It’s no coincidence how much the music has in common with Castlevania as Kaufman reveals that early versions of the game used tracks from Symphony of the Night as a placeholder. Three months later, Kaufman finished his original score based on this inspiration combined with his own flavor. Then he made an 8-bit version as a bonus (unlockable after finishing the game). Why not? Everybody knows NES music is the coolest.

But rather than run it through a filter, all the music was painstakingly recreated in FamiTracker for the 8-bit version. This retro conversion process has created some sort of crazy neo-nostalgia that will no doubt threaten the space-time continuum.

Until that fateful moment when reality collapses in on itself, you can get both versions of the soundrack (that’s 30 tracks!) for the low, low price of free. Of course, if you are the kindhearted type and would like to reward an artist for the blood, sweat, and tears that went into the album, you can pay any price you want via Bandcamp.

Buy the Album: Bandcamp

You know that moment in gaming where you’re no longer making conscious decisions and instead find yourself relying on pure, razor fast instinct? This is how I felt for almost the entirety of the time I spent with SkyDrift. Much like the fantastic Split/Second, SkyDrift‘s brand of racing puts you on the verge of death constantly, and everytime you manage to narrowly escape certain doom at the hands of the track’s terrain or your opponent’s weapons it feels like a miracle.

It’s amazing how much the concept of flight changes how a racing game plays. The added verticality of racing in an airplane instead of a car allows for a sense of freedom that really makes every race play out differently. This is also helped by some really superb track design. There aren’t a ton of tracks, but the ones that are there are filled to the brim with branching pathways, a ton of variety, and plenty of extra dangerous obstacles that reward players willing to take risks.

The closer you fly to the ground and walls, the more you will fill up your boost gauge. Every minute you cheat death is one that will make you faster. Sometimes it’s easier to fly above or around archways or avoid a narrow slit in a rock face, but if you can survive the danger it can be your ticket to a shorter path, a sweet power-up, or simply a proximity-based boost reward.

Each track sets itself apart by having you fly through anything from the wreckage of an old boat to the lava flow of an active volcano. And since each track has that extra dimension that flight adds, the reverse versions feel drastically different. There’s also a great sense of openness not unlike the underappreciated Excite Truck (but with a bit more focus).

Weapons in racing games must be handled delicately in order to retain balance and fun. Thankfully, SkyDrift hits the nail on the head. Icons clearly indicate which power-up you’ll receive so you can grab what’s best suited for the situation. Each weapon has its own strengths and weaknesses without any of them becoming the “I win” button. Even homing missiles aren’t a guaranteed hit due to their straight flight paths. Sure, they will follow their target, but they can’t distinguish between the terrain. Steer your plane behind the other side of a rock mass and you’ll be safely out of the city limits of Explosion Town.

Most importantly, re-spawning is extremely quick. There’s nothing worse than waiting as a Lakitu slowly fishes a go-kart out of a lake. SkyDrift avoids this problem by never letting you have enough downtime to break the flow of the lightning fast gameplay while still disadvantaging you enough to motivate your survival.

If you have a power-up you don’t need, you can sacrifice it for a bit of boost. How much you get will actually be determined by how far back you are to help you play catchup when you’re doing especially poorly. So why even use weapons? Aside from slowing down your opponents, killing them also increases your boost gauge and does so often to a much greater extent than absorbing a power-up would. Killing sprees always let you end in boosting sprees.

Each weapon has a more powerful version if you pick it up twice. You can also hold two different weapons at a time and cycle through them. This all adds up to a lot of different ways to tackle each situation you find yourself in. Will you use your EMP shockwave to take down the surrounding planes or to counter a missile the moment before it hits? You might find the answer is “neither” as you quickly realize there’s a mine to destroy that’s blocking your favorite, secret path.

Not every race features weapons. A small handful of races in the campaign use rings instead. Flying through rings while racing other planes might not sound terribly exciting on paper, but when each one ramps up your speed at an exponential rate reminiscent of Wipeout‘s Zone Mode, it’s one of the most adrenaline pumping experiences in the game (especially when you break the sound barrier).

While playing SkyDrift, I felt like I was transported back to a time when arcade racers were king. That’s not to say the game feels dated (it doesn’t), but I could just see myself in some sort of crazy, plane-shaped contraption of a cabinet, shooting down enemy planes as the whole thing swivels back and forth. The fittingly rocking music and bright, colorful visuals certainly didn’t hurt that feeling.

SkyDrift is an absolute blast. It’s a fresh spin on the weapons-based racing genre that manages to bombard you with explosions and exciting close calls while retaining a sense of coherency and balance. The dual-stick controls take a little getting use to, but you’ll be glad you put forth the effort. Once it clicks, it’s a hard game to put down.

This review is based on the PSN version of SkyDrift provided to the reviewer by Digital Reality.

Hot off the heels of their Back to the Future game, Telltale is back with another license close to the heart of my youth: Jurassic Park. It takes risks, leaving behind the traditional point and click interface of their past games for something a little different.

The first of the two demos I played was exclusively an action scene. Several of the game’s protagonists were stuck on a roller coaster and I had to prevent them from being eaten by a pack of dinosaurs. The solution? Successfully complete a lot of quick time events including button presses and quick flips of the analogue stick. You could sum up the entire action demo simply by saying “Space Ace”.

But there was a weird layer of detachment added to this scene. The character whose actions were affected by my inputs constantly changed. This made me feel less involved with what was happening on screen since no singular character represented the player. Occasionally I’d fail and watch a death scene before snapping back to the last checkpoint. I watched my cart go on the wrong track into a pack of dinosaurs, a young girl falling out of the car to her death and more, all while my death counter rose.

If this was all the game was, I’d be pretty sad. Thankfully the second demo I played was far more interesting, though still different than Telltale’s previous games.

The adventure demo had me in control of a mercenary woman named Nima accompanied by Miles Chadwick. Nima was clearly ignorant of the island, not knowing that it was full of dinosaurs, but Chadwick seemed to know everything going on. These were Dodgeson’s people that Dennis Nedry intended to hand off the shaving cream can full of dinosaur embryos to (before being killed by a dilophosaurus in his jeep). It’s this tie-in to the original story that makes the plot of Telltale’s game so intriguing. Making it so closely linked to the first novel and film without retelling it is a smart idea.

I found myself in the delightfully familiar locale of where Nedry’s jeep was stuck. Despite not seeing the can in the jeep, Chadwick insists on checking it more while sending Nima to accomplish the far more dangerous task of searching the surrounding area.

Nima has tracking skills. By holding buttons corresponding to different areas, I could have Nima closely examine various elements of the environment such as footprints. Strangely, I had to hold the corresponding button down until my search was complete. The whole thing gave me some serious Heavy Rain vibes.

Never did I find myself walking around as any character. Instead, I could bring up a shortcut menu to move to different areas of the environment. While in each environment, I could use the analogue stick to move the camera around a bit allowing me to examine more things.

In fact, examining things was the name of the game here. The closest I came to encountering a puzzle was when certain areas I attempted to examine were too dark. I had to move up to the jeep and adjust the lights mounted on top to aim at different areas to aid my search. I also occasionally conversed with Chadwick, but my dialogue choices seemed of little consequence. I either chose the right answer, or something else then the right answer. Hopefully the puzzle and dialogue aspects will get more complex further into the final game.

Eventually, several dinosaurs showed up and I transitioned into another quick time event driven action scene, complete with checkpoints and a few failures on my part. It at least felt more interesting transitioning from a calm scene to an action one, but it’s still hard to get too excited about quick time events in 2011.

I left a little torn about Jurassic Park: The Game. On one hand, the setup for the story has grabbed my attention. But on the other hand, the action gameplay is not particularly enjoyable. It’s definitely feeling more “interactive fiction” than game so far, even moreso than a traditional point-and-click adventure game. But if the adventure parts introduce more actual puzzles instead of the “look here, now look here” execution I’ve seen thus far, I could forgive the action scenes.

How many airplane racing games can you think of off the top of your head? Any? Without resorting to Google, all I could come up with was one third of Diddy Kong Racing. This is exactly why I was instantly fascinated by Digital Reality’s SkyDrift. It’s in a sub-genre that’s rarely explored.

You could call it “Mario Kart in the sky”, but that really isn’t fair to the game. SkyDrift may be a weapons-based racer, but it’s far more deliberate and skill-based than any racing I’ve ever done in the Mushroom Kingdom. The fact that you need a second analogue stick to control your plane’s knife position is proof enough that the game is deeper than some of its contemporaries.

Using both sticks doesn’t just make you better, the hairpin turns throughout the cavernous tracks make adjusting the angle of your plane absolutely vital. This is especially true when making quick decisions. This comes up often as the tracks have plenty of branching paths to explore.

Some of the paths will help you shave some time off your lap, while others can be a great source of weapon drops. In my time with the demo, I traveled through valleys, caves, icy waters, and the occasional man-made structure as I shot at my opponents to slow them down.

Flying dangerously is actually rewarded. The more you hug the ground and walls (without crashing), the more you can fill your boost meter. It’s up to you whether to risk it all in order to gain the extra boost you need to overtake your opponent.

Weapon drops are not randomized. Instead, they have clearly marked symbols similar to Blur, so you can actually form strategies and grab the specific power-ups that will be useful to your cause. There are six power-ups in all including missiles, EMP, mines, machine guns, shields, and health refills.

You can hold a few different ones at once and cycle through them. Picking up the same power-up twice will actually change it into a stronger version. Or you can choose to get rid of it altogether by converting it into boost power, further expanding your options.

Each of the eight planes has their own strengths and weaknesses along with a variety of skins to change up the look. Eight is also the number of players in a race, both in single player and online multiplayer.

As a sucker for unconventional racing games, I found myself really enjoying what I played of SkyDrift. Moving in all directions certainly adds a lot more ways to cut lap times than being stuck on a road, and the many branching paths of each track kept them very interesting. I look forward to checking the full version out when it releases this summer.

As a fan of the genre, I’ve seen my fair share of modern scrolling shooters or “shmups” as they’re often called. Yet, after the magnificent Gradius V back in 2004, I haven’t seen very many that actually look modern. Even some from this year tend to look like something you might’ve seen in the arcade as much as a decade ago.

That’s the first of many ways in which Sine Mora sets itself apart. The game is gorgeous. There’s a real sense of depth to the environments that manage to strike an effective balance of being attractive without being distracting. Colors are often vibrant, environments are varied, and giant bosses are real spectacles to behold thanks to art direction from Grasshopper.

And yet, as great as the visuals were, it was the unique mechanics developer Digital Reality put into the game that kept me coming back for another try. Sine Mora is not about one hit kills or traditional health systems. Sine Mora is about time (in more ways than one). While you’re playing, the clock always counts down. Killing enemies will send the clock backward a bit, while getting hit drastically reduces your time. When the clock strikes “00″, you die.

This game of chronological tug o’ war creates an exciting sense of urgency, while forcing you to prepare for the worst by playing smart. You may be able to get to the boss and avoid his attacks, but if you played the part of the pacifist beforehand, you might not be able to defeat him in time before your imminent death. It’s far easier to hoard time by killing off small enemies than breaking parts off a boss, and seizing the opportunity to do so can be a matter of life and death.

Time can be manipulated in more ways than just what’s left on the clock. You also have the ability to slow the game down while retaining your own movement speed. Of course, this ability is very limited and should be used wisely.

Like most shmups, there are a variety of power-ups to acquire, including primary weapon upgrades, secondary weapon ammo, and refills for your slowdown gauge. The primary weapon I had in the demo would spread increasingly wider as I picked up upgrades. But, every time I took damage, they would fly out of me, allowing me a brief chance to grab them again. My secondary fire (of which the full game will have several) shot a barrage of heat seeking missiles. One of the most interesting things, though, was that by collecting time beyond a certain limit, I was able to generate a temporary shield to avoid further damage.

The stages I played in the two available demos were quite varied. I flew through the bright, blue sky, submerged my ship into an aquatic stage, and maneuvered through tightly crafted caverns with acid-spewing worms bursting through the environment. Each boss encounter was equally diverse, pitting me against some sort of boat fortress, a robotic squid-like creature, and a multifaceted weapons train. Even these individual encounters often mixed things up by dividing the battles into several unique phases with their own attack patterns.

Sine Mora hopes to attract both newcomers and hardcore players which was expressed very well by the two demos I played. The Story Mode, which was set on easy, was quite manageable and I was able to complete it with relative ease. The second demo featured Arcade Mode and was set to insanity. On insanity, enemies explode into bullets when you kill them, similar to Ikaruga (minus the ability to absorb them). Try as I might (and I visited the booth for quite a few tries), I couldn’t quite finish this mode, but I was always left with that “Just one more try!” feeling instead of frustration. The various game modes, in addition to a dynamic ranking system that changes enemy behavior based on your performance, should suit players of all skill levels.

Of all the games I managed to play with my limited time on the show floor, Sine Mora turned out to be my game of the show. Digital Reality and Grasshopper Manufacture have a real winner on their hands with this one. The unique mechanics and beautiful art direction make this a game you won’t want to miss.

After constant begging from fans, the agonizing wait is finally over. Indie developer Supergiant Games has released the phenomenal soundtrack to their debut game Bastion. $10 will get you a digital copy in the format of your choosing while $15 will get you a digital and physical copy signed by composer Darren Korb himself. Not too shabby for what could quite possibly be the year’s best game soundtrack.

Korb’s self described “acoustic frontier trip-hop” begs to be heard. If you happen to be at PAX Prime (August 26-28), be sure to stop by Supergiant’s booth where he will be signing early copies of the Bastion soundtrack (regular physical release is September 2nd).

Source: Supergiant Games Buy the Album: Bandcamp

Remember when everybody begged and pleaded for a reboot of the 1982 Atari classic, Yar’s Revenge? Neither do I, but here we are. Much like the upcoming Kid Icarus: Uprising, the new title looks like it has less to do with the concepts of its predecessor and has more in common with games like Sin & Punishment, Panzer Dragoon, and Star Fox.

It’s this genre change that had my interest piqued. The move to a third person rail shooter, regardless of its franchise branding, seemed right up my alley. After all, games in this genre aren’t particularly common, especially now. But sadly, the only thing waiting for me in the new XBLA Yar’s Revenge was disappointment.

Yar’s Revenge opens and is interspersed with cutscenes to tell the story. One of the few positive things I can say about the game is that there are some really nicely drawn still frames in these scenes. But each scene is awkwardly silent. The text dialogue uses only colors to signify who’s talking, and everybody seems to refer to themselves in the third person. Needless to say, it’s easy to get confused by this presentation, especially when it blindsides you in the intro.

The stages themselves also look rather nice, containing bright colors and a sense of life. Unfortunately, they get stale rather quickly for two reasons. For starters, every stage seems to last for an eternity with little variation happening throughout. Secondly, there are really only three distinct themes for the game’s six stages. For example, after flying through a level resembling cloud city for far longer than anybody would want to, you get to do it again in the following level for just as overly long.

"The environments look pretty nice... at first."

Perhaps the environments wouldn’t feel so droning if the gameplay wasn’t so repetitive. Much like the stage themes, there are really only three distinct enemy types (aside from bosses) in the game. Aesthetically there are a small handful more, but mechanically describing it as any more than three would be generous. Essentially, you have the turret type enemies on the ground, non-aggressive flying enemies following each other in set paths, and mildly aggressive flying enemies that don’t move around much at all.

To make matters worse, the only enemies that feel like they are part of the environment are the ground enemies. The flying enemies, which make for about two thirds of what you’ll encounter, stay at the exact same place regardless of whatever crazy maneuvers the camera decides to do. This completely takes you out of the game, making the environment seem like a movie playing in the background while unrelated creatures awkwardly ignore it with their unaltered flight patterns.

Bosses don’t fare much better. While they can be amusing to fight initially, you’ll quickly find that these battles are just as drawn out as the levels leading up to them. You’ll find yourself doing the same few repetitive dodges while their health slowly trickles down. The real challenge isn’t whether or not the boss will kill you, but whether or not you will actually stick around long enough to watch them die before you decide to quit the game and do and something else.

"Have fun looking at Cloud City for two full, drawn out stages."

Somehow the controls manage to be even less intuitive than the already awkward (but lovable) first Sin & Punishment. While the twin stick moving and aiming controls are similar, the weapons require a lot of button holding. You’ll hold down the primary fire button most of the time, but will want to be able to access the secondary fire and dodge button without moving. The missiles also require holding a button, so at any given time you’ll find yourself holding or hovering over all four shoulder buttons simultaneously while you maneuver two sticks and occasionally press a face button (A, B, X, Y) to power up.

The powerups themselves are mildly interesting, but simply aren’t enough to save your from the game’s boring pace. Each one is assigned to a specific face button and you can activate them at a time of your choosing. The shield doubles as a healing item, another one provides cover fire for destroying enemy bullets, and so on. As far as I could tell, these items, as well as missiles (which are limited and must be collected), are random drops from enemies. Funny enough, the missiles I found to be the most ineffectual weapon in the game despite it being the only one that is limited.

I really thought I’d love Yar’s Revenge. It resembled so many games that I’m fond of. But even as little as a third of the way through the already short campaign, I found myself finishing it, not out of fun, but so that I could fully warn others of just how joyless it is. Yar’s Revenge feels like a chore in a genre that’s usually full of constant excitement. It’s so far removed from the original that I can’t imagine nostalgic fans caring, and it’s not a good enough game to make it worth a purchase to anybody else.

This review is based on a copy of Yar’s Revenge purchased by the reviewer.

On May 4th you’ll be able to grab Bangai-O HD: Missile Fury on XBLA for 800 Microsoft Fun Bucks ($10). The game features over 100 levels to start and includes a level editor to expand the game even further.

Aside from HD visuals, Missile Fury also improves the control scheme by switching to twin stick input so you no longer have to face the same direction you want to fire. Additionally, there’s a new combo system to powerup your counterattacks and even a co-op mode.

Want to know more? Check out our hands-on impressions from PAX ’10 and the new co-op trailer below.

Source: D3Publisher

This particular unit, which you can bid on right now, was part of Microsoft’s permanent collection of customized game hardware.

To sweeten the deal, it also comes with a token for every XBLA title published by Microsoft Game Studios that is still currently available.

Here are a few of the titles that are included:

Torchlight

Full House Poker

Pinball FX 2

Castle Crashers

Comic Jumper

Defense Grid

Dishwasher: Dead Samurai

Hydro Thunder: Hurricane

Ikaruga

ilomilo

Limbo

The Maw

Monday Night Combat

N+

Raskulls

R-Type Dimensions

Scrap Metal

Shadow Complex

Splosion Man

Torchlight

Toy Soldiers

Trials HD

Uno

Braid

Wallace & Gromit: Episodes 1 – 4

For this review, please imagine me hunkered over, holding my back with one hand while propping myself up with a cane with the other. My trousers are held up with suspenders, my plaid shirt is tapered, and my face wears a constant scowl. Got all that in mind there? Ready? Ok, good. Ahem.

In MY day, games were hard as hell, and we liked ‘em that way! Didn’t need no too-tour-ree-alls, or yer fancy shmancy fast time situations or whatever ya have. Ya hit start at’n the title screen, ya played the game, and ya got yer keester whipped. And that was just fine! … … … AN’ ANOTHER THING! There ‘as no ten minute cuttin’ scenes or surround sound dij’tal Dolby an’ all that nonsense. Only had there 256 colors, at best, and we LOVED it! Why in my day, yadda yadda yadda… I think you get he point.

So many games these days are too complex, too stuffy, and frankly too easy. And I’m from the late NES era. Just imagine what the arcade era thinks! Ahh, but thankfully, before I really do turn into that old man and make my grandchild hate visiting me, there’s Super Meat Boy.

Super Meat Boy is the successor to the Newgrounds flash game, Meat Boy. In this 2D platformer, you play as Meat Boy who must rescue his girlfriend, Bandage Girl, from Dr. Fetus, who is a jerk. The challenge is presented in a gauntlet of stages where you must navigate Meat Boy to reach Bandage Girl at the end. Each stage is pretty short, some even being a single screen, and most can be cleared in under 30 seconds. Provided you get them on the first try, that is, since the game quickly applies difficulty with precarious instant-death obstacles you’ll need to carefully avoid.

"If this looks really hard, don't worry. It gets a lot harder."

However, this difficulty is truly the core of Super Meat Boy‘s appeal. While you’ll die quite often, you never get a sense of being slowed down. With every loss, you immediately restart back at the beginning. The music never restarts when you die or advance to the next stage. Every stage you beat moves you to the next, as opposed to making you return to the world map. Everything about the game psychologically conditions you to keep going; to have a mentality of, “Man, I know I can do this. Just give me one more shot,” instead of, “#@$% I HATE THIS GAME! I QUIT!” Sure, I won’t lie. There are a handful of stages that really ticked me off, and I probably had to play them 50+ times before I figured it all out. But 90% of the time, my anger was typically expressed with “Dawww,” or “Aw man.”

A lot of it is just getting a sense of how Meat Boy plays. He moves around very quickly, and can perform long, floaty jumps. He will also stick to walls briefly, and can jump off from them. This gives Meat Boy a lot of versatility in movement, though you have to keep his momentum in check since he can easily overshoot whatever you’re trying to reach. Once you get a feel for it, it comes together extremely well.

On the Barrel Roll podcast, I expressed this as what I call “meat sense,” where I became so attuned to Meat Boy’s physics that I caught myself paying attention to the obstacles on the screen instead of Meat Boy himself. In some cases, I was practically playing stages without watching Meat Boy at all. Though, I’ll admit that this does not work so well on the later stages. The controls aren’t perfect, and occasionally a jump feels a little delayed, or doesn’t happen at all. I can’t really tell if this is due to the game or the controller (I’m not fan of the 360 controller, especially where old school style games are concerned). But more often than not, you don’t have any problems.

Above, I mentioned that the stages in Super Meat Boy are very short, and that might lead you to believe there’s not much game here. But that couldn’t be further from the truth. The game’s primary campaign contains over 100 stages, which are part of a total 300+ stages. Each main world contains 20 stages and a boss stage. However, you can also switch to the “dark world” version of each world, which lets you play a harder version of every stage you beat below a par time.

A handful of stages also have warp zones, most of which are hidden. Finding these unlocks additional “retro” stages, which have Atari, NES and even Game Boy style graphics. These retro warp zones come in sets of three stages, and unlike the main game have “lives.” Basically, you have three tries to beat the stage, and if you fail, you just get returned to the map. Nevertheless, once you find these warp zones, they become unlocked on the map, and can be played over as many times as you want.

"After beating a stage, relive all your horrible mistakes simultaneously!"

And if that weren’t enough, you can unlock a number of characters other than Meat Boy to play as. Many of them are characters from other indie and small game makers, like Commander Video from the Bit.Trip series by Gaijin Games. While these characters play similarly to Meat Boy, they have their own unique abilities (like double jumping, floating, or sticking to walls), and different speed and momentum. These characters are unlocked by completing special warp zones, or by collecting bandages that are scattered throughout stages, which are very challenging to get. Truth be told, though, I still enjoy playing as Meat Boy the most. It’s like Mega Man 10 where sure, Proto Man and Bass have their own unique abilities, but playing as Mega Man just feels right.

I also can’t wrap this review up without mentioning the game’s style. It’s a very charming mixture of both humor and grotesqueness. The story and hi-jinks are silly, but never get the chance to become hammy or annoying. The game has a lot of disgusting things, but is presented cartoonishly enough not to actually make you sick. I mean, you’re basically playing as a hunk of raw meat that leaves blood everywhere it travels and dies. And while the game is full of typical game obstacles like saw blades, missiles and lasers, it also has a number of other icky things like syringes and maggots. And sure, there are cut scenes, but they serve as brief introductions to worlds and bosses, and toss in a lot of the game’s humor and retro homages (and if you are feeling impatient, you can always skip them). Furthermore, like all good games, the music is fantastic; catchy, pushes-you-forward game music. The sound effects are strong as well.

Warning: Montage video contains squishy sounds. Do not watch while eating a burrito.

Quite honestly, I did not want to like Super Meat Boy and had no interest in even buying it. At the time, paying for what seemed like a mere flash game felt ridiculous, and I’m not a big fan of most indie games. I get the idea: corporate games are so often soulless, and made to feed demographics and earn big bucks. But on the other side of the coin, I find many indie games too pretentious and dull. Like a self-infatuated writer that wants to be innovative, and writes a book without punctuation or from the perspective of dirt; these games are full of things that greatly interest the developer’s creativity and impress their art house friends, but don’t do much for anyone else.

But I’m glad I did make myself look into Super Meat Boy, because Team Meat definitely gets it. They focus on the one thing that the big time publishers and the indie artists often overlook; the one thing that’s key to the success of all great games: the player. Playing this game, you can tell they put the fun and fundamentals first. Every block and every saw blade was placed with purpose, and the game’s flow and mechanics were definitely worked out from the perspective of the customers who would be playing this game over and over again. It’s like a fine cut of beef, trimmed of all its fat and spoiled bits, and then slow roasted to perfection so all you’re left with is the highest grade steak you can get. And what’s more, it’s not at filet mignon price either.

This review is based on a copy of Super Meat Boy purchased by the reviewer.