Back in 2017, I bought this game alongside the Digital Devil Saga duology and Vagrant Story. I happened to find it at a convention and knowing I had just played Automata that year and loved that, I figured I'd pick it up. I honestly didn't even know there was a NieR game before Automata at the time, so I was pretty surprised. I started playing it, got up to seafront and had no idea how to fish and then promptly dropped it. Fast-forward to 2021, I see that a remake of the version with Brother NieR was releasing soon and I decided to go back and actually beat this game. I play through the entirety of it (besides ending D) and thought it was great, though I did have some issues with it that held it back from me loving it more than Automata. Fast-forward again to this year, I had planned to replay Automata for a while now and decided that November would be the month to do so. Before that though, I decided I wanted to replay Gestalt and see if I ended up liking it more now. Well seeing my updated rating, I'm sure you can see how I felt. This game is honestly not objectively perfect but it does certain things so well and I love it so much, that I can't give it anything less than a 10/10.

So the thing people like about NieR the most is the story. When I played it in 2021, I thought the story was good but overrated. I also somehow missed the gestalt documents at the end of the game, so that plus appreciating the story as a whole a lot more, made me realize it really is peak. A big part of the story being amazing too, are the different endings you can get. Ending A is great but the game really comes together when you go through route B. Some things get revealed to you at the end of Route A, and so there's a bunch of little changes in Route B that flip your perspective on what was going on and I just love it. You're basically replaying the 2nd half of the game all over again but because of all those little changes, I had no issue with it. There's also ending C and D and the route for those is basically the exact same as B, only the ending changes. The endings for those are great (especially ending D, holy shit does that ending feel impactful) however I can see how it would get tedious for someone playing considering it's pretty much all of the same content as route B. Either way, the story is just fantastic I think and definitely better than I once thought.

Though, the story is not actually my favorite aspect of the game. My favorite aspect is the main cast. Honestly may be my favorite cast in any game ever tbh, I love all of the main 4 so much and think they complement each other perfectly.
Weiss and Kaine are always throwing insults at each other, Weiss is always complaining about NieR's tendency to just help someone no matter what, Emil has a great affection towards NieR as seen later in the game, Emil and Kaine get along well because they both see themselves as outcasts...there's a lot of different character dynamics going on and when it's all 4 of them together they just make the perfect JRPG team imo.

The other big thing I absolutely loved was the OST. When I initially beat the game, I realized that the OST was really good but as time passed, I kept coming back to certain songs. I was listening to Gestalt's soundtrack more than Automata's and now that I've beaten it again, I can confidently say I 100% like it more than Automata. It's honestly just perfect and probably in my like top 3 Game OST's ever now. Stand out songs for me are Grandma, Emil Karma and it's other variant, Song of the Ancients, Shadowlord and more. The music is just top tier.

Another thing I really love is the gameplay changes that happen throughout the game. Besides your normal combat, there's also little sections that change things up. There's several 2D sections throughout, there's a forest area that plays out like a Visual Novel, the first visit to Emil's Mansion is basically Resident Evil with its semi-spookiness and fixed camera angles, Emil's Mansion's basement gives you this top down view that plays like Diablo, not to mention most of the bosses area bullet hells. There's just a lot of variety in the gameplay and really makes the game feel fresh.

Speaking of the core gameplay though, let's talk about the combat and the other "flaws" I see this game having. The combat...compared to more flashier, fast paced action games is lackluster. I remember it was a big issue to me when I initially played the game, but honestly it grew on me a bunch and I learned to enjoy it now. I don't think the game ever really needed super flashy complex combat and so I think it gets the job done. Plus there's something I enjoy about how chunky the combat can feel, idk I said the same thing about Yakuza 1 and the same thing applies here too.

My other biggest issue back then, and this was purely just a me thing, was I didn't like the world and it's aesthetic nearly as much as Automata's. The post-apocalyptic world in that game was my absolute favorite aspect when I played, and so to go from that to this was disappointing back then. I still much prefer Automata's world but I honestly do enjoy Gestalt's now. It's far from my favorite gaming world, though I also don't play it for that so it also gets the job done I think.

A couple small issues I did actually have with the game this time around were the bloom effects in some areas and the Exp system. I think the bloom in seafront and the fog effect in the northern plains can look kinda ugly at times, I'm sure that's probably fixed in the remake so that's really only a Gestalt issue. I also disliked how if Kaine or Emil got the finishing blow on a normal enemy, you missed out on any Exp. I hope that got changed in the remake because it can kind stink when playing here. I can also see why people would dislike all the backtracking, hell I was getting a bit burnt out myself going for ending C and D lol. But overall, I think the backtracking to old areas isn't as bad as people say. The area you go back through the most is the junk heap and even then, that area isn't too long and has banger music so I had no problem going through it several times.

Last time I played, I only did a few of the side quests that were needed to get every weapon for the latter endings. This time around, I did every single one...and while they could get very fetch-questy, I enjoyed them overall. A lot of the time there's some voiced Weiss/NieR dialogue that makes the entire quest worth it imo. The best quests overall were I Facade I thought. Most of those were very memorable, alongside the lighthouse lady ones of course.

I did also get a chunk of the trophies I was missing before, the big one being the Lunar Tear one. That definitely took a bit of effort on my part but once I finally got it, it was pretty satisfying. I still have the speedrun trophy and the weapon upgrade trophies to get so maybe I'll do those on my next replay who knows.

So yeah, is the game perfect? As I pointed out, there are some issues I can see others having and there are even some things I still wasn't a fan of in this game. But the absolutely peak story and especially peak cast and OST, just makes me want to give it a 10 and that's what I'll do for the time being. The game has a lot of heart and I think it's worth playing if you haven't already.

Anyways, next is Automata and it's been even longer since I last played that so I'm hyped to see if I'll still love it as much as I did six years ago!


Also sorry if this review is incoherent at all, writing this at 3 AM randomly lole.

i have not played replicant ver. 1.22 at all and i imagine it may be some time before i do, but i wanted to take a moment to say a couple things about this game. mostly, i wanted to talk briefly about nier's particular place in recent games history in the west.

think of what video games looked like in america in 2010: extremely dominated by AAA western games design, to the point that many games by japanese developers were coming from increasingly disadvantaged development studios trying to keep up with what sold. jrpgs were at an all-time low—call of duty and gears of war reigned. final fantasy was as maligned as it would ever be. from japan, we saw the likes of binary domain, quantum theory... lots of cover shooters and miserable militarized shootmangames. (don't get me wrong: binary domain is cool!) there were certainly examples to the contrary, mostly niche games in staple genres, but this was the prevailing flavor of the day.

so: demon's souls? while not a massive departure from western aesthetics, it clearly signified a resurgence in fresh, inspired games from japan. i don't think it would be a significant stretch to suggest that nier may have benefitted somewhat from the renewed interest demon's souls and bayonetta elicited, but much more than that i'd say it owes its success and its legacy entirely to itself. nier came out swinging: fuck you, this is japanese games. bullet hell shooters, farming sims, references to zelda and resident evil, the sheer weirdness of it... it was a game that seemed to be proud of japanese games, unwilling to bow down to the demands of the western market. and i think the success of this approach speaks for itself. just look at how things have turned around over the last decade! and these days, how many games can be praised for this level of sea change?

Not much to say about Nier that hasn't been said countless times before. A beacon of shining light that managed to cut through a miasma of western blockbuster homogenization that was destroying Japan's videogame landscape, just by virtue of being unabashedly japanese and wearing its influences on its sleeve.

While Drakengard was a cynical product conceived out of contempt for the regressive state of videogames and created within the constraints of a marketeable Square Enix work, Nier was the opportunity for Yoko Taro and his team to create the sincere game they always wanted to make and that represented their aspirations for the interactive medium. And how beautiful of a message it was for a studio on its dying breath to make.

Shifting the detached and voyeuristic point of view from Drakengard to a much more intimate and empathetic one, Nier gives us now the chance to relate and sympathize with the broken and damaged characters of this universe, who despite the cards they were dealt with, strive to make the right decision in a world that constantly beats them down and prevents them from doing so. One of the greatest qualities of Nier is its willingness to have its cast of characters be placed in situations of emotional vulnerability and letting us sit down with them as they cry their guts out, which is something you hardly see games having the courage and honesty to do so.

I'm not sure how instrumental Nier was in the resurgence of japanese videogames era we are going through right now, but Yoko Taro managed to prove that it doesn't take a multi million dollar budget or expertise game design to provide an experience that transcends what had come before it. Nier is a game filled with outdated side quests, redundant backtracking and tedious item collecting, all glued together into a package that always seems on the verge of breaking at the seams. But it honestly doesn't matter and I don't care.

Yoko Taro put his money where his mouth is and responded to his own critique imposed by Drakengard with a genuine and compassionate work that simultaniously demonstrates what videogames are capable of when not catered to their most primal instincts, while also being proud of its inheritance and speaking through the language that its inspirations used before it, culminating in one of the greatest endings in videogame history where the player willingly sacrifices a tangible and real possession in service of a fictional character who you have grown to care for.

And yeah, having one of the best soundtracks of all time doesn't hurt either. Abuse that Emil-Sacrifice theme all you want, game. I'll gladly curl into a ball and weep everytime.

Would I recommend this game to anyone over the remake? Absolutely not.

But the Music, writing, and even the gameplay create the most unforgettable experience you can find in gaming. It personally surpasses all aspects of the remake but navigation and graphic fidelity.

Papa Nier supremacy

Nier is both Cavia's masterpiece and Cavia's legacy. As the final game they made on the brink of shutting down forever, a studio never known for developing high quality titles put all their heart and soul into one last project and created something truly beautiful on a shoestring budget. Mixing together many different game genres while weaving a heartbreaking tale of human nature and perspective, it opened my eyes to the power of interactive storytelling and the value of video games as an art form without forgetting to be mechanically fun in the process (yes I think the gameplay is good).

I found much to love here in my initial playthrough(s), and the game still holds up every time I revisit it. The cast is wonderful, especially Grimoire Weiss, who is easily my favorite video game character of all time, if only because of Liam O'Brien's magnificent voice acting. The light bullet hell elements never fail to make my brain release the good chemicals, and just about every genre swap brings a smile to my face even now. The playful sense of humor complements the dark, depressing nature of the story proper, maintaining an atmosphere of warmth where other works might dip into what I've seen described as "misery porn." The clunky animations and ugly models add character to the world by making it feel grimier and more "real" than the majority of games (including its sequel, which I would argue is intentional subtext on Automata's part, though 1.22's beautification may imply otherwise). The music is perfect, so perfect that even the reviewers who shat on this game for not playing as well as Ninja Gaiden admitted it was good. And while a few of the performances leave something to be desired, it sports one of the finest localization jobs I've ever seen.

Though the story was clearly not written with Dad Nier in mind, causing some of the subversions of video game tropes to not work as well as intended, I believe his altered lines and rugged-but-soft performance by Jamieson Price improve the surface narrative by making the protagonist less of a borderline psychopath and more of a dumb bastard who loves too strongly for his own good; this also serves to make the Route B twists more unexpected and thus hit harder in the process. Nier, Weiss, Kaine, and Emil come across more as a found family in this interpretation, a band of weirdos with begrudging respect for each other rather than a love triangle with their cranky uncle tagging along. Still, it's evident that this is an alternate take rather than the "proper" one, and some may find a 40-year-old man saying lines written for a 16-year-old boy irritating instead of wholesome, which is fair; and, while having a sad dad protagonist in 2010 was rather novel, in 2021 the intended Brother Nier version actually feels more unique. The times have certainly changed.

I was always against the idea of this game being remade because of how much love was put into its creation and how its tragic ending ironically, perhaps even purposefully, mirrors the collapse of its development studio. Cavia, and their original rendition of Nier, should never be forgotten. I was happy to discover that the 2021 release is actually just a high-effort remaster and much of their work remains untouched, though I still have some misgivings about it. (This is, of course, the topic for a different review entirely).

There was a magical moment when I first played Nier all those years ago, where I entered the Northern Plains and was suddenly graced by the most incredible video game song I'd ever heard. It had already grabbed me from the opening cutscene alone, but this was when it truly stole my heart. Though lacking in the polish and extra content offered by its updated re-release, this is what I will always remember whenever Nier comes to mind: an ugly old man clumsily slaughtering sheep in a vague approximation of a field while being serenaded by beautiful violins. Just thinking about it brings a tear to my eye.

wow. wowowow. what a fucking game man. nier goddamn 2010. nier gestalt. whatever you wanna call it. this is what video games are all about. i was prepared to enjoy it but i didn't realize just how "on board" i was going to be for all of this game's percieved bullshit. like early on i knew what i was getting into and i thought "man i love this jank 2010 action rpg combat and the weird tonal clash happening constantly but i am not really looking forward to getting all the weapons" and by the end i was thinking "fuck yeah i wanna do a million sidequests and fish in the desert for like an hour so i can get all the weapons". this doesn't ever happen to me normally so this was like a freak accident. but i loved this game's bizarre world and impeccable storytelling so much i just wanted to continue until i could see it all. and so i did. so i did.
final notes: i'm gonna miss my fishing records. been humming the junk heap theme all week. i think it's really funny that liam o'brien does the same voice he does in this for leviathan in skullgirls. i have zero interest in playing the remake. grumpy old nier 4 lyfe <3

Yoko Taro is somewhat of a narrative genius in terms of crafting concepts together and creating strong well done storytelling that actively reflects the themes here of humanity and perspective. It's something I think Automata does better, but what's here is actually still excellent. It's terribly paced, the entirety of Ending B/C routes is awful to do, even with its new perspectives. But it's genuinely good, scenes like the text adventure in the silent woods details how fantastic Yoko Taro is as a writer.

The gameplay on the flip end, is mostly awful, and that's mostly due to the limitations the game's thematic messaging entails (the enemy designs are forced to be simple and get more complex much later to reflect the rebuilding of the shadows' own humanity) and also due to Yoko Taro being considerably awful as a game designer to make something engaging. There IS actually depth to NieR's mechanics, but the kinesthetics of every single hit you do is so criminally awful that the only reason I don't say it's the worst kinesthetics of a game ever is because Drakengard exists and he made that too. Combine bad game feel with a series of repetitive encounters, a pacing that overstays its welcome, and having to do the game at least halfway through three times and you get a disgusting experience. The saving grace to its combat is genuinely well designed boss fights, which do a great job of creating challenging bullet hell waves you have to have key understanding of spacing to get through unscathed.

It's worth suffering through, though. There's so much good here tied to its thematics and narrative storytelling that I don't regret playing it. It's just the activity of PLAYING it in general is so decrepit.

Esse é meu jogo favorito. Por que, você pergunta? Nier é uma homenagem ao game design jaopnês, contendo elementos de hack'n slash, JRPG, plataforma, bullet hell e até text adventure. Ao mesmo tempo, volta com a ideia desconstrutora de Drakengard e critica o mesmo meio que o jogo exalta.

O orçamento é baixo? É sim, e creio que muita coisa podia ser melhor. O combate é muito repetitivo, o jogo te força a repetir vários levels e há algumas partes que a história fica dramática demais, mas onde acerta... Meu Deus. Além de ser único como Drakengard, sinto que pegou tudo que era de ruim na franquia e deu uma diminuída. Também pegou os pontos fortes e intensificou, como a implementação da gameplay na narrativa, que é bem densa agora, de modo que até Hideo Kojima sentiria inveja. Obrigatório para qualquer entusiasta de jogos japoneses num geral.

this isn't really a review so much as it is an emotional plea as to the value and worth of NieR Gestalt. i feel compelled to talk about what made this game so special to me when I played this over 10 years ago now, before NieR becomes completely subsumed underneath the shadow of its vastly more financially successful follow-up. the original nier is an important game to me, and I refuse to let it be forgotten or replaced.

------[a] requiem for smokin' sick style------

the combat is good, actually. and i'm tired of pretending it's not.

maybe it's just because I've spend a disproportionate percentage of my time online hanging with people who think KH2FM and DMC4 are the peak of video games and anything that isn't trying to emulate them is a fundamental failure, but it feels like this is the one stick absolutely everyone beats this game with and it's disappointing.

when Nier hits someone with his sword in this game, there's almost a full second of frame pause as the weapon cleaves into a shade and lets loose abject fountains of blood that paints the environment around the now dismembered spectral body. when he uses magic, he summons a horde of blood spears that obliterate anything they hit. it is one of the most casually violent feeling things in the entire world and it absolutely owns. when this game recontextualises it's violence (refreshingly without falling into "you enjoy the killing" played-out shite), it lands harder than so many other games because of how genuinely violent all this feels, and manages to accomplish it without the cartoonish viscera of something like The Last of Us Part 2.

yes it is stiff and clunky. no, you will not make skillvids of this online. i beg of you, expand your definitions of what makes combat in a game good beyond that narrow field. no other game can be Devil May Cry 4, not even Devil May Cry 4.

------1,312 years [b]efore its time------

representing the satisfying midpoint between the interminable bansky-esqe "makes u think..." philosophy 101 drivel of Automata's lowest points and the insufferable edgelord tendencies of Drakengard 1 & 3 that tended to bury the things about those games that were genuinely interesting, Nier is everything I find enthralling about the DrakenNier games without the things that have ultimately led to me walking away from every other Taro joint feeling disappointed and unfulfilled.

2010 was a really long time ago. NieR came out before The Last of Us, before Bioshock Infinite, before Spec Ops: The Line, before the explosion in indie scene that led to more diverse voices getting a platform on itch.io and steam. maybe taking that into account can help explain why NieR completely changed the way I thought about games. it challenged what i thought video games could be. the way it flirted with different genres and forms was utterly captivating. nier felt like a game from the future or a different dimension. and now it isn't nearly as impressive, sure. it's been mapped out and explained and recapped by people trying to hurry you onto the next, less interesting game. everyone knows about ending D, everyone knows about the drakengard connection, everyone knows about the other routes. but I didn't. when I first played this game, and finishing it unlocked a new game+ that let me hear what the enemies had to say? my tiny 14-year old brain just about exploded, and opened a third eye to just what video games could do. maybe for you the game that did this was killer7, or deus ex, or undertale, or breath of the wild. for me it was NieR.

in a way, this is the real shame about automata, and the way square enix responded to its success. the game itself is fine, good even. but the way in which people have used it to turn this game into a footnote that should be skipped, skimmed, or otherwise treated as a mere prelude to the game about the robots in fetish outfits saying "wot if ur mum ran on batteries and went on about the ship of theseus" is profoundly neglectful.

yes i am being reductive and mean about NieR: Automata. if squeenix wanted me to not do that, they should have been less reductive about this game.

------the [c]ase for papa nier------

when people talk about the story of NieR, it's often the subversive or Lore aspects that are talked about the most, about the details of Project Gestalt and it's implications for the themes and what the ending means and things like that. which is all fine and good. but i think it's worth noting that NieR also just has one of the best parties I've ever seen in a JRPG. weiss. emil. kaine. kaine, most of all. they're all wonderfully well-drawn, complex, and deeply human characters, complete misfits that find a place to fit in each other. it's one of the core appeals of the entire genre and NieR just knocks it out of the park, and (setting aside the fact that I think the game has much more engaging things to say on the subject of parental love and it's toxicity than sibling love) that's why Father Nier matters so much.

because brother nier? he fits. he's a young jrpg hero on his way to save his sister with his party in tow. this is a darkness to him, but he is, overwhelmingly, the normalcy at the heart of the cast. he fits in as a JRPG hero. father nier, though? father nier doesn't fit. nothing about him fits. he's a hideous trollman who makes incredibly earnest speeches about friendship. he is a world-weary and cynical man who takes time to garden and help everyone in his home village. he is just as much of a misfit as the rest of this party, and thus, fits in with them perfectly. he makes this collection of off-the-wall characters, these people that fit absolutely nowhere else in this world, into a family that finds themselves, a place to belong, and people they love, in each other. he is what drives this party dynamic to heights that spoke to me in ways that i didn't really understand at the time, and that is why he will always matter to me.

brother nier is fine. he's cool. he's got some of his own stuff that's interesting.

but he's not my papa nier.

Taro's magnum opus, one of the greatest games ever written.

After a replay for the first time in over 5 years this still holds up as my favorite game ever and is still worth playing (it actually ran way better than i remembered, maybe drakengard 3 just scared me that much that i thought both were like that).

I legitimately do not understand people who say this game is unplayable. Don't get me wrong it has its flaws (horrible balance needing you to stand around during boss fights so you don't one shot them and miss all the dialogue, needless repetition for C and D when all the new content is in the final 15 minutes) but people who act like this game is a disaster outside of its story and see this as completely invalidated by the remake either haven't played the game themselves and are just parroting the common take or have not played an actual 1 out of 10 dogshit game. Hate to come off super elitist and harsh but this game gets a worse rep than it deserves.

A game everyone should play because it teaches you to tamper your expectations when a tiny group of people who played it sing its exaggerated praises. Everything about this game is overblown when I see the 6 or so people that played it before Automata talk about it, both the good and the bad. So I've been interested in playing it for a decade, and I can't say the overblown praise and criticism for it didn't color my expectations somewhat.

First off, the gameplay and sidequests aren't even AS bad as people make them out to be. Combat is largely "baby's first action RPG" and the sidequests are mostly standard boring fetch quests, yes. But the combat is functional and fun enough even if barebones and the sidequests aren't offensive and torturous like people make them out to be, plus they can be nearly completely ignored (though I did a good few, any that didn't need me to go out of my way too much). Bosses however were really pretty cool, even if mostly for the spectacle alone.

Then there's the highly praised music and story. The music is great, and I loved a few of the tracks (even though the game shamelessly overused them) but it's hardly "THE BEST GAME OST OMG IT PROVES GAMES ARE ART!!!!" tier. The story I feel similarly about. It was nice and it had some pretty great moments, but jack shit happens for a lot of the game. Basically the game has multiple "routes" to get through. The first half or so of route A is basically all a prologue with how little happens, mostly being setup. Then the second part of route A has some story but it's still nothing truly amazing until the ending of route A. Route A was by far the longest for me, so that meant that a good chunk of the game felt like it was barely advancing the story. Route B was pretty good though, because it explained the world of Nier more and that is the best part of the game to me. Route C is a pointless waste of time and should've been folded into route B, but it was quick enough.

Does it sound like I mostly thought the story was just kinda alright with some pretty great moments? That's how I feel. This is in part because I just couldn't get too attached to the characters in the game, even Yonah. But I thought the world and setting were cool as fuck, so now I have to read some supplemental materials that actually sound way more interesting to me than what the game's story actually was. I also just didn't care much for Ending C but it was nice and Ending D fell completely flat to me but had a cool gimmick. Again, these two endings seemed to expect me to have more attachment to the characters than I ever felt. And that's talking about the main cast, whenever an scene expected to care about some tertiary character it fell flat. And I guess that's how I can sum up my take on the story: it seemed to expect me to care more than I ever did but it had some really cool unique moments and a very interesting world that carried the whole thing for me.

So yeah, I guess that's it for me. Everything about this game is extremely exaggerated when talked about by its fans and a lot of things just fell flat for me, but it was an overall enjoyable game that I'm glad I put up with in the end.

I love how Popola screams "it's too late to stop now" in her final battle, after all the violence and pain that everyone has created with their self-righteousness, forming a never-ending cycle of revenge. And how, in the D ending, Kaine can finally breathe next to Yonah, their time to live after being caught in all of this mess... Even if many of the game's moments didn't hit me as emotionally as it was supposed to...

A game I prefer to think about rather than play. Maybe because the message was already honed down from the first route, so repeating almost the same bits three times for the same events, almost no shifted perspective and the changing ending being (obviously) at the very end... It's a bit too much.

NieR may not be perfect, but it is by all means a masterpiece. Actually, I think a lot of what makes the game so brilliant is how raw, how unpolished it is. NieR tells what is undoubtedly (and if you're familiar with the story, ironically) the most human story I've personally ever come across. To this day, I sincerely believe the depth of its storytelling and characters remains unparalleled by any other piece of media— in spite of the fantasy setting, everything and everyone feels genuinely real, and by extension, NieR's is a story rich with meaning. Perhaps most obvious is the overarching allegory for post 9/11 America, but chalking the entire experience up to that wouldn’t do it justice. When I say this silly little game changed my life and worldview, I seriously mean it.

Something else I adore is how unapologetically NieR is a game. At least personally, I find that many story heavy "games" nowadays are actually just several movies wrapped up in a trench coat. Movies rock, and there's nothing inherently wrong with applying their approach to storytelling in video games, but I also think interactivity is a powerful tool in immersion, and it is here where NieR's embrace of its medium elevates it so. NieR has some of the most experimental gameplay I ever did experience— it constantly switches genres, makes players repeat large sections of itself with seemingly little incentive. This will certainly be a turn off for many, but it also makes NieR one of the most memorable and intimate experiences for those who choose to put in the work. And if you're on the fence about playing it, at the very least, all of the music is fucking phenomenal, the soundtrack literally NEVER misses.

I cannot recommend this shit enough, legitimately the most formative piece of media in my life. This game is something special.