dorchadas: (Kirby Walk)
This game passed me by when it originally came out. The first portable gaming device I owned was...well, technically it was the Sega Game Gear with its fantastic 30 minute battery life, and I got a lot of usage out of it on family vacations for the 30 minutes that it lasted. But past that, I didn't buy a portable until the PSP, and I didn't buy a Nintendo portable until 2008 right before I moved to Japan, so the entirety of the Game Boy and Game Boy Advance passed me by. That includes Kirby's Dream Land, which I only read about in Nintendo Power barring a few minutes' play on a friend's Game Boy. Lacking any preconceptions, I came into Amazing Mirror and was having a fun time and then I happened to be looking through old podcasts I hadn't finished and found the Retronauts Kirby 3 episode. I loaded up it at the 30 minutes remaining and was immediately greeted with people trashing the game's map and the progression.

I had no idea it was so controversial! But you google it and find out that Nintendo Life gave it a 6/10 and people online are arguing whether that's fair or not. This is what ubiquitous internet access to information has taken from us. By virtue of never playing the game, I went into it with no expectations and had a nice time, whereas if I had gone in after reading a bunch of people trashing it I would have been primed to dislike it. Instead I got the nice surprise that people did twenty years ago: "What you mean they made a Kirby metroidvania?!"

Kirby and the Amazing Mirror - Choose Your Door
Choose your destiny.

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dorchadas: (Cowboy Bebop Butterfly)
Around six years ago, the group chat I have with a couple of guys to talk about video games (I'm sure you have one too, right?) blew up with discussion of a game called Hollow Knight. I had heard about it on both Rock Paper Shotgun and Bonfireside Chat, of course, but this was people I knew talking about the game, like listening in to a discussion on the playground the way that the designers of The Legend of Zelda hoped that people would do when talking about their game. It sounded amazing and right up my alley, especially when those same group chat friends started talking about a planned sequel called Silksong that was supposed to be coming out in a few short years.

Well, that was six years ago and I've beaten Hollow Knight and Silksong still isn't out. Sic transit gloria mundi.

I started playing Hollow Knight in April and originally thought, oh, this is a thirty-hour game, it'll take me a couple months to finish. But if you've been reading you know that I've gotten pulled into modding for Cataclysm: Dark Days Ahead, which takes up a chunk of my free time, and I also have Laila, which takes up a much larger chunk of my free time. Don't let the fact that I took almost eight months to beat this game imply anything about the quality of the game itself, however--Hollow Knight is a gaming masterpiece and I can perfectly understand why it monopolized gaming chat for weeks on end.

Hollow Knight - Knight overlooks Hallownest
The last and only civilisation, the eternal kingdom...

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dorchadas: (Gendowned)
It's frankly amazing to me that Blaster Master Zero ever got made at all, considering the mess that were the Blaster Master sequels throughout the years. And it's even more of a miracle that it was so good, since Inti Creates mined the original Blaster Master, the Worlds of Power: Blaster Master, and the Japanese 超惑星戦記メタファイト (chō wakusei senki metafaito, "Super Planetary War Record: Metafight"), threw them all into an oven, and somehow created a delicious cake from the results. And what's more, they did it again with a sequel and it was still good!

It is definitely anime as hell, though.

Blaster Master Zero 2 Approaching new planet
A perfectly ordinary planet.

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dorchadas: (Death Goth)
Back in 2015, I learned about the Kickstarter for Bloodstained: Ritual of the Night from people who had watched it and noticed its similarities to my favorite platformer of all time, Castlevania: Symphony of the Night. In the video, Igarashi Kōji promises to make a game in the style of the old Castlevania games now that Konami isn't interested in doing anything with the IP other than making uncomfortably sexual pachinko games, and basically that's it. There's almost nothing about the actual game in there other than that it would be in the style of Castlevania, but that video! Igarashi walks around an old castle lit by torchlight, he sits at the head of a table and takes a swig from a wineglass before hurling it to shatter on the ground, and he walks outside and transforms into a cloud of bats. I fully admit that I was sold entirely on the game based on the pitch video without even really knowing what the game would be like.

Maybe it's a good thing that I didn't follow the development very closely, then. Through reading USGamer I heard about bringing in Inti Creates, who made the excellent Blaster Master Zero, to help work on the game. I saw the video of all the complaints about the art style where Igarashi once again threw down a wine glass and shouted "I will prove them wrong!" This had all the ingredients of a disaster in the making.

Then Curse of the Moon came out and it was great. And now Ritual of the Night came out and it's fantastic. We wanted Symphony of the Night reborn, and by G-d, that's what we got.

Bloodstained Ritual of the Night Zangetsuto Slash
And then the screen split in half and started spraying blood everywhere.

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dorchadas: (JCDenton)
I was thinking of posting this a few days ago, but I'm glad I waited because something else came up.

The Saturday before last was the 20th anniversary of Fallout, as I was reminded of by this RPS article. I heard of it the way I heard of most new computer games, through PC Gamer and its demo discs. After playing the demo, set in a town called Scrapheap and dealing with conflict between warring gangs, I was hooked. I got the game not long after it came out and played it three or four times before the sequel came out, which I played another half-dozen times. Both of these would foreshadow the thousand hours I spent in Fallout 3 and Fallout: New Vegas.

I remember poring over the character creation screen, picking the Gifted perk because of the bonus to stats, and tagging Speech, Science, and Energy Weapons, thus setting the template of me playing a cerebral sniper/wizard in basically every RPG. The early part of the game was brutal, but I persevered, found a laser gun, talked my way into people's good graces, and eventually made my way into the cathedral where I engaged the final boss in a duel of wits, demonstrated to him the impossibility of his plan, and in his despair, he set off the self-destruct sequence. I beat a boss without firing a shot.

That stuck with me, though mostly nowadays in how rarely games allow it.

I have a half-finished Fallout game on my PC now, where I tried to go through with an unarmed build but gave up because I couldn't find any unarmed weapons. Maybe I should go back to it and try to finish it off. I still remember everything.



Last week Monday was the American release of Castlevania: Symphony of the Night, which I was reminded about by this Retronauts article. When it came out I had no idea it existed--the most recent Castlevania game I had played in 1997 was Dracula's Curse--but [livejournal.com profile] uriany bought it and we played it together. He already knew how to access the inverted castle, and where everything was, so he guided me through the game.

Symphony of the Night is my favorite platformer ever because of the sheer degree of options and the chaos they unleash. It's not hard, but who cares? There are boots that "discretely increases height" that make Alucard's sprite one pixel taller. There's "Alucart" knock-off gear that increases his luck. There's armor that turns Alucard into an Axelord. There's an accessory that shoots lightning. And we killed Dracula with all of them. Balance is worthwhile, but it's not always the most important part of a game and it's possible to have fun without it. The fun in Symphony of the Night is in the variety of possibilities and the sense of discovery.

There's a dodo that drops a sword that spells out VERBOTEN when Alucard swings it. What more do you want? Emoji La



And yesterday was the original release of The Orange Box (RPS link), quite possibly the most dollar value I've ever gotten from a gaming product since Master of Magic. 2007 was when I was heavily into World of Warcraft and my gaming was mostly $15 a month plus the occasional other game--from summer 2007 to summer 2008 is the year I played Xenogears and Ōkami for the first time too--and then the Orange Box came out with Half-Life 2 plus Episodes 1+2, Team Fortress 2, and Portal.

It's funny to think that Half-Life 2 is probably the least consequential of those games, because at the time it felt monumental. That's before Valve stopped making games and before we understood how amazing Portal was. Team Fortress 2 may have since descended into a military-themed haberdashery, but as someone who played a ton of original HL Team Fortress at university, I got hundreds of hours out of it. It was especially fun playing while I was living in Japan. There were two servers I would habitually join. One downloaded roughly 200 sound clips when I first joined and the game was an aural assault of anime quotes spammed by people typing in text commands. The other was silent, organized, and everyone typed "otu" (otu -> お疲れ -> "thanks for your hard work") at the end of every match. It's Japan in microcosm, right in those two servers.

Portal memes were annoying, but the game deserved every bit of mind-share it got in popular culture. It was a complete experience in three hours, funny and charming and a little poignant all at once. I still have the companion cube plushy that [personal profile] schoolpsychnerd snagged during one of its rare periods of availability. I remember friends being envious of it.

Portal II was too long, but Portal is nearly a perfect game.


("Gaming Made Me" comes from a similar feature that RPS does. Links here)
dorchadas: (Cherry Blossoms)
I heard about Momodora: Reverie Under the Moonlight on Bonfireside Chat, as a game that was similar to some aspects of the Souls games that they really liked. Then I heard it was a metroidvania game. Well, that's all I need to hear. Sign me up.

I bought it, loaded it up, and took in the beautiful pixel art and moody music. And then I moved forward and was brutally murdered by a chibi with a shield.


A deadly ambush.

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dorchadas: (Metroid Samus Aran no helmet)
Metroid II is the only Game Boy game I've played for longer than a few minutes. One of my sister's friends had a Game Boy, and for some reason that is still opaque to this day, her mother asked me to babysit for them. That mainly consisted of the friend watching TV while I played Metroid II, confusing myself with the changes between that and Metroid. Having to hunt metroids? Jumping morph ball? Trying to play a metroid game on a 160 x 144 pixel screen? I played for about half an hour, got nowhere, and then never played it again.

When I heard about Another Metroid 2 Remake, I figured it would end up vaporware like the various 3D Link's Awakening remakes or shut down before being released like Chrono Resurrection. To my utter astonishment, however, it was finished, released, and was out for almost a month before Nintendo DMCAed it. That was more than enough time for the internet to seize hold of it, and it's easy to find if you spend any time looking.


Threat detected

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dorchadas: (Gendowned)
One of my favorite games for the original Nintendo was Blaster Master. I played it for hours doing the same levels over and over again, because it was extremely hard. About half of my games never got past the boss of level 3, and those that did never got past the crab boss in level 5. Only once did I ever manage to beat the crab boss, and that was the last time I played Blaster Master.

So when I heard that there was a remake coming out for the Nintendo Switch, I was almost more excited for that than I was for Breath of the Wild. One of the main games of my childhood brought into the modern era? The same gameplay and areas, still with pixel art, but with modern conveniences like the ability to save and Switch's suspending the game at any time? That sounds amazing.

And it is. We ordered the Master Edition of Breath of the Wild, but I'm not playing that. I'm playing Blaster Master Zero.


Blasting again!

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dorchadas: (Green Sky)
I wanted to play this game pretty much from the moment I first saw it, but it took me a long time to get to it. I didn't buy it until months after it came out, and then I just didn't get around to it. I've been watching more TV lately with [personal profile] schoolpsychnerd now that we have some YouTube channels we like keeping current on and are watching more anime. I've been tinkering with some RPGs that I may or may not ever run. And there were all the other games I wanted to play. That playthrough of Baldur's Gate II that I'm currently 132 hours into and still not finished with. The Zelda games that I've decided I want to chron-game through as many as I can before the Switch comes out. Playing through Mass Effect III even though I hated Mass Effect II because I had to finish the trilogy and see if ME3 really was good for the first 90% and it was only the end that was terrible (spoiler: no, it's almost all terrible). You know how it is.

Wait, that's just me? Oh. Um.


You can't jump on the bubbles.

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dorchadas: (Metroid Samus Aran no helmet)
Last week was the 30th anniversary of the original Metroid, and I wrote about it. But this weekend I was looking to play something short as a break from the multiple sprawling dozens-of-hours RPGs that I'm working my way through, and while I originally was deciding between Kirby's Adventure, Super Mario Bros. 3, and Slain: Escape from Hell, I realized that I hadn't yet played Zero Mission. I've heard multiple times that it's good enough to make the original Metroid completely obsolete and I've been meaning to play it for years at this point. What better time than in honor of the 30th anniversary? And now that Another Metroid 2 Remake is out--DMCAed, but the internet never forgets and it very specifically did not get C&Ded, so the author is still updating--I Wanted to play the first game before I played that.

I don't want to bury the lede, so I'll say that everything I heard about Zero Mission is right. It really does make the original obsolete.

Metroid Zero Mission chozo mouth
Ominous.

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dorchadas: (Kirby sweatdrop)
I first found out about An Untitled Story from a thread on RPG.net. Fresh from futilely hurling myself at I Wanna Be the Guy, I downloaded it, played it a bit, then shelved it for a few months and picked it up again once I moved to Japan. And playing it now, I'm even more impressed with my reflexes, my sheer bloody-minded persistence, or the combination thereof? How did I get as far as I did in this game without a gamepad, using not just any keyboard, but laptop keyboard? This is hard enough now that I have a purpose-built controller. I'm retroactively impressed with myself.

I've learned since then that the designer of An Untitled Story went on to make TowerFall, which I haven't played but which I've heard a lot of good things about but have never played, mostly because it's local co-op only and [personal profile] schoolpsychnerd isn't a fan of that sort of game. Or this one, really, though she cheered me on through my 47 deaths.


You're damn right I have.

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dorchadas: (Awake in the Night)
What does one write about perfection?

Symphony of the Night is the game I've beaten the second-most times, just behind Chrono Trigger (which I'm sure I'll get around to writing about one of these days). I still remember the first time I beat it, in [livejournal.com profile] uriany's basement as we boggled at the choice of I Am the Wind as an ending theme. The gameplay leading up to it, I remember mostly in snatches. Farming for a Crissaegrim in the inverted library. Discovering that some weapons had special abilities you could activate using fighting-game-style button inputs. The way I was better at casting Soul Steal when it counted. Trying to do the tricks we had heard were possible--skipping Death at the beginning and keeping your equipment or dashing right at the beginning to end up outside the castle. They're both possible, but we never managed to do either of them.

Symphony of the Night is my favorite platformer ever. It doesn't have the purity of Super Metroid, and definitely not that of Super Mario Brothers, but it has plenty of madcap possibilities and it's those that make me love it. It's relatively easy to shatter the game's balance completely and end up either invincible or the next best thing, but that's the price of freedom.


man /man/ noun 1. A miserable little pile of secrets.

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dorchadas: (Death Goth)
Like so many of the indie games I'm familiar with, I heard about Odallus through Rock Paper Shotgun. After playing Dark Souls last year, I was really interested in more games that recaptured that kind of feeling and Odallus seemed like it had a similar aesthetic. The Rock Paper Shotgun review that I read said:
Death comes swiftly but there’s no insta-gibbing and it definitely always felt like my fault. Lovely sense of exploration too.
...and since those are two of the major high points of Dark Souls for me, I put it on my wishlist and bought it during one of the Steam sales. When I got stuck in Gabriel Knight and was sick of talking to everyone about everything and clicking every item on everything, I booted up Odallus on a whim and got sucked in pretty quickly.

It's no Dark Souls, though.


I know that feel, bro.

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dorchadas: (Slime)
The problem I have with iOS games isn't anything conceptual or philosophical. I don't think they're ruining "real gaming" (whatever that means), and while freemium is a blight upon the earth, it's spread to all games everywhere now and isn't a mobile-specific thing. No, the problem is mostly that i never have time to play them. If I'm on public transit or in bed, I'm usually reading, and if I'm at home I have too many other games at my computer that I want to play, so those get priority. But as I write this I'm on a plane to Oregon for a two week family vacation, so before I left I took the opportunity to clean out some of my iTunes wishlist and loaded my iPad down with some games, and this is the first one I played.


Ready for adventure.

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dorchadas: (Metroid Samus Aran helmet)
Metroid is one of the franchises that makes me wonder what it means to call yourself a "fan" of a series. I mean, I could say I'm a Metroid fan, but I've only played and beaten Metroid, Super Metroid, and Metroid Fusion. I've played Metroid Prime but never beaten the final boss, and I've played Metroid II for maybe 20 minutes. That's a better ratio than I have for Zelda games, but it's not that great.

I suppose that's not that relevant to the topic at hand, though, which is how amazing Super Metroid is.


Samus Aran does not practice proper OpSec.

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dorchadas: (Kirby sweatdrop)
Capsule review: The beginning half an hour of Antichamber was one of the best puzzle games I have ever played, and then I got the first gun and it all went to shit.

Okay, that's a bit harsh. Maybe more like, "and it turned into Portal but not as good."

For background, Antichamber is kind of like Portal except with more non-Euclidean geometry and being inside an Escher painting. Making three lefts is not always the equivalent of making a right. Backtracking down a corridor does not always take you back to your starting point. You can fall down for a thousand meters and climb one flight of steps and arrive back at the floor where you fell from. That kind of thing. None of that was a problem, and indeed, it was actually really great. One of my favorite RPG scenarios ever is Night Floors by Dennis Detwiller, which has as its setting a house with similar properties, and based on the videos I saw of the game before I played it, I kept calling Antichamber "Night Floors: the Game." And that's not an inaccurate assessment, though Antichamber has fewer insane people in it.

In the beginning, you're just dumped into the world of Antichamber with no explanation and no understanding of what to do, and you have to learn how the world works as you go along. There are a lot of puzzles with incredibly simple solutions that require lateral or out-of-the-box thinking, helped along by signs with aphorisms like "The choice doesn't matter if the outcome is the same" or "Life is full of ups and downs" or "Raw persistence may be the only option other than giving up entirely." All of the signs have some relation to the puzzle they appear near, though it might not be the most obvious relation and may require some thought. Then, after passing through several trials and twisting your brain around itself, you find the first of the guns that let you manipulate the blocks you've seen here and there.

The problem with this is that now that you can move blocks around, block puzzles show up. That's bad enough, but the real problem is that there are multiple kinds of guns, each of which can manipulate blocks in different ways, and you need each gun to get the next color of gun. That's the classic Metroidvania formula, and usually I love Metroidvania games, but I don't think it works here.

The reason the first part of the game is so great is because you know that every single puzzle is solvable. You can bang your head against the wall for a while, but if you can't progress you know that it's just because you're approaching it the wrong way, or you're concentrating too much on the surface of the problem without looking at it from multiple angles, or because you haven't thought of some trick that's necessary to progress. You can go everywhere--you just need to think about it the right way.

But once you get the gun, you realize that's not actually true, and that some problems simply can't be solved without the advanced abilities of the later guns. The whole game becomes limited and a lot of it is just a tedious exercise in moving blocks from place to place. Sure, you still can't approach everything straight on, but more often it's just a question of where to move the blocks and how to get them through the fields that prevent you from transporting them with your gun than in interacting with the strangeness of the world.

The entrance room--the antechamber, if you will--does deserve some praise, though. When you start the game, you're in a black room with white lines, and several walls are blank. As you play the game, one wall fills in with the various pictures you find throughout the game, and the other wall is a map. Rooms that you have found all the exits from are distinguished from rooms that still have secrets, dead ends and exits to other areas of the map are marked, and you can teleport back to the entrance room at any time. It makes leaping around to go to different areas or resetting puzzles that you've screwed up much easier than any other Metroidvania or puzzle game I've played before, and while Antichamber's particular conceits make this an easier mechanic to integrate here than it would be in, say, Metroid, it'd be nice if they could find a way. One of the most aggravating and time-consuming parts of any Metroidvania is the running all over the place trying to find the place you need to use your newfound powers at.

It took me around five hours to beat, so half an hour of fantastic and the rest of an adequate puzzle game that honestly wasn't terrible, but the brillance of the opening made it look worse than it might be. I bought it at 75% off, and at that price it's certainly worth it. At the very least, play until you get the first gun, and if you find it tedious and boring, set it aside. You've finished the best part.
dorchadas: (Ping Kills)
One of the best NES games is called Blaster Master[1]. Jason's pet frog jumps down a hole in the ground after being mutated to enormous size, and he follows it and finds a big metal tank hidden down there, which he immediately gets in and starts driving around because plot (although hey, big metal tank with the keys in the ignition, teenager...). Seeing the giant horde of mutants that live within the bowels of the earth, he decides the logical thing to do is fight them all to get his pet frog back. Of such elements were the stories of NES games made.

Note that the story of the Japanese version was totally different, with nary a frog to be seen.

It was hard. Not because the moment-to-moment gameplay was hard--it was a fairly standard Metroidvania[2] platformer, though with the addition of top-down dungeon segments when Jason left the tank and walked around and shot things--but because the bosses were brutal and there were limited continues and no way to save. A few of the bosses had a special cheaty way to beat them, whereby you could throw a grenade and pause the game and the grenade would continue exploding and doing damage even while the game was paused. The game even looped the hurt sound effect during the pause screen, so I'm not sure how this bug made it into the final game, but nonetheless it did. Not all of the bosses were vulnerable to it either, and one of the bosses that wasn't was the boss of Stage 3.

That boss was a square that teleported around and moved between various avatars while shooting you. As you shot him, he a) started moving faster b) started teleporting at more frequent intervals. That took me a lot of practice before I could reliably beat him, and there were several playthroughs that ended at that boss or not long after due to how many lives I lost trying to kill him.

(Skip forward to 2:00)


Yeah. It's like that.

Okay, now put on this music to set the mood, because it's fantastic and is also relevant to the story:



Stage 5 mostly took place underwater, and when you first get there the tank can't navigate. It can jump higher underwater but can't swim, so the stage is mostly just a continuous process of descending to the bottom of a gigantic underwater trench and fighting the boss at the bottom, who gives you a module to install into the tank that lets it swim, thus allowing you to make the climb all the way back up to the top. On the way down, you have to destroy a barrier using your tank's gun to descend to further depths. This will become important later.

The boss of Stage 5 was a Giant Crab Thing that shot bubbles at you. That sounds ridiculous, but it was actually quite difficult:



Note the "zero gun" challenge bit there. That probably needs some context, so let me explain. You could power up your tank only by killing bosses and getting the enhancements they dropped, but you could power up your character by finding powerups in the dungeons. Obviously there were health replenishing powers, but there were also gun powerups that would power-up your main gun, so it went from shooting tiny bullets about 30 feet to shooting bullets across the screen to shooting bullets that moved in a wave pattern to shooting bullets that moved in a wave pattern and went through walls. If you got hit, your gun lost power, and the scaling was unequal--it depowered faster per increment than it powered up. I'd usually power my gun to max in an early dungeon[3] and try to avoid getting hit for most of the rest of the game, because a fully-powered gun makes the game vastly easier.

Well, it turns out that filling the whole area in front of you with bubbles while having your only weak point being the mouth from which the bubbles are actively shooting out of is a pretty effective counterpoint to a gun that shoots wave bullets through walls. Even assuming that I had managed to maintain my gun level, it was hard. And if I hadn't, or if I died? Forget it. Any game that managed to make it past Stage 3 died at the boss of Stage 5.

Except for one. One game, I was dodging bubbles and throwing grenades and fighting and all of a sudden, the crab started exploding. I think I kept shooting for a couple seconds because I couldn't believe it. I mean, the boss of Stage 5 was unbeatable, right? Well, apparently not. And I grabbed the tank powerup that allows the tank to swim and left the dungeon.

When I got out, I started swimming. See, this time I had left the tank farther behind than I usually did, just to see if I could make it all the way down to the bottom of the chasm without it. I mean, I wasn't going to beat the boss anyway, so I was setting other challenges. But then when Giant Mutant Crab was dead, I had to swim up back to the tank, so I did. I swam up and up and up, halfway up the trench, and that's when I found the wall. I had left the tank on the other side of the barrier that you had to shoot through to progress, and when I went into the boss dungeon, it had regenerated. The tank was there, mere feet away, but may as well have been as far away as the moon. I had one life left, but if I tried to die to restart with my tank, the game would end and I'd lose all my progress.

I stared at the TV for a few moments, turned the game off, and never played it again.

[1]: Though with a much better Japanese title. "Super Planetary War Records: Metafight"? Awesome. It's like how Crystalis is "Godslayer: Sonata of the Far-Away Sky" in Japan.
[2]: Pre-dating the term! It has the same "get powerups, backtrack, now you can go new places" mechanic, though.
[3]: That dungeon had enough powerups to take your gun to max and the enemies were so weak you were highly unlikely to be hit; a combination that was rare to nonexistent in any other dungeon.

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