Slay The Princess is a horror visual novel, in the purest sense. It’s well produced, with excellent voice acting, and art that does a very good job of communicating what it wants to. For anyone turned off by the “horror” aspect, this game has maybe one “jumpscare”-esque moment. It also doesn’t rely on any breaking of the 4th wall, like messing with files with on your computer or those sorts of things.
As a result, it almost entirely relies on the strength of its writing, art, and voice acting to tell a story, and a really interesting one. This makes it incredibly difficult to talk about.
As such, I’m left with two choices. I could engage with the work itself, and try to access it. Or I could dance around it, and look at the space it exists in, without engaging with it directly.
This writeup will be the second one. At the end of this writeup, there is a link to a page full of spoilers, because there are some things I want to discuss, but simply cannot without spoiling the game. But that page isn’t here, so if you are afraid of spoilers, you can keep reading (just don’t click on the link. There won’t be anything here that couldn’t be seen by looking at the steam page, or booting up the game.
To some extent, game reviews and criticism aren’t particularly well suited for evaluating games that are almost entirely reliant on narrative. Literary criticism tends to do much better at that. Game reviews are better at evaluating mechanics.
The primary mechanic of Slay The Princess is reading text. As far as mechanics go, is it a fundamentally strong mechanic? Yes. We have an entire medium of work reliant on that mechanic that isn’t games. They’re called books. Slay The Princess also has images, which means we can compare it to comic books, which are also pretty popular. Or we can call them graphic novels if we’re being fancy.
I think it’s a very strong visual novel, and if you enjoy horror, or games focused around narrative discovery like Gone Home, I would recommend it.
Ed Note: This writeup was written prior to the release of the 1.2.6 version of Knuckle Sandwich. The 1.2.6 update added an extra item slot, balanced party members, “Added level increase to late-game party members during regular difficulty runs,” and major buffs to every single held item.In short, it makes some changes to a large number of the things I complained about. I don’t think it’s enough to fix the game, but I find it both worth noting, and somewhat vindicating.
I don’t recommend Knuckle Sandwich for reasons that are hard to summarize. In short, the game fails to live up to its spiritual predecessors in either mechanics or narrative, while making a variety of design decisions I disagree with, and that make it frustrating to play.
Genre-wise, Knuckle Sandwich is technically an RPG. It meets virtually every part of the general definition we have for those games, so it’s unfortunate that I think the term is actually useless here. I think a more accurate descriptor would be “weird RPG,” which is to say something very much in the vein of Earthbound, Undertale, or No Delivery.
The main reason I simply cannot recommend Knuckle Sandwich is that Undertale exists. I think there’s a strong argument that Undertale does literally everything except (some parts of) combat better than Knuckle Sandwich.
I also can’t really recommend Knuckle Sandwich to people who loved Undertale, because the game is just universally worse. I don’t like having to say that. Knuckle Sandwich isn’t phoned in, or low effort. It’s just not as good as the games that have inspired it.
Here’s why.
Combat
Combat is the heart of Knuckle Sandwich’s mechanics. There is some exploration. There are some puzzles. But in both cases, they are fairly minor. The vast majority of this game is its combat.
While Knuckle Sandwich starts with the traditional RPG blueprint (a basic attack, a mana system (EP) for special attacks, HP bars, etc.) it quickly makes changes to the system. All attacks, from both the player and enemies, involve playing a WarioWare style mini-game of some sort.
I’m going to go into lots of detail, mostly in order to justify the level vitriol I’m going to be leveling against someone’s long term passion project.
Let’s start with the player basic attack.
There are three basic attack mini-games. This brings up the first problem: which one you get is random. Which would be fine if they were equivalent in terms of damage. But that was not my experience.
They’re also just kind of frustrating to play, with some taking much longer than others. They take a long time to start up. You can skip the wait by pressing a button, but that same button is used for the damage input. So if you get impatient, try to skip, and accidentally double tap, you miss a turn.
Next up, the player’s special attacks. After 10 hours, and at max level, I had 4 special attacks. I was given one to start, got two from leveling up, and had a fourth from an equipped item.
This is an INCREDIBLY small amount of options, and many of the attacks are just bad. A 4 turn 1 point defense buff is awful, and I barely ever used it.
Finally, there’s also a defense command that regenerates a single point of mana and ups defense. But because of how enemy attacks work, it almost always felt like a mistake to use this.
Since some special attacks are granted by equipment, let’s talk about items real quick. Characters have 3 slots: a left hand, a right hand and an accessory. I only saw about 3 weapons total throughout the entire game. Two were knives and one was a pair of scissors. There were also several pairs of gloves that boosted defense, but since they took up both the left and right hand slot, they didn’t feel worth using. The strategic options are again, incredibly limited.
More annoyingly, equipped items take up inventory slots. This would be tolerable except each character can only carry eight items. This means if a character has three items equipped, they can only carry five other items.
This isn’t helped by the fact that key items have to go into your inventory. So if you find a key needed to open a door, you either have to toss items out, or backtrack to an item storage PC.
There are lots of design decisions in games that are subjective and up for debate. The item limit in Knuckle Sandwich is not one of them. It’s a bad system. It punishes equipping items, it punishes exploring for extra items that the you can’t carry, and it punishes carrying quest or bonus items with you in case they have a fun interaction or might be useful later. I hate it.
Before we fully dive into the rest of Knuckle Sandwich’s combat, I want to talk about how the game interfaces with with some other standard RPG mechanics. These are: party members, stats, and leveling.
In combat, you can use the player character, plus up to one other character. There are 3 primary party members, and a few more that join at various points. But for a vast majority of the game, you only have a maximum of one other party member available.
And for the brief portion of time while you have access to all of them, there’s no reason to use any party member but the highest level one. Experience points are not shared across the party. As such, one member will always be significantly higher leveled than the others.
It’s a really questionable structure. Combined with the fact that it’s hard to tell what stats even do, it makes me wonder why the game even has levels. In addition, enemies don’t respawn, so grinding levels isn’t even an option if for some reason you did love a specific character.
So let’s talk about better parts of Knuckle Sandwich: the rest of the combat. There are two types of enemy attacks: standard attacks, where you can press a button to avoid all the damage, and the mini-games. For the standard attacks, enemies will perform some sort of mini-animation with a tell. Press a button right after the tell, and you’ll dodge the attack.
The individual mini-games are generally more fun, and are fairly varied. Some are shmups, there’s an infinite runner, and several are Wario-Ware like quick reflexes.
Some are less fun, like the one that asks you to do math very quickly.
But while I did call this the good part, that’s not entirely accurate either. Because while the individual mini-games are fun, they’re not hugely fun to play over and over and over. And combat really drags on.
And I have a problem with the bosses as well. To keep this brief, here’s a summary: Knuckle Sandwich has many boss fights where you don’t progress by “winning.” Instead, you defeat them by tiring them out, or just engaging with a separate system. As a player, since I didn’t know which fight was which, I ended up wasting resources and effort on fights where I didn’t need to, and that feels bad.
At it’s heart, the problem with Knuckle Sandwich’s combat system is that it just doesn’t have much strategic space. Many of the RPG mechanics feel ancillary to the real time mechanics, and the real time mechanics are a mixed bag that quickly becomes repetitive.
But now let’s talk about the story.
Story
From here on out, there will be spoilers for every part of Knuckle Sandwich. You have been warned.
My primary problem with Knuckle Sandwich’s story is that it feels unconnected. It hits all the story beats of the weird RPG. A weird world, bizarre characters, strange non-logic, and friends. But many of these don’t feel earned, or even internally consistent.
I’m not a writer, so I can’t break down exactly why the story didn’t work for me. Instead I’m going to give three or so examples.
Let’s start with cannibalism.
Early in the game, you’re attacked by a character while taking out the trash at your job. You kill the attacker while defending yourself. Then you have to chop up this person you murdered and serve them as burgers. Your boss gives a whole speech, and a bit about how you’re now in this together. This seems to be setting up for a sort of Barber of Seville situation, where the player is going to have to murder people who won’t be missed, and cook them.
Except none of that happens and the game seems to immediately forget about this plot thread until the literal Final Boss. Yes, those letters are capitalized on purpose. In retrospect, there are hints at what is going on, but the whole thing is mostly just… never mentioned.
Instead, you meet the other party members, and the characters that the game seems to suggest are your friends. But for some reason they don’t really feel like your friends. The biggest one for me is that your character is mostly just dragged in wake of these “friends” instead of actually joining them.
There’s also a big mechanical reason why they don’t feel like your friends. The “friend” characters don’t actually join the party until later in the game. At that’s where the RPG design really gets in the way encouraging you to only use one of them. While they’re all given their own sub-sections of the narrative where you work with them, those sub-sections don’t focus on those characters as people.
This matters because when Knuckle Sandwich later tries to pull a big emotional event, it lands flat. It’s sorta sad, but I wasn’t attached enough to these characters for it mean much. Likewise, when the game tries to do the “kill god with the power of friendship,” that moment fails equally.
None of Knuckle Sandwich’s supporting cast were given enough time for me to become really attached to them. I don’t dislike them as characters at all. But I feel about them the way I feel about my neighbors. Perfectly nice people. If they asked for help, say shoveling snow or jumpstarting a car, I’d be on it. But there’s no real emotional connection outside of a polite mutual ignorance.
All that out of the way, let’s talk about the biggest plot point of Knuckle Sandwich. You only get to know about it because it’s explained in a monologue in the game’s ending sequence. The whole game is…. actually, I don’t need to say what it is. Because it doesn’t matter!
The big reveal is barely relevant to the entire rest of the game. It isn’t really mechanically present, it isn’t brought up until after it’s been dealt with off-screen by an NPC. And then the game just kind of ends. You, the player, effectively never have to deal with it, outside of one very short semi-postgame sequence.
The vibe I get from Knuckle Sandwich is that the game was made in sections, instead of as a whole piece, and also made under a weird deadline. There are large sections of the game that feel sprawling and unconnected, and others that feel rushed and compressed. If you told me that Knuckle Sandwich as it currently stands is about 30-40% of the game that the creator had in mind, I’d believe you.
But the end result is failure to deliver on both the weirdness of the world and the attempted emotional story beats. Instead, it feels like a set of strung-together vignettes or dream sequences.
Art
This is going to be the one part of this writeup that isn’t me just trashing 5 years of someone else’s work. While I have no strong feelings on the game’s music, I do really like the art. I really don’t enjoy the glitched sections, but I think the animations and art style for almost every other part are great.
The art also feels high effort. For example, the weapon equip system is a bit nuts (in a good way). The game seems to have sprites for each character carrying each item. Personally I’m very curious as to how it all works behind the scenes.
But there’s something else I want to talk about. There’s a single thing about Knuckle Sandwich that I really love. And that is a very specific tone that the game manages to evoke. I don’t know if it’s even intentional, but I love it nonetheless. The primary character of Knuckle Sandwich spends the game with a bruised face, and bags under their eyes, and in my playthrough used knives and scissors as weapons.
The end result is a character who looks utterly defeated, and yet chooses time and time again to square up against cult members, robots, mecha suits, and alien gods. They get up, and they keep moving forward. There’s a distinct tone of simply not caring anymore that I find incredibly unique. I can’t think of another game that made me feel like this.
It’s doesn’t redeem of the rest of the game, but it is memorable.
Conclusion
Knuckle Sandwich is made with heart, and I wish I could recommend it. But the game simply isn’t fun to play. Its strategic elements are light to non-existent. Its real time tactical elements are enough of a mixed bag that they can’t make up for the lack of strategy. The story, while not a mess, feels poorly paced, and manages its plot points badly. The music is fine, and the art is well-made, but those things don’t make the rest of the game fun.
On the flip side, at least Knuckle Sandwich was made by someone who appears to give a shit. I don’t know that I’d purchase another Andy Brophy game on day one, but I’d at least look at it. Knuckle Sandwich might not be worth playing, but it’s not something that should be ignored. And if somehow this post has convinced you that Knuckle Sandwich is what you need, you can find it here.
Ed Note 2: Images are from the Steam Page, and Knuckle Sandwich press kit. I played this on my Steam Deck, and didn’t take screenshots. Frankly, I’m not replaying just to get screenshots.
The presents have been opened. The award lists that people actually read have been posted. The games industry itself has been gutted like a fish, along with the rest of the technical sector.
Ah, 2023.
It’s surprising to me that the first year that truly felt “post” COVID was still such an incredibly shitty year in so many ways on a global level. Usually I wrap up the year with a list of dead games. But that sort of thing feels less important than, say, the thousands and thousands of layoffs.
Instead, it’s time for the return of the Gametrodon Placeholders.
As always, the criteria are simple: winners must be something I played this year and wrote about on Gametrodon. And unfortunately, that means that I can’t just give all the awards to Baldur’s Gate 3 and call it a day, because I haven’t finished it, nor have I done a writeup on it.
Best Board Game
I played a lot more board games this year than I did last year, in a lot more genres than usual. That said, there was only a single game that I played over a dozen times, at multiple different events, with different people, and even sat down and randomly taught to strangers.
A game so generally agreed to be “pretty good” that everyone in the group I played with went and bought their own copy of the game. As such, it’s the obvious winner.
It’s not the most complex, or thematically rich, but it very quickly became the go-to game of the group I play with. It’s the game everyone wants to play, and is simple enough to teach quickly to boot. In short, it’s the best because it got the most play with the most people, and the least friction.
The criteria to even be in the running for Best Soundtrack is pretty simple: was it good enough to add to my running playlist? Even though currently that playlist is mostly just my “Waiting for my feet to heal” playlist, one game easily beat out the competition.
It’s Pizza Tower.
There’s not too much more to say on this. The music is just too damn good. Pizza Tower is an equally fantastic game that I didn’t feel too equipped to evaluate. But if nothing else, it’s the only music this year that really made me want to start swinging at folks.
Honorable Mention: Baldur’s Gate for that one bit, and maybe Herald of Darkness from Alan Wake 2. But I didn’t play that game, I just love the song.
Best Multiplayer Shooter
I’m going to be honest. This one is mostly a tie between this game, and the game in the runner up slot. But the game in the runner up slot has about a billion more sales than the winner, and I’d rather bring more attention to the smaller one.
The best multiplayer shooter of the year is Deceive Inc.
I don’t love everything about the game, but I’d much rather have more interesting and weird multiplayer shooters with multiple paths to victory, and unusual mechanics.
The runner up is, of course, BattleBit, which I think everyone has played at this point, but still deserves it. And as I’ve already observed, this was effectively a tie. But if I’m giving an award, I’d rather it be to something like Deceive Inc that not everyone has heard about.
Game Of The Year
Remember that inclusion criteria I mentioned up above?
I lied.
The game of the year is Baldur’s Gate 3.
Have I done a writeup on this game? No. Hell, at 65 hours, I haven’t even finished a single full playthrough.
It’s some of the most fun I’ve ever had, and is ridiculously flexible as a game. It’s also far from technically perfect. I spent at least 6 of those 65 hours trying to fix bugs or errors, and having to reload save files. That said, it’s probably the pinnacle of PC games at the moment: incredibly well designed maps, the greatest voice acting ever, fairly interesting combat, and just generally an excellent game.
Ah, Trading Card Games, or if you’re me, “The Money Hole.” PAX Unplugged is almost always awash in TCG’s of some sort or another, and this year was no exception.
Alpha Clash
Alpha Clash was the indie TCG of the show for me. Were there other small TCG’s at the show? Yes, but if you can afford a Disney license for your product, you’re not small enough.
It’s also the one I’m probably going to write the least about here. It’s actually interesting, so I’m going to play a bunch more and do a full writeup later. But as a teaser, here are some of the game’s mechanics:
Every creature effectively has haste. (Okay.)
All cards are lands. (We’ve seen this before, but still neat.)
The entire system for resolving combat has been blown up. There’s a secondary system to prevent the game from stalling out in a game of chicken with combat tricks. (Actually very new and interesting.)
As with almost all games, I do have problems with it. I dislike the the rarity system, and I don’t love the American comic book aesthetic. But the game’s actual mechanics are far more solid than pretty much every other indie TCG I’ve run into over the last few years. So this could be one to watch.
I’ve done some thinking about other Disney properties in Lorcana, but I never put my thoughts into writing in my “Future of Lorcana” writeup a while back. I was curious if Lorcana could potentially see Marvel or Star Wars cards, and the answer right now appears to be “No.” Otherwise I suspect Fantasy Flight wouldn’t have shelled out for a license for Star Wars: Unlimited.
I never actually asked anyone what the Unlimited in the name meant. Presumably the amount of money Fantasy Flight hopes to make with the game? Regardless, I did play a demo of Star Wars: Unlimited.
I don’t have much to say on the game itself. It’s not uninteresting, but the starter decks and demos often don’t translate into thrilling gameplay. Meanwhile, Star Wars: Unlimited doesn’t have any incredibly unique inherent systems if you’ve already played a ton of games.
The most interesting part of the game for me is how it handles the ever present “actions on opponent’s turn” problem. Star Wars: Unlimited makes it so that players don’t really have turns, they just have actions. Doing anything: attacking, playing a unit card, using a commander ability, or playing an action card all use up your action, resolve the effect, and then pass priority to your opponent. In addition, one of the actions that can be taken is to pass all futures for the round, and in exchange, get to act first next round, called seizing the initiative.
If I remember correctly, I think this sort of mechanic might have been in Star Wars: Destiny, another collectible game by Fantasy Flight.
My overall thoughts on Unlimited are kind of just “Okay.” Star Wars has negative brand loyalty from me, mostly because I just don’t care about the franchise. Also because I’m petty and billion years ago dated someone who cared too much. There were some elements in Star Wars: Unlimited that felt like fun flavor touches with how certain mechanics functioned, or characters worked together. But while I’d play more of the game, I’m not in any rush to acquire a copy. It launches March 8th, and I suppose I’ll see what state it’s in at PAX East.
Lorcana
The most notable thing about Lorcana for me at PAX Unplugged was that the prices were “within expectations” as opposed to an “arm and leg.” Usually things are not notably cheaper at Conventions. Usually it’s the other way around. But booster boxes and decks were at MSRP. For comparison, single booster boxes are currently $207 dollars.
Not cheap, but yknow. Normal prices. Also 8% sales tax. The hell is that Pennsylvania?
I was going to say that I didn’t actually play any Lorcana at the show, but that’s not true! While I didn’t play any during the show, I did run into a very friendly group of folks in the hotel lobby Wednesday night, and spent a few hours chatting with them. And also beating them with their own starter decks that they’d just picked up. Because y’know, I’ve played the game before. A lot.
There wasn’t anything in the new set that immediately stood out to me. Looking back at it now, it does have at least one new keyword, and some new typal references. It also had a fair amount of space on the show floor.
Magic: The Gathering
Magic earns a slot on this just barely above Pokémon by virtue of the fact that I actually did play some Magic at Unplugged. It was a grand total of 3 games, they were all two-headed giant Ixalan drafts. Me and the friend I was playing with won every single one, admittedly some by the skin of our teeth. But win we did, and I was able to get a copy of one of the Dr. Who commander decks with our prize tickets.
There’s not too much to say on Magic, really. Ixalan is a fun set. Pasttimes is still running events in a way that makes no sense. You still have to use the terrible MTG Companion app whose one saving grace is that I can log in with my MTG Arena Account.
Pokémon
I didn’t play much Pokémon this year outside of looping by the Pokémon booth to get some pins. At this point, I’ve played those demos enough that I could probably run them. They did add a small raid battle mode which was almost cool, but unfortunately, doesn’t actually have any meaningful strategy.
As such, it’s hard to tell if Pokémon was mostly at Unplugged as a collector’s game, as opposed to a TCG.
Everyone else.
It was an interesting year for PAX TCG’s. There was a lot more support for mid-level entries than I was expecting. The show had at least semi-dedicated areas for Flesh & Blood, and One Piece. I think I saw SolForge fusion over somewhere as well. That said, I didn’t play any of these, and didn’t feel very compelled to.
Unlike last year, with Gem Blenders & Genesis, and last year’s PAX East with Nostalgix, it felt like a very light year for the true indies, with Alpha Clash really being the only one.
We’re rapidly approaching the end of the year, and what better time for a bit of cleaning? Specifically, cleaning out the backlog of all the games I played, didn’t write about, and now too much time has elapsed for me to give a fresh review. For each of these games, I’ll be giving my general impressions, and talking a little bit about why I didn’t actually get around to doing a full writeup. I’ll also go in semi-chronological order, so let’s get to it, starting with one of this years indie darlings:
Pizza Tower is a side scrolling platformer that I think is supposed to be in the vein of the old Warioland platformers. I say “I think” because I’ve never played one of those games. My lack of familiarity with the genre is what prevented me from doing a writeup of any sort.
See, I usually like to talk about games in the context of other games, their inspirations, and what they do better than their predecessors. But everything about Pizza Tower is incredibly alien to me. It has an art style that I think is supposed evoke Courage the Cowardly Dog. It has an extremely fast pace, and is very focused on speed and collectable items for points. It was a really difference experience from other games I’ve played.
And frankly, given that the game has an overwhelmingly positive rating with 44,000 reviews right now, I’m not sure I have much to add. I thought Pizza Tower was weird, but good. It also has my favorite game soundtrack of the year, because it just goes wayyyy harder than it has to.
I’m honestly surprised that I never got around to writing about Inkbound. It was one of my games to watch from February last year. And then I bought it, and played 40 hours, and never did a writeup.
Inkbound is a lot of things. It’s a roguelike. It has good multiplayer. It’s an isometric turn-based battler. And it’s really fun. So why didn’t I do a writeup?
Part of that is that I’m conflicted on how I feel about Inkbound’s structure. My internal conflict isn’t helped by the fact that the game itself is in a state a flux. If I’d written a full review earlier, I would probably have complained about the game’s microtransaction store, which has now been completely removed. I would have also probably praised the game’s dual movement/action resource system, where both moving around and performing attacks pulls from a single resource pool. That system has also been replaced.
I may do a writeup on the game in the future. I love the game for its mechanics, and I’m mildly frustrated by it for other reasons. But there’s been so much more added, and so many changes since I logged my 40 hours. At this point even if I sat down today and wrote something, it wouldn’t be indicative of the game’s current state.
Before I say anything about APICO, I think it’s worth noting that I paid approximately $9 for it and bunch of other games on an itch bundle, and not the $20 it currently costs.
APICO is another multiplayer game that I mostly played with friends, and as such, there were quite a few systems I never actually engaged with. It’s trying to be a comfy pixel world game where you breed bees, and gather honey. I think it’s supposed to feel small and cozy.
Since a picture is worth a thousand words, I’d like to respond to that design goal with the following screenshot:
Not pictured: my other friends running around desperately trying to keep our system functioning.
Instead of the comfy sim, APICO turned into something closer to Satisfactory. We attempted to hyper optimize production and throughput, which is why I had 12 interactable item windows open at once. As you might expect, it did end up feeling rather grindy.
I don’t really like or dislike APICO a huge amount. It was amusing to play with folks, but some of that was the chaotic dichotomy between the game’s cute pixel art, and our frenzied thrashing to keep our honey cola soft drink production up.
I probably would have gotten around to doing a writeup on PlateUp if I’d played more than 4 hours of it. It’s a multiplayer food production game in the vein of Overcooked. But it trades specific levels out for a roguelike set of upgrades and runs.
That said, I only played 4 hours of it because that’s how long it took for there to be a conflict between my friends, and then we never returned it to it. And I have no desire to play a game like PlateUp by myself.
End result? I dropped it much earlier than I would have otherwise, and I’m also now realizing it might have been a waste of $20. Oh well.
Dragon Castle was one of three games with “dragon” in the name that I played in a one week span, the other two being Tiger and Dragon, which I loved, and Dragonwood, which I hated. Being the awkward middle child of the trio, compounded with the fact that I only played it once, meant that I never really got around to talking about Dragon Castle.
It’s a perfectly functional sort of tile drafting/placement/set collection game. I enjoyed it. But I didn’t play it enough, and it didn’t leave a strong enough impression for me to really be like “Oh, I love this, I must speak about it more.”
But hey, you know what game did leave a strong impression? Aegean Sea. It was first game I’ve ever played where 3 turns in, everyone at the table decided that they would rather play something else, and unanimously sort of just rage quit.
Rage quitting a board game might not sound like much coming from me, the poster child for ADHD medication. That said, I was playing with a professional game designer with multiple published games, and someone who just tracks how many victory points everyone else at the table has in games like Feast for Odin. In their head.
Goodbye Aegean Sea. You will not be missed. (Which is weird because I like other Carl Chudyk designs)
I’ve described Farlight 84 as Wish.com Fortnite. It’s a battle royale shooter, and outside of the cool vehicles, it doesn’t have a single piece of personality.
If AI ever does get around to generating games, this is the sort of thing that it will make. A generic mobile shooter stuffed with microtransactions and lootboxes. Characters that feel like they were designed by combining a list of demographics and fetishes, and making sure there was something for everyone.
Farlight 84 is polished gravel. Functional, technically effective, and displaying all the heart of the Grinch at the start of the book.
So I’d like to admit something. I couldn’t stand Mario Bros Wonder. I don’t understand how this game was even in consideration for game of the year.
Here’s the thing: I’m usually not in the position of not liking a game everyone else loves. That’s not to say it doesn’t happen. The best example I can think of for this is Cult of the Lamb. And I think something similar happened here.
I found Wonder to be almost entirely spectacle at the cost of interesting mechanical innovations. And before you stab me, yes, I do mean the wonder flowers. The thing about the wonder flowers is that while what they do is new for Mario, it’s not new for games or even platformers. And I don’t even think Mario does it best. Mechanics like being chased by your shadow have been done in Celeste, and other 3D Mario games. Singing piranha plants are fun, but this demo level from Billie Bust Up feels like it executes the idea much better.
Anyway, I didn’t do a full writeup on Wonder because I think it suffers from the same problem as Cult of the Lamb. Because I play a lot of games, I’ve seen these perfectly fine mechanics done better elsewhere, even though they are executed here with in a very polished way.
But yeah, I felt robbed of $60 after playing this.
:strip_icc()/pic7034945.jpg)
