The Famitsu Magazine continue reviews next ZAGE games
"The next game is Hercules, and honestly I didn't expect it to look and feel this good. The controls are excellent, responsive without feeling slippery, and the game has a surprisingly unique rhythm. It knows when to let you move fast, when to tighten the space for combat, and when to turn a simple platforming section into something playful. I love the Hercules movie, and yes, the story here takes its own route compared to the film, but that isn't a problem. The game stands on its own, and the pacing stays strong.
But the real star is the art style. This looks like it walked straight out of the cartoon, not only in character designs but in how everything moves. The animation sells the fantasy, with expressive poses, exaggerated hits, and that smooth, elastic timing you expect from hand-drawn scenes. What's impressive is how the game blends that cartoon feeling with 3D environments without breaking the illusion. The camera, lighting, and color choices keep things clean and readable, and the movement stays "2D-cartoony" even when you are clearly playing in a 3D space. That combination makes the whole experience feel magical, like you're playing inside an episode.
The game feel is strong too. Attacks have weight, the impact sounds are satisfying, and the feedback is clear enough that you always know when you nailed a hit or mistimed a dodge. It's the kind of action that makes you keep playing just because it feels good in your hands. The music is superb, switching between heroic energy and light comedy at the right times, and the level themes are memorable without being noisy.
Now I finally understand what Zaboru always said, "Graphics are temporary and the art style are eternal." Hercules proves it. This isn't a game that wins because it has the most polygons or the sharpest technical tricks. It wins because it commits to a look and supports that look with animation, color, and clear visual language.
Even if 10 or 20 years pass, this game will still look good, the same way ZAGE proved it with Gundam Battle Assault. The outlines, the expressive faces, the bold color choices, the way enemies react to hits, the exaggerated motion on jumps and attacks, all of it is designed to age gracefully. When a game chases realism, it often becomes dated the moment technology advances. When a game chases style and nails it, it becomes timeless.
And the best part is that the art style isn't only for screenshots. It strengthens the gameplay. You can read attacks quickly because the animation is clear. You understand threats because silhouettes pop. You feel the impact because movement and sound work together. Hercules feels good not only because it looks like a cartoon, but because it plays like one too, energetic, responsive, and always a little dramatic.
Final score, 9/10. It's a genuinely great game, and one of the cleanest examples this year of how strong art direction can turn a licensed title into something memorable.
"Perfect Dark" is another FPS coming to ZEPS 3, alongside Medal of Honor. And while Medal of Honor is great because it commits to realism and the heaviness of war, Perfect Dark is the opposite kind of strength. This is a futuristic spy shooter with stealth elements, stylish gadgets, and a pace that feels sharp from the first mission.
Let's start with the most important thing: the feel. Perfect Dark is fast, but it isn't sloppy. The controls are responsive, aiming feels precise, and the game rewards calm play instead of panic spraying. You can move with confidence, peek corners, switch tactics quickly, and it always feels like the game is responding to your decisions instead of fighting against you.
Weapons are another highlight. The arsenal isn't just a pistol, a rifle, and a stronger rifle. It's full of unique tools that change how you approach a fight. Some weapons feel built for stealth and clean takedowns, others are designed for aggressive pushes, and a few are simply cool in a way only a sci-fi shooter can get away with. Because of that, the combat stays fresh, and you're encouraged to experiment instead of relying on one favorite for the entire game.
Joanna Dark deserves her own mention. Having a female lead in this kind of FPS already makes the game stand out, but it's not just a visual choice. Joanna feels like a real character: confident, capable, and professional. You aren't playing a nameless soldier, you're playing an agent, and that identity makes the campaign more personal.
Story-wise, Perfect Dark is better than you'd expect from a shooter. It starts like a clean operation, then gradually reveals a larger conspiracy involving secret organizations and advanced technology. The best part is the escalation. Missions don't feel random. Each one pulls you deeper into the truth, with twists that make you re-evaluate what you thought you were doing. It isn't trying to be overly complicated, but it's smart enough to keep you invested.
Overall, Perfect Dark is a really good FPS with a clear identity. It doesn't try to be Medal of Honor, and that's exactly why it works. It's stylish, fast, and precise, and the mix of stealth, gadgets, and sci-fi atmosphere makes it stand out in ZEPS 3's lineup. I recommend it, and I think Perfect Dark deserves a solid 8/10. It's a really good game."
Then the next game is Serious Sam for PC, and honestly this game is pure "MAYHEM!" It has one clear objective: massacre enemies, keep moving, and survive the storm. If Doom is controlled aggression, Serious Sam is the same spirit turned up until the volume knob breaks. It doesn't care about realism, it doesn't care about subtlety, and it definitely doesn't care about giving you time to rest.
What makes it work is that the chaos is designed, not accidental. Enemies come from everywhere, sometimes from angles you didn't expect, and the game constantly forces you to read the battlefield instead of hiding behind one safe corner. You're always on your toes, not because the controls are hard, but because the pressure never stops. It's the kind of shooter where you start laughing halfway through a fight because you can't believe how many things are trying to kill you at the same time.
The weapons are absurd in the best way. Serious Sam's arsenal is built for spectacle, big sounds, big impact, and big crowd control. It's not about "military accuracy," it's about giving the player toys that feel powerful enough to match the ridiculous enemy waves. When you pick up a new weapon, you don't think about balance charts. You think, yes, this is exactly what I needed five minutes ago.
Another strength is variety. Stages don't blend together. Each area has its own vibe and pacing, and the enemy mix changes enough that you can't rely on the same lazy strategy forever. One stage might push you into open spaces where you need to kite and manage distance, while another traps you into tighter routes where you have to make quick decisions and prioritize targets. The game keeps the core gameplay consistent, but it changes the pressure in smart ways, so the mayhem stays fresh.
Serious Sam is also proof of something the industry sometimes forgets: games don't always need to be complicated to be great. Sometimes pure chaos, executed with confidence and good feel, is enough to create a memorable experience. If you want a PC shooter that's loud, fast, and proud of it, this is an easy recommendation.
And honestly, I rate this a solid 8/10."
Then the last game is tied to a Marvel Comics character: Blade, and the title is Blade: The Vampire Hunter. I'll be honest, I'm not the biggest Marvel fan in general. But ZAGE owns Marvel, and their Spider-Man game on ZEPS 3? That one was a masterpiece for me. It even pushed me to actually read Spider-Man comics, and I don't regret it. So naturally, I went into Blade hoping for the same kind of surprise.
At the same time, I kept my expectations lower, because Blade isn't as universally known as Spider-Man. I assumed it would be a smaller project, maybe a good action game with a cool coat and a simple story.
But hoo boy, my expectations were completely shattered.
Blade doesn't just meet the standard, it exceeds it. The game is unapologetically dark, filled with gore and massacre in a way that fits the character. You're not fighting cartoon monsters. You're cutting through vampires that look human, and that choice gives the action a more brutal edge. The atmosphere supports it too, with moody lighting, heavy shadows, and a constant sense that you're hunting in places where you shouldn't feel safe.
Gameplay-wise, it's insane in the best way. It feels stylish and aggressive, like the combat is always pushing you forward. Blade moves with confidence, and every swing feels like it has intent. The animations are sharp, the impact is satisfying, and the game encourages you to chain attacks instead of playing cautiously. It's not only about winning, it's about looking cool while winning.
And yes, the coat matters. Blade's black long coat is one of those details that sounds superficial until you see it in motion. It flows during dodges, snaps during attacks, and makes the whole character silhouette iconic. Blade is already stylish, but the coat turns him into a walking statement. It's the kind of design choice that gives the game instant identity.
The starting loadout is also excellent: Blade's silver sword, guns, and silver shuriken. Right away, the game makes you feel prepared, like a professional vampire hunter instead of a weak protagonist who needs ten hours to become competent. As you progress, you can pick up additional gear and weapons that make hunting easier and more varied, and it's not just bigger numbers. New tools actually change how you approach fights, which keeps the campaign fresh.
If Spider-Man was ZAGE proving they could make a superhero game with heart and momentum, Blade is them proving they can go darker, sharper, and more intense without losing control. It's a violent, stylish action game that knows exactly what it wants to be."
But the most unique thing here is the story. The main plot is genuinely strong, and I won't spoil it, but it understands Blade's tone: the world feels dangerous, personal, and dirty, like every mission leaves a stain. The writing keeps the momentum moving, and the game does a good job giving Blade clear motivations without turning the campaign into a confusing mess of names and lore.
What surprised me even more is how the side stories are handled. They follow a similar approach to the Spider-Man game, where optional missions don't feel like meaningless filler. They expand the world, give you extra context, and sometimes introduce other Marvel heroes in a way that feels natural. As Blade, you'll cross paths with familiar faces who step in for certain missions, either helping you directly or pushing you toward a new lead. It makes the whole experience feel like an interconnected universe instead of a standalone action game wearing a Marvel logo.
And that interconnected feeling matters. It gives weight to the setting and makes you curious about what's happening outside Blade's immediate hunt. You start imagining how other heroes would handle the same threats, how the city connects to other stories, and what kind of future ZAGE might build if they keep tying these games together. Honestly, this game made me more excited for future Marvel releases, because it proves ZAGE can create continuity without drowning the gameplay.
It also introduced me to Marvel heroes I didn't know well before, and now I actually want to learn more about them. That's the best kind of fanservice: it doesn't distract, it pulls you deeper.
So yes, I'm reviewing Blade: The Vampire Hunter as a 9/10."
The Famitsu review spread finally came to an end, and the reaction from players was mostly what you'd expect. A lot of people agreed with the scores and the ranking, sharing their favorite sections and quoting the lines they liked most. Of course, there were still arguments too. Some fans rated certain titles higher, others lower, and a few people complained that their personal favorite didn't get the spotlight it deserved. But overall, the message was clear: ZAGE's November lineup was strong, and the reviews matched the general mood.
Zaboru read the magazine himself and couldn't help but chuckle. The writing had bite, the praise felt earned, and the criticism didn't sound like it was written just to look "balanced."
"Famitsu really does have good reviews," he muttered. "For now, I don't have to worry about anything."
He leaned back, letting the page rest on his lap. In his previous life, modern-day reviews had become messy and unreliable. Too many outlets chased clicks, too many reviewers repeated the same talking points, and too many scores felt decided before the game even launched. Zaboru had learned to treat review culture like weather: sometimes useful, often unpredictable, and always something you monitor.
That was why he watched Famitsu carefully. He didn't need them to praise ZAGE. He needed them to stay honest. And in this issue, they did. They didn't hand out easy 10/10s just because ZAGE was ZAGE. They judged each game on its own merits, pointed out strengths, noted weaknesses, and still respected what the company achieved.
And they give Sonaya Sun Knight 5 10/10 which Zaboru completely agreed on.
Zaboru appreciated that more than pure praise. A fair review meant the system still worked. It meant the audience still had a trustworthy voice. And if that voice ever changed, if the tone ever shifted into bias or laziness, Zaboru knew he'd notice early.
"If they ever start slipping," he thought, eyes narrowing slightly, "I'll be the first to know."
To be continue
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