Reviews from

in the past


The idea of being an amorphous monster that devours people looked promising, I just couldn't get into it. Maybe I suck, but the movement felt clunky and wasn't having fun getting thorugh the levels.

Really sweet little metroidvania with very satisfying and fun movement. Nothing all that special but certainly worth its low price point. 4/5 stars

I really like the concept and novelty of this game, getting to play as a giant, horrific, amorphous monster and destroying everything in your way makes for a good time. The game does get kind of stale is it goes on, though, and traversing around the map can be a pain, especially towards the end. It's a fun game for sure, and I'm glad I finished it, but I was starting to lose interest a bit as time went on.

really interesting concept for a game, great gameplay mechanics however I couldn't help getting lost about 50 times.

loved the concept of this game but after a few hours I lost the motivation. hard to come back to as I forgot everything I had done and where to go


Always wanted to play as a giant flesh monster.

Wow man, what a fucking game. Gorgeous art style, the gory puzzles and creepy animations are so amazing. I played it on GamePass, but I want to own it just to support the creators.

Phenomenal first 2 acts of the game that is completely ruined by the combat-focused 3rd act. The game is so much fun and excellently made up until it switches from being a monster preying on the unsuspecting to being a game where you fight your way through every solution. It's especially worse because the combat in this game is the weakest part, so for the game to specialize in it for the last stretch of the game makes the whole thing fall apart. The first parts of the game are marvelous. Stealthily sneaking through labs and other unique areas is very fun. Acting as the hunter is such a unique take on gaming that it is unrivaled.

Carrion was a brilliant tentacle monster simulator for the first 3 hours that unfortunately receded to being a mediocre metroidvania as the novelty faded away. Granted, those early hours of the game were truly special. I loved watching my ball of gorey terror, animated with amazing detail and fluidity, bouncing around the labs in search of delicious humans. I had so much fun as I acted out thematic moments right out of monster flicks—hiding and crawling inside vents, snatching straggling soldiers while their comrades were distracted, and sometimes fully unleashing destruction by tearing apart the facility and painting the walls red.

But while these thematic moments were great hooks to get me into Carrion, the level designs weren’t strong enough to keep me engaged and sometimes even conflicted with the initial premise of the game. Why was I wasting so much time solving puzzles and delicately pulling levers with my tentacles, instead of eating people? Why was I wandering around the map, looking for some lame pipe-unplugging ability, and not just eating people? Why were the late game enemies so damn annoying, tanky, and terribly uneatable? All these gamey mechanics felt antithetical to the monstrous power fantasy I had been promised.

Thankfully, Carrion was a pretty short game. It didn’t take too long for the credits to roll after the initial rush of limb devouring mania waned. And while the late game was underwhelming, I could still find a few good monster moments in it. This game wasn’t quite as amazing as I hoped it would be, but it was still a couple hours of good fun. I’d recommend it at a discount if you’re a sci-fi horror fan.

Carrion does One Thing and does it really really well. I was worried at first it would get tedious as the game went on, but it introduces just enough little movement and puzzle mechanics to keep things fresh. I really appreciate the game's restraint; less confident games would have three times as many upgrades, ten times as many optional collectibles. But Carrion only does exactly what it needs to communicate its story. It knows it doesn't need to dangle keys in front of your face to keep you interested.

It was clearly play-tested to hell and back too. It takes a ton of work to make a game that feels this smooth and frictionless without also feeling patronizing. It reminded me of Valve games at their best honestly. The choice to not have an in-game map was inspired, and I'm sure it created a lot of extra work making sure players can stay on track without one, but it fit the tone perfectly.

I appreciate the inclusion of the containment units since it gave me an excuse to run around the game world at the end, see how things fit together. It took maybe an hour to find them all, which felt like exactly the right amount of time I wanted to be backtracking before going back and watching the perfect ending play out. The extra puzzle rooms were fun too, and I appreciate that none of the setpieces ever got hard enough that I got frustrated with the innate imprecision of the movement.

Making a commercial-scale game that's this quietly Rock Solid is a huge accomplishment. There isn't a single thing about it I'd want to add or take out. I can't remember the last game of this scope I could say that about.

You play as the slop but the game isn't slop. Perfect.