Recent reviews by Keroro1454

As of writing this review, Risk of Rain 2 is still in effectively an Early Access period, with its planned June update on the near horizon. Despite being someone who abhors pre-orders and shies away from early access titles, as a huge fan of the first game I couldn’t help but see if the stellar game that was Risk of Rain 1 survived the shift to 3D. And I can happily say the series has not survived…it’s absolutely thrived. Risk of Rain 2 is a gorgeous love letter to the first game, with gameplay arguably better than its predecessor thanks to the third dimension, visuals and music that are a joy to indulge in, and an insane amount of potential and promise that I have no doubt the tiny team of Hopoo recognizes and will capitalize on, if the sampling we already have is anything to go off of.

Gameplay

Risk of Rain 2 is a class-based, third-person, action rogue-like. In most ways, it is exactly like its predecessor. There are different characters with unique abilities that emphasize different playstyles, a variety of interesting enemies and bosses, chests randomly stocked with a plethora of different items (many of which unlocked through performing different tasks on your runs) that enhance you in various ways, and perma-death. Just as in the last game, you spawn in different lands scattered with chests, shrines, enemies, and the teleporter. Activating it starts an event where a big boss and lots of enemies rapidly spawn while you stand nearby, ‘charging’ the teleporter. Complete the event, hop through the teleporter, and go to the next area—rinse and repeat as you get more powerful to match the increasingly-strong enemies and bosses.

However, the third dimension introduced in Risk of Rain 2 adds an incredible amount of depth (pun intended) to the combat of the game. Whereas I-frames and tanking were your only real options for evasion in the 2D predecessor, in RoR2 evasion and mobility are shining stars. You can run around enemies, leap over them, dive out of the way of projectiles; the movement of RoR2 feels satisfying and works perfectly with the re-designed enemies and mechanics for the 3D space.

The rogue-like aspects of the series are also fantastic. This was largely to be expected—Hopoo really nailed that satisfying feeling of growing in power with random items providing tons of unique effects, and fighting powerful monstrosities. Item selection is still sparse compared to the finished first game, but I have no doubts we’ll be getting a ton of fun new additions to add to the already-passable arsenal. I’ve got over 100 hours in the game and can assure you, there’s already enough variety now! Bosses and enemies are very unique and interesting; again, more would be much appreciated, but with that promised already I have no real worries there—I’m already enjoying fighting what we have.

Balancing issues aren’t too prevalent, though hopefully as development continues a few small gripes I have will be addressed. Damage does get a little absurd late into runs, to the point where only one-shots are realistic threats—the addition of armor mechanics from the first game would be great. Fire damage is also still over-tuned in my opinion, and some enemies need slight reworks. But overall, the game is in a great state balance-wise.

Storytelling

Sadly the weakest aspect of Risk of Rain 2 thus far. As it’s in Early Access, most of the item and enemy descriptions are blank, and it lacks the final stage that Risk of Rain delivered. These all are promised to be finished by the end of the year or so, but it is definitely a problem at the moment. However, I will note the few things that do have descriptions paint an arguably more interesting story than even the first game had, so I’m extremely excited to see how this aspect will grow and development—what we have hints at an incredibly strong aspect of the game to come.

Replay-ability

Just like its predecessor, Risk of Rain 2 boasts incredible replay-ability. The RNG nature of the game means no two runs will be alike, and combined with the unique playstyles of the several different characters we already have (with more to come!), there’s a ton to see and try out. Maybe one run you’ll blast everything away instantly with a crit build with Commando, the next you’ll develop an obsession for fungus as Engineer, and another you’ll be zipping around the map swinging a samurai sword like a madman. The Red and Lunar items especially contribute to this, as their rarity means each one will change up the run substantially with their unique and powerful effects (Except for H3AD-ST v.2, they need a massive buff ASAP!).

Visuals

I will admit, I was skeptical of how good the visuals of Risk of Rain 2 would be. After all, I had fallen in love with the gorgeous pixel art of the original, how could that possibly translate to 3D? Well, I can happily say Hopoo absolutely blew me away with what they came up with. The game’s cell-shaded style looks positively amazing, with stark and vivid colors being a feast for the eyes. I especially enjoy the slightly dark nature of the lands themselves, which make your colorful-item-covered character seem all the more ‘wrong’, in a good way! Enemy designs translated fantastically as well, especially the Magma Worm, a classic staple from the first game. There are few games that have genuinely taken me aback with a particular visual; some games have certainly wowed me with their overall design, but very few have ever made me pause and just say…woah. This is one of those games—standing at the mouth of a frosty whitish-blue cave and staring out towards a frozen beach in the distance, and staring as a blinding white-orange enormous Magma Worm erupted from the ground and soared high into the air with a deafening roar, spewing firey rocks around it—yeah, it’s safe to say the visuals are better than they’ve ever been in the series.

Level Design

This of course goes hand-in-hand with the visuals, but the stages we have so far are absolutely beautiful. Each has their own unique design, and the later levels perfectly emphasize the growing hostility of the land itself towards our character’s continued journey (and slaughter). There are some problems with the gameplay design thus far however—the Roost feels a little boring and uninspired compared to the other levels, the Abysmal Depths have a lot of empty space and just get way too dark when enemies start messing with the lighting (Looking at you, Overloading Worm!), and the Gilded Coast is just a absolute pain in its current design for basically no real reward. There’s definitely some room for improvement on this point, and more stages are definitely needed, but what we have right now is by no means bad gameplay-wise.

Sound Design

Just like the first game, the muted music of Risk of Rain 2 is fantastically chill. No one track is very special in my opinion, but they all perfectly set the tone for each level and menu, often without you even explicitly noticing them. In addition, enemies sounds notably great and in some places even improved—wisps and especially lesser wisps are not nearly as annoying-sounding as they were in the first game, for example.

Overall

Overall Risk of Rain 2, even in its current very incomplete state is an absolute blast. Every aspect of it that’s complete is, in my opinion, a improvement over its predecessor—visuals are gorgeous, sound design is a bit more polished, gameplay is undoubtedly more nuanced and interesting—and the aspects that aren’t yet complete—item/stage/character/enemy variety, storytelling—already show incredible promise. Even if Hopoo were to announce this is actually the complete game, I would still be able to recommend it, and given I have absolute faith in them to flesh out the game further I am unable to recommend it enough.

Cuphead is a 2D, boss-based bullet hell, and it executes this premise well. Where Cuphead truly shines, however, is its incredible creativity- the game simply oozes with personality and spectacle. From its unique callback to bygone eras of American animation, to its diverse cast of characters, to its jazzy orchestral swing soundtrack, there’s no aspect of the game’s core not completely transformed by Cuphead’s charm.

Gameplay

As noted, Cuphead is at its core a 2D boss-based bullet hell, and the game is a decently-solid performance in this regard. Cuphead controls well enough, with only the dash feeling particularly imprecise.

Importantly, the bosses feel fair and satisfying to fight- there are few moments where a death feels “unfair”, rather, deaths feel like learning experiences. Cuphead understands the most important aspect of being a game that punishes you harshly and often- death needs to be encouraging, not irritating. Dying needs to elicit a reaction of “Ah, now I know what to do when I see the boss do that!”, rather than “What the hell???” In this regard Cuphead succeeds fantastically; boss attacks are telegraphed well so that players can recognize and learn them, and players slowly “progress” through bosses as they replay and overcome those attacks that had once killed them- because attacks are so “recognizable”, players can derive not just the deep satisfaction of overcoming a challenging boss, but some small satisfaction from simply learning and overcoming a single attack in a boss fight.

Cuphead also throws some “customizability” into its gameplay, in the form of weapon choice, “abilities”, and “Supers”. Here, the game has mixed results. Weapon choice is a refreshing aspect, as players can take on bosses, recognize the potential for a better weapon choice, and act on this learned knowledge. Almost all of the weapons are unique and have multiple chances to shine, the one exception being the Charge shot, which ends up being underwhelming and particularly useful for only one stage of one boss. Abilities, however, are much less “balanced”- there’s Smoke Bomb…and that’s really it. Every ability aside from Smoke Bomb are effectively crutches- P. Sugar/Coffee is for players struggling with parrying, Extra Heart is for those that struggle with only 3 lives, etc. Because of this design, any semi-experienced player will ditch them in favor of the ability that offers something unique. “Supers” also suffer from a lack of real choice- only Super 1 is really useful for bosses.

There are also boss fights that take place in a plane rather than on the ground- these fights are great, though they lack the weapon customizability the ground-based fights have, which is a bit disappointing.

It is crucial to note that Cuphead does have a serious gameplay flaw, this being in the form of the Run n’ Gun levels. In these stages, rather than fight a boss you must instead reach the end of the level, with small-fry enemies abound. These levels are awful, and have no place in the game, period. These levels attempt to inappropriately convert the game into a platformer, which Cuphead simply does not control like- the imprecision of the controls, especially the dash, are emphasized here. On top of that, the levels have random enemy spawning and attacking. This is antithetical to Cuphead’s core premise- the game emphasizes learning enemy telegraphs and attack patterns. In a game that pushes players to memorize, learn, and adapt in order to succeed, levels with randomly-spawning enemies and unpredictable attacks feel wildly out-of-place and incredibly unfair. Enemies spawn off-screen at random, and enemies on-screen attack at unpredictable rates and distances- and if you want the achievement for beating these levels without killing an enemy, you have my condolences. These levels are a serious drag on the game as a whole, each one leaving you frustrated and aggravated even when you beat the level.

Storytelling

There isn’t much story to Cuphead. As the title song tells, Cuphead and his pal Mugman like to roll the dice. They foolishly gambled with the Devil and lost, and now must go around Inkwell Isle collecting Soul Contracts from the various aggressive denizens. Collect the Souls, and maybe the Devil will spare your own soul. It works well enough, and while nothing special the casino motif the story emphasizes is an enjoyable one.

Replay-ability

While Cuphead doesn’t “inherently” have a ton of replay-ability, its aesthetic is frankly so addicting that it garners some regardless. Expert mode is unfortunately wasted potential, with it simply boosting boss health and projectile speed- it would have been interesting if bosses gained new attacks or phases to properly challenge players and force them to learn new attacks.

Visuals

Cuphead is a gorgeous love letter to the early roots of animation. Intended to feel like a relic from the 30s, Stylized after the 1920-30s rubber hose artstyle and cel animation, it cannot be emphasized enough how unique and plain fun the game looks. Bosses all have wacky and charming designs that look like they were pulled straight from an early Disney short, from the melodramatic Sally Screenplay’s various roles to the menacingly silly Beppo the Clown, to the Casino lord and Devil’s right-hand man King Dice. Especially enjoyable are the different phases of the exact same boss- the creativity in one boss’s various designs are astounding. Ribby and Croaks, the frog brothers turned boxers relaxing on a ferry start out swinging and spinning, but hit back enough and they…become a froggy slot-machine firing fiery chafing fuel at you? Beppo the Clown starts out trying to ram you with a bumper car, before becoming a giant hot air balloon, before riding a balloon Charlie Horse, before finally becoming a enormous swing ride!

Level Design

Simply put, each boss’s stage is gorgeously designed. While the fights are only in two dimensions, the backdrops you fight against are filled with detail and personality. Not only are the backgrounds beautifully stylized to continue Cuphead’s aesthetic to a T, they often have life to themselves- for example, when you interrupt Sally Stageplay’s mock wedding, a distressed groom in the “chapel” behind you goofily shows concern when his bride his hit and cheers when she lands a hit.

Sound Design

Cuphead’s music is certainly not discussed as much as its art style, but this is frankly an injustice. Admittedly, Cuphead’s music isn’t “memorable”- there isn’t a song that stands out as particularly catchy. But this lack of memorability is why Cuphead’s music is so well done. The music of Cuphead complements every fight perfectly, setting the feel not just of the specific fight but the overall game. The music doesn’t overwhelm or distract from the fight, instead just adding further to the immersive atmosphere Cuphead strives to create- and in this regard it couldn’t be more successful.

Overall

Overall, Cuphead is an artistic masterpiece of a game. It has a solid core in its difficult, boss-centric bullet hell, but it truly shines in the overwhelming creativity present in it. The art style and sound design combine to powerfully evoke the bygone era of 1930s American animation, and every bit of the game is brimming with personality- from character designs to boss attacks, Cuphead offers a new delight around every corner.
Even if you are wary of “high difficulty” games, I can’t recommend Cuphead enough. Unless you absolutely abhor a challenge, the creativity of Cuphead alone should warrant picking it up and savoring every moment.

Furi is, according to Google, a “action shoot-em-up”. This definition falls horribly flat describing what Furi really is. It’s a third-person game that’s equal parts fighting and bullet hell. As tired as the comparison is, the easiest comparisons for its combat systems are Dark Souls and Cuphead. Before you crucify this review, hear it out. But beyond weak genre descriptions and tired comparisons, the best way to describe Furi is simple- it is an infuriating feast for the senses.

Gameplay

As much as I’m aware that calling a game like Cuphead or Dark Souls is heavily derided nowadays, the two ends up being the most popular and accurate comparisons for Furi’s gameplay. Furi is exclusively boss battles, and prides itself on having a steep difficulty that involves a lot of death and trial-by-error. Each boss fight (for the most part) involves a powerful boss with numerous “lives”. Each life is divided into two “stages”, both stages playing out in the third person. The first half of each fight is a bullet hell with the camera displaying most of the arena (a la Cuphead), with bosses telegraphing their attacks before unleashing powerful attacks that emphasize quick movement to dodge the onslaught. Manage to knock the boss’s health down to zero, however, and you’ll begin the second stage of that life- a close-quarters melee segment, emphasizing quick reflexes to parry attacks and return the favor back to the boss (a la Dark Souls).
Explanations and comparisons aside, the gameplay of Furi stands as excellent in its own right. Every boss fight feels incredibly unique, with each boss having wildly different attack patterns and special abilities. Fights feel maddeningly challenging at times, yet always come across as fair. There were no moments where I felt the game was throwing challenges that were cheesy at me- just about every attack feels purposeful and well-done. Even I died a dozen times to the same phase, when I finally defeated it I felt a “sense of pride and accomplishment”- your deaths are your own fault, not the fault of poor game design, and that makes the taste of victory that much sweeter.

Storytelling

The story of Furi builds slowly, but delivers a solid way to keep the game moving. Who you are, why you’re imprisoned and fighting these fantastical bosses, who the strange Voice is egging you on- these are questions that start out not intriguing you, but as this mystery follows you through each level of the prison, the need to find out what’s really going on grows in intensity. And the fruits of your labor- incredible.

Replay-ability

Furi has a strong replay-ability aspect, if you enjoy a good deal of suffering. Completing the game on Furi difficulty is not the end of your journey, as it unlocks the even-harder Furier difficulty. The reason a “harder” difficulty is so impactful on Furi’s replayability is because of how this new difficulty is designed- Furier difficulty is not a generic difficulty increase. Lives are not arbitrarily increased, bosses don’t have arbitrary damage or life boosts. Instead, Furier introduces entirely new mechanics to every single boss. Indeed, Furier difficulty is close to a new experience altogether, and while I personally am too much of a wimp to take on this new challenge, the fact it is offered is exceptional.

Visuals

The absolutely stunning uniqueness of Furi’s visuals cannot be understated. The game thrusts saturated, vivid orange and blues at you in your own character. The Voice wears a strange outfit of rich, royal purple. Every boss boasts a detailed, incredibly original design that is sheer eye-candy. The Chain, garbed in dark crimson armor and Japanese Oni masks, taunts you as his head spins to reveal a new expressive mask of pure, blinding white. The Line, wearing a simple robe upon his short, frail old frame. The Scale, a terrifying sewer creature-man with the head of a naval mine, sporting exotic neon greens on his armored body.

Level Design

Even the environments continue this visual wonderland. Arenas are reflective of their guardian, and while most are simple, basic circles the atmosphere each creates powerfully complements the atmosphere the actual bosses lend themselves to. To revisit the previous examples: the Chain’s area has small hints of a Japanese aesthetic, and appears to be in the middle of a hellish maelstrom, storm clouds reflecting their master’s own angry, thunderous personality. The Line meditates in a peaceful rock garden, the platforms to his arena levitating slowly on their own, all in sync with each other. The Scale resides in a horrid, dark sewer realm- rusting machinery, murky water of unknown depth, and dark green growths of moss and algae make up his miserable surroundings.

Sound Design

Many have already discussed this in detail, but the sound design is simply so good in Furi that it deserves to be re-stated a million times over. Taking a place with Hotline Miami 1 and 2 as a masterful showcase of synthwave at it’s finest (Unsurprising given one of the names in the game is none other than Carpenter Brut, a familiar name for anyone who has played HM1 or 2), Furi is a testament to the idea that having more than one musician work on a game prevents the typical “misses” seen in games where only one musician works on it. Furi is non-stop “hits”, each piece each artist provides is a blast to listen to, each matching the atmosphere of the area you find yourself in perfectly while keeping the intensity high.

Overall

Overall, Furi was a gem I normally would not have gone out of my way to purchase, but I am exceptionally pleased I got to experience it through Humble Bundle. Make no mistake, if you are easily frustrated and find no joy in honing your abilities in trials by fire, then Furi is likely not for you. If dying to a boss more than 3 times has you putting down a game and never touching it again, then Furi is likely not for you.
But should you enjoy that rush of a challenge, that frustration as your character flops dead in front of the same boss over and over, and that exhilarating satisfaction of finally taking down a particularly tricky boss- then Furi will be an absolute treat. It delivers all of those emotions through an excellent understanding of what a rewarding challenge is, and delivers them bundled in a gorgeous visual and audio package, with the bow of a great story on top.
If you understand what Furi is and aren’t completely disinterested, I cannot recommend it enough. It’s truly a sensational spectacle.

The Sexy Brutale is a 3D point-and-click murder mystery, but with a twist. You investigate the murders of the various guests attending a masquerade party at the casino mansion, The Sexy Brutale…while they happen. Your job is not only to find out how the masked residents meet their gruesome demises, but also to save them. You play as a masked man, Lufcadio Boone, and are guided in your quest to stop these grisly murders by a mysterious specter, the Bloody Woman. The supernatural and mysterious are abound in the glitzy mansion, but the shine and spectacle hides a sinister plot by the menacing waitstaff.

Gameplay

The gameplay of The Sexy Brutale is a refreshing and interesting twist on the genre of point-and-click murder mysteries. You are not simply investigating murders, you investigate them as they are happening, and your goal is more than to find out what happened- it is to find out how to stop it from happening. To accomplish that, The Sexy Brutale has you playing out the premise of Groundhog Day- upon the clock striking 12am time is reset, and you begin the same day anew. But unlike Groundhog Day, you have the additional challenge that you cannot interact with anyone directly. Attempting to do so will cause time to freeze, with the masks of the guests chasing you out of the room their owner currently stands in. You must learn the routine of the to-be victims, and interact with the surroundings to prevent the murders from being carried out. In this way, you have all the time you could ever need, and yet are racing against the clock to prevent the untimely ends of every guest in the mansion.
These mechanics result in a fantastic series of puzzles and thinking ahead, tracking guest and waitstaff movements, and determining not only how the murders were carried out but how to prevent them from occurring.

Storytelling

The story of The Sexy Brutale is engaging and intriguing. Discovering the secrets of the casino mansion is exciting, and the plot constantly moves along with twists and turns that keep you wanting to learn more. Who is the ghostly Bloody Woman, and why does she want to help you? Who is the strange man in a gilded mask you keep grabbing glimpses of? Why is the waitstaff on this bloody rampage in the first place? What are all those noises you keep hearing throughout the day? What really is happening at the Sexy Brutale?

Replay-ability

Admittedly, the Sexy Brutale does lack much replay-ability. There are 52 playing cards hidden throughout the mansion, and invitations for each ill-fated guest. Outside of these collectables, however, the game ends with the finishing of the tale of the Sexy Brutale- not particularly surprising given the game is a murder mystery.

Visuals

The setting of the casino mansion The Sexy Brutale is stunning. The variety of rooms in the sprawling and extravagant manor keep the environments unique and engaging. The level of detail and diversity in all of these rooms is fantastic. Likewise, the character designs are just as fantastical. Each guest is fittingly excessive in their design, and each wear an elaborate mask that hints at their personality, from the clockwork mask of the tinkerer Reginald Sixpence to the macabre skull mask of the gothic Willow Blue. The waitstaff all appear menacingly identical in their matching gas mask and suit attire, and the fiery masks wailing if you approach is a disturbing sight.
However, one of my biggest qualms with the game is a visual one. The animations of the game are rather lackluster given the detail of everything else. Scripted animations feel extremely robotic given their pre-determined nature, and animations occasionally play incorrectly or cut short in such a way that characters often look stiff and unnatural. It’s not a huge issue, but one that bugged me throughout my playthrough.

Level Design

As mentioned, the level design is wonderful. The combination of a casino and mansion makes for an outlandish, lavish setting that the story and gameplay fit perfectly into. The enormous number of rooms in the building each have stories to tell, and are packed with character and beauty, from the Pick Your Poison bar to the Main Stage.

Sound Design

The sound design of The Sexy Brutale is also exceptional. The main theme alone is fantastic, a jazzy electro swing that sets an antiqued yet lively mood, fitting of a mansion that appears timeless and ancient. The music complements whatever setting your in-haunting, deep scores wear at your nerve as you creep through the basement; upbeat, swinging tracks lead you through the flashy casino, and dramatic, tension-filled pieces ready to explode sound impending doom for the masked guests.

Overall

Overall, The Sexy Brutale delivers a unique and thrilling murder mystery. Its setting, visuals, and sounds meticulously ensure every second you spend in the Sexy Brutale is full of intrigue, bedazzlement, and tension as you work to save guests from gruesome murder and learn what is truly going on in the dark manor. The gameplay is engaging, unique, and fits the tone and style of the game perfectly. Outside of some minor issues of lag and animation troubles, the only complaint I can really voice about The Sexy Brutale is about it’s length- I need more!
I highly recommend the Sexy Brutale, but if you’re someone who only values games in the amount of playtime they provide over the quality of that playtime, I would suggest potentially waiting for a sale.

Gunpoint is an 8-bit puzzle game, with you taking the role of a wise-cracking freelance spy Richard Conway, complete with trench coat, gadgets, and wide-brimmed hat. Indeed, Conway’s attire is indicative of the atmosphere the game provides- a dark, humorous noir setting paints the environment you play through. In Gunpoint, you break into high-security facilities for one reason or another, but your methods are always the same: You use the Crosslink, a special device that allows you to re-wire circuits remotely. Using this simple mechanic, you navigate past guards (and maybe give them a bop in the head… or many) and alarm systems, re-wiring elevators, switches, lights, and anything else with an electric current.

Gamplay

The gameplay in Gunpoint is simple, but that doesn’t make it unfun. The game is a puzzle, but the open-ended feel of the Crosslink makes the simplicity of it satisfying and enjoyable to use, despite being at its core a mechanic that would normally grow quite old. The addition of some various gadgets integral to any good spy’s kit, including spring shoes, boobytraps and yes, a gun- allows for additional complexity to levels.

Storytelling

The story in Gunpoint has a few turns, but follows a formula popularized by the noir genre. It’s not especially creative or thought-provoking, but it moves the game along well. The story plays itself out with Conway taking on contracts from various clients, with the player deciding exactly how pleasant Conway is when he takes these jobs on via text message. The player’s choices here for the most part doesn’t impact gameplay sadly, but it’s still good for a quick chuckle.
The characters of Gunpoint are, despite being very minor for the most part, enjoyable to listen to. Fritz Gessler and Conway stand out as both the most “important” and also the most amusing, with Gessler’s sailor mouth and Conway’s potential smarminess providing life to the characters.

Replay-ability

Gunpoint doesn’t offer terribly much in the way of replay-ability. Story-driven puzzle games do tend to have that problem, but the compact design of Gunpoint extends to it’s story- it’s relatively short, and enjoyable enough that playing it through a second time is still fun and short enough it doesn’t get tedious.

Visuals

As mentioned, Gunpoint styles itself after the noir genre, and that shows in its visuals. The pixelated style of the game is neither a plus nor a negative- it doesn’t lend terribly much, but it doesn’t detract from the gameplay either.

Level Design

The level design can simply be described as “appropriately compact”. They are small, but breathable and allow the player to interact with them from most angles. The inside areas don’t feel cramped, and don’t emphasize a singular “coming together” moment; instead, the levels are designed to give the players freedom while they work towards that solution. When puzzles leave you standing at a door and indicate exactly what the puzzle is but don’t show how to solve it, the player can easily become frustrated. Gunpoint’s levels, however, are designed to allow you to piece things together, resulting in a greater “depth” to these small levels.
The 2D platforming aspect works perfectly with the Crosslink ability, and the levels are built to allow the player to make full use of all their abilities.

Sound Design

Again, the noir theme shines in Gunpoint’s sound design. Despite being relatively simplistic, the music of Gunpoint is pleasant to listen to and fits the game perfectly.

Overall

Overall, Gunpoint is a fun puzzle game inside a 2D platformer, wrapped up in a noir setting. It’s enjoyable and crammed with content in its short playtime. My biggest critique would be that it almost feels too short- just when the puzzles start getting truly complex it’s already over. However, what we do get is a lot of fun. I highly recommend picking Gunpoint up!

The humor is crude yet doesn't come across as annoying or repetitive, just amusing. The gameplay is smooth and slick, animations are extremely nice and amusing. The story is amusing and the narrator is amazing. Insane mode makes me want to cry but it's not gimmicky, and it feels rewarding beating the levels.

[INSERT GENERIC BUCKLE YOUR PANTS JOKE HERE]

It's good for a few cheap laughs and has gotten updated a LOT. It's excessively expansive for what it is- a stupid simulator where you lick stuff as a goat and ragdoll across the world. I recommend it for two main reasons: First, the humor is pretty good for a few hours of laughs. Second, the developers clearly gave a damn about the game, and the various free expansions show that.

Absurdly good game. The voice acting is on point, the humor is fantastically dry and witty, the gameplay is smooth and clever, the game looks great despite its age, and the price is well worth all it has to offer, which isn't just the game. You can play on user-created levels, have a blast with a friend in the clever multiplayer levels, or play in the Alternate Universe levels and get your fill of Cave Johnson.

The characters are all fantastic and truly immersed me. Anyone who hasn't given the game a go needs to immediately. There's a reason why this game is critically acclaimed.

Fantastic game. It's GTA on shrooms, and these are some heavy duty shrooms. We're talking Super Mario Bros. kinda mushrooms here. You can fly down streets and obliterate everything in your past, drop a nuclear bomb BY KICKING THE GROUND HARD ENOUGH, and can use a knife gun. It shoots knives. Like a lot of knives.

One problem I had with it is it gets really easy once you hit a certain point. Especially if you buy the DLC/Ultimate Pack, by the time you beat the main game you're basically a god.

Another issue is the superpowers are sometimes too powerful. Sprinting across the city in seconds is great, but it makes vehicles obsolete. Also there's the issue that trying to run behind a car for cover will end up sending the car flying into the sky.

But on the plus side, if you get a car in the air and jump on it, you can glitch out and fly miles away.

An absolute blast with friends, slightly less so when solo. The humor is witty, the guns are plentiful, and the valuable sought-after war-starting Eridium is still found with homeless people in cardboard boxes.

One issue, DLC. DLC everywhere. Be prepared to enjoy the game enough you'll probably end up shelling out some money for a expansion or two.