100th Review Special, Part 10: The Best of the Best

If it’s one thing I’ve observed over the years, it’s that every critic or outlet seems to have a different attitude concerning the highest grade on their scale. Some hand them out like penny candy while others outright refuse to ever assign a 10/10 on the basis that there is no perfect work. Personally, I feel the former approach devalues the grading scale to the point of inanity. After all, if you hand out too many top grades, it doesn’t leave much in the way of middle ground; you either award a perfect score or you don’t. Though I can see where the people bearing the opposite mentality come from, I feel refusing to assign the highest grade on your scale denotes a lack of respect for the medium, and perfection is such nebulous concept to begin with. Naturally, my own approach is between the two extremes. I can and will award a 10/10, but I don’t award it to just any game. Indeed, one of my rules is that I can only award the grade once per franchise – this includes spinoffs. Therefore, I tend to think very carefully whenever I’m confronted with a masterful game whether or not it deserves such an accolade. Going the extra mile isn’t enough; I have to be convinced that these are once-in-a-lifetime achievements that will hold up in the coming years. So without further ado, let’s bring the list to a close with five games I feel managed to truly earn that top honor.

5. Metroid Prime 3: Corruption

Originally reviewed on: August 14, 2017

It’s a shame that Metroid Prime 3 often gets shunned in favor of the original because even coming off of two installments with similar gameplay and lacking the “wow” factor of Retro’s 2002 debut, it still has a lot to offer. Similar to the case with Metroid Fusion, I can sort of understand why because in all honesty, Metroid Prime 3 isn’t quite what I would call a particularly good Metroidvania. It obviously shares many similar traits, being an installment of the series that partially named the subgenre, but in practice, it’s more of a straight-up action game. In contrast to the slow, methodical Metroid Prime, Metroid Prime 3 includes sequences that will make you think on your feet to have any chance of surviving, and like its direct predecessor, there is no shortage of challenging boss fights. However, its biggest innovation, and the reason why I can say it reigns supreme over anything else in the franchise, concerns its novel control scheme. The Wii Remote was a sophisticated IR pointer – especially for its time – and that so few good games utilized it in such a fashion was a wasted opportunity. More than anything, Metroid Prime 3 does away with the few minor nuances plaguing its two predecessors while coming up with several new, good ideas to give this installment its own identity despite retaining its recognizable gameplay. It uses its previous canon to a great effect, creating something grander in scale that serves as the perfect conclusion to a solid trilogy.

4. Metal Gear Solid 3: Snake Eater

Originally reviewed on: May 18, 2016

People may debate on the quality of Hideo Kojima’s writing, but he is one of the best designers in the medium, and one advantage I feel he has over his peers is that he does learn from his mistakes. He will always tease his audience, but when he has been informed that something isn’t working, he will go back on it. This brings us to the subject of Metal Gear Solid 3. Metal Gear Solid 2 was the result of the director having been given total creative control of a project, and though the developments made for interesting talking pieces, many of them were failed ideas that bordered on self-indulgence (or were outright self-indulgent depending on the person you ask).

Metal Gear Solid 3 took the unbridled ambition of Metal Gear Solid 2 and focused it to the point where the best ideas got to shine while completely mitigating the (minor) damage done by the bad ideas. I wouldn’t be quick to label it among the best video game stories, but Mr. Kojima did an excellent job melding the 1960s Cold War era with his own trademark stylistic flair. This is all while providing gameplay that continued to set the bar higher for the series with its stellar level design and creative boss battles. Between all of the installments in the series, I think it strikes the best balance between the stealth-based gameplay of the original games and the action-oriented direction towards which the series was drifting. Topped off with one of the most memorable endings in the medium’s history, and you’ve got a classic game that stands to this day as one of the decade’s finest offerings.

3. Undertale

Originally reviewed on: January 21, 2016

In June of 2015, independent game designer Jonathan Blow stated in part of an interview that “video games are terrible for telling stories”, pointing out that the narrative tends to break gameplay and mechanics with non-interactive cutscenes and that “pretty much sucks”. Three months later, Undertale was released, thus proving beyond any reasonable doubt that the universe has an excellent sense of comedic timing.

Before…

…and after!

Part of the reason I and many others find the medium so intriguing is because for the longest time, it didn’t play by anyone else’s rules. Sure, the overall art style of Metroid was heavily inspired by the Alien franchise and the Metal Gear franchise wore its Escape from New York influences on its sleeve, yet those artists went in entirely different directions with those motifs, crafting new experiences. This started changing in the 2000s when creators made their Hollywood influences more overt, opting to tell stories through non-interactive cutscenes. If it’s one point that I will concede to Mr. Blow, it’s that this ultimately proved to be a dead-end revolution. By trying to tell stories through cutscenes, the narrative often clashed with the gameplay, cheapening both. Furthermore, considering all we’ve managed to accomplish with films, attempting to directly compete with them would be a competition between two severely mismatched opponents. In the 2010s, the indie scene attempted to provide a solution in the form of environmental narrative games (a.k.a. walking simulators), but in practice, it too came across as a defeated revolution because they solved the problem in way that failed to directly address the core issue. They took after the zeitgeist of artistically driven works (or more accurately, the popular perception of what they constitute) by expelling all notions of fun or engagement from their games. In both cases, games went from marching to the beat of their own drum to desperately trying to land a seat at the cool kids’ table, and the results were rather embarrassing to watch.

This all changed with the release of Undertale. Like Shigesato Itoi before him, Toby Fox clearly believed in the medium’s storytelling potential as he crafted his work. It goes beyond merely having good writing; Undertale is a game that wholeheartedly embraces the medium’s quirks and oddities rather than pushing them away. The result is an avant-garde narrative that couldn’t possibly have worked in a non-interactive medium and stands as one of the decade’s most significant works. Even better, certain developments in the game actively challenge the idea that a good story needs to be dark and cynical, lending a degree of introspection that mentality rarely receives. I find it uplifting that one of the greatest storytelling experiences the medium has to offer wasn’t inspired by a book or film, but another video game. Though Earthbound itself remains a classic, I can safely say this is a case where the student surpassed the master.

2. Planescape: Torment

Originally reviewed on: September 3, 2015

The main reason I tend to be tough on story-heavy games isn’t because I think it’s an inherently bad idea; it’s because I know that anyone attempting to create one is going to have Planescape: Torment as a competitor. This game demonstrates that if you’re going to sink a majority of your resources into story development, it can’t settle for being slightly better than what is commonly considered average for a AAA effort; it needs to be genuinely good. And that’s exactly what Chris Avellone and his team at Black Isle Studios accomplished.

Though it would probably be more accurate to describe Planescape: Torment as an interactive novel than a computer RPG, it doesn’t matter; the writing intelligently deconstructs many standard fantasy and video game conventions, putting many acclaimed print novels to shame in terms of creativity. Even with its truly impressive 800,000 word count, it still benefits from being in a game, as it’s the player’s will that shapes the narrative. With so many good things to say about it, Planescape: Torment is my personal pick for the best game of the nineties – for that matter, it could be considered one of the greatest achievements of the nineties. Even given the direction in which the medium was heading, it comes across as an incredibly forward-looking experience capable of impressing anyone willing to give it the time of day.

1. The Legend of Zelda: Majora’s Mask

Originally reviewed on: December 16, 2017

I feel how Majora’s Mask was created is a testament to the level of talent Nintendo possesses. If any other team attempted to create a game heavily drawing from their latest hit’s asset, it would’ve come across as a particularly lazy token sequel. When Shigeru Miyamoto let Eiji Aonuma do just that, it resulted in what can only be described as a true masterpiece.

I felt it appropriate to make Majora’s Mask the subject of my one-hundredth review because it remains to this day one of my favorite games, and the previous four entries on this list can stand proud alongside it. It rises above every other game in the Zelda franchise, which is no mean feat, and considering the unique circumstances surrounding its creation, I doubt another game like it will arise again. This isn’t to say that it hasn’t been surpassed, but anyone wishing to do so would only succeed by the skin of their teeth. A lot of fans praise Link’s Awakening for its unique scenario, but I believe it wasn’t until this installment that Yoshiaki Koizumi’s potential as a storyteller was fully realized. The team behind this game clearly had a lot of respect for their audience, as this is one of the most experimental, challenging mainstream releases ever issued. Their hard work paid off, for though they had the daunting task of creating a follow up to the universally beloved Ocarina of Time, they managed to do the impossible by surpassing it a mere two years later. It would take some time for enthusiasts themselves to realize it, but once they did, they gave Majora’s Mask the credit it deserved by rightfully naming it one of the greatest games of the 2000s.

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32 thoughts on “100th Review Special, Part 10: The Best of the Best

  1. “the reason why I can say it reigns supreme over anything else in the franchise, concerns its novel control scheme.”

    I don’t put Corruption ahead of the original, but I absolutely agree with you here. Corruption took FPS-like controls on consoles to a whole new level. Compared to it, pretty much everything else feels clunky. And it has been ten years since its release.

    I have never played Undertale (I know, shame on me). Your take on the game made me feel like purchasing it right away and playing it on a PC, but I will hold on for a little longer to see if it will ever come out for the Switch.

    And I am glad to see Majora’s Mask topping the list. It’s a well-deserved position.

    Here’s to another 100 reviews! And then 100 more, and so on! =D

    Liked by 5 people

    • I always hear the praise for Prime 3’s controls but I’ve never been a fan of it or other FPS games on the Wii. Where you and Red obviously feel its great, and “everything else feels clunky”, I’m the exact opposite. I felt I was always fighting the controls in the game as opposed to it feeling fluid and responsive. Glad it works for you though. 🙂

      Liked by 2 people

    • I think another understated reason why Corruption is better than the original Metroid Prime is because though the latter is an excellent game, I think it could be described as Super Metroid, but in 3D. With Metroid Prime 2, the series began to forge its own identity by experimenting more, and it really paid off big time with Metroid Prime 3.

      Excellent. I say you should follow that instinct. I don’t think you’ll have to worry about having a computer to run Undertale; it worked on my clunky rig just fine. I think playing it on the PC is your best bet as of now. It’s well worth the price for admission too. In fact, in a stark contrast to The Stanley Parable, I felt slightly guilty about getting it on sale; they could’ve charged twice as much as the asking price and I would’ve felt as though it was money well spent.

      It was a very tough call, but Majora’s Mask wins because it has a great story without sacrificing the gameplay side of the equation at all. Then again, it really doesn’t matter at this point; every single one of these games is a winner (along with the entries in the last two parts).

      Liked by 3 people

      • Fair enough. The original does feel like Super Metroid in 3D. Corruption has far more quirks (of the good kind) that make it stand out. And it is an epic and worthy conclusion to a great story arch, so it feels really big.

        I will see what I can do to play it then. I am sure my laptop will handle it just fine.

        Yeah. Majora’s Mask has a great overarching plot, and each of its dungeons also comes with a cool side story. Not to mention all the sidequests.

        Liked by 1 person

      • Personally I think Prime 2 is the best, because it focuses on quiet, bizarre exploration like the first one but takes place in a unique setting that feels somehow more alien than the first. Like you said, the third entry is much more action focused, and the addition of actual characters detracts from the overall lonely vibe that I love so much about the first two. That’s not to say I don’t love it, but it’s a hit of a departure that takes it in a direction that I kind of hope they don’t double down on when they eventually release Prime 4.

        Liked by 1 person

  2. Excellent work. I don’t necessarily agree with these (well maybe Planescape I do… and I’ve yet to play Undertale) but your reasoning for your scores and placement are, as always, well thought out and argued.

    Liked by 1 person

    • Yeah, I’ve learned that cult classics are something of a gamble, but Planescape: Torment absolutely lives up to the hype. For that matter, so does Undertale.

      Either way, I’m glad you’ve enjoyed this list!

      Liked by 1 person

  3. I really liked that you included Metroid Prime 3 here. I’m a huge fan of the Prime trilogy, and also loved the Wii remote controls, which made aiming and shooting even better (see also Resident Evil 4 on the Wii!)

    Majora’s Mask is also my favorite Zelda. I think you summed it up by calling it challenging – it’s a tough game, the dungeons are tricky (plus there’s a time limit), but more than the story and the race to help Termina’s peoples was the greatest challenge for the player.

    Liked by 1 person

    • Yeah, Metroid Prime 3 often gets overshadowed by the original, but I’ve always liked it the most. It really serves as a great guideline when one is deciding how to end a trilogy.

      The themes it covers are very challenging for a mainstream release as well. Whenever they have this much coverage surrounding the game’s release, the creators almost always end up playing it safe. Nintendo didn’t – despite (because of?) its “E” rating, it manages to handle its themes in a much more mature manner than ones that actually were marketed to an older audience. That they felt a younger audience was ready to handle these topics demonstrates a lot of faith in their audience I feel is lacking in many AAA developers. I think what also helps is knowing the tumultuous circumstances surrounding its development cycle; the tone is something that needed to have subtext embedded in reality to truly hit home.

      Liked by 1 person

      • You know, I’d never thought of Majora’s Mask like that, but it’s such a great point Red Metal. I was a bit older (nearly twenty) when I first played Majora’s Mask, and I remember a lot of friends my age were like “why doesn’t Link become an adult in this one?”

        And it honestly never bothered me, because once you play the game you see the world through Link’s eyes, with all the events of Ocarina of Time behind you. And that resonates even more, because here’s this mature hero that looks like a child. I can only imagine that if you played Majora’s Mask when you were a kid yourself, it would be even more interesting and challenging.

        As you say, the fact that Nintendo took a risk in doing a deeper, darker, more melancholy Zelda game speaks to a faith in its audience.

        Liked by 1 person

        • I myself was eleven when I originally played Majora’s Mask, and I have to say it was the first time I truly grasped just how dark the game’s story was. Everything about it from the atmosphere to the music was executed flawlessly. Even if he never speaks, there’s quite a lot to this Link’s character – especially in how he chooses to be a hero despite never being instructed by destiny to do so.

          Liked by 1 person

    • You’re not wrong; it’s one of the few trilogies (in any medium) I can think of where all three installments are worth looking into. Unfortunately, compilations can’t be considered as a single entry on this list, so I had to choose one, though in all honesty, I didn’t feel it to be a difficult choice. Even if all of them had the same control scheme as Metroid Prime 3, my answer would be the same.

      Liked by 2 people

  4. Well, my prediction for you top 5 got at least two right. My guess was…
    5: Metroid Prime 3
    4: PlaneScape: Torment
    3: MGS3
    2: Undertale
    1: Majora’s Mask

    Definitely some great write-ups on some great games. I really need to get around to giving MGS3 another go (the only copy I currently have is the 3DS version, and the controls weren’t exactly ideal for me. But who knows, maybe I can get accustomed to them next time). I figured Majora’s Mask would claim your top spot, but I honestly thought Undertale would come in second place. Undertale is so good that it’s one of the few instances where I don’t mind random encounters too much (the other example being Pokemon games, since it actually makes sense for the encountered monster to be a surprise given its collection aspect). I never played Planescape, but my brother discovered it a couple of years ago and speaks highly of it, so I’ve been meaning to check it out. I also loved Metroid Prime 3’s controls, and I do want to revisit the trilogy. Weirdly, though I can objectively claim Metroid to be a great series with some great games, it’s never grabbed me in the way Super Mario or Legend of Zelda games have. I am probably the one and only person who was doing backflips back at E3 2013 when DKC: Tropical Freeze was announced. Everyone else was upset that Retro wasn’t doing another Metroid (to a degree I can understand, seeing how well Retro handled the series and how it desperately needed a boost after Other M), but I was ecstatic that they were tackling DK a second time. Tropical Freeze received a mostly warm reception upon release, but the “it’s not Metroid” aspect I think held its praise back somewhat, with more and more people only now realizing how truly genius TF’s level design was nearly four years later. I keep seeing more and more such retrospective high praise show up in video form in my suggested videos feed on YouTube. Tropical Freeze is still, hands down, my 2014 GotY, and my favorite game on the Wii U.

    Wow…I got totally, totally sidetracked there.

    Here’s hoping Metroid can keep the momentum going from Samus Returns, and that Prime 4 delivers the goods (hell, the Switch has done wonders for MArio and Zelda, why not make it a threepeat?).

    Anyway, fantastic write-up, and I look forward to the next 100 and beyond. Also, play Tropical Freeze.

    Liked by 1 person

    • If you can get it, I recommend the console HD version of Metal Gear Solid 3. Either way, you’ll be in for a real treat.

      Undertale is in the same league as the other games on this list, and I assure you that it wasn’t an easy decision. I like to think of it as its generation’s Planescape: Torment in how it deconstructs absolutely everything to create something new and original. I myself tend to prefer games where encounters aren’t random; indeed, Dragon Quest V is my favorite JRPG that has random encounters with much of the same justification as the one you highlighted (you can recruit monsters on your team).

      Your brother is right to speak of Planescape so highly; as I said, the knowledge of what new story-heavy games have to compete with is the main reason I tend to be tough on them.

      I have to admit that Metroid is a series I’ve appreciated more in hindsight than when I was actually playing them for the first time. Metroid Prime 3 was the first time I did truly realize how great the series was. I respected it a lot more after that, and began to revisit the ones I skipped as a result.

      I will get around to playing Tropical Freeze one day, and I too am looking forward to what Metroid Prime 4 has to offer.

      Liked by 1 person

  5. Fantastic list! I love all of the games on this list, with the exception of Torment, but only because I haven’t played it. I’ll have to do just that. Metal Gear Solid 3 would most definitely be on my list, as well, and Majora’s Mask is definitely one of my favorite Zelda games.

    I’m surprised you chose Prime 3 over 2, especially since you chose Majora’s Mask; I feel like both Prime 2 and Majora’s Mask do the “Stranger in a strange land” thing exquisitely… In fact, both are sequels to transitions to 3D which were practically remakes of their 2D counterparts.

    Liked by 1 person

    • Thanks! And definitely check out Planescape: Torment. It really changed the way I perceived what makes for good storytelling in this medium.

      Majora’s Mask was really good when it was released, and unlike the case with some of its contemporaries, it’s only gotten better with age.

      I feel Prime 2 is the weakest of the three due to its poor pacing when exploring Dark Aether at first, but all three games are keepers, so there really isn’t a wrong choice. I just think Prime 3 took advantage of all the favorable elements and melded together to create something truly special. I do agree that taking orders means breaking that sense of isolation the series is known for, but I like that they went in a different direction for the finale; it was daring and it paid off. I still say that the Prime trilogy at its worst managed to surpass certain other series at their best, though.

      I am definitely looking forward to seeing what the new team does with Prime 4.

      Liked by 1 person

  6. Video games, as proven over and over again, are not a bad medium for telling stories. I don’t think you can point to anything and say it’s bad for telling stories, because as soon as you do, something’s going to come along and prove you wrong. But video games don’t benefit from having the decades to centuries of knowledge behind them as most other mediums do, so that makes it a bit trickier. Likewise, I think it’s much harder for creators, as the storytelling aspects of games don’t seem to be as compartmentalized as they are for, say, film. Any individual high-level creative in game development, I believe, requires a broader set of skills than would someone in a similar role for film. You’d need your directors to be able to implement both story and gameplay well. Requiring more skills means you’re looking for people less specialized towards one aspect which makes it harder to find someone with the depth of skill in implementing a given part. Not that there’s not creators skilled in both story and gameplay out there, but someone who’s good at both is going to be more of a unicorn than someone who’s good at one and decent at the other.

    I’ve been playing through Planescape for the first time recently. I’ve been going through it slowly, because I found the first many hours of the game to be absolutely miserable. It’s starting to pick up now that I’ve got more of a team together to handle the random fights and the story’s finally starting to get moving, but still, I’ve not been happy with the opening of the game. I’m hoping that I’ll be able to find what everyone else sees in it as the quality improves for me.

    Liked by 1 person

    • Yeah, statements like Mr. Blow’s are basically setting those who make them up for failure when they’re inevitably proven wrong. “Never say never” as they say. It’s difficult to say stuff like that and not be turned into a living punchline shortly thereafter.

      It’s interesting you say that because that thought has been bouncing around my head for quite some time, and you managed to sum it up perfectly. You’re completely right; video games differ themselves from any other medium with that uncontrollable variable interactivity, and that right there singlehandedly invalidates a lot of storytelling techniques pioneered in other mediums. It doesn’t matter how extensive the knowledge is or how long they have been used; a lot of it simply can’t be crammed into a game and expect to work all the time (or ever in extreme cases). It leads me to believe that video game storytelling isn’t at the perceived level it is now because it’s an inherently inferior medium, but because the creators don’t have anyone to turn to. Even pioneering films had live theater to use as a style guide before becoming a full-fledged medium in its own right. Video games never had that; they did lift basic motifs from films, but after that, they were on their own. The AAA industry turned to Hollywood, but it only seemed to reinforce your point; to wit, the end of the first Uncharted demonstrated why movie storytelling tropes don’t work in this medium because they actively make the gameplay worse and ignore the player’s presence. In a video game, pretending the player isn’t a part of the experience is like a filmmaker shooting every scene with the lens cap on because they believe visuals aren’t part of the experience. I think you have something there; successfully telling stories in this medium requires a truly talented individual – one that knows the medium inside and out both from a technical standpoint and a creative one. Alternatively, it’s also possible that it requires a person who’s talented in a very specific way that hasn’t been fully identified yet, though I have to say with the indie scene issuing truly challenging works such as Undertale and OneShot, we may get a full sense of what to look out for yet.

      I will admit that it took me quite a lot of time to fully get into Planescape. It’s not unlike Dark Souls in that you have to work past a wall in order to fully appreciate what it has to offer, but I feel if you can stick with it, the results are awesome. Having said that, if you find you don’t like it, I wouldn’t blame you. I’m sure there were points where I was questioning if it was worth it, and what makes it stand out from other games I’ve played is that one needs to get to the end in order to discover what makes it so good. That’s rather unusual for the medium, and it’s more in line with how works in other mediums operate.

      By the way, if you want one tip, I can tell you that you will at some point acquire a Bronze Sphere. You’ll give it to someone, but you will be able to get it back, and a cutscene will indicate when you can do so.

      Liked by 1 person

  7. It makes me so happy that a Zelda game is in the first spot! Zelda has been my favorite game franchise all my life and it warms my heart when others see the beauty in it too.

    Liked by 1 person

    • What strikes me as the best aspect of the Zelda series is how it never really stopped being relevant. There are certain installments you can point to and declare them to be the best games of their respective decades – for four decades in a row. The only other series that can claim an achievement like that would be the Mario franchise. It’s amazing to think that certain other creators rose, had their time in the spotlight, and faded away while those two franchises have endured this whole time. The Zelda franchise gets a lot of critical acclaim, and the praise it gets isn’t much of an exaggeration (if it is at all). It very well could be the best in the entire medium in terms of consistent quality and creativity.

      I hope you end up checking out the other four games in this post because they’re winners too.

      Like

  8. “Video games are terrible for telling stories” – Couldn’t agree more. Miyamoto and Steven Spielberg have agreed on that, the latter enjoys his games. One of the reasons I now avoid big AAA games is due to the insistence they stick an invasive story in there with relentless cut scenes. The vast majority of stories are horrendous, badly scripted, and poorly acted. I can’t believe more people aren’t talking about this, we’re just left with these embarrassing narratives with dodgy voice acting. Indie games do it right, or a title like Half-Life 2/Breath of the Wild – cut the story back and don’t make it invasive.

    Fully agreed on Corruption, by the way! I think it’s the best from the trilogy. Roll on MP 4!

    Like

    • I can’t say I agree with that at all – not even if the respectable Shigeru Miyamoto and Steven Spielberg hold that position. I think it’s less that video games are terrible for telling stories and more that people have tried to tell stories in video games using methods developed decades or even centuries leading up to the medium’s inception only for them to hit a brick wall. The medium needs a completely different rulebook with which to successfully tell a story, and though it may not be fully written as of now, I think many artists are going in interesting, new directions that will form it one day.

      That said, I fully agree that AAA approach of turning games into films is an approach that has ultimately proven to be a go-nowhere revolution. The press can praise games like Spec Ops: The Line or The Last of Us all they want, but discarding the medium’s identity is basically tantamount to admitting defeat in the face of those who look down upon them.

      Liked by 1 person

      • My criticism is of the AAA games, primarily, as I feel a lot of indie games tell a narrative well. However, this is due to the story being cut right back – minimalised, essentially – so it doesn’t force itself onto the gamer.

        It certainly might lead somewhere with the AAA titles but, certainly for me, interrupting the flow of a game with cut scenes featuring hamfisted dialogue and terrible voice acting isn’t at all encouraging. Again, I think Half-Life 2 managed it perfectly, as did Breath of the Wild, so I hope more developers shift away from the CoD approach.

        Liked by 1 person

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