Archive for April, 2009

Sorcerer’s Kingdom

Brad: Oh, goody! Another RPG from what appears to be that genre’s stone age, complete with thin story that barely disguises what a grind-fest it is, inane menu-driven combat, and almost no distinguishing characteristics at all. I really like the linearity of knowing that I’ll almost certainly get killed if I dare venture to any area other than the ones directly related to the quest I’m on, and the fact that every area has only one or two kinds or enemies. But the best part is having to mindlessly level up for about an hour every time I enter a new area. Why yes, I would like to fight my 100th kobold! What fun! Oh, and the glitch that makes all your other party members completely useless is just the cherry on top of this shit sundae.

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Sweet.  Now I can finally buy that tiara I’ve had my eye on.

Stryker: SK’s biggest problem is pacing – you’re constantly at a disadvantage compared to the enemies you’re supposed to be facing, and it’s so damn hard to stay alive that you’ll probably be limited to fighting 3 or 4 random encounters before going back to rest. Repeat this process enough times and eventually you’ll get enough experience and gold to become powerful enough to survive in an area. But then you’ll move on to the next part where the monsters are tougher, and you’re right back where you started. Maybe nobody told the development team, but RPG combat is kinda boring. Sorceror’s Kingdom’s slight innovations only make it marginally less so. No Seal of Quality for you.


Jurassic Park: Rampage Edition

The original Jurassic Park Genesis game took the top spot on our list of “The Worst Genesis Games You’ve Probably Heard Of”, so it probably goes without saying that we didn’t really have high expectations for this one. And by that I mean that I half-expected to turn the game on and have a digitized T-Rex yelling at me for my poor taste in games. Instead what we get is mostly a lot more of the same, except now the already remarkable amount of insanity has been cranked up a few more notches. Considering that the first game included a level where Dr. Grant voluntarily climbed into a dinosaur filled active volcano, and another part where he just happened to find a rocket launcher laying around the would-be theme park, that’s really saying something.

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Oh, alright, so we’re just letting the triceratops ride boats now.  Fine.

Much like the first Jurassic Park game for the Genesis, Rampage Edition gives you the option to play either as Dr. Grant or as a Raptor. As in the first game, the game was really designed to be played as Dr. Grant, with the Raptor portions being something of an afterthought – mostly a lot of throwaway sections that nobody really seems to have put much time or effort into. That’s not to say that it isn’t still more fun to play as the raptor – the development team did such a lousy job making the game that having them put less effort into an area generally means they had less time to screw it up. Besides, this way you get to play as a ferocious dinosaur.

According to Stryker, a lot of copies of Rampage Edition got traded in while he owned the game store, and not a single one of them ever had the box or instructions. I only mention it because if at times it seems as if we didn’t exactly know what was supposed to be going on, that’s why. The fact that there’s no opening text or cinematic didn’t help, either. Come to think of it, neither did the fact that almost everything you do or see in the game is complete madness.

In the first game, your motivations were pretty clear – Dr. Grant was trying to escape the island, and the raptor was trying to eat him. This no longer seems to be the case – on the level select screen, one of Grant’s first options is the cargo ship. Presumably this ship leaves the island, allowing Grant to escape. However, he seems to have no intentions of doing so, instead mowing down everyone in his path with a rather impressive arsenal of weapons. Admittedly, that may be because the ship has been hijacked by what appears to be German soldiers from WW2, which I believe would effectively make them Nazi Pirates. So at least the game has that going for it. Even so, Grant’s intentions appear to be, at best, unclear at this point, and at worst, homicidal.

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A Raptor does a somersault jump in order to reach the flying candy bar. You know, like on those nature shows.

And of course, this being a Jurassic Park game, the Nazi Pirates are working in tandem with angry dinosaurs. Because all dinosaurs apparently love Hitler. And of course, eating you. Never fear though, because the cautious, middle-aged Dr. Grant from the movie has been replaced by a new and improved pistol-twirling, machine gun toting action hero who is perfectly comfortable blasting raptors with a shotgun and disintegrating Pirate Nazis into dust with some kind of a super taser. And those aren’t hyperbolic examples I just made up, those are things that you actually will be doing throughout this game. Rather frequently. In fact, there’s a pretty good chance that Grant’s real objective here is to simply exterminate every living thing on the island. Perhaps there was some kind of explanation for this transformation from intellectual scientist to raging psychopath, but if so, it must have been included in the missing instruction booklet.

Still, even considering the introduction of Pirate Nazis to the Jurassic Park universe, nothing I’ve described so far comes anywhere close to the craziness of the Savanna level, where Grant rides a dinosaur while shooting down helicopters. You know, just like in the movie. I mean, not the Jurassic Park movie, obviously, but like some other really fucked up movie that featured a bizarre time-warped version of a wild west show. He even yells “Yee-haw!” right before jumping onto the back of the dino. I wish I was making this up, but here’s a picture:

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In the first Genesis game, the Raptor wanted to eat Grant at all costs, even though it usually meant rushing past hundreds of similarly flavored JP workers. In this game however, the focus is much more on killing other dinosaurs, fighting the invading Pirate Nazis, and trying to avoid being shot in the ass by helicopters (this last one is much harder than it sounds). Since the Raptor now seems to have the same objectives as Grant, one cannot help but wonder if they have put aside their differences and have begun working as a team. The game never says so explicitly, but perhaps this was covered in the instructions. It would certainly help to explain Grant’s bloodthirsty ways.

In order to make the game more scientifically accurate, the raptor no longer replenishes health from eating other dinosaurs of humans, instead relying on a steady diet of candy bars to stay alive. You’ll remember this from the movie, where to Australian guy (no, not Dr. Grant, the other one with the funny hat) explains how all the dinos on the island have a genetic dependency that will cause them to die if they aren’t given candy bars by the staff. Or that might have been lysine. Maybe they’re lysine candy bars. In addition to a craving for Hershey bars, the raptor also now has a fearsome double-jump, which allows him to practically fly through the stage. Recent research suggests was a pretty well-known trait of the species. Don’t forget, these guys evoled into birds – even the word “Raptor” means “bird of prey”!

You’re also supposed to collect what appears to be car batteries… I don’t exactly understand why.

You know what though? Games do crazy stuff like this all the time. All the deviations from the original movie, and to a much greater extent reality, would be entirely permissable if the game were any good. Of course it’s not – if there’s one thing that didn’t change that much from the original, it’s the failure of the game’s overall design. Enemies bombard you in such overwhelming numbers that it usually makes more sense to try and rush through each level blindly, rather than really try to play the game. The levels are poorly designed, with plenty of areas to get stuck in, hazards and attackers beseiging you from off screen, and my all-time favorite, the ever-popular stages where falling can either lead you to the rest of the level, or else kill you instantly, with no way to know until you try it. Playing the game isn’t exactly an exercise in frustration, but I’d say irritation is a pretty accurate description. Much like the orginal, Jurassic Park: Rampage Edition is the antithesis of fun.


Teenage Mutant Ninja Turtles: Tournament Fighters

Brad: Did we really need to even play this one? If I had told you that it was a fighting game that game out right in the middle of the fighting game craze, when every company was rushing out 2D fighters to cash in, and starred the Ninja Turtles, wouldn’t that really be all you needed to know? Do you really need me to tell you that its horrible – that the control is unresponsive, the AI is cheaper than your average garage sale junkie, and the sound clips are distorted and annoying? Doesn’t that all kind of go without saying?

What I’m asking is that if we had eliminated this game, sight unseen, would anyone have really faulted us for it? Would you have questioned our “journalistic integrity”, or would all of you have had simply admired our intuition and foresight?

Well, don’t ever say we’re not 100% committed to this project. And to prove it, here’s a screenshot from my epic battle against Purple Leonardo:

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And yes, this game was every bit as bad as we all knew it was going to be.

Stryker: The Genesis only has three buttons, which puts a cramp on fighting games, because they get their depth and balance from each character having a lot of moves. Even so, this game sees fit to dedicate one entire button to the relatively useless act of taunting. That’s a monumentally stupid idea, and things only get worse from there.

Mr Do!: This is exactly what Guilty Gear would play like in hell.

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Superman

Brad: So let me see if I have this straight. In this Superman game, you can’t fly, you don’t have any eye lasers, and you get hurt if people walk into you.

Stryker: Watch out, Lex Luthor.

Brad: I understand that if you made a Superman game where he had all his powers, it would probably be pretty easy, but it seems like Sunsoft could have done a better job of disguising how badly they had gimped the character. Maybe give the bad guys some kryptonite lasers or something.

Stryker: Or just do like Superfriends and have him forget that he has any powers until the last level or something.

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Great Scott! I’m on the wrong building.  If only I had a way to get over there… and fast!

Brad: Honestly, I never really got the appeal of Superman in the first place – he can do almost anything and the only thing that can kill him is this super-rare mineral from a destroyed planet, so he’s pretty much a god. Where’s the fun in that? No matter what he’s up against, the comic book writers could just invent a new power to stop it and it wouldn’t even seem cheap. Everyone would be like “Well, of course he can do that, he’s Superman.”

Stryker: Well of course he managed to get decent customer service from Verizon, he’s Superman.

Brad: Of course his Xbox 360 didn’t RRoD and almost burn his house down, he’s Superman.

Stryker: Of course Time Warner actually gives him all the HD channels he’s paying for – he’s Superman.

Brad: Well, of course he bought a game at Gamestop without being harassed about reserving 10 other upcoming titles – he’s Superman.

Stryker: Oh c’mon, NOBODY is that powerful.

Brad: Yeah, seriously. You know they asked me if I wanted to reserve a copy of Madden the other day. It’s April.

Stryker: Yeah, last year when I went to pick up my reserved copy of Madden, they had enough extra copies that they built a maze out of them in the parking lot. So no, Gamestop, I’m not too worried about it being sold out on release day.

Brad: Besides, when’s the last time you played Madden and thought “Gee, I sure am glad I paid full price for this?”

Stryker: It’s been at least 4 years. Maybe longer. Wait, we’re supposed to be talking about Superman, right?

Brad: Yeah… So, anyway, it’s bad enough to make a Superman game where he can’t fly, but if you’re going to do that, maybe you shouldn’t call attention to it by having the first level be on the rooftops. I kept thinking – why didn’t I land closer to the enemy base, where there are fewer people trying to kick my ass?

Stryker: And if you’re not going to let Superman have his eye lasers, or freeze breath, or X-ray vision, you probably shouldn’t give him a “special attack” in the game that’s just a really slow punch.

Brad: I always thought it would be cool if Superman used his X-ray vision to give bad guys cancer.

Stryker: Hmm… now I’m wondering how many innocent people he’s inadvertently done that to. Probably a lot. Metropolis has sky-high cancer rates, and they keep blaming it on the smog.

Brad: You can’t make a game where Superman is completely invincible, but is it really asking too much that he not take damage every time somebody bumps into him? I mean, I walked around the crowded streets of Manhattan before without dying, and I’m just a normal guy.

Stryker: Just imagine the Legion of Doom coming up with a plan to create millions of evil drones with the sole purpose of having them walk into Superman until he dies.

Brad: You would even need the Legion of Doom for that. Just a large enough group of people who have a reason to hate Superman. I can see the Daily Bugle headline now – “Superman Jostled to Death at Benefit for Cancer Patients.”

Stryker: You know, I’m just thinking about this game – the lack of superpowers, the rooftop levels, the emphasis on hand-to-hand fighting… Maybe Clark Kent and Bruce Wayne got their outfits mixed up at the drycleaners.

Brad: Right now, Sunsoft’s working on a game where Batman flies around giving people cancer.


Space Harrier II

Space Harrier II is the kind of thing that might end up in one of your nightmares if you stayed up too late playing After Burner (and if there’s a less worthwhile reason to forgo sleeping, I’ve yet to hear it). The game plays more of less like After Burner – it’s a thrid-person shooter in which enemies come straight at you and you have to either shoot or dodge them. Only instead of a fighter jet, you’re playing a a guy in skintight red pants who appears to be armed with one of those icing bags that people use to decorate cakes.

Things actually get weirder from there. Your guy runs along the ground (he can run pretty damn fast, too), but press up on the control pad, and he spontaneously breaks into flight. Except he doesn’t have any kind of means of flying – no wings or jetpack or anything like that. And to make things even weirder, there’s almost no animation at all once he gets airborne, even as he moves up and down and from left to right. He just sort levitates around the screen with his icing bag still tucked securely under his arm, like some kind of half-crazed, cake decorating magician.

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Space Harrier II in all its glorious insanity.

Adding to the surrealness of the experience are the landscapes. Every level is a sparsely populated area with a grid pattern on the ground (presumably to help give the player a sense of perspective). Depending on the level, trees, buildings or columns will occasionally appear, and while some areas do get kind of crowded, there’s never enough of them that they don’t look oddly solitary and out of place, especially considering how fast you appear to be going. Every level is like running across, or floating past, the desolated remains of some ruined city that was inexplicably built on top of a giant checkerboard.

And then there are the enemies. As you are hauling ass across these checkered wastelands, stuff flies at you which you have to shoot with your frosting bag. It’s pretty much anything goes with the enemies - Giant dragons, empty suits of armor, 3-headed turtles… The basic rule governing what got into to game seemed to be “Do we know how to draw that?”, and if the answer was yes, then they put it in. And that probably wasn’t even a hard and fast rule, as evidenced by the inclusion of whatever the hell this was supposed to be:

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Yeah, um… your guess is as good as mine.

Don’t get me wrong – I’m all for a trip down insanity lane, and the fact that the game makes absolutely no effort to explain any of this makes me think that to somebody, somewhere, this all makes perfect sense, rather than just being weird for the sake of being weird. However, aside from the strangeness, the game is still basically just After Burner with the difficulty cranked up. And that means that all the stuff we didn’t like about After Burner – limited, repetitive gameplay, crummy controls, and your own character blocking your view of what you’re supposed to be aiming at – are present here, too. Except now you’ll probably die a lot sooner. And while that might be a welcome reprieve from actually playing it, we’d still rather just pass on this one entirely.


200 To Go

Well, we’ve been at it for about 6 months now, and in that time we’ve managed to get the list down to only 200 games. This means that half of the games remaining on the list will ultimately be judged worthy of keeping their Sega Seal of Quality. This is also where things start to get interesting, as we begin travelling into unknown territory. Of the remaining 200 games, there are about 50 that will almost certainly get eliminated, and about another 50 that will most likely make the cut. Those other 100? Well, we’ll just have to wait and see how this thing plays out.

At this point in the project, it becomes necessary to slow down the pace. We’ve been pretty good about updating daily, eliminating around 14 games a week or so, and sorting through these games as quickly as possible. Going forward, it’s going to be important to spend more time playing and writing about each game. We have had a goal of putting up a new piece every weekday, but going forward we will no longer be adhering to a strict schedule. Although I hope to update this blog about twice a week or so, articles ultimately will be published when they’re done. In exchange for this slower pace, the articles to be published going forward should be funnier and more entertaining. Quality over quantity, or so we hope.

As always, thanks for reading. And don’t worry, we already have a couple pieces on hand that we’re just putting the final touches on and should be up in a few days, so we’re not going away for long.


Crystal’s Pony Tale

Crystal’s Pony Tale is a game about a pony who is trying to rescue all her pony friends in time for her birthday party.  Words really can’t quantify just how incredibly girly this game is, so I decided to show you a bunch of picture just to get the point across.  And on the off-chance that you’re wondering, no, this game isn’t much fun.

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This is the opening screen to Crystal’s Pony Tale.  It’s really just one shirtless Fabio away from being the cover of a trashy novel.

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Crystal has to get rid of all her horseshoes before going through the metal detector.

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Knowing that this could be a dangerous mission, I colored Crystal for maximum terror.

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The game forces you to sit through this insipid  puppet show in order to complete the stage.  Because it hates you.

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I love you too, crazy psychedelic horse!

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That jack-o-lantern will totally eat your soul.

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Boat ownership seems like an odd desire for a bird, but hey, everyone’s gotta have a dream.

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Just when you think this game can’t get any cuter, it hits you with wind chimes and tiny little squirrels.


Eliminations in Brief for 4/8/09

This is going to be the last of the Eliminations in Brief for a while, maybe the last one ever. Before next Wednesday, we’ll have only 200 games remaining, and at that point I plan to slow things down and write about all of them in more detail. We’ll do another of these later on if we reach a point where we have 10 games that just really aren’t worth any discussion.

Spider-Man: The Animated Series – Seriously, how is “He can walk on walls” such a difficult concept for game designers to grasp?

Joe & Mac – Even if this game wasn’t terrible, its use of the phrase “caveman ninja” would probably be enough disqualify it anyway.

Ex-Mutants – This appears to be a game about a hooker from the 1980s fighting kangaroos. Sadly, the execution couldn’t quite live up to that fabulous concept.

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Dungeons and Dragons: Warriors of the Eternal Sun – You know, I was just thinking D&D would be so much better if it were more confusing and harder to play. Thanks, TSR!

Bonkers – The Genesis library finally gets that horrendous kid’s game based on an also-ran cartoon character everyone’s been clamoring for.

Thunder Force III – Hey I know, let’s take all the things that made Thunder Force II unique and replace them with converntial designs!

Final Zone – If you could quantify shattered dreams and somehow make a game out of them, it would still be better than Final Zone.

M.U.S.H.A. – I’m not exactly sure how they got the acronym MUSHA out of “Below Average Shooter” – maybe it’s spelled differently in Japan?

Side Pocket – Most video games allow you to do things you normally can’t do in real life, but I know how to suck at pool just fine without a Genesis.

Flashback: The Quest for Identity – Go on an adventure to help the protagonist recover his lost memories. Hopefully one of them will explain why the designers decided to get rid of the few things from Out of This World that actually worked, while keeping all the stuff that didn’t.


Out of This World

Out of This World wasn’t a huge seller when it was released in 1992, but almost immediately established a loyal cult following, which still remains to this day. The game is particularly well-thought of amongst critics and so-called “hardcore” gamers. In cases like this, it is sometimes difficult to understand what it is about a game that attracts such a dedicated fanbase. But with OoTW the cause is fairly obvious. With its rotoscoped animations, vector graphics, and cinematic approach, the game looks and plays unlike pretty much anything that had come before it, and with only a few exceptions, most anything else that has been made since. But for all the things it does right, Out of This World has one glaring flaw – it is maddeningly unplayable.

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Graphics are never more important than gameplay. Unless they look like this, then they totally are.

The more self-righteous gaming pundits will tout that gameplay is far more important than graphics, which is true, but it’s funny how quiet they get on this point when the graphics have a certain artistic flair to them, as opposed to simply making a more realistic-looking football player. And it’s also noteworthy that nobody ever says that gameplay is (or at least should be) more important than story. That rule used to be pretty self-evident back in the NES days when just about every game had a crappy, throwaway narrative that was usually printed on the first page of the instructions. Once game companies starting spending more than 10 seconds coming up with their stories, however, that attitude changed. Story is like the “sophisticated” gamer’s equivalent of graphics – completely auxiliary to the overall quality of the game and yet given a disproportionate amount of attention.

Out of This World creates something of a perfect storm in this way, because not only does it have stylish graphics, but they’re the centerpiece of the game’s cinematic way of presenting its story. There’s hardly any text or dialogue in the game – almost the entire story is told through brief cutscenes or through the on-screen events that you interact in. Unique, artistic graphics used to tell a story in an original, compelling way? Make a game like that and critics will start heaping awards on it without even playing it.

The game does a few other things that critics and other pretentious gamers love, too. In the very beginning of the game, you can see a big, scary monster running around in the background, stalking you – a scene far too obvious to be considered legitimate foreshadowing but nonetheless guaranteed to make fans swoon in the wake of its alleged genius. The game also attempts to enhance the cinematic experience by getting rid of any kind of on-screen displays such as life bars or inventories, a ploy that’s never really worked out well but nonetheless attracts praise every time it’s attempted. Finally, Out of This World features a good deal of puzzle solving, which is always a favorite for cult gamers. After all, nothing makes a trained chimp feel smart like pushing a few buttons to solve a simple puzzle!

But the real problem with Out of This World is that it combines trial-and-error style adventuring with poorly controlled action and platforming sequences. This is a match made in hell, not only for those obvious reasons that its essentially combining garbage with trash, but also because these two ingredients are so thoroughly uncomplimentary to each other. One style of gameplay causes you to die over and over until you figure out the “right” way of getting through an area. The other causes you to die over and over because your character doesn’t want to respond to your inputs. Put the two together and it becomes impossible to determine whether you’re dying because you’re taking the wrong course of action, or simply because the control sucks.

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It’s pretty rare to see 3D graphics this crappy outside of Race Drivin’.

And there’s no denying that the control sucks. Out of This World uses rotoscoped animation, like Prince of Persia, which isn’t a problem in of itself, but much like PoP, an overabundance of frivolous animations causes the game to be unresponsive, as you lose control while waiting for needlessly long animations to complete. Graphics over gameplay, anyone?

Of course, a good designer can get around a problem like that pretty easily by making the action sections more forgiving, or by cutting back on them in favor of more puzzle solving. A good example of this is the original Alone in the Dark. The fighting controls in that game were pretty horrendous, but it wasn’t a big deal because there aren’t that many combat sections. With the exception of a few areas, if you’re fighting something in Alone in the Dark, you’re doing something wrong. On the other hand, Out of This World prominently features intense gunfights, precise jumping sections, and various other fast-paced sections that the controls simply cannot handle without causing a great deal of frustration.

Perhaps the most accurate way to gauge Out of This World’s true quality is take a look at its creator’s follow-up effort, the Playstation game Heart of Darkness. HoD features very similar design, gameplay (and control), similar graphics, and the same cinematic approach. However, the story isn’t as good, and by the time it was released, the graphics no longer seemed all that unique or stylish. As a result, that game is almost universally hated. What we have then is something akin to The Emperor’s New Clothes except in reverse – stripped of its fancy visuals and narrative, we can finally see that there never really was any kind of game underneath it the entire time. Today we take some of the scorn that has been rightly thrown upon Heart of Darkness and redirect it toward and even more deserving target. Out of This World is eliminated.


Wolfchild

Brad: Wolfchild is a pretty bad action game where your character can power up and turn into a werewolf. If that idea sounds familiar, its because Sega already made a game like that, and called it Altered Beast. And then they gave it away for free with the Genesis. In other words, everyone who bought a Genesis during the first few years that it was out already had a free copy of a game that was pretty similar to this one. And since Altered Beast was pretty bad, most people probably had already developed a distaste for it as well.

It’s kind of hard to compete against free and 100% market saturation. I’m assuming that’s the main reason why they made the main character look like this when he’s not a werewolf:

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In it’s own weird way, it really is kind of brilliant. Now, instead of thinking of Wolfchild as “that other game where you turn into a werewolf,” people will think of it as “that game where you play as the singer for Whitesnake.” On one hand, it makes the game seem like less of a rip-off. The downside of course is that really just taking a bad idea and replacing it with an even worse one.

Mr. Do!: You know what the main difference between a werewolf and a 1980s heavy metal singer is? No matter how bad the rest of his life is, the werewolf still has at least one day a month where he’s not a complete fucking loser.

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