กิมหยง - ตะลุงเว็บบอร์ด

เพจรวมเรื่องสยองขวัญ เรื่องผี เรื่องน่ากลัว คดีฆาตกรรมโหด ฆาตกรต่อเนื่องที่อำมหิตที่สุดในโลก เรื่องเล่าผีน่ากลัวสยองขวัญ







เบลล์ กันเนส ฆาตกรหญิงสุดโฉด แม่ม่ายผู้เหี้ยมโหดแห่งอเมริกา
อาชญากรรมดำดิน เอล ชาโป กุซมัน
25 การทรมานสุดโหดในประวัติศาสตร์
อัจฉริยะจอมโฉดมือระเบิดต่อเนื่องยูนาบอมเบอร์
เล่าเรื่องสยองขวัญ นั่งซากหวาดผวา ศพล่อเสือ
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5 ฆาตกรต่อเนื่องที่ยังคงลอยนวลอยู่
5 ผีปีศาจที่มาเยือนยามค่ำคืน
ตำนานผีญี่ปุ่น


6 ตำนานผีของภาคเหนือ
5 อันดับผีตามความเชื่อของคนอีสาน
10 ตำนานผีอาเซียนประเทศเพื่อนบ้านสุดสยอง
มนุษย์กินคนในตำนาน ซอว์นี่ บีน (Sawney Bean)
10 อันดับฆาตกรต่อเนื่องที่อำมหิตที่สุดในโลก
8 อันดับฆาตกรสุดโหดแห่งสยามเมืองยิ้ม
เล่าเรื่องสยองขวัญ แดนพิศวง
อลิซาเบธ บาโธรี่ เคานท์เตสกระหายเลือด


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ตำนานผีญี่ปุ่น เรื่องความแเค้นของโอมุชะ
ตำนานผีญี่ปุ่น เรื่องบ่อนํ้าของคนตาย
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เล่าเรื่องสยองขวัญ สโมสรร้าง
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10 สุดยอดเรื่องเล่าสยองขวัญเดอะช็อค
เครื่องทรมานในอดีต
วิวาห์สังหารในอินเดีย ฆาตกรต่อเนื่อง 20 ศพ
เทศกาลตำนานวันปล่อยผี
เล่าเรื่องผี มาเอาแม่ผมไปทำไม
คดีโหดแห่งเขาแอลป์
13 เมืองอาถรรพ์
คดีวิตถาร ครูสาวทำช็อคฆ่าข่มขืนนักเรียนหญิง
ย้อนรอยคดีซีอุยฆ่ากินเครื่องในเด็ก
ไขปริศนาใครคือแจ๊คเดอะริปเปอร์ (Jack The Ripper)
ย้อนรอยคดีพิศวาสฆาตกรรม นวลฉวีและศยามล
10 สถานที่สุดแห่งความสยองขวัญ
10 อันดับฆาตกรเด็ก
ปริศนามรณะตระกูลเคนเนดี้
แคทเธอรีน เฮย์ ต้นตำรับคดีฆ่าหั่นศพ
เดวิด เบอร์โควิทซ์ ฆาตกรต่อเนื่องแห่งนิวยอร์ค
คดีฆาตกรรมในโรงนาสีแดง (Red Barn Murder)
ยโศโฆษาฆาต ฆ่าเพื่อเกียรติยศของครอบครัว

ขายการ์ตูน pdf ออนไลน์ การ์ตูนแกล้งจุ๊บให้รู้ว่ารัก 12 เล่มจบ

สั่งซื้อการ์ตูน แกล้งจุ๊บให้รู้ว่ารัก 12 เล่มจบ ที่นี่



อาอิฮาระ โคโทโกะ ยื่นจดหมายรักให้กับชายในดวงใจที่อยู่ต่างห้องเรียนเป็นหนุ่มฮอตหน้าตาดีเรียนเก่งเป็นอัจฉริยะที่ชื่อ อิริเอะ นาโอกิ และถูกปฏิเสธในทันใด ทั้งๆ ที่ยังไม่ได้เปิดอ่านเลยสักนิด แต่จู่ๆก็เกิดอุบัติเหตุที่ชักนำให้โคโทโกะต้องไปอาศัยอยู่ที่บ้านของนาโอกิ ด้วยความต้อนรับของแม่ของอิริเอะที่เอ็นดูโคโทโกะมากและอยากให้มาเป็นสะใภ้ ในการสอบกลางภาค นาโอกิ ได้ติวเข้มให้กับโคโทโกะจนได้คะแนนอยู่ในระดับแนวหน้า เป็นเหตุให้ฏคโทโกะยิ่งเป็นปลื้มในตัวนาโอกิทวีคูณ



ความลับไม่มีในโลก ในที่สุดเพื่อนๆ ที่โรงเรียนก็ได้รู้แล้วว่า โคโทโกะ อาศัยอยู่บ้าน นาโอกิ เป็นเหตุให้เกิดเรื่องวุ่นชุลมุนแบบฉุดไม่อยู่ เหตุการณ์ในบ้านก็ใช่ย่อย เพราะแม่ของนาโอกิเจ้ากี้เจ้าการวางแผนจะให้ทั้งสองแต่งงานกัน แต่นาโอกิปฏิเสธอย่างแข็งขัน



เรื่องนี้สนุกตรงที่พระเอกซึนมากๆ ปากแข็ง พูดจาดูถูกนางเอกว่าโง่บ้าง ไม่ใช่สเป๊ค ตอนแรกๆ ก็ปฏิเสธนางเอกตลอดๆ แต่พออยู่บ้านเดียวกันไปนานๆ ก็หลงรักในความเปิ่นๆ โก๊ะของนางเอก แต่ก็ไม่ยอมรับจนนางเอกถอดใจจะไปรักคนอื่น พระเอกถึงได้รู้ใจตัวเอง สนุกจนนำไปทำเป็นซีรีย์ละครของไต้หวันและโด่งดังมากๆ



ตัวอย่างเล่ม 1 ลองดาวน์โหลดเลยค่ะ

แกล้งจุ๊บให้รู้ว่ารัก 01

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200 Best Video Games of All Time  - PacMan Championship Edition DX+



Despite being one of the most popular games of all time, Namco has long struggled to make sequels to Pac-Man. Outside of the American-developed Ms. Pac-Man, the results have been unfulfilling, gimmicky spin-offs (Pac-Man Jr., Pac and Pal), games that completely changed genres (like the oddball graphic adventure Pac-Man 2), or 3D platformers (Pac-Man World). Pac-Man Championship Edition, released in 2007, is one of the few games that's not only a suitable iteration of the original, but also the rare modern reinvention that actually bests it. This was later followed up by DX and DX+ editions, adding even more content.

Championship Edition follows the basic concept of the original Pac-Man, with collecting dots, avoiding ghosts, and grabbing bonus icons. This time around, however, the action takes place in a constantly changing maze, where each bonus you collect reveals more dots, along with more ghosts that chase you down as you pass by. Most of these foes will also follow you directly, with dozens gathering over time, creating a multi-colored line of death. That is, until you grab a power pellet, allowing you to plow right through them in a chain of destruction that's intensely gratifying.

The longer the game progresses, the faster things get, until you're rocketing around the screen at high speeds, gobbling up higher scores, and the slightest slip of the controller may kill you. While the original game challenged you to try and survive as long as possible, DX splits its various mazes into different challenges, ranging from trying to get a high score under a certain time limit, to
seeing how many ghosts you can chomp while under the effects of a power pellet. The longest of
these stages runs for 10 minutes, with most others taking far less time, meaning it's easily played in bite-sized chunks. All of these are ranked individually, so those with the drive to get the best
scores will have plenty of work to do. Plus, you can change the graphical themes – from neon lights to the Lego-style blocks of Pac-Mania – to give it some variety.

The focus is definitely on high scoring, though. You'll earn so many lives, you'll probably never end
up running out, which encourages you to play in as risky of a manner as possible. It's also incredibly forgiving, as it automatically slows down time when you're in danger, allowing you to dodge enclosing ghosts, and gives you bombs to push them back for a few fleeting moments. Despite its forgiving nature, it's still incredibly tough to earn the best scores, providing an addictive nature that easily trounces its many predecessors. -Ed Burns

Like Pac-Man Champion Edition, Taito's Space Invaders Extreme takes the basic aspects of the arcade game and expands them into a modern context. The goal is to still shoot down little pixelated aliens, but the emphasis is on creating chains by matching colored enemies, among other scoring complexities. Each stage consists of several waves of enemies in different configurations, with numerous extra weapons. The visuals have a very dance rave feel, and the timing of the sound effects help create the soundtrack, similar to Rez. The first game was released for the DS, PSP, and XBLA, while the second is DS only. Owners of the older DS models with the GBA slot can also use the paddle provided with Arkanoid DS for authentic arcade control. -KK


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200 Best Video Games of All Time  - Bubble Bobble



When it was released in 1986, Bubble Bobble was hardly at the edge of technology. Platform games
with single-screen levels had been introduced with Donkey Kong five years earlier, and were already on their way out. Yet Bubble Bobble was so brilliant, it powered a small renaissance for the genre, and was followed by many clones and sequels. It's a prime example of how you can turn a simple and straightforward concept into a mega hit and instant classic with cute, recognizable characters (some taken over from Taito's earlier game Chack'n Pop), and countless small, but clever modifications on a limited rule set.

As two adorable little dragons called Bub and Bob, the players – and it should always be two players, as not only they can support each other, but are required to get the better endings – need to clear 100 stages by breathing bubbles to catch monsters, and then touching them before they burst in order to turn them into different foods.

The trick is that the bubbles are not only their weapons, but also serve as makeshift platforms from which the dragons can bounce off of. Every stage has its own set of invisible air currents that take them all over the place. Usually they go in a general upwards direction, but there are also environments that press them down, or drive them towards a specific target. It's even possible to use bubbles to jump so high that the dragons appear back at the bottom of the screen, a tactic that's sometimes necessary to get below areas blocked by platforms. Also, in certain stages, special bubbles hover in from the screen edges, which contain lightning, fire, and water. Popping these unleashes the elemental forces, each of which can take out monsters directly in a different way.

There are only a handful of different enemies, and the core gameplay remains the same across all 100 stages, but the sheer amount of variation almost makes every other round feel like a new experience. Added to this is an insane amount of extras, many of which seem random, but are actually based on specific parameters, like how many times Bub jumped or how many bubbles Bob has popped.

The game is so full of secrets, even entering certain names on the high score table does surprising things. At certain points you can find cryptic hints to an alternate mode called "Super Bubble Bobble", which shuffles around enemies and is the only way to obtain the true ending, which not only lifts the curse that turned Bub and Bob into dragons, but also frees their girlfriends and brings back their parents. -Sam Derboo

See Also:
Bubble Bobble was followed by many sequels and spin-offs, but none managed to catch lightning in the same way. Rainbow Islands and Parasol Stars completely changed the formula and, while good, weren't quite as addictive, and don't hone the cooperative aspect. Bubble Symphony and Bubble Memories returned to the original template, but felt a bit stale for it, with noisy backgrounds and many chaotic elements.

The indie game Ibb and Obb is a straight puzzle platformer with scrolling levels, but much of the physics-based teamwork has the same spirit as Bubble Bobble. Its main gimmick, a screen divide into an up and down world with a gravity switch in the middle, is even reminiscent of the Bubble Bobble precursor, Chack'n Pop. -SD

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CREEPY URBAN LEGENDS	DANGEROUS SERIAL KILLER	UNSOLVABLE CRIMES
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MYSTERIOUS CREATURES	BEAUTIFUL PHENOMENA	HORROR ANIMAL MOVIES

200 Best Video Games of All Time  - Dust: An Elysian Tail


Dust: An Elysian Tail is a beautiful 2D wonder, created largely by a single man, Dean Dodrill. Dean is an animator by trade, only taking up game development on a whim. It's a gorgeous piece of work, with high resolution, hand-drawn characters and backgrounds, in a fantastically vibrant world.

Gameplay-wise, Dust is a platformer with some light RPG elements. The influences of Super Metroid and Castlevania are obviously felt in the non-linear level design – there's even an item named "mysterious wall chicken" – but there's still plenty about the game to make it all its own. Dodrill and co-writer Alex Kain really did something right when they created the world of Elysia. The story opens with the main character, Dust, waking up in a magical meadow with a talking sword, a flying furry sidekick named Fidget, and no memory of who he is. That all may sound rather clich?, but Dust is not your typical sword-wielding, amnesiac badass. His anthropomorphic design and Asian influenced costume make him unique, but so does the heart of his character. Dust is dark and conflicted, but the genuinely funny banter with Fidget gives him a rare playfulness and warmth.

Alongside its humor, the storyline delves into questions about the morality of war, the importance of our choices, and, as the hero learns of his past, whether redemption is truly possible. The story is supported by numerous unique side characters, each with their own animated portraits, voices, and back stories, who also dole out subquests, both mandatory and optional. Their usage is so effective that sometimes they guilt you into completing them, even if the rewards aren't terribly useful.

From the vibrant colors, to the detailed and varied backgrounds, to the cycling weather conditions, to the orchestral score by HyperDuck and Funky Rustic, Dust is an absolutely beautiful game. It plays well, too – the hero jumps, dodges, and attacks with grace. Combat is quick and satisfying, with an emphasis on building combos. The Dust Storm special attack, where you twirl your sword like a tornado, also stands out, thanks to your sidekick, We've all seen characters like Fidget before — cute, but annoying and useless. Here, she has several projectile attacks, and paired up with the whirlwind spinning of the Dust Storm, they spread across the screen. This combined attack comes in handy, since the game likes to swarm you with enemies. In keeping with the cartoony aesthetics, the move is flashy and incredibly satisfying, but refreshingly free of gore. It all comes together to create a fun, thoughtful, stunning game. -Sophia Freire

Dust shares some commonalities with Vanillaware's Muramasa: The Demon Blade (and by virtue, its spiritual predecessor, Odin Sphere). They both feature absolutely gorgeous 2D artwork, and visceral, fast-paced combo systems. Of the two, Muramasa has more detailed drawings, with a stunning art style influenced by Japanese mythology. The tradeoff for this is that the level designs are extremely repetitive, as the same screens are recycled over and over. The storylines – there are multiple playable characters, with several added to the Vita port – are also clumsily told in between the battle scenes. Still, the strength of the visuals and music, and the flashiness of the action, are enough to make it worthwhile, at least in short bursts. -KK

200 Best Video Games of All Time  - Geometry Wars 3: Dimensions



The Geometry Wars series had an inauspicious start as a minigame buried within Project Gotham Racing 2 for the Xbox. An homage to classic twin-stick shooters like Robotron 2084, and perfectly adapted for a dual analog controller, you controlled a little weaponized claw as you blew up lots of other geometric shapes, created in the vector style of games like Tempest. It was fleshed out considerably and released separately at the launch of the Xbox 360, where, even as a cheapie download title, it was the best game on the platform for months, inspiring legions of new twin-stick shooter clones.

There are about a half dozen enemy types, each with unique attacks and movement patterns – pink shapes break into smaller ones when destroyed, green ones dance tauntingly around your shots, and vortexes will suck up the playing field and explode unless you kill them quickly. They're simple to predict, but the game is always tossing them at you in different combinations, getting more and more overwhelming, and only stopping for a breather when you get killed. The playing field is larger than Robotron, though, making it less
claustrophobic. It also has a slightly gentler difficulty curve, ensuring at least a few minutes of play for the average gamer before it becomes too manic. The visuals are minimalist, but the neon colored, high resolution characters, paired with the danceable techno music, grace it with a slick, modern appeal.

The main bit of brilliance is the way Geometry Wars forces you to be aggressive. Destroyed enemies drop little green things that add to your score multiplier, which keeps increasing until you run out of lives. You can't just run away and shoot, but need to grab these before they disappear, often moving back into the direct path of danger, creating a persistent risk/reward mechanic.

The original release was fantastic, but the series came into its own with the sequel, which offers several different modes of play. Beyond the classic "blow stuff up until you run out of lives", there are variations like Deadline, which gives you unlimited lives and three minutes to score as highly as possible. We've picked the third iteration as the highlight, as it contains slightly nicer graphics, along with an enhanced single-player mode that borrows elements from the spin-off, Geometry Wars Galaxies, as well as other similar games, such as Super Stardust HD, including circular playing fields and boss battles. These provide variety and longevity, but the best experiences remain in the standard score attacks modes, which are just as playable in the second game. -Kurt Kalata

The most lauded progenitor of twin-stick shooters (thought Taito's Space Dungeon is generally considered the first), Robotron 2084 is practically the genre's Robert Johnson. Its DNA can still be found floating around in modern games like Geometry Wars and Hotline Miami, and with good reason. "Moving with one  stick/shoot-andaiming with the other" is one of the purest, most intuitive gameplay control schemes ever developed, and has essentially stayed the same for 30+ years. Here, you save humans and destroy robots before a 2001-esque screen-filling transition sequence throws you rapidly into the next zone. Add to that some of the most classic sound effects that arcades had to offer, and gamers were treated to a glimpse of twitch-based gaming's future. -RS

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200 Best Video Games of All Time  - Donkey Kong Country: Tropical Freeze



When it was released in 1994 for the SNES, Donkey Kong Country wowed gaming audiences with its impressive CG graphics and fantastic soundtrack. Still, there was some resentment against it – it was simpler than Nintendo's own Super Mario Bros. games, and was criticized as a case of style over substance.

Fast forward 20 years to 2014, and the tides have drastically turned. Nintendo's prolific New Super Mario Bros. series is fun, but safe and uninspired; meanwhile, the Donkey Kong Country series, out of the hands of original developers Rare and placed in the care of Retro Studios, has created better crafted games.

Donkey Kong Country Returns for the Wii was very, very good, yet it suffered in a few areas – the forced waggle controls were lame, the music was forgettable, and the levels lacked creativity. Every issue was fixed in its Wii U sequel, Tropical Freeze.

The core of every great platformer lies in its stage design, and Tropical Freeze excels on every level. They're filled with fantastic setpieces – the designers love collapsing environments – along with creative themes, particularly the beer gardenthemed mountains, or the level where you're stalked by a giant octopus the entire time. The difficulty is demanding, but better balanced than its predecessor, with fewer infuriating rocket barrel stages. Each area is colorful, and created in lavishing detail. You can play to just reach the end
of a level, but only further replays to collect the bonus KONG letters and hidden puzzle pieces reveal the amount of care put into every stage.

David Wise, legendary composer of the first two SNES games (and the GBA version of the third) returns to provide one of the best video game soundtracks of all time. In spite of the improved instrumentation, many tracks maintain the feel of the SNES games, in some cases even using similar samples, creating music that's fresh and nostalgic.

While often a subject of debate, the controls just feel right. Donkey Kong is much weightier than Mario, Rayman, or even his own previous SNES incarnations, yet he's still precise enough to accommodate the platforming challenges you need to overcome to survive. His companions – Diddy, Dixie, and Cranky – come with different jump modifications, allowing for a great degree of mid-air control. It's possibly the only 2D platformer that controls well with an analog stick.

Despite not being designed by Nintendo proper, as with the Metroid Prime games, Retro Studios has once again proven themselves as true masters of game design with Tropical Freeze. -Kurt Kalata

The SNES Donkey Kong Country games are kind of shallow, but still fun. DKC2's soundtrack remains one of the best, and in spite of the dated CG graphics, they exude a cool atmosphere. As far as modern 2D platformers go, Ubisoft's Rayman Origins features gorgeous illustrated visuals using the UbiArt framework,
which excels at animating high res 2D images. It's a fast and fun game, with levels built around its wall jumping techniques. Its sequel, Rayman Legends, contains most of its predecessor's stages and tons of content, though the Murfy levels, where you need to indirectly guide a character around obstacles, diminish the game somewhat. The musical stages, which are designed to match the rhythm of assorted popular music tracks, are fantastic, though. -KK

200 Best Video Games of All Time  - Klonoa The Door to Phantomile


While first and foremost respected as an arcadecentric developer, Namco has made several fascinating games for consoles. Their most impressive non-coin-op game may be Klonoa, a slightly late attempt to get in on the Sonic-esque mascot platformer craze. Nonetheless, it turned out to be a gorgeous adventure, putting 95% of all Sonic ripoffs to shame.

For starters, it barely even feels like a Sonic game, with an art direction all its own. Playing in a 2.5D perspective, the graphics still hold up remarkably well today – something that can't be said for a lot of PS1 games. With creative character designs and vibrantly colored landscapes, it's certainly more than just jagged polygons everywhere. Everything about the aesthetics, from its cute fodder enemies to the whimsical sound
design, gives off an adorable charm (though things do turn remarkably more dark later on).

The main gameplay gimmick here is the "Wind Bullet", a short-range projectile that balloons an enemy a la Dig Dug, and allows Klonoa to either throw the opponent or bounce off of them for a double-jump. Enemies can be tossed into the background or foreground, and are often required to retrieve items or hit switches for puzzles. It's easy to figure out what to do for the most part, and save for the last few stages (and the insane bonus level unlocked for freeing all the prisoners), Klonoa is not a particularly challenging game. Its lack of difficulty is the only real complaint brought against it, and that's not even so bad if you're looking for a highly
artistic game that the whole family can enjoy. That is, until the heart-rending ending. Klonoa is creative and cute until it wants you to cry.

After a great-yet-overlooked PS2 sequel and a handful of spin-offs, Klonoa stayed quiet for several years. before a remake of the first game was unexpectedly announced for the Wii. In honor of Klonoa's 10th anniversary, Namco surprisingly remembered their PlayStation-era mascot and gave the original an updated re-release, with enhanced graphics, slightly smoother controls, and unlockable costumes. It also features "reverse mode", which adds flipped versions of levels, and portals leading to challenge stages within them, These add some appreciated difficulty to keep down the "too easy" complaints. It may not be brimming with bells and whistles, but simply reviving Klonoa for a new generation is great enough. Sadly, neither the original nor the remake sold too well, and there haven't been any plans for the series since. Regardless, it's still a highlight of the 2D platformer pantheon.

While 3D gaming was on the rise, most early disc-based releases still stuck to conventional 2D appearances and playtypes, just with more horsepower. Rayman could have been made for 16-bit systems, but instead heralded the arrival of 32-bit gaming with some truly impressive art and animation.

Featuring large and detailed levels that nearly rival Sonic's stages, Rayman also contained several elaborate boss fights that required you to do far more than just punch them repeatedly. It's also a vicious game, where the obnoxious losing noise will purchase a condo in your nightmares. Still, if you can barrel through its high
difficulty, you'll get to see the start of a great franchise (that went awry with some iffy 3D games before claiming redemption).

See Also:
Bubble Bobble was followed by many sequels and spin-offs, but none managed to catch lightning in the same way. Rainbow Islands and Parasol Stars completely changed the formula and, while good, weren't quite as addictive, and don't hone the cooperative aspect. Bubble Symphony and Bubble Memories returned to the original template, but felt a bit stale for it, with noisy backgrounds and many chaotic elements.

The indie game Ibb and Obb is a straight puzzle platformer with scrolling levels, but much of the physics-based teamwork has the same spirit as Bubble Bobble. Its main gimmick, a screen divide into an up and down world with a gravity switch in the middle, is even reminiscent of the Bubble Bobble precursor, Chack'n Pop. -SD

200 Best Video Games of All Time  - Joust

200 Best Video Games of All Time - Joust



Joust is a game where knights ride on top of gigantic birds and kill each other in gladiatorial combat. Everybody is equipped with a lance, which sticks out a few pixels from their head. The goal is to collide with other jousters, ensuring that your lance is above theirs, which will then kill them.

Bouncing on their heads, of course, will work just as well. It's a different formula from many arcade games from the era like Pac-Man, which typically put the player in weakened state. In Joust, most everyone is on the same playing level.

That's the theory theory, anyway. The key to Joust is learning how to keep your bird under control. There is only a single button – "flap" – which will propel your bird every so slightly into the air. With a few more presses, you take your steed higher into the sky, allowing you to stay airborne. In addition to fighting against gravity, you're also dealing with inertia. Build up enough speed and you'll find yourself careening across the arena, wrapping around the screen as you disappear off one side and reappear on the other. It's a surefire way to make yourself dizzy until you skid to a stop.

Though this looks fun, it's also incredibly dangerous. Your enemies have one major advantage over you, and that's the fact that they have extremely solid control over their birds. The most nerve-wracking moments are those brief, split seconds where your brain tries to determine if you're traveling at the right velocity and angle to hit someone above their lance. Do you let your fate fall into the hands of physics? Do you press the "flap" button one more time, potentially giving you the upper hand, but also maybe propelling you over and missing your target? Or worse, bumping your head on a platform, sending you downward and getting killed. Situations like this happen all the time in Joust, and they're largely why it's so enthralling.

There are other minor elements, too. Destroyed enemies drops eggs, which you're supposed to collect for points. Left unchecked, they'll hatch into humans, which then call a new bird on the field to take its place, providing another task for you to juggle. Later stages introduce pterodactyls, which are invincible except for an incredibly tiny weak point that was only left into the game due to programmer error, and can only be exploited by truly expert players. There are also fire trolls, who grab any birds that fly too close to the lava and drag them to their death, providing they can't escape. Most amusingly, they don't distinguish between human and CPU controlled characters, and watching a hapless foe get crushed by one of its own is always good for a laugh. -Kurt Kalata

There's really no doubt about it – Nintendo's Balloon Fight is a huge rip-off of Joust. It plays almost identically, except you control a kid flying with balloons, fighting against assorted enemies. Other than the stage designs, the only other major difference is that since you have two balloons, you can take two hits. It is, at least, a very good clone, and much better than the NES port of Joust.

The major advancement comes with the Balloon Trip mode, which recasts the game as an auto-scrolling platformer, as you weave between obstacles and dodge enemies. This spawned its own separate game, known as Balloon Kid for the Game Boy, and Hello Kitty World for the Famicom, which is the same game but
starring the cutesy Sanrio mascot. -KK

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200 Best Video Games of All Time  - Mappy

200 Best Video Games of All Time - Mappy



Namco is one of the great golden age arcade developers, largely known for Pac-Man, Dig Dug, and Galaxian. However, their secret best title is Mappy, a cute cat and mouse platformer with vague influences from some of their more popular titles.

The goal, as the titular policemouse, is to collect a series of items strewn about the level while avoiding a miniature army of thieving cats. The stage is divided into several floors, and the only methods of traversal are trampolines strewn about.

As with many classic games of the era, Mappy cannot directly attack his opponents, but there are a few tricks he can use against them – particularly, the many doors spread around. Only Mappy can open and close doors, so he can use them strategically to divert enemies or knock them off their feet, if they're close enough. Additionally, Mappy is invincible while bouncing on trampolines. Just on these terms, Mappy is a fun game, but there are numerous layers to the scoring strategy.

For example, all of the collectible items are placed in pairs. If you collect them both one after another, you get a stackable score multiplier. The items are worth different point values, so do a little math and you'll realize that there's a specific order to grab everything for maximum score. They're placed differently in each level, though, and the movement of the cats is erratic enough that your plans may be mucked up, forcing you to compromise for lower scores. Even your best laid-out plans are in flux.

There are also a few flashing doors. When opened, they send a beam across the floor, which sweeps off everything in its path. Like Pac-Man, it's in your best interest to get enough cats together (especially the leader cat, Goro, who acts with a different AI pattern than the rest of the cats) for the most points. Goro will also occasionally hide behind items for a few seconds – if you catch him while hidden you'll score extra points, but if you're too slow, he'll pop out and kill you, guaranteed.

There's a substantial amount of depth here – both in grabbing items and luring enemies – and that's not counting the near-perfect motions you need in order to complete the bonus stages. It's the best kind of arcade game – the better you understand the scoring strategies, the worse you may end up performing, because it's just so tempting to maximize your play, which at the same time places you in the most danger.

It's also ridiculously charming. This is one of the first arcade titles to have a soundtrack playing during the game, plus Mappy's "death" animation is so goofy that it's almost not-too-irritating when one of the cats actually catches you. -Kurt Kalata

See Also:
The only other arcade Mappy game, Hopping Mappy, has little to do with the original and is best left forgotten. Mappy Land, the NES sequel, expands the concept into a longer form, but it doesn't really work. The final game, Mappy Kids, is a generic 8-bit platformer.

Instead, we're highlighting Flicky, one of the other best, early arcade platformers. Flicky was the result of Sega's management instructing Yoji Ishii to come up with a Mappy-killer, but the result stands very well on its own. The namesake bird has to gather all her chicks and bring them to the exit. Saving them all in one big line increases the score, but also the risk of having cats scare them away again. The jumping is floaty, and the narrow, scrolling stages wrap around, making for a uniquely crowded feel. -SD

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200 Best Video Games of All Time  - Legacy of Kain: Soul Reaver


When Blood Omen: Legacy of Kain debuted on the PlayStation in 1996, there was nothing like it. Superficially a Legend of Zelda clone, it stars a bloodthirsty undead sociopath, traveling the world in an attempt to undo his curse and avenge his own death, no matter the cost. Blood Omen's striking gothic atmosphere and flowery, excellently voice acted script earned it a strong cult following, leading to the release of its sequel, Soul Reaver. It changes the viewpoint from an overhead 2D game to a fully 3D one, to great effect.

Taking place long after the events of the first game, Soul Reaver begins assuming players chose the bad ending in Blood Omen, with Kain ruling over a dying world overrun with his vampire descendants. Raziel is one of his top generals, but after being disgraced and destroyed, returns to destroy Kain's empire. That empire is the coolest part of the game. After a game is loaded up, there are no load times, with data constantly streaming off the disk to create a seamless world. There's also a nice bit of vertical space, with lots of room to glide around and explore. Finally, when Raziel "dies", rather than losing progress or reloading, he is immediately thrown into the spirit world, in which he was stranded in the game's prologue. This is a twisted parallel of the real world, and switching between them regularly is required to solve puzzles and make progress.

The implementation of entering the spirit world is amazing, with no loading time, and is especially stunning when you fall into water (instant death to a vampire) and see everything instantly distort as you are submerged. The idea that vampires can only be killed by immolation, impalement, or drowning is carried over to the game's enemies, as well, and the land of Nosgoth is littered with structural damage allowing in rays of sunlight, conveniently spiked surfaces, and flooded areas to destroy your enemies in. This makes for some fantastic combat.

Soul Reaver was made before Devil May Cry and other top tier 3D action games, but the engine is rather advanced for its time, allowing you to grapple and throw enemies to their gory deaths, or toss sharp objects at distant foes before they can react. It's a great way to keep the edge of the first game while having a slightly more sympathetic protagonist. Raziel himself begins the game shocked that the creatures he's fighting are even in the same gene pool as him, but quickly realizes the long term consequences of his and Kain's actions. There's some nice character development without losing the revenge plot and tone of the first game, the best of both worlds. -Chris Rasa

While its action and platforming may seem trite by modern standards, Defiance for the PlayStation 2 and Xbox finally brings some closure to the story started in Blood Omen. You get to play as both Kain and Raziel in this game, and the general ruthlessness of the series' combat isn't diluted as you can happily impale, incinerate, and defenestrate enemies to your heart's content. It's also the most complete game in the series, as every other installment had massive amounts of cut content and gaps in the storyline. Here, many of the story's threads finally come together and are resolved, and we get to see both Raziel and Kain at the peak of their abilities, a great treat for fans as well as anyone interested in a gothic, dark fantasy action game. -CR

200 Best Video Games of All Time  - Okami


Okami is the most gorgeous looking video game ever made. The world of Capcom's mythological Japan is rendered as sumi-e ink paintings, with thick brush strokes used as cel-shading, and a filter applied to make it look like a painting in motion. As the sun goddess Amaterasu, reincarnated into a white wolf, the central theme is nature. The lands are dark and cursed, until you destroy the demons that infest them and restore the world's beautiful form, with flora spreading over the landscape literally as a wave of multi-colored life. Amaterasu dashes with leaves created in her wake, and sprouts greenery by touching the ground. When fighting enemies, the serene Japanese traditional music of the overworld gives way to the fierce pounding of taiko drums, with the battlefields burning with intensity, and flames encasing the combatants.

The game is structured as an action-RPG, very similar to the 3D Zelda games, right to the slightlyannoying companion that complements the silent protagonist. Here it is Issun, otherwise known as the One Inch Boy, and many of the other characters take inspiration from places and characters from Japanese folklore. Very few are able to see the wolf as a goddess, and tend to just treat her as a common dog, but the game itself also has fun with the premise, with a separate button devoted entirely to barking, and an attack that allows you to humiliate enemies by peeing on them.

In keeping with the artistic theme, you have a "Celestial Brush" for your special abilities, rather than finding typical items like in a Zelda game. With this, you pause the game and draw specific lines or shapes that represent the power to be used. If you need a bomb, you draw a bomb. Certain types of flowers act as grappling hooks, which are activated by drawing a line between them and Amaterasu, flinging her with a vine. Being that she is a sun goddess, you can also paint the sun in the sky, useful for causing plants to grow or hastening the arrival of morning. The game is absolutely loaded with content too, with numerous spots where you can restore nature or feed animals in order to  increase Amaterasu's stats. It's also a long game – the encounter against Orochi may seem like a finale, but it's just the first of three expansive arcs. In spite of the praised lavished upon Okami, both at release and in the the years after, it underperformed, and Capcom shuttered Clover, the branch that made it, causing many members to leave and found PlatinumGames. A DS sequel, Okamiden, features a cute chibi Amaterasu, though system limitations means it doesn't even touch its majestic predecessor. -Kurt Kalata

Okami was released in North America in the same holiday season as The Legend of Zelda: Twilight Princess, which coincidentally, allowed the hero Link to turn into a wolf. However, its visuals were dark and often even ugly in comparison to Okami. Twilight Princess's "realistic" art style was the result of pushback against the previous Zelda game, the cel-shaded Wind Waker, which starred cute, rounded little characters that look like plushies. The brightly colored world consists of a gigantic ocean peppered with small islands, with denizens bursting with personality. Some of the quests near the end of the game grow tedious, which is somewhat alleviated in the HD Wii U re-release, but otherwise, it's the best 3D Zelda after Majora's Mask. -KK

200 Best Video Games of All Time  - Mega Man Legends



By the end of the millennium, Capcom had two series with the brand name "Mega Man" on them, and they decided to add on a third take of the bluearmored hero with Mega Man Legends. While Mega Man X had similar gameplay and story ties to classic Mega Man, Legends is very far removed from the other two, and feels more like Capcom's take on a Zelda game. In a really distant future, Mega Man Volnutt travels with his team to explore ruins and excavate treasure, but he has to deal with the double threat of the Reaverbots who guard the ruins, and the Bonnes, rival pirates who wish to steal the treasure for themselves. He eventually comes across a dark secret which may spell doom for Kattelox Island. More than likely, anyone who saw this game would have wondered where the Robot Masters were at, why Mega Man doesn't steal anyone's weapons, or why he's walking around an overworld in a third-person camera, instead of avoiding spiky pits on a two-dimensional plane.

While it seems to be Mega Man in name only, that should have no bearing on what is quite an underrated action-adventure title. There's a lot to explore on the island, with a massive underground labyrinth whose tunnels eventually intertwine, and several secrets to uncover. The combat is surprisingly competent despite the digital-only control, thanks to a lock-on feature. You can also craft stat-enhancing parts out of materials, as well as many subweapons, including the machine gun, grenade launcher, blade arm, and the almighty shining laser. There's a fair variety of enemies to encounter, and the boss fights are nothing short of impressive, particularly the aerial battle against the Bonnes' flagship. The character designs exude charm, and the voice acting is decent for the time.

There really is a lot to like about Mega Man Legends, despite how dissimilar it is to any other Mega Man series. It's built up a fair cult following, and the character of Tron Bonne and her Servbot assistants have become quite popular, to the extent of showing up in the Marvel vs. Capcom series, and even a spin-off game, The Misadventures of Tron Bonne. A full-fledged sequel was released as well, which is just as solid as the original if not further refined, but the story becomes uncharacteristically dark compared to the first title, and it ends on an unfortunate cliffhanger that remains unresolved to this day. There were plans for a third Legends game on the 3DS, but the infamous falling-through of development sparked a backlash from which Capcom still has yet to fully recover, as fans refuse to let their demand fade away. -Michael Plasket

As part of Square's highly experimental PlayStation days, Brave Fencer Musashi is their attempt at a Zelda-esque action platformer. It's a fairly standard plot, with a warrior finding himself in battle between two factions, but the characters are interesting enough to stand out alongside some gargantuan boss battles. Musashi has two swords, with his Fusion blade able to assimilate enemy abilities as subweapons in a move that's ironically more like Mega Man than Legends. The other sword, Lumina, is enhanced with elemental abilities gained from bosses, helping Musashi to find new terrain. The world is mostly open, though the first and last chapters are linear. It may not be a Zelda-killer, but Brave Fencer Musashi is still top notch. Avoid the lousy PS2 sequel, though. -MP

FINAL FANTASY XV
Where we're going, we don't need rogues

Touring the Square Enix booth at E3 has, in recent years, felt a little like looking for your lost wallet and, as great as some of its games have been, it's the no-shows that have stolen the show. We've found ourselves doing several laps looking for Final Fantasy Versus XIII, checking behind some inexplicable Mini Ninjas sequel or another for Type-0 and rummaging through overpriced mobile games to make sure that's not where we mislaid Kingdom Hearts III. But they never turned up, not before. This year though, Square Enix found our wallet, picked us up another one just to be on the safe side and filled both with dreams, sunshine and rainbows. We didn't ask how – we were too busy running in circles screaming "OMAGAWDKINGDOMHEARTSTHREE" to even consider the logistics.

On top of the impractical weapons, clown shoes, Winnie The Pooh cameos and delicious fan service buffet of Kingdom Hearts III, Square Enix had a far more universally exciting announcement waiting in the wings. Yes, Final Fantasy XV is coming to PlayStation 4, a completely overhauled version of MIA spin-off Versus XIII that has left all who have seen its fluid gameplay, beautiful art design and Lightning-fast (pun intended) combat stunned. Check it out for yourself on the DVD – it's really quite something. It's not, as many thought it would be, based on the Agni's Philosophy tech demo that has been doing the rounds for a year but, judging by the art design and tech on display, it's almost certainly using the same super-impressive Luminous Engine.

While much of XV's world is similar in feel and technology to FFXII's Ivalice or FFIX's Gaia – pretty much your typical medieval fantasy settings – the futuristic city of Lucis sticks out like a sore thumb. It's here that the world's last crystal is protected by a mob-like noble family, with young heir Noctis in the game's starring role. It's an oddly privileged role for a Final Fantasy protagonist, with Square so often putting underdogs and rags-to-riches stories in the spotlight – it'll be a difficult story for the team to make compelling if Noctis ends up falling into the 'whiny emo rich kid' category, though the potential for the world in conflict to alter both his world view and personality could prove pretty interesting.

Hailing from the home of the last remaining crystal, Noctis has a few tricks up his sleeve that his enemies don't. He's able to harness the power of the ancient treasure to conjure up a variety of different (awesome) weapons and warp around the battlefield at an incredible rate. In terms of equipment, this freedom of choice allows him to switch gear on the fly not unlike DMC's Dante and, while we're not expecting anything quite so technical, we won't bemoan the option to switch weapons based on enemy vulnerabilities and defences. Teleportation has even more uses, though – evasion, positioning and speed all help out in combat, though the skill also enables rapid and impressive navigation of the world, even allowing for combat to play out on walls, in the sky or pretty much anywhere else. Oh, and forget about screen-shattering fixed-area enemy encounters too – enemies are fought in real time in the same world you explore. It's dangerously slick, and each aspect of the game transitions effortlessly into the next.

With four other Final Fantasy games due out before this, it's safe to assume that this first glimpse of the butterfly that emerged from Versus XIII's cocoon is just that. Still, we're hoping to see more at the Tokyo Game Show in September and, given that work on Versus XIII began some eight years ago, maybe we won't have too long to wait for this gorgeous JRPG evolution after all.

200 Best Video Games of All Time  - TxK



David Theurer's 1981 arcade game, Tempest, was one of the first real 3D shooters. Creating what's now known as the "tube shooter" subgenre, you control a little claw-shaped ship as it travels along the outside of a web, shooting at enemies that spawn from the other end. It's one of the best games of the golden era of arcade gaming, in part due to the sharp, colorful, vector graphics. However, due to both the display and the rotating knob controller, Tempest never quite got a decent home port. That is, until Jeff Minter created an update for the Jaguar, Tempest 2000.

When Atari re-entered the video game market in the 90s, they typically made the mistake of
updating their titles with "modern" graphics that failed to both capture and evolve the style of golden era arcade games. Tempest 2000 avoids that error by merely adapting it. It looks very similar, though a bit chunkier due to the raster display technology. The polished movement and effects give it a dizzying, enthusiastic sense of immersion, however, while maintaining its core minimalist features. Your ship is still an abstract claw-thing, enemies still look like toy jacks, and so forth. Now though, the camera loosely tracks your ships movements, making the stages feel less static. Enemies perish with a satisfying crunch and a mess of pixels, with high score values that literally explode in your face. The core game is the same, with some extra power-ups, like an AI droid and the ability to jump off of the web to avoid enemies that have gotten too close. Accompanied with some thumping techno music, Tempest 2000 is a pure rush to play. Its approach to aesthetics was later borrowed in Geometry Wars, itself an iteration of games like Robotron 2084, which then went on to be mimicked by numerous other classic game reinventions.

Minter created a few other follow-ups, including Tempest 3000 for the Nuon DVD platform, and Space Giraffe for the 360/PC, though both suffered from overdone visuals that made them hard to actually play. The ultimate iteration is TxK for the Vita, which was so close to Tempest that Atari's lawyers harangued Minter to where he was unable to release it on other platforms. The visuals are like Tempest 2000, but crisper and more closely resembling the vector original. The stages now spin and collapse upon themselves, making them more involving without becoming too disorienting. It's also filled with random congratulatory text ("Eat electric broth") and odd digitized sounds, giving it a weird personality recalling the 90s shareware scene. -Kurt Kalata

Developed by Positron and published by Square exclusively for the PlayStation in Japan, iS: Internal Section is a tube shooter in the vein of Tempest, constructed via colorful, flat shaded polygons and accompanied by techno music. In it, you have 12 weapons based on an animal from the Chinese zodiac, each suitable for specific enemy patterns. It's simple, but the real delight rests in its dizzying, entrancing visuals. As such, it's often regarded as the spiritual predecessor to United Game Artists' rail shooter Rez. Further, levels are generated by the music, and you can even use your own CDs. It's a good alternative to the trippiness of some of Minter's other games. -KK

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200 Best Video Games of All Time  - Shadow of the Colossus


A good boss battle can be quite memorable, but a bad one can sour the entire game. Shadow of the Colossus foregoes regular enemies altogether, and consists almost entirely of 16 unique and amazing boss battles.

The player controls Wander, a boy who has journeyed to "The Forbidden Lands" to retrieve the soul of Momo, a girl who was sacrificed for having a cursed fate. He meets a mysterious being, known as Dormin, who tells Wander that he can resurrect Momo if the 16 Colossi that inhabit the plains are slain. Wander isn't a strong, muscle-bound beefcake who laughs at the concept of stamina, though — he's actually a rather average looking guy. His run is wild and unrefined, he gets both visibly and audibly tired after running, and he grunts while pulling himself up a ledge. Wander isn't alone in his quest, though, and is accompanied by his mare, Agro.

The aptly named Colossi tower over Wander, who barely reaches the ankles on most of them. In order to fell these monsters, Wander must use the light from his magic sword to expose their weak points, usually on their head and back. These are, of course, quite far from Wander's reach, but he's remarkably nimble and has incredible grip, allowing him to scale the Colossi via patches of fur, grass, or any protruding ridges from their stone-like bodies.

Thankfully, the game has some great collision detection, and movement has a real weightiness to it that simply feels right. Director Fumito Ueda wanted the action to have more "chance and spontaneity" than his previous game, Ico. This allows for situations where Wander is standing atop Agro in full sprint as they chase after a Colossus before it takes flight. Wander then jumps off Agro, desperately grabbing onto one of the beasts' dorsal fins, and slaying the Colossus mid-flight. That's not a scripted event either, just one of many possible ways to fell the creatures. Defeating these beats should be a moment of triumph, however, the music then becomes melancholic. The monster's eyes grow dull, and it collapses much like a puppet with its strings cut. Tentacles then spawn from the fatal wound and violently enter Wander's body. The scene causes an unsettling feeling to develop, as if slaying Colossi is somehow wrong.

Ueda has commented that he didn't want to make something disposable, and he succeeded here. Sadly, his follow-up, The Last Guardian, suffered many development problems resulting in huge delays. As disappointing as that may be, it's understandable, as creating a masterpiece like this is a colossal task. -Spencer Johnson

Before Shadow of the Colossus, there was Ico. Designed and directed by Ueda, he has confirmed that it's a prequel to SotC. Like SotC, Ico is a really special, albeit less polished experience. The game involves two heroes, Ico and Yorda, and their attempt to escape a castle by solving puzzles, with some platforming and minor combat elements peppered throughout, Ico and Yorda need to rely upon each other's skills to escape, but they're still kids, with limitations on what they can do. Thus, the game exudes an aura of innocence, as if it doesn't realize the charm and wonder it contains. As with Shadow of the Colossus, Ico leaves more questions than answers, but remains satisfying. That's what is so intriguing about Ueda's games, and one of the many reasons they are lauded. -SJ

200 Best Video Games of All Time  - Sonic CD

The third game released in the classic Sega series, Sonic CD, has always been an oddball, especially
when you consider the system it spawned from. Even among Sonic fans, it can be a rather divisive
game, given how different it is from those that followed. It's that sort of weirdness that makes it so memorable, though, even among a set of such great games, and there's no doubt that it's one of
the shining gems of the Sega CD.

From a gameplay perspective, Sonic CD almost feels like a more polished version of the first game.
Sonic has his spin dash attack as introduced in Sonic the Hedgehog 2, but it's not quite as quick to
use as in the later entries. The general pace is somewhat slower as well, with more emphasis on
platforming and exploration than your average Sonic game. There are still plenty of places to pick up
speed, though, and the level design has a surprising amount of openness and verticality. The main draw
is the ability to travel through time, with both prehistoric and futuristic variations of most of the
stages. Including these alternate versions, there are60 levels, which, along with the animated intro,
ending cinemas, and redbook audio soundtrack,justified the CD format.

Even so, the game can feel rather short if you just rocket straight to the end of each stage. To properly appreciate it, you need to get the good ending, and there are two entirely different ways on how to accomplish this. One method is to collect enough rings to reach the 3D bonus levels, rendered in Mode 7-style scaling effects, to collect all of the Chaos Emeralds as in other Sonic games. More careful explorers, however, can travel to the past to foil Robotnik's schemes by destroying his machines. It's an element that forces you to really understand and learn the stages, despite a few aggravating levels that seem counterintuitive to this design. The time zone gimmick isn't just for gameplay, either, as it's all part of the game's rather surreal art style. If you do well, you'll find a good future full of bright colors and foliage. Ignore the past, and the zone you're in ends up a total hellhole.

It's all a bit strange, especially if it's not your first Sonic game, but that's what makes it so special. It's a game that definitely rewards skill, from taking advantage of the level design to shaving off a few more precious seconds to mastering the time zones. A wonderfully different soundtrack tops it all off, which, like the visuals, changes on the time zone. From the upbeat dancestyle tracks of the Japanese version, to the US
soundtrack's dark, sometimes terrifying songs, there certainly isn't much else like it. -Ed Burns

See Also:
The first two Sonic games were instant classics, and would go on to both revolutionize the platforming genre and spawn imitators for years to come. The third game, split into Sonic 3 and Sonic & Knuckles and combined by locking the carts together, manages to outshine them both. This is because it's absolutely massive, with levels far bigger than previous Sonic games. It's also full of incredible setpieces, from watching the traditional island level that started the first two games get set ablaze, to one of the most climactic final battles in Genesis history. It still manages to include everything that made the classic Sonic games great, as well, from clever level design that lets you use physics to reach even higher speeds, to one unforgettable soundtrack. -EB

200 Best Video Games of All Time  - Rogue Legacy



The indie revolution in the early 2010s brought about a number of Metroidvanias and Roguelikes, so it makes perfect sense to mash them together. The result is Cellar Door's Rogue Legacy, which takes the basic action and exploration of Castlevania: Symphony of the Night, and combines it with a randomization element that changes both your player character and the layout of the castle.

You play as a family of warriors hell-bent on making it to the end of Castle Hamson in order to uncover its mysteries. There are four areas to conquer, each with a boss, before the door is unlocked that leads to the final encounter. The first member of the family, at level 0, will probably meet their maker relatively quickly. However, your fortune and your equipment are bestowed upon the next generation of heroes, allowing you to forge new gear and build up the skill tree, which in turn strengthens the heroes, offers new abilities, and unlocks extra character classes.

With each new generation, you can pick from three heroes, each with different randomly generated abilities. Some of them are useful (like dwarfism, to fit into small spots), while others are silly (like being a hypochondriac, where the numerical damage reported after each blow is wildly exaggerated). Any bosses you've killed stay dead, too, so you don't need to replay whole sections of the castle over and over. It's true that the game is built around grinding, as only the most skilled players will be able to beat the game at the lowest levels. Yet you'll also need to play smartly to understand the tricks of the castle, the types of enemies, and the boss patterns.

You will, of course, die, and die a lot – that's the point of any Roguelike. Each run into the castle is usually pretty quick, though, even if you explore every corner. Also, unless you have a really poor  run and fail to accumulate much gold, it's never wasted, since you can always power yourself up, even a little. The constantly refreshing nature of both the castle layout and the player character gives you unique challenges each time, with some builds better solely for exploring and raking in cash, while others are better suited to heavy combat. There is some level of customization based on the runes you equip, which manage both special abilities and health/magic regeneration, allowing you to adjust your playing style with each run. It creates an addictive feedback loop that makes it hard to put down. Plus, while you can technically beat the game, you can replay the castle at higher difficulty levels and keep your stats, ensuring a constant amount of new challenges. -Kurt Kalata

Derek Yu's Spelunky is essentially the originator of the Rogueplatformer hybrid. Originally released as freeware, a subsequent paid re-release gives it an overhaul and adds many more levels. Unlike Rogue Legacy, which randomly patches together pre-built rooms into one big castle, Spelunky's cavernous levels are entirely procedurally generated, filling them with monsters, traps, and all manner of deadly things, as well as shops and damsels-(and dudes)- in-distress. It's incredibly easy to get killed, making your quest for treasure ever-threatening, though seeing just far you can get before the game outwits you is, as always, part of the appeal. -KK

200 Best Video Games of All Time  - Super Mario Bros. 3



In the context of NES platformers, Super Mario Bros. 3 decimates its competition. Even compared
to other games in the series, it's a gigantic step upward from the frustrating Japanese Super Mario
Bros. 2, and the diversionary (through still excellent) American sequel. Compared to the original game, the screen scrolls in all directions, allowing for more open and less confining stages, including tense levels where the screen automatically scrolls. The map allows alternative routes to the end of each world, with challenging castles at the mid-way points, and airship stages that culminate in fights against one of Bowser's seven children. Put simply, it's far more expansive than almost any other similar game on the 8-bit platform.

Even divorced from context, though, Super Mario Bros. 3 excels because of its level design. The stages are relatively short, but each is memorably and skillfully designed. The eight Worlds all have distinct themes – deserts, oceans, and clouds, with the most unique being one where everything, enemies and bricks, is oversized. There are charming details, like the bushes in the first World map, which appear to dance along with the theme music. The individual levels are filled with foes and items that pop up only a few times, like the menacing sun in the sand stages, or Kuribo's Shoe, a curious one-time item that lets Mario hop around unharmed on spikes. The Raccoon tail is the first (and best) power-up that allows Mario to fly, while several others abilities – the Frog, Tanooki and Hammer Bros. suits – are uncommon, but offer cool abilities. It's the rare game where almost every part of it feels special.

It's also the last time where a Super Mario Bros. game is legitimately challenging. Each subsequent game relegates the truly difficult levels to either optional secret areas or post-game challenges. Here, the final stages (save for the slightly disappointing final battle) are fairly difficult. The hands that randomly grab Mario as he crosses over the lava bridge in World 8, forcing him into a particularly challenging level, remain one of the most harrowing moments of the game. It's a reminder of an era when Nintendo could make titles that were both charming and demanding.

The SNES remake on Super Mario All Stars is decent, with a nice visual overhaul, and the save system is most definitely welcome, but the physics are slightly off. The same can be said for the GBA remake, which, in a boneheaded move, features extra levels only accessible via eReader cards, many of which are impossible to find nowadays. The NES original is still the best. -Kurt Kalata

Many message board battles have been fought as to which of the classic Mario titles are superior. While we have an ever-so-slight preference for Super Mario Bros. 3, Super Mario World is still an absolutely fantastic game, especially for being an SNES launch title. To begin with, the levels are much larger and full of secrets, including exits that lead to hidden stages. This puts the focus a little more on exploration than straight up platforming. It also introduces the dinosaur Yoshi, who will happily gobble almost anything. While the game isn't very difficult overall, if you manage to find the secret Special World, you'll come across some of the most devious challenges seen in a platformer, at least until the Super Mario World ROM hacking scene took off with the advent of emulation. -KK

TOP 10 VIDEO GAMES OF ALL TIME
BEST ANDROID GAMES
45 BEST ANDROID GAMES
10 CREEPY VIDEO GAME URBAN LEGENDS
10 TECHNOLOGIES INSPIRED BY VIDEO GAMES
HIDDEN THINGS IN VIDEO GAMES
10 VIDEO GAME EASTER EGGS THAT TOOK YEARS TO FIND

200 Best Video Games of All Time  - Super Mario World 2: Yoshi's Island



In North America, Yoshi's Island is known as "Super Mario World 2", presenting it as a sequel to the legendary SNES launch game. While perhaps thought necessary from a marketing standpoint, it does an injustice to how unique this title is, as it iterates Mario tropes (and characters) in incredibly creative ways.

In truth, Yoshi's Island is a prequel. The hero, of course, is Yoshi (defined as a whole species of differently colored, but otherwise identical dinosaurs), tasked with escorting a diaper-clad Baby Mario away from danger. Yoshi is better prepared for direct conflict than the Mario Bros., able to eat almost any enemy and produce an egg, which can then be thrown as a weapon. The damage system is also unique, as getting hit will send Baby Mario floating off in a bubble, causing him to cry hysterically. As long as you can retrieve him before a timer runs out, then you can continue on. The offensive, defensive, and maneuvering abilities – Yoshi controls with less inertia than Mario, plus he can spin his legs in mid-leap to gain some extra air – makes for a game that plays much differently than a typical Mario experience.

The levels are full of clever gimmicks, keeping the game fresh throughout all 54 stages. The fan favorite is "Touch Fuzzy Get Dizzy", where fluffy little clouds will send Yoshi on a hallucinogenic trip, causing the world and music to twist and bend around him. Like Super Mario World, the levels are fairly open ended, and with the removal of the timer, they give you the ability to play around to your heart's content.

While Yoshi's Island is just as solidly designed as any of Nintendo's other greats, it's most fondly remembered for its fantastic visuals. Drawn to emulate a living coloring book, even simple backgrounds come to life with animated scribbles, with the color palette coming together to create what is probably the most gorgeous looking 2D game ever created. Yoshi is also animated with incredible amounts of character. The creatures,
friend and foe, include Shyguys (borrowed from Super Mario Bros. 2), watermelon-eating monkeys (you can eat the watermelons and spit seeds back, too), and obese puffins (you can steal the chicks and use them as weapons). Almost everything, including the scenery, wears a happy smile, and you nearly feel bad for viciously gulping and digesting them. The unique mechanics and technologically impressive visuals – bolstered by the Super FX2 chip – make Yoshi's Island feel like a Treasure game, but with the personality, polish, and
ingenuity of Nintendo's best output.

The Wario games are where Nintendo goes when they want to do something weird and experimental. Born as a spin-off from Super Mario Land 2, the fourth Wario Land, released for the GBA, is the best of the lot. Rather than focusing on strict platforming, each level is a relatively open-ended hunt for the goal; once you reach  that goal, you need to head backwards and escape before the level collapses. Your "powers" come from assorted injuries, like getting flattened to squeeze through tight spaces. The landscapes are varied and surreal, and the soundtrack is just as bizarre, often accompanied with warbling vocals. While not as tightly designed as Nintendo's greats, it's a good alternative for those tired of their usual fare.

TOP 10 VIDEO GAMES OF ALL TIME
200 BEST VIDEO GAMES OF ALL TIME
BEST ANDROID GAMES
45 BEST ANDROID GAMES
10 CREEPY VIDEO GAME URBAN LEGENDS
10 TECHNOLOGIES INSPIRED BY VIDEO GAMES
HIDDEN THINGS IN VIDEO GAMES
10 VIDEO GAME EASTER EGGS THAT TOOK YEARS TO FIND

200 Best Video Games of All Time  - Super Meat Boy


Super Meat Boy is the reason why, for better or worse, the "masocore" genre of gruelingly difficult games is so popular nowadays. It turned out to be a massive success story for Team Meat, and was worthy enough to be chronicled in Indie Game: The Movie. The setup here is that Meat Boy's partner, Bandage Girl, is kidnapped by the vile Dr. Fetus. This leads to more than 100 levels of pure platforming goodness, where all you need to do to
survive is run, jump, and wall jump.

It starts out fair at first. Before long, though, the tricks and enemies grow especially vile, like living missiles which split into six, or murderous Meat Boy clones. There's a gargantuan amount of content up front, as each normal level also has a tougher dark side variant unlocked if you beat the normal one under the par time. There are also warp zones leading off into hidden levels, where you can unlock characters from other indie games, each of which play akin to the games they're from while still adhering to this game's physics.

The controls, meanwhile, take a little while to get used to. This is due to the speed Meat Boy moves at, and the distance he can jump. You need to be able to move precisely in order to slide between all of the death-dealing obstacles. Each stage is subtly designed to accommodate your movements while simultaneously challenging you.
While later levels are brutal, very little of it ever feels truly unfair. Death occurs in just a blink and you're immediately back in action, and after beating a level, you get to see how many tries it took, with all your past attempts playing out simultaneously. It's a cool feature that never gets old. For visuals, the characters may look cute, but the environments are quite scary in later stages, with buzz saws and fire everywhere. The music is also absolutely topgrade, thanks to Danny Baranowsky (though the Sony PS4/Vita ports have a totally different, and
not quite as good soundtrack.)

The design is occasionally juvenile, such as the point where you need to race a rival made out of feces, but if you can get over its origins as a Newgrounds Flash game, you'll find the mechanics and bonuses overshadow the silliness. The style is nowhere near as gruesome as Ed McMillen's later hit, The Binding of Isaac, though it did run into controversy with PETA objecting to a character being made entirely of bloody meat. They ran a parody known as Super Tofu Boy, who later made it into Super Meat Boy as a hidden character, though only in the PC version. This is the preferable release, due to a level editor and the ability to play user-created levels.

See Also:
1001 Spikes seems like your dime-a-dozen NES throwback at first glance, but playing it reveals an addicting test of thought and reflexes that is better for unashamedly reveling in its retro roots. Adventurer Aban Hawkins, who bears an unsubtle resemblance to a certain action film protagonist, braves the many perils of the Ukampa ruins and "only" gets 1001 lives to survive it. Crumbling platforms and arrow-spitting statues abound, and Aban will die
many times before beating any given level. Each death leaves the player feeling like it's beatable, though. With more levels than you would expect, several game modes, and oodles of playable characters from other titles, 1001 Spikes has a lot more to offer players than just the promise of repeated death.

200 Best Video Games of All Time  - Terranigma


Terranigma stars a mischievous boy, named Ark by default, who one day breaks open a forbidden door and discovers a strange creature in a magic box. This freezes all inhabitants of his village deep inside the earth, except for him and the elder, who tells him to conquer five towers to free his friends. Each tower has the side effect of reviving one continent on the planet surface, and when the deed is done, Ark is sent above ground to bring back civilization to the world. This mythical task is framed in typical action-RPG terms – Ark frees the souls of living beings by defeating monsters, then proceeds to the next part of the world by interacting with the newborn plants, animals, and finally humans.

Ark is an extraordinarily mobile hero, able to freely dash around, jump, block enemy attacks, and perform a number of special moves for more damage. The dungeons, with their puzzles and obstacles, take all of these abilities into account, making the challenges feel more natural than the contrived "this was designed for exactly that item" dungeons in Zelda games[/url].

Terranigma is really all about its themes, though. Modeled after creation myths – it is the most literal application of the Monomyth according to Campbell in a video game – the story doesn't hold up so much when viewed as one coherent plot, but works better as an assortment of unreliably strung together episodes, tales, and philosophic musings on life, progress, death, and reincarnation.

Accordingly, Terranigma occurs on a mythically warped timeline. Even the intro starts with a compelling image of the number 13 added to a clock's face. Characters can be reborn as infants and grow up while others never age, and the entire development of human civilization takes place in a single hero's lifetime. Ark can stroll around in futuristic Neo Tokyo but then return to a Europe that's stuck in the middle ages – though not entirely. Some cities can be lead to advancement and turned into sprawling metropolises by performing certain tasks, mirroring the game's themes of growth and development.

Musically, there are few soundtracks that complement a game's themes so exquisitely as in Terranigma. Two major tracks stand as centerpieces, signifying home and discovery, and are reprised throughout before merging together to spell triumph, then decay, and finally rebirth. Despite being the crowning achievement in Quintet's SNES output, and one of the best action RPGs ever made, Terranigma is often overlooked due to a lack of a North American release – the only English release was in Europe. -Sam Derboo

Even though there are no explicit ties between Quintet's Soul Blazer, Illusion of Gaia, and Terranigma, they're often considered a trilogy, as they're all concerned with the ruin and rebuilding of entire civilizations. Illusion of Gaia may have the weakest gameplay among them, with filler dungeons and three transformations of the main character that don't add much to the game, but its personal story makes it stand apart. Like all of Quintet's games, it has its goofy moments, but the main thread is astonishingly serious, even touching on hard topics like slavery. Soul Blazer is also worth a try, though it feels more archaic than its successors – the back- andforth to the towns after freeing souls is tedious, and the hero's inability to walk diagonally makes it seem stiff. -SD