When you receive a mission briefing about having to attack ground forces, take out trucks, tanks, and structures, you would normally think to bring in a plane whose speciality is Air-to-Ground, like the wonderful A-10 Warthog.  But no, that would be a bad choice, because halfway through the mission, you might be tasked with having to take out 15-20 of these quick attack drones, or god-forbid, another encounter with the mini-boss, Mister X, and trying to do that in a plane that flies like an overweight elephant armed with a front-mounted 30mm Gatling gun and a handful of missiles is not the ideal situation to be in.  This is probably the reason why there aren't a lot of air-to-ground-focused planes in this game.

I guess I just wish that there were more simplistic missions where you just had to go out and destroy a bunch of stuff within your 20-minute time limit.  But I guess that's what free play mode is for.

But you know what?  Despite all of the complaints I have about this game, I still loved it.  Like I said up at the top, I felt like I was able to fall in love with this series all over again.  I enjoyed the minorly convoluted story, where the narrator was a woman whose story ran tangentially to the playable main character for the first quarter of the game.  I liked the arc of the playable character and how they fit within the overarching narrative.  The game had a lot of elements that I love from the series, like stupidly large enemy ships with a 3,600-foot wingspan, planes that can carry 100+ missiles, planes that can generate force fields, flying into an underground/underwater tunnel that was 100% not designed for a full-assed-size plane to fly through, and orbital space laser cannons.  It's ridiculous, and I love it.

On the Steam Deck, the game ran fine for the most part, with some of the load times taking, at most, just under a minute.  The game ran at a consistent 60fps with the settings at a mix of medium, high, and max.  If I don't have the Steam Deck plugged in, I can play for about an hour before the battery dips below 20%, which isn't good, but I rarely play unplugged, so it's not really an issue for me.  I cannot think of a lot of games where the game offers me a replay feature, and I'll watch the entire thing all over again because the game makes my gameplay look like I'm a complete bad-ass.  I'll sometimes even watch the slightly faster-than-real-time playback on a computer grid where your plans are just arrows and trail lines because it's fun to watch yet another angle of what I just played.  With that in mind, the actual time to beat the campaign on easy is probalby probably closer to only about 10, but that's just for a single run through on Easy.  I'm sure that if I were focused on playing on Hard, getting S rank on all of the missions and buy the X-02S Strike Wyvern, I could probably put in at least another 30 hours and all of the things that bothered me would just be minor annoyances.

 



~JWfW/JDub/The Faceplantman/Jaconian
Instrumental


P.S.  If you watched any of my videos, you'll notice that I never used defensive flares, but not because I never felt that I needed them, but because I never figured out which button to press to use them.  Every so often, I would press different buttons to try and figure out how to use them, but nothing ever worked, so I just went without them.