Whom
BACKER
Started this because the throwback art style is gorgeous, but everything else feels like it was made by an 11 year old. Awful grammar in the English version, silly endings which are good for a laugh once and then are just annoying, and awful repetition with very little payoff.
I'd say if you want to access the nostalgia that this is aiming for, go read some old PC-98 eroge instead.
I'd say if you want to access the nostalgia that this is aiming for, go read some old PC-98 eroge instead.
2017
A clear step down from the original which at least keeps the core appeal intact. Small mechanical improvements like combining the katana and guns into one weapon are absolutely points of progression, but the level and boss design provide absolutely nothing that you didn't get before. The spectacle and action movie vibe fall away as the game progresses, and by the end I was kinda happy to be done, even though it was absurdly short and what I played was a good time. The extra characters and arcade mode might bring out what's supposed to be better about this one, but I haven't taken the time to play with them much.
Worth a play if you like the first game, but ends up feeling more like glorified dlc than anything.
Worth a play if you like the first game, but ends up feeling more like glorified dlc than anything.
2019
Wonderful sweet little anti-capitalist game. Heartfelt, adorable, hilarious, and direct with its political messaging. Love.
2012
I played this a bit around its time of release, and I just now went through the whole thing.
There's a kind of simple earnestness that's special to the early indie revolution, especially before gamergate made everything so bitter and hateful. There's a sense of wonder in those years, like every dev was just SO excited that they got to make games, too. The obvious fourth wall breaking and dialogue poking fun at longstanding genre conventions are relics of a time when we all sat wide-eyed at all the games that felt like they were made by real people for once, people we could hang out with and who loved games themselves.
We take that all for granted now, but when you go back to a game like this, it's nice to sink back into the hope we all had at that moment. As gaming became democratized like it never was before, we got little beautiful passion projects like this.
There's a kind of simple earnestness that's special to the early indie revolution, especially before gamergate made everything so bitter and hateful. There's a sense of wonder in those years, like every dev was just SO excited that they got to make games, too. The obvious fourth wall breaking and dialogue poking fun at longstanding genre conventions are relics of a time when we all sat wide-eyed at all the games that felt like they were made by real people for once, people we could hang out with and who loved games themselves.
We take that all for granted now, but when you go back to a game like this, it's nice to sink back into the hope we all had at that moment. As gaming became democratized like it never was before, we got little beautiful passion projects like this.