Review: Gex Trilogy for PS5

So, there I was, thinking about the good ol’ days when everything seemed quirky and, oddly enough, a gecko was once the big deal — long before we associated lizards with insurance quips. Yeah, it’s Gex I’m talking about. Remember him? It’s as if the universe decided, “Hey, let’s bring back every single thing people almost forgot,” and now we have the Gex Trilogy on modern platforms. Will these games let you relive those epic times, or will they make you cringe like, “Oh, why did I ever play that?”

Let’s remember the first Gex, that 2D adventure that started on the 3DO. Ever hear of a little thing called the “Media Dimension”? Yeah, Gex got himself zapped into it by a villain named Rez. The plot’s thin, like a piece of paper kind of thing, but it works. Gex hops through channels like New Toonland and Cemetery, picking up remotes to move on. The dude’s got moves — like tail whacking stuff — and there are these power-ups. Flames, invincibility, superpowers… It kind of feels like everything mashed together, and the levels are checkpoints and passwords all over the place. It’s fun, but, you know, can get tiresome.

Then there’s Gex running everywhere — you wouldn’t believe how many times I overdid the jumps because the running button’s too crazy. The enemy hitboxes… a nightmare. Sometimes I wonder if they’re monsters or glitches, really. And Gex talks, my goodness, does he talk! Every single time, some quirky one-liner that… well, it gets old fast. The worlds have creativity, sure, but they look kinda samey after a while. Not everyone digs the art style, and I get why. It’s kind of like your uncle’s vintage car that somehow still runs but feels like it’s missing something.

And then, Gex leapt into 3D. “Enter the Gecko,” or whatever it’s called, sounded ambitious. I was just about getting used to the 2D platforming and — bam — suddenly, we’re like, navigating a whole new space. The government actually throws cash at Gex to save the world. If I could get paid for playing games, right? Gex felt better this time, less floaty, but it still wasn’t Mario 64. There’s this dire need to tweak the camera settings (trust me), or you’ll spend more time fighting the angles than enemies.

The hub world was larger, you jumped through TV screens. Different worlds, crazy costumes — it’s a good time, if a little too all-over-the-place. The collectible items were entertaining since they change as you collect more — carrots to cans to TNT, for example. Gex went costume-crazy; I remember the disco suit like it was yesterday. Despite some confusion with the level navigation, I thought this 3D installment had its charm. Probably my favorite of the bunch.

And round three with “Deep Cover Gecko” kicks off with a Baywatch actress and Gex going back into action. The hub? A total mess. Collectables? Had potential but became boring. However, there’s something satisfying when you pieced together this game’s bits, like timed bonus zones with an infuriating tick-tock sound. Creative level designs and boss fights added more layers, though. It felt like a sequel that knew what worked before but then decided… you know, let’s try out new stuff anyway!

Ultimately, the trilogy is… well, it’s an experience. Thanks to Limited Run and the Carbon Engine, these pieces of past glory are now playable without hair-pulling tantrums from their original quirks. You’ll find extras like old commercials, voice actor interviews with Dana Gould, and artwork appetizing for those nostalgic appetites. Sure, the games don’t reach Mario or Banjo levels but serve as proper ’90s time capsules. Preserving this bit of gaming history? Yeah, I think it’s worth it, just to see how far things have come.