I slept on Death's Door for a long time. The likes of Bastion and Transistor initiated a wave of simple beat-em-up type games with an isometric camera perspective that nowadays is a style that feels like its a dime a dozen. Not helping was that it released not to long before Tunic, a game that looked far more interesting based off pre-release footage. But over the years a handful of my friends have tried it and really liked it, so I figured I'd give it a shot. And to my surprise and delight, I kind of loved Death's Door. Not that this is here nor there, but I'd easily take it over Bastion and Transistor. It's a wonderful Zelda-like. It might be the game I'd recommend to someone who's interested in getting into 2D Zelda type games (I mean I'd probably recommend A Link Between Worlds for that, but this is a very good starting point too, and it's much more readily available). It has a great flow of exploring new areas and getting tools to go back and find new secrets. The pace is good, there's plenty to explore and plenty of reason to go back through old areas. It doesn't have the most in depth combat system, which is to its benefit, and the game as a whole is a great example of how you don't need a great combat system to have great boss fights. Give each boss their own individuality in attacks and animations, have them clearly telegraph their attacks, and you're good to go. The fight against the Grey Crow was probably the highlight for me, although there is not a single dud.

I really admire the art direction. The game is filled with tall skinny doors and stone structures, statues and crumbled archways, all of which are evocative of this borderline gothic aesthetic that makes the world feel old; not quite decaying but definitely frozen in time, ready to move on, which fits with the themes of coping with death. At the same time the pastels are distinct and easy on the eyes, with vibrant foliage and hastily assembled wooden structures with painted planks that both provide pops of colors and feel like this clinging to life, also coinciding with all the characters' defiance towards dying. All of it feels cohesive and just plain pretty. My favorite areas are the ornate Estate of the Urn Witch (such vibrant colors and beautiful masonry) and the Flooded Fortress (the still water combined with the splashes of primary colors on the bridge are so serene). The monochromatic Hall of Doors is another highlight, I'm a sucker for a black and white aesthetic. It not only suits the crows, but the eeriness feels like an episode of The Twilight Zone.

The music is another highlight. They got David Fenn to compose the soundtrack, who previously worked on Moonlighter, and it's a humungous step up from his last work. Moonlighter had fine music, it was certainly catchy, but nothing from that OST really stuck with me. But this one feels much more defined, like it knows what it wants to be so much more. It's very different from Moonlighter too. Most area themes are somber, and there's an emphasis on acoustic guitar and piano throughout that is simply gorgeous. It's overall peaceful, and like the art direction, it reflects the themes of coping with and being at peace with mortality, with death as a necessary part of life.

The themes in general are an interesting talking point, because on the one hand, none of it is anything you haven't heard before. The antagonists fight against the inevitability of death and vainly attempt to seize immortality, and in doing so pervert life. The crows see it in their meaningless and self-destructive work, ultimately striving against the Lord of Doors. It's an obvious anti-capitalist message, basically flat out saying that bad working conditions are worse than death, and good on this game for stating it so bluntly, especially given this industry. The grandma is probably the most messed up it gets, forcing her worldview on her family by turning them into... pots. Comically dark, yes, but damn. But while none of this is thematically unique, it is commendable just how much this game commits to it. Not only does it shout at the top of its lungs the importance of valuing and not corrupting life, but it also has a reverence for death. After each boss fight the Gravedigger comes and gives a eulogy for each of them. In spite of the awful things they've done and how they've altered the lives of those around them, he pays his last respects to each of them. The game says little to nothing about the nature of morality or sin, it simply tries to use its characters to show how perverted it is to corrupt life, and yet it creates this pause for reflection, daring to say that everyone deserves this decency in spite of what they've done. And all of this creates a notable balancing act of melancholy, dark humor, and levity to make the story effective in spite of its shallowness.

All this to say, Death's Door is a good time. It has weird delightful characters, a gorgeous look and sound, a world that's a delight to explore, and a simple but effective gameplay loop of, puzzle solving, combat, and upgrades. It's a polished little package and an easy recommendation.