Short Subject Saturdays: KIDS (PC Review)

It’s been a long time since I did Short Subject Saturdays. I didn’t like the “finding the games” aspect of it. Ask people on Twitter for a game that can be finished in twenty minutes or less and you’ll get two responses: smug asshats who say “you can beat Super Mario 64 in that time!” or well-meaning asshats who say “it’s longer than twenty minutes but..” and then pitches a game that takes hours to complete. Besides, the page views for these games were not great.

This scene is based on everybody who pulls over to ask for directions in San Francisco.

But, fuck it, I need to do a review and I didn’t want to put in too much effort, and I forgot that one of my favorite shorties got a sequel/spinoff. From the creators of Plug & Play comes KIDS. As it was downloading, I was a lot more excited than I probably should have been, but I really liked Plug & Play. Sure, it’s only ranked (as of this writing) #192 of 300 IGC Leaderboard games, but hey, that’s pretty good for a game that’s barely over ten minutes. Well, KIDS is longer, taking fifteen to twenty minutes to complete, but that’s all it has going for it. Except the sound effects. Good sound effects this has.

You use the mouse to control everything, which works great for most scenes, but I found the clicking actions required to push people down these tubes to be slow, clunky, and dull.

The unforgettable, surreal visuals of Plug & Play are replaced here by a sea of humanity, but the concept is still the same. KIDS is comprised of a series of vignettes and functionally works as a puzzler that you have to figure out how to complete each scene, which are mostly dealing with how to make a crowd of people behave a certain way. But, these aren’t “puzzles” like in the brain bending sense. More of a “figure out the point” type of deal. Like, one scene might have everyone pointing, and the object is to get everyone to point in that direction too. Once you’ve done it, the scene moves on. Other scenes might have you getting an entire screen full of people to clap, or run into a hole, or avoid a hole, or have one line of running people merge with another line of running people. I don’t know what it says about me that I prefer having a human plugs interlock with each other, but the group thing didn’t do anything for me.

In the old days, a game with this many moving characters would have been mighty impressive, but it’s old hat by now.

The sound design is exemplary, but everything else about KIDS is just really dull. I kept waiting for the game to go Plug & Play levels of surreal insanity and it just never happens. The slapstick violence of the first barely shows up. This feels like a much more safe, subdued experimental type of animation concept. But, I just didn’t enjoy it. It repeats concepts a lot, with new twists to complete them, but never in a way that I was like “okay, that was cool.” Never once, in fact. I even came to cringe when especially boring sections like pushing people through what seemed to be a digestive tract kept popping up. So, in this case the KIDS aren’t all right.

KIDS is not IGC Approved

KIDS was developed by Mario von Rickenbach & Michael Frei
Point of Sale: Steam

$2.99 would still buy another game from these two in a heartbeat in the making of this review.

Dawn of the Monsters (Review)

No, just because I like Power Rangers and Super Sentai doesn’t mean I like Godzilla. I’m not a Kaiju person in general. I just never thought it was all that interesting. Get back to me when they have Godzilla fight five teenagers piloting humongous robotic animals that combine to form an even more humongous robotic warrior. As far as Kaiju games, I’ve never really played one I enjoyed. I had Destroy All Monsters Melee for Xbox and I honestly don’t think I touched it again after my first hour with it. So, I probably wouldn’t have even thought to pick-up Dawn of the Monsters for myself. But, WayForward sent it to me as something I could do while I recover from knee surgery, and I said “eh, why not.” I regretted the decision at first, but after a few levels, I was hooked.

No, this won’t make any sense in still screenshots. Watch the trailer.

Dawn of the Monsters doesn’t have any official Kaiju license, which I sort of feared had potential to steer the game a little too much into generic territory. Thankfully, a decent enough plot involving humanity’s last stand against behemoths held my attention well enough. The gameplay is where it’s at, though. A very unconventional 2D brawler, you choose one of four Notzillas, then lumber through ruined cities while chaining combos against a variety of other giant monsters. There’s no jumping, so you’re limited to blocks or parrying attacks that are usually signaled by enemies having a twinkle in their eye. But, a sinister twinkle, because.. you know.. evil.

The world building goes so far beyond what this genre asks or requires of games. You have to admire the borderline obsessive attention to detail.

It works, and if you’re better than me, you’ll probably be able to utilize the set-up more efficiently than I did. I’m not really that good at these things and my timing is getting progressively more out of whack. For those of you without a sense of timing or finesse, yes, you can also button-mash your way through things. This would actually probably be a good game to play with kiddies, who can handle enemies by drumming the controller as well as you can while you’re intricately chaining combos along. I always imagine beat-em-up developers would see me playing their game and throw up their hands in disgust. “Why not change things up, Cathy?” And, I would. Sometimes I’d use one of the two types of super moves. Rage attacks are done via filling up red bars under your health meter and can be used three different ways by each character. Plus, every character has a “Cataclysm” super duper move that does massive, screen-wide damage. I called this the FUCK YOU move. It always satisfied.

It’s not all just walking right and punching monsters. Sometimes you have to dodge environmental hazards. Here, it’s tidal waves. Sometimes it’s lightning strikes. Sometimes it’s columns of volcanic fire death. If enemies wander into them, they die too. I wish they did more with this stuff.

The big hook for Dawn of the Monsters is, upon completing every level, you’re giving a random choice of upgrades to select from based on how well you did. There’s three different types of upgrades (literally types I, II, and III) that give you special benefits PLUS boosts in offense, defense, and two boosts in two other random attributes. Once you’ve selected a boost, you can pay extra to re-roll the four stat-upgrades until you get a stat sheet you find suitable, and any old boosts can be sold for money. It’s a hook both makes the game more addictive and also causes the majority of issues it has. Levels consist of a series of “arenas” where enemies spawn until the game assigns you a score for that particular batch of enemies. Once the first enemy of each batch is defeated, you really need to keep the hits coming.

Most of the time, if you get an enemy’s health low enough, you’ll be prompted to perform an “execution” on them, which restores some of your health. One of the boosts I liked to use on especially difficult stages was one that doubles the health bonus you get for executions.

That’s because Dawn incentivizes combos above all else, and if you lose the combo between the first enemy in a batch and the last one, at least in the latest stage you’ve unlocked, you’ll almost certainly get a less than perfect score. Not always, but often enough that, if you’re playing a stage in dire need up upgrades, you might as well reset and start over if you score anything less than an S rating on any batch of enemies. Scoring all S ratings and never losing a life on a stage earns you an S+ rating for the entire level. When you earn an S+ on a level, of the four random upgrades you’ll get to choose from, three will be from the highest level up to that point, with a final one being a level below that. Also, once you’ve earned an S+ on a stage, you can replay the stage as poorly as possible. It won’t matter, because the upgrades will be the same: three from the top tier, and one from a tier below that.

This is the type of rage-inducing flaw that makes people hate these type of set-ups. Of the three top-upgrades I was randomly dealt here, two of them are the same exact one (the two turtles with the castle on their back). They really needed to rig the drawing so that this type of thing doesn’t happen. The running joke with me is I have bad luck when it comes to RNG elements, so your mileage may vary, but I had this happen many, many times playing this. Even worse: I would never use these specific upgrades. You can sell them, but you can’t purchase boosts. There’s only nine in-game upgrades that slowly unlock in the store, and I never had to really save-up for them. I finished the game with over six figures in unused currency.

Since the upgrades are totally random, and since *I* found the majority of upgrades useless, this will inevitably lead to players grinding stages they got an S+ on over and over and over until the game randomly spits out at least one desirably upgrade for each of the three types. The combo-meter causes one other problem: we’re dealing with slow-moving, giant fucking monsters here. Sometimes they just don’t walk onto the screen fast enough to actually keep the combo meter going. Through no fault of your gameplay, you could lose your combo and thus any potential for that highly desirable S+ rating. The combo meter is so central to high scores that I played the majority of levels using a giant crab monster that has the unique ability of spawning an NPC. The NPC’s hits keep the combos going, and it can cover one side of a screen while you cover the other. EVEN WITH THIS, sometimes the enemies would presumably get stuck behind the destructible buildings off-screen that you can’t see, at which point you can kiss your score goodbye. If this happens late in a stage you’ve been perfect in up to that point, call yourself a Phillip’s Head because you’ve just been screwed.

Mind you, at this point, I had bought EVERYTHING in the store, including every skin that only changes the shading of the four characters, and I was still bleeding money and left with tons of boosts I had no use for. They could eliminate grinding by letting players spend currency on specific boosts. Charge a ton for them! Who cares? You don’t want players to grind and risk boring them.

It’s so frustrating, especially since it’s such an obviously bad way to handle scoring. Do you know what the game didn’t seem to incentivize? Not doing the same moves over and over again. I found the best load outs were ones where the game dropped items randomly from smashing buildings (doing so helps fill your rage meter anyway) while also sucking life from your enemies. I beat the final boss with almost a full health bar because my vampire attributes were so high AND I had boosties equipped that helped fill the FUCK YOU move’s meter faster. But, I had to replay the first level of the final world (which I S+ed on my first attempt) around twenty times to get that load out through random chance. It would make a lot more sense if perfect gameplay was rewarded with one choice out of a bigger catalog. Hell, it’d sure make the game a lot more fun and less grindy. I needed over thirty hours to beat the game, a third of which was grinding old levels that I’d S+ed. It never got outright boring, since the combat is so cathartic, but it got dangerously close to it after a while.

The five bosses are fine. This one reminded me of Doomsday, and even does the Doomsday “grow extra bone spurs as the fight goes along” thing. Of course, the game ends with a boss rush before the final-final boss, which was NOT something that was a great idea after I had been left grinding for hours trying to get three acceptable boosts.

If that sounds like a deal breaker, it’s not. I had a blast with Dawn of the Monsters. Which is genuinely surprising to me, since I normally don’t like slower beat-em-ups. Here, the slowness is in service to the theme. You’re playing as characters who are bigger than buildings. If they moved like guys in rubber suits, the illusion that you’re a colossal beast fighting other giants would be broken, something they risked by using the starkly-broad cel-shaded look. But, the speed is Goldilocks levels of just right and it combines with the striking visuals to be one of the most OOMPHful, immersive brawlers of the 2020s so far. You don’t even have to like the source material. I don’t. But, for all its warts, Dawn of the Monsters just scratches that itch for a cathartic, violent old school brawler with new school upgrades. Maybe not quite GODzilla, but more like Really GOODzilla.

Dawn of the Monsters is Chick-Approved
Leaderboard Ranking: #28 of 300
Top 96 Percentile of All 630 IGC Indie Reviews
Top 91 Percentile of All 300 IGC-Approved Games
*Rankings based on time of publication. Check the Leaderboard for updated standings.

Dawn of the Monsters was developed by 13AM Games
Point of Sale: Nintendo Switch, Xbox, PlayStation, Steam

$29.99 made her monster grow in the making of this review.

A early review copy was provided by WayForward to Indie Gamer Chick. Upon release of the game, a copy was purchased by Cathy out of pocket. All indie games reviewed at Indie Gamer Chick are purchased. For more on this policy, read the FAQ.

Escape Simulator (Review)

Yep, another Escape Room review. Judging by my page views for Cape’s Escape Games and my first attempt at a non-video game review, Finders Seekers, y’all are about as interested in escape rooms as you are in a battery acid colonic. But, they’re my obsession, and it’s my pseudo-popular indie game review blog. And hey, I finally found a 3D Escape Room that didn’t leave me wanting to drink the Duracell colon cleanser runoff. Actually, I think a lot of my issues with the genre have been based around the Nintendo Switch, which is just not a suitable system for this genre. Well, that and just some really horrible, haphazard design and unstable game engines. Seriously, I can’t stress enough: I don’t recommend a single 3D escape room on consoles. Not one. The same games might be perfectly fine on a PC, but on consoles? Just picture me making gagging noises for the next few minutes.

On PC, the one that everyone has been asking about since I went on this escape room kick is Escape Simulator, claiming that it was the closest to the real thing. It certainly lived up to the hype. Escape Simulator contains a collection of small, self-contained escape rooms with real-life type of puzzles, along with the occasional brain bender that can only be done digitally (especially the space station-themed rooms). It works the way it should work: enter a room and immediately be overwhelmed by puzzles that make no sense. Search around, find the first clue that lets you solve one puzzle, which provides you with the information you need to solve the other, and the process repeats until you open the ultimate door. If you’re the type of person who doesn’t get bored with this formula, this is the game for you. If that’s not the case, what the fuck are you reading this review for? Fucking weirdo.

There’s a few different themes, including the Egyptian theme that all real escape rooms seem to be required by law to have at least one of.

So, let’s get to the meat of the review: the interface. You move with the arrow keys on a keyboard, then grab and examine things with a mouse. The hypothetical advantage of digital rooms is, unlike real ones, you can make a mess of the room if you wish. At least without having to calculate how much you have to tip the attendees. Of course, when you smash pots, they break into several pieces that don’t do the video game thing and fade into the ether. You have to pick them up and manually dispose of them. In fact, tons of things that have nothing to do with the solution (known as red herrings to the Escape Room community) are in every room. Helpfully, the stuff you actually need is marked as such when you examine them. If you think that’s too easy, you can disable it in the options. Escape Simulator is surprisingly flexible. I just wish I could dump items faster. When you collect garbage, you have to literally place it in a garbage can to dump it from the inventory. Or, you can drop it on the floor, if you’re a total slob. (clears throat)

Fifteen minutes? Yeah, right. Thank god you don’t game over when you run out of time.

As of this writing, there’s twenty-one official rooms (plus a tutorial), with the promise of more to come. The puzzles are stereotypical of the genre. If you’re a veteran of escape rooms, real or digital, you’ll recognize many of the tropes. For example, if there’s a map laid out like a telephone keypad, you’ll instinctively grasp the significance of it. If you don’t, there’s a no-shame hint system: a button you press that prints out tips. It’s handled better than any hint system I’ve ever seen. At first, it simply points you in the direction you need to go. If you’re further stuck, it’ll charge up (it doesn’t take that long) and you can press it again to give you a pointer of how to begin that part of the puzzle. If you’re further stuck, it’ll progressively keep going until it spells out the solution. I genuinely don’t think there’s any puzzle even novices will need to take it that far on. There’s no “moon logic” in Escape Simulator. But, it’s there if you need it.

One Escape Room trope that is leaned somewhat too heavily on is having the final piece of the puzzle given to players, just laying around, at the start. My advice is to glance at objects, note their “gimmick” and then tuck them away until a puzzle pops up with matching symbols/numbers.

There’s two big gimmicks to go along with the game. One is online co-op, which I admit, I have no interest in. I prefer to play with my family, in the room, screaming at each other and running down a list of cuss words you know that can be used in frustration (Mom is the clear leader with 163, though I think at least a dozen are ones she made up). The other hook is user-created rooms. For all the hype of this, I felt the top-rated user rooms were overly-convoluted. The elegant, logical official rooms pretty much understand what people looking for digital escape rooms seek. The user rooms felt like typical video game point and click adventures, and were SO boring. Some of them also over-clock PC resources. When I started reviewing PC games, I would always have a higher-end PC and a lower-end one. Because of the type of games I played, it rarely factored into my reviews. But, while the lower end PC could easily handle all 21 official rooms, the top-rated user-made rooms often froze the entire computer. It’d be like if gamers could create Mario Maker levels that only run PS5. Why would you ever allow that? But, even playing these on a PC so charged-up that it practically has to be submerged in liquid nitrogen to not melt through to the core of the Earth, those rooms were just overindulgent, slow, and lacked genuine escape room logic.

Another “extra-value” addition is every room has eight of these little tokens hidden in them. I don’t think they do anything, but I can’t say for sure. I never found all eight in any room. Some are just right in plain sight. Others are obviously not, since the most I got was six.

Stick with the official twenty-one rooms. It works out to $0.71 per room. Damn, that’s a hell of a value. Sure, the fifteen minute timer on the stages is overly optimistic, but you don’t need to actually finish the rooms within the time limit. Really, that timer is there for people who want to replay rooms over and over. None of the rooms should take you longer than a half-hour to finish. I love that. My family spent the last week knocking a few out at a time, slapping high-fives with every puzzle solved, without having to commit to a massive storyline. Compare this to the previous best of the 3D escape rooms: anything by mc2games. They don’t make BAD games, mind you. But, you’re committing to a long, drawn-out, slower storyline. We’ve now started two of their games (Between Time and Tested on Humans), gotten probably around halfway through them, and quit. Not because they were bad (but the puzzles do tend to become too smart), but because we just want to move on to something else. That’s the magic of Escape Simulator. It’s an escape from reality, not a commitment to another.

Escape Simulator is Chick Approved
IGC Leaderboard Ranking: #16 of 298
Top 97.5 Percentile of All 628 IGC Indie Reviews
Top 95 Percentile of All IGC-Approved Games
*Rankings based on time of publication. Check the Leaderboard for updated standings.

Escape Simulator was developed by Pine Studio
Point of Sale: Steam

$14.99 needed more goats in the making of this review.

Centipede: Recharged (Review)

I’ve never been the biggest Centipede fan, yet it’s the golden age arcade game that I’ve reviewed the most variants of. Granted, that was all in a single review, with one follow-up eight years later. I think I was counting on modern gaming to spruce up an iconic game that I never “got” for lack of a better term. Bad Caterpillar is still the standard bearer, but we have a new challenger: Atari themselves. They recruited indie developer Adam Nickerson to revive the Pede (and other games in their lineup). The result today is Centipede: Recharged, and it’s my favorite game in the franchise’s history. Which isn’t saying much, but it’s genuinely a quality game. One that both feels like it would fit in with other arcade games of the 80s, while also feeling so slow and deliberate enough that it’s decidedly modern, maybe too much so for fans of twitchy shooters. What a truly bizarre remake. It’s like how you hear John Tyler, who was President of the United States in 1841, has a living grandson today, in 2022. Not great-grandson. GRANDSON! His son’s son is alive, today, over 180 years after his grandfather became President. It’s just so weird, but not as weird as this game.

Geometrypede.

All the Atari Recharged games use vector-art style line-drawings. I’m not sure this was the best choice for Centipede, which stood out in the 80s largely on the strength of its uniquely pastel-colored playfield. It differentiated itself from a very crowded field, but the remake looks like any other Atari Recharged release. Plus, the game opens with this ghastly green/purple scheme that makes it look like it’s advertising tickets for the Charlotte Hornets. If any game called for something truly unique, it’s Centipede. I’d love to see it done like the Link’s Awakening remake, or claymation, or even some really bonkers-looking form of cel shading. All of the Atari Recharged games, with the exception of Missile Command, use the same basic engine, menus, and look alike. Consequently, none of them have their own identity. They all feel like they’d be better off in a collection instead of as individual releases.

Weirdly.. VERY weirdly.. the one game that can legally include the iconic Centipede DELLLEP DELLLEP DELLLEP sound effect doesn’t use it, or anything that sounds like a modern version of it. What a horrible oversight. Seriously, patch that shit in, Adam/Atari! It would be like a Mario game without the jump noise: it’s distracting when it’s NOT there!

As for the gameplay, this is a slower, more survival-focused Centipede. Like all the Recharged games, the main mode is an endless game where you only have one life, and as soon as you die, the game ends. Your mission is to go as long as you can, scoring as high as you can, to try and land a prestigious placement on the online leaderboards. In addition to an extra-wide playfield, you’re given a variety of power-ups dropped by the spiders that crawl in from the sides. They’re mostly fun to use, but you’re fully dependent on them due to how weaksauce your base gun is. It’s limited to having one bullet on-screen at a time. Centipede: Recharged picks up speed quite quickly, which thus renders the base gun slow and worthless. This is especially true when dealing with the mushrooms on screen. You can’t ignore them, since they’ll pile-up in the player’s area of the screen and block your path. Then the scorpions leave poison mushrooms that cause the centipedes to dive-bomb down into YOUR portion of the playfield. Eventually, you’ll just be overwhelmed. Most of my games ended when I simply ran out of room to maneuver. Frustrating as it is, it’s definitively arcadey, more-so than the other Recharged games.

Everything about Centipede: Recharged is just north of average. Like, an overgrown toenail above the line.

I prefer my arcaders a lot more white-knuckle than Centipede: Recharged is, but, it’s fine. It’ll get you an enjoyable hour or two, or more if don’t think the optional challenges are kind of lame as fuck, like I did. Really, what holds back Centipede: Recharged is, after an hour of playing it, you come to realize that your best games come down to getting lucky item drops. I mean, you still have to PLAY well once you get them, so it’s not an entirely luck-based game. But, if you keep getting the wrong items during a round that you’re playing well, you’re eventually going to be overwhelmed faster than you deserve. You’re limited by how fast you can clear out the scorpion’s toxic mushrooms, and that requires the right items. Luck also factors in with the enemies. If the scorpions leave the mushrooms directly behind a row of ten other mushrooms and you don’t get an item that can clear mushrooms quickly, well, you’re just plain fucked, yo. It really needs to juice-up the base gun to push this above just barely decent (but still decent, can’t stress that enough). This was never going to be a great game anyway, but with a faster gun, players would get peed-off a lot less.

Centipede: Recharged is Chick-Approved
IGC Leaderboard Ranking: #198 of 297*
Top 69 Percentile (nice) of All 627 IGC Indie Reviews
Top 33 Percentile of All IGC-Approved Games
Please Note: A positive review is a positive review. Being among the bottom tier of IGC-Approved games still means the game is IGC-Approved.

*Rankings based on time of publication. Check the Leaderboard for updated standings.

Centipede Recharged was developed by Adamvision Games (Published by Atari)
Point of Sale: Nintendo Switch, Xbox, PlayStation, Steam, Epic Store, Atari VCS

$6.69 (normally $9.99) peed herself in the making of this review.

YOU HEARTLESS BASTARDS: Bad Caterpillar

YOU HEARTLESS BASTARDS is a special award I present to good indie games that never found their audience. We all want an industry where the cream rises to the top, but in vast wilderness of indie gaming, sometimes quality titles never catch-on. You Heartless Bastards is a distinction no game wants, but sadly, many games will earn.

YOU HEARTLESS BASTARDS! You say you want indies to remake the classics, but when a really good one pops-up, you completely ignore it!

Now granted, Bad Caterpillar’s console lifecycle began and ended with XBLIG, and that’s on Kris Steele, the game’s developer. In the interest of full disclosure, Kris is my friend. In fact, he was one of those guys who endorsed my presence to the XNA development community. Xbox Live Indie Game developers weren’t used to critics who actually put their games through the wringer. Then I show up, my reviews are brutal, positive evaluations are rare, and I’m telling unfunny jokes the entire time. Hell, I’d of thought I might a troll, too. But, Kris was in the group that said “she’s exactly the kick in the butt this community has needed.” I’ll never forget that. Even when I gave his Volchaos a really negative review, he took it on the chin and has always been a great friend. He even made me proud when he landed a top 50 game that had a LOT of staying power: Hypership Still Out of Control. When we met, he was a relatively new father of a precious little girl. Today, that kid is in high school and serves as a constant reminder that, holy shit, I’ve been doing this a long time now. How long? I reviewed Bad Caterpillar eight years ago.

I’m not sure the exact font, but Bad Caterpillar uses the same font that many XNA-developed used. Despite being nostalgic for those old days, I sure don’t miss that ugly-ass font.

It’s not the same game it was eight-years-ago. In my original review, I noted that I wanted a lot less scoring bonuses and a lot more power-ups. Kris listened. He’s been updating it a lot over the last eight years, but the biggest update amped-up the weapon drops, added a few guns, and basically turned Bad Caterpillar into Centipede after smoking crystal meth. It’s an insanely fast-paced release that puts an emphasis on just having fun. It’s fun-infused, if you will. It’s not a glamorous, prestige type of game. It’s just Centipede, completely unhinged, that focuses on balls-to-the-wall shooting action. And I really liked it. This week, I’ll be posting a review of Atari’s recent indie-filtered Centipede remake, Centipede Recharged. They’re both pretty good, but Bad Caterpillar would be the one I’d rather play.

Hey look! There’s even shmup-type character selection, so players can tailor the game to their own play style! I preferred Kabuki, even though my high score was with Champ. There’s online leaderboards, but the boards don’t say which character the best players use. I’m kind of curious about that stuff.

Back in 2013, Kris’ take on the pastel-colored classic handily defeated all official versions of Centipede I tried out alongside it. But, in the case of choosing between Centipede Recharged and Bad Caterpillar, I can actually say “get both!” without being wishy-washy. The beauty is, they’re both completely different takes on Centipede. Yes, they’re based around power-ups and modern conventions, but the similarities end there. Centipede Recharged is a slower, deliberate game with an emphasis on survival (you only get one life). Bad Caterpillar is twitchy and quick and reactionary and designed to get your heart pumping right away. Well, I like my arcade gallery shooters to be quick and twitchy and reactionary. I’m not particularly a fan of Centipede, so that I like both games is pretty remarkable. I just like Caterpillar more. It’s just plain stupid fun. A huge improvement over the original formula.

MAD TIME is Bad Caterpillar’s ticking clock element. If you take too long defeating any level, the game unleashes the furies of hell upon you. Bugs launch from the sides and the Caterpillar will drop in and out of your shooting range. You really don’t want it to come to this. I only survived it once.

It’s not perfect. Bad Caterpillar takes longer for the odds against you to feel intense. It lacks that sense of being slowly overwhelmed that the truly great golden age games pull off (the only aspect Centipede Recharged easily bests Bad Caterpillar). Not all the guns are fun-fun, especially the homing gun that I found actually could hurt you more than help you if you get it too early in a level. But, those minor issues aside, the superior Centipede tribute still remains this little unsung 2013 XBLIG that’s now only $1.99 on Steam. Compare that to the $9.99 base price of Recharged. Neither game is going to have staying power in anyone’s game lineup, but I was surprised by how I couldn’t put Bad Caterpillar down. I hadn’t played it once in eight years. I figured I’d put in about an hour for this review, but instead, I almost put in two. You’ll get about the same amount of playtime out of Centipede Recharged, but you’re paying five-times the price. $2 for an hour or two of decent, if unmemorable, arcade action is fine with me. It certainly deserved to sell a lot more than it did, so you heartless bastards swooning over the Recharged series need to fire up your PCs and take a look. Bad Caterpillar is a lie. It’s actually a pretty good caterpillar.

Bad Caterpillar is Chick-Approved
IGC Leaderboard Ranking: #146 of 296*
Top 77 Percentile of All 626 IGC Reviews
Top 51 Percentile of All 296 IGC-Approved Indies
*Rankings based on time of publication. Check the Leaderboard for updated standings.

Bad Caterpillar was developed Fun Infused Games
Point of Sale: Steam

$1.99 said it looks more like a Bad Tardigrade in the making of this review.

Seriously, Kris, port this fucking thing to Switch already.

Praey for the Gods (Review)

Picture this: there’s a twenty-five-year-old stockbroker who has spent entire his lifetime watching sports. He’s never actually played sports, mind you. He just really likes them, and especially basketball. He throws on the critically acclaimed documentary series The Last Dance on Netflix and can’t put it down. He’s dazzled by the rise and fall of the 90s Chicago Bulls. This guy binge watches the series again and again. After his tenth viewing of it, the stockbroker announces to his stunned friends and family that he’s decided to become the next Michael Jordan. Although he’s never even picked-up a basketball, he’s decided that it’s his destiny to fill the gap left by Jordan.

An absurdity bordering on madness.

Praey for the Gods is like if that guy actually made it to the NBA. Sure, he didn’t even come close to being the next Jordan, but it’s nothing short of remarkable this.. this.. FUCKING LUNATIC.. made it as far as he did.

Taking this idea further, it would be like the stockbroker’s NBA game wasn’t even remotely close to Jordan’s, but he ultimately ended up a reliable role-player who would occasionally unleash in-game dunks that were more spectacular than any Jordan had in his career, and he had more nuanced ability to beat opponents off the dribble. What? That’s not what’s supposed to happen!

That probably doesn’t sound like the most flattering endorsement, but I did ultimately like Praey for the Gods. I’m not entirely sure it liked me, though. I’d heard of it when it had its Kickstarter campaign in 2016, but like so many ambitious indie projects that succeed there, it’d fallen off my radar. Then, as I was in the middle of a very public and well-publicized two-week-long Shadow of the Colossus marathon that even included a moment of sheer joy being retweeted by Fumito Ueda, I had dozens of people ask “have you seen Praey for the Gods?” Given that the marathon ended with me declaring Shadow of the Colossus the greatest video game ever made, Praey for the Gods was the logical choice for the next Indie Gamer Chick review. I’ve never seen any indie that did so many gameplay design choices that, at their base, seem perfect, but then the game works to chip away at its own perfection. The embodiment of the painter’s dilemma. How many brush strokes are one too many? I’ve never said “why would they do that?” with complete befuddlement more times playing any game in my twenty-five years of experience.

You don’t necessarily think of Shadow of the Colossus as “white knuckle” in the traditional sense, but it has its moments. Praey for the Gods is white-knuckle. The boss fights are definitively action-oriented and often feel straight out of alien invasion or super hero movies.

Praey for the Gods is so close to the look, feel, and aura of Shadow of the Colossus that it could have been picked-up by Sony and passed-off as an official continuation of the series. When it’s what you want it to be, it’s jaw-dropping in its scope and authenticity. Instead of some guy trying to bring the love of his life back from the dead, this time you’re the sole survivor of a clan.. possibility of all humanity.. who must restore life to a frozen wasteland straight-out of Game of Thrones. The endless winter isn’t the result of White Walkers (I said “are you fucking kidding me?” when they actually did show up, or something that looks a lot like them), but instead was caused by the manifestations of humanity’s sins: seven gigantic “Gods” that you battle as if they were the 17th – 23rd Colossi from Shadow of the Colossus. But, these are not majestic, primordial beings minding their own business who swat at you like an especially annoying housefly. They understand your agenda, and want you dead.

Remember the beams of light that rose from the final resting spots of the colossi you killed? Well, Praey for the Gods is the opposite: the next God you should slay is marked by a beam. But, while I tried to avoid these areas so I could do what the game asks of you (grind-up resources to upgrade armor, tools, and weapons), I’d just stumble upon the lairs of other bosses. I’ll never complain about Shadow of the Colossus being linear again.

The Gods are the highlight of the game. I had to often pause just to remind myself that, no, this is NOT really Shadow of the Colossus, because every fiber of my being said it was. The feel of scaling these behemoths is straight out of SOTC, and along with that comes the sensation of being hopelessly outmatched. The new twist is you’re not slaying them with an enchanted sword. Instead, thousands of years ago, humanity took their last stand against the Gods and managed to install their weaknesses: chimes attached to specific spots on their body. You must locate each boss’s bells and work them like sacred toilet plungers, scoring three full thrusts with them. When every bell is rang three times, you’ve won the battle. I was very skeptical of this twist, since stabbing the Colossi in the head with the sword was so viscerally violent that it often left my psychotic ass sitting in a puddle of my own self-generated vaginal lubrication.

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But, I actually like the bells better. In fact, I like a lot of Praey for the Gods better than Shadow of the Colossus. I like that, instead of wandering around the ruins of a long-lost civilization, the world of Praey is far removed from even that. The grandest structures are so old that they’re in complete ruins, while society itself seems to have been reduced a new era of cavemen. Like Shadow, you have to fill a lot of the gaps in with your head. This could have been a world where people never evolved past being hunter-gatherers, or it could be in the distant future. Unlike Shadow of the Colossus, Praey puts a much heavier emphasis on world-building. It sort of has to, when you think about it. You’re not breaking the laws of nature by bringing back a single dead woman. The WORLD is the damsel on the alter you’re trying to save. A world that reduced the last vestiges of humanity into creating cave paintings they hoped would someday guide someone, anyone, to be able to slay the banes of the planet. The developers had to assure players connected to the world, and to the long dead people who once inhabited it. By golly, they nailed it, because I wanted to learn as much as I could about it.

The world of Praey for the Gods has these giant, frozen people all over. What are they? Tributes to the Gods, or the island’s now-frozen former occupants? While you don’t exactly get the answers, there are some very subtle clues that, going off other reviews and comments, I don’t think a lot of people are picking-up on. Either the developers were too subtle, or I over-read it.

If these elements were incorporated into the game more like Shadow of the Colossus, I’d of liked Praey for the Gods a lot more. This is a world begging to be explored. It’s not empty. This time, the occasional enemy pops up. There’s puzzle rooms that earn you enhancements. Instead of hunting lizards, you collect idols, every third of which you find gives you the option to upgrade your health or stamina. And the ways you do it! This ain’t no horseback adventure. You get a glider that’s so fun to use that I found myself stupidly throwing myself off mountains into the vast unknown just because I knew the ride down would be exhilarating. You get a hookshot straight out of the 3D Legend of Zeldas that you can use to quickly scale some cliffs, or the Gods themselves. This is so inspired!

Sigh. Why couldn’t they have just left it at that?

I *love* the cave paintings. I got excited every time I found a new set of them. I don’t know what it is about cave paintings that stoke my imagination, but they are so incredible to look at in Praey that I always took a few minutes just to admire them. Love how authentic they look. I bet the guys who made this especially studied those found in South America, like Peru’s. They look the part. Now, whether you can actually understand the information in them is um.. questionable at best. I didn’t get the tip for beating the giant ground penis Colossi, shown here until after I’d already beaten it. “Oh, I see how this makes sense now.”

The problem is that Praey becomes an entirely different game, in an entirely different genre, when you’re not fighting bosses. Outside of the main event, Praey for the Gods becomes a rudimentary survival-against-nature game. A resource-gathering, item-crafting, busy-work slog. Despite the fact that I do my best to avoid these type of games, Praey’s take on it still almost, but never quite, won me over. You have to build and maintain tools, like axes, bows & arrows (including each individual arrow), cut down trees, hunt animals, cook their meat, upgrade everything, and juggle your limited (but expandable) carry capacity. This is hypothetically fine. But, even on the easiest setting, it’s fucking maddening how little use tools give you before they’re blinking red in your hand, meaning they’ve already worn out and lost their effectiveness. Thank God I wasn’t playing on a harder setting, where I guess they just plain break. But seriously, I’d fire a bow a few times and then it would break again. It’s the worst equipment degradation I’ve seen.

Your mileage will vary on how much you enjoy the treasure caves that are scattered throughout Praey, each of which contains puzzles that wouldn’t be out of place in the Legend of Zelda series. I really liked them. My Dad and sister, both of whom enjoy puzzle games just fine, were bored by them. Like some of the God battles, they can go too long and require a slow, convoluted process to solve. BUT, I found putting the required time into them always was worth it, as they pay off with huge rewards. Mostly armor upgrades, each of which technically eliminates your need to grind-up resources to upgrade your base armor.

And therein lies the biggest problem with Praey for the Gods. That all these incredible ideas are taken to overindulgent extremes, to the point that much of the game is just not fun. Hey, the crafting idea is great, and item degradation can work. For some people. I guess. I mean, the overwhelming majority of Breath of the Wild players bitch about it, many feeling it’s the turd in the punch bowl that keeps it from being the best Zelda ever. But it has fans too. It’s something to keep players occupied. But, like, show of hands: who wants to fire twenty or fewer arrows in Zelda and then have to use precious resources to repair your bow? Well, that’s Praey for the Gods. On easy, the weapons never completely break, and I got so sick of having to stop every ten minutes to fix things that I just quit fucking doing it. I spent a lot of time hunting with a busted bow, because I just couldn’t be bothered. If I knew I was about to tangle with a boss, maybe I’d fix it. But, maybe not. Same with the hookshot. “Why would they do it like this? Were they having fun with this?” It’s so absurd that I wondered if the developers were deliberately trolling players, because it’s so obviously NOT fun.

The camera goes especially loony when ringing the chimes. If the colossi is flying, you’re likely to lose track of which way is up and down. Pro tip: you can turn off shaky cam in the options. Do it!

Praey for the Gods was made by three guys with minimal experience, at least going off their Moby Games credits. It’s astonishing that the game is as good as it is. But, everything was in place for this to be the greatest indie game ever made. Not missing from the game.. THERE, already in the game, ready for to leave you dazzled. Sure, yea, it’s also lacking a lot of nitty-gritty polish. Of course it is. Polish is often the result of a lot of grunt work from an army of artists and coders. Well, didn’t have an army at their disposal. I get how the professional critics can’t look the other way, but I’m Indie Gamer Chick. The overwhelming majority of games I play could be kindly described as “rough.” If I can’t deal with a little jank, I’d not made it this far as a critic. But, there’s so much fillers and busy work that can reduce the most captivating moments into a tedious exercise in patience. “Did they really need four chimes on this boss? Wouldn’t two have worked? At least on the lower difficulties? I want to move on!”

It wasn’t until I started writing this review that I realized I didn’t feel a sense of my beloved digital vertigo all that much during my time with Praey for the Gods (around 30 hours, give or take, though that included a TON of fucking around on my part). No clue why that is. Unlike a lot of people, I didn’t mind the graphics all that much. If you’re expecting the game to look cutting edge, even on PS5, you’ll be disappointed. Actually, when I was about halfway through Praey, I realized that nobody will ever be nostalgic for PS3/Xbox 360-era graphics. It’s not a “style” that will be deliberately mimicked by indie developers of the 2040s and 50s.

So, why isn’t this an instant classic? Why is it average when it could have been legendary? Because the three guys who made this had nobody hovering over them, telling them “no.” That’s a valuable thing to have. Sure, they had years of early access feedback, but having read through literally months of Praey’s user reviews, most of it is just white noise. BUT, the overly-quick weapon/tool degradation came up a lot. Their solution to this was apparently the easy mode that prevents full breakage. I think?! Maybe it was there and people were just playing harder modes (easy IS the default setting today). So uh.. how about just making that whole thing optional? The core of Praey for the Gods doesn’t require it. It’s just an aspect that hurts the game for all but a very, very small niche of players. But, they were married to this idea, and it stayed in to serve no purpose but annoy and frustrate players and distract from the main selling point. Maybe it was done to pad the gameplay time? Uh, fellas.. look at all those 0.5 – 1.9 hour-of-playtime user reviews. Look at the achievement percentages. Most people who buy this, or any game, won’t even make it 20% into the quest. Stop catering to these asshats demanding long games, because they’re not really playing games as much as they say they are! Was all this padding worth it? I don’t know, but I can’t imagine that 4 out of 10 rating from IGN felt good. 

I hope that didn’t come across like punching down, because that wasn’t my intent. Honestly, as much as Praey frustrated me, if not straight-up enraged me, I really did enjoy my time with it more than I disliked it. A 4 out of 10, IGN? Really? And to think, people bitched at me for being bored with Hollow Knight.

Shit like that was the story again and again with Praey for the Gods. There’s hunting in Praey. As in, shooting delicious animals with your bow. Hey, sounds fun! I like to kill and eat adorable lifeforms. But, I spent TONS of time aimlessly wandering away from places I knew a boss was while attempting to hunt animals for resources, and I was stunned by how hard it is to find those animals. I do feel like a dummy for not realizing until I was near the end of the game that you can shoot the birds down to get the feathers you need to improve your glider, but once I figured it out, an hour passed before I saw another. My axe was constantly wearing out from chopping trees down, but since I got sick of repairing it, all this did was leave me having to swing the fucking thing more, or search around for the saplings that you can just crudely yank out of the ground. Look, I like resource gathering. I really, truly do. But if you’re doing it, you gotta go all in. There has to be shit you can use everywhere. A lot of the stuff you need in Praey is just too spaced-out. In fact, I made it pretty dang far without upgrading my armor at all. Trust me, I would have killed every fucking woodland creature I crossed paths with. *I DID* kill every woodland creature I crossed paths with, because of course I did! WHO WOULDN’T? Yet, I killed so few that I still had my starting armor on during my 3rd boss fight. The only upgrade I’d done was to my boots, because I though it might help make trudging through the snow faster (it didn’t).

Most caves have fire pits set up for you (complete with bear skin nearby for comfortable napping, which restores vitals), but you have to bring your own wood. Meat is basically useless unless you cook it, and other resources (like the mushrooms in the pic) can also be heated to make them more potent. If you’re playing on easy mode, which I was, I came to realize that basically everything but meat and stamina-restoring potions were worthless. Anything that “keeps you warm” is stuff you only need to focus on in harder difficulties. You actually can’t die from the cold, but the cold can set up the circumstances for you to die.

And then there’s the bosses, the titular Gods. If you’ve ever wondered what Shadow of the Colossus would be like if the bosses weren’t sequential, wonder no more. With the exception of the first God, you can take the other six in any order (though the player is guided to one specific one). I really would have played by the game’s recommended order, but to my surprise, I kept stumbling upon bosses. I could have left the arenas, but.. well.. fuck it! If I’m there, I might as well take care of business, especially since there is no quick travel means. You can get down a hill fast with the glider, but the hookshot (especially before you upgrade it) isn’t exactly a reliable means of scaling. There’s no Argo to get you from point A to point B, and the randomly generated weather can further slow you down. The only way to return quickly to the starting castle is to beat a boss.

Not long after I defeated the first God and had begun to explore the land, I was hunting boars and rabbits when a terrifying roar was heard. I looked in the direction the animals looked, and then I nearly shit my pants. A future God I would do battle with was just sorta hanging around, well outside its lair. Well, that was awesome. Like I said, top-notch world-building!

The first couple I fought were really fun. Just, seriously, at that point, for all intents and purposes, you’re playing Shadow of the Colossus 2. Not an indie game that feels like Shadow of the Colossus 2. The real thing. Well.. maybe a prototype of the real thing. But, seriously, this feels like the game fans of Shadow of the Colossus have dreamed of for sixteen years that they know is never coming. It’s here. It’s real. It’s everything you’ve wanted it to be. Frightening, intense, suspenseful, and beautiful. Like, the first God starts, and it’s just like SOTC, where you get that sense of “wait, we’re starting THIS stuff already? I’m not ready!” But, the game doesn’t care if you are. That’s the point! Game on! Then you spend the next fifteen minutes running around just trying to scratch-out enough distance so you can get a good look at the thing and figure out how you can get on it. There’s no sword to shine a beam of light on the weak spot. There’s no voice of Dormin giving you tips on what do, either. There’s cave painting that you may OR MAY NOT find that offer tips you may OR MAY NOT understand on how to defeat the Gods. The only indication you’re given that you’re on the right track is, when you get close enough, the bells will light-up (it really needed to happen sooner, sometimes I was practically on top of them before they signaled).

While they really did do an amazing job with the world building, I have to logically question whether you could actually do cave paintings in a place like this, where the wall is frozen solid. If there’s a half-inch of snow, you can’t see cracks on a sidewalk. Inside caves are one thing, but how did THESE paintings survive this particular area for thousands of years?

The first three bosses I dueled felt perfect. But, the later ones suffer from being too multi-faceted. Too many steps are required, each one requiring too much trial and error. The boss that is sequentially meant to be 7th, but of which I stumbled upon 5th, pretty much broke me. First, you have to systematically break apart its armor by firing cannon-like flower seeds at it. THEN you have to use the hookshot climb onto a thing that hangs around its neck that functions as a base-platform, and from there go for the bells on its limbs, some of which requires even more armor breaking. The thing is trashing and attacking you the entire time, and you have limited stamina. There are items that restore health, but that didn’t help me, given that I found this thing by accident, and if I leave the arena, I’m not entirely sure what supplies I can find in this area anyway. Every time I activated one bell, I had to pretty much let go, glide to the ground, and begin to summit the beast anew. ALL the bosses are exciting, at least to start. But a lot of them just wear out their welcome.

When you reach the lair of the 7th God, you’ll be introduced to these flowers that produce explosive seeds. When you use the seeds, it’s mechanically programmed like pulling back on a slingshot. Thankfully, a flight-trajectory is mapped out clearly for you, but the aiming is VERY sensitive. Oh, and the game goes into super-duper slow-mode when you grab the seeds to shoot them.

I died several times, and I never shook the suspicion that I probably shouldn’t have been this far along in the game to begin with. In my own play-through, I never made it to the fifth bell (or the fourth, for that matter). I had been playing on my PS4 while my Dad and Angela raced against me on the PS5. I abandoned ship and joined them. It turns out, I wasn’t even close to beating this boss. During my rematch with it, I was horrified to discover that the head-chime alone is a multi-tiered clusterfuck of hard-to-dodge attacks just moving up its arms and getting to an area inside its head that requires even more self-inflicted armor breaking. That entire sequence felt like it belonged to an entirely different boss. I lost track of the time with it, since my family was alternating turns upon dying, but if the all-in fighting that God wasn’t eight hours by itself, I’d be surprised.

END GAME SPOILER WARNING NEXT PARAGRAPH ONLY

At least this time they made the arrows actually factor into boss battles. Flaming arrows, no less!

Spoilers: there IS a last boss after that, of course, and the finale is visually spectacular. But, it has the same issue: it just goes too long, to the point that you want it to be over. It’s so sad, because they really did create some of the most visually marvelous beings in gaming history, and the fights all START fun. The problem is, they’re so drawn-out that, instead of feeling triumphant, you’re likely to feel a sense of relief that you finally get to do something else besides fight this thing more. Dang. That also applied to the ending. I didn’t feel a tearful sense of accomplishment, like I did with Shadow of the Colossus. I was happy to be done with Praey for the Gods. I enjoyed my time with it fine enough, but I was VERY ready to play something else.

I get that they were aiming for the opposite of the docile creatures who were fine being left alone until you came along that Shadow of the Colossus had. But, their choices to make button mashing be part of the equation really hurts the battles a lot. The bosses THRASH TOO MUCH for what the game asks of you. (CORRECTION: THE BUTTON MASHING CAN BE DISABLED IN THE OPTIONS MENU) By the way, I’m doing my best to avoid showing any MAJOR details of any bosses, so the pictures really aren’t capturing the pants-shitting horror of seeing these things for the first time. The character designs are horrific, and I mean that in the nicest way.

END OF SPOILERS

What they SHOULD have done was taken some of the concepts they had for these bosses, divided them up more, and had more boss fights! Shadow of the Colossus proved that you can get away with the occasional prolonged battle, but like the Anakin/Obi-Wan fight from Revenge of the Sith, battles here go so long that they become boring. There’s just too many steps along the way. Granted, some of those steps are actually even more thrilling than any one moment in Shadow of the Colossus. At one point, I launched into the sky off a man-cannon, glided across the battlefield, then bullet-time hook-shotted into the fin of one flying boss, my family screaming with glee and throwing high-fives the entire time. It felt straight out of a big budget Marvel Cinematic Universe movie. But, because of limitations of stamina and the fact that I was only attacking the first of several bells, I had to repeat that same sequence several times, sometimes more than once to successfully hit a single plunger three times. The Colossi from Praey for the Gods try to shake you off much more frequently than Shadow of the Colossus bosses and require button-mashing to retain your grip, and I have Parkinson’s disease. Button mashing is getting hard for me. The thrill of launching into the sky, paragliding, and grabbing onto the boss losses its luster quickly when you’ve been doing it for a few hours.

CORRECTION 1/19/22: Praey for the Gods does have an option to replace the button mashing with holding down a button. And, in fact, I somehow missed Praey for the Gods’ dev team sending me that while I was playing the game. For the sake of fairness, I replayed two boss battles with this option turned on, and yea, it works well. It was pretty low on the list of my Praey for the Gods annoyances, so I’m not going to change the ranking for Praey for the Gods. But, you can (and likely should) disable the button mashing.

Unlike Shadow of the Colossus, the world of Praey for the Gods is populated with non-boss enemies. The first time I encountered one of the banshees, I learned something about myself I never knew: I could hop six-inches off the couch just using the muscles in my ass. Enemy counters are relatively rare, but I was greatly annoyed when they showed up during one particular boss battle that was hard enough without having to deal with these things too.

Praey for the Gods is that rare game that’s less than the sum of its parts. Unlike Shadow of the Colossus, I was invested in the story. I like the cave paintings better than the abandoned temples. I loved the eerie, frozen giants that litter the island of the game. I love that there’s mini-bosses and optional Zelda-like puzzles scattered around in caves that provide huge rewards in the form of better armor and swords. I like this game world a ton. Yea, the engine is a bit rough, and the controls are not intuitive (hey, neither were Shadow’s!). Sometimes, the camera would swing around and I couldn’t tell which side was up and or down. It’s way too easy to lose track of spacial awareness in the heat of battle. There’s some random cheapness. I hate that bosses sometimes attack with invisible shock-waves. I hate that, if you’re red-lining on health, the chick will limp like she has broken her leg, no matter what the logical damage to her body is. Honestly, I wish this game just showed more restraint than it did.

There’s three optional mini-bosses scattered throughout the game. You’ll want to find and defeat them, since they drop at least one valuable upgrade and tons of resources. The sword I nicked from this one didn’t wear out, which was so huge. Each has a single chime on their back that requires the usual three-full-thrusts. Make sure you save your progress by ducking into the nearest cave before engaging them. I went from doing well fighting one to instantly dead

Here’s a true story for you: I used to tease Brian about getting him a Porsche 911 Turbo. His dream car. I’d say “I’ll buy you one, but it has to be hot-pink with purple polka dots. IT’S STILL A 911 TURBO! THE COLOR SHOULDN’T MATTER!” If he’d finally concede that point, I’d keep it going. “It has to be an automatic instead of a manual transmission. IT SHOULDN’T MATTER! STILL A PORSCHE 911 TURBO!” Eventually, I’d drop the engine power down, and Brian would say “this isn’t sounding much like my dream car anymore, Cathy!” Well, that’s Praey for the Gods. I’ve dreamed my entire adult life about a Shadow of the Colossus sequel. Here it is! Unofficial, yet distinctively authentic. Everything in place for it to be the game of my dreams. Then, getting to the Colossi is a survival slog, a genre I don’t like at all. But, it’s fine! There’s still Colossi to fight! Oh, and they can be taken in any order, and you could stumble upon them when you’re really not ready to fight. It’s still good! I took them down anyway! “Of course, you could be stuck fighting one boss, for hours.” I can? I mean, I did that.. like.. once in Shadow of the Colossus. “Oh, you’ll do that more than once here. Oh boy, you’ll be stuck on bosses for half-a-day.” Oh. “You’re going to love grinding resources to craft each individual arrow.” You know, this isn’t sounding like my dream game anymore, guys!

And it’s not.

It’s just a rough, problematic indie game. But, it’s decent enough. I’m just crushed because, at one point, about halfway through Praey for the Gods, I thought it had a legitimate chance of dethroning Dead Cells to become the new #1 game on the Indie Gamer Chick Leaderboard. Then it just slid so far downhill in the final half of the game, especially with the elongated boss fights, that it didn’t even crack the top 50. The final bosses came close to redeeming (and that finale, oh man, some INSANE moments). But, too much damage had already been done. Actually, do you know what Praey for the Gods reminds me of? A really amazing cover band that’s so talented, you’d listen to their album over the original. But, their album is full of the band’s originals songs that range from average to awful slop. It’s especially annoying because when they stick to the classics, they can belt them out like no other.

Praey for the Gods was developed by No Matter Studios
Point of Sale: PlayStation, Xbox, Steam

$29.99 thought the Gods must be crazy in the making of this review.

Praey for the Gods is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard

 

From Below (NES Indie Review)

From Below is Tetris set during a giant squid attack. Or maybe it’s an octopus. Either/or. It’s free-to-play (but you’ll need an NES emulator. I suggest MESEN), and it’s one of the most clever things to happen to the puzzler in years. Seriously, this is inspired. It’s just plain, run-of-the-mill Tetris (purists will be happy to hear you can’t hold a block here) with the twist being a tentacle will pop up and push existing blocks and debris onto the playfield. This one teeny, tiny mechanic adds so much to the experience that it makes Tetris feel fresh. Again. Jeez, has there ever been a game that’s been successfully revamped more times than Tetris? Just when you think you think you’ve seen it all, some developer smacks F5 on it and you find yourself playing Tetris for hours again.

The same blocks. The same goal. One little difference. A whole new experience.

Really, the only difference is the tentacles, which randomly take up a single row the same width as one block component. The tentacles can wreck your progress, but also, rarely, undo holes and mistakes. If you think of them as just another block that’s assigned randomly, in theory, a lucky tentacle draw can actually be used to fix a deeply-buried gap you left from a previous screw-up. If a line forms next to the tentacle, it retracts. Only one arm enters the playfield at a time. Again, it’s such a small inclusion, but that one thing adds layers of complexity and multidimensional strategy to the established formula. And it works so damn brilliantly that I’m stunned nobody thought of this until now. It’s just so damn smart that it makes me laugh. Like, DUH, why hasn’t the official Tetris done this yet? It’s great!

Looks great too! Maybe a touch too darkly shaded, but eh, I loved the look.

There’s two different modes for the cephalopod attack. The default setting is TIMED. Here, the tentacles are not in sync with block drops and will push up every ten seconds regardless of whether you’re in the middle of moving a block or not. You can consider this the “easy mode” as it’s the one that I often could just ignore the tentacles early on and get into a rhythm. I’m the type of Tetris player that needs a few minutes to warm-up anyway. However, late in the game, you might find yourself hosed as you attempt to move a block over, only to have the squid cut you off when its ten second waiting period is up. Once you enter the mindset of “it’s me versus the squid” the dynamic changes so radically that From Below is almost as thrilling as Tetris 99. That shouldn’t even be possible!

Honestly, my biggest problem with From Below is I can consistently get to 200 lines, but once I hit that mark, the game goes so fast and blocks lock in so instantly that I can’t defend anymore. 214 is my high, despite having over a dozen 200-line games.

Then, there’s the deadly FIXED mode. Here, every time you drop a block, the squid makes a move. This is the HARD mode for sure, and also one of the most thrilling versions of Tetris ever created. You won’t believe it at first, but rounds of From Below on FIXED can turn on a dime. One moment, you’re in complete control, and before you know it, you’re desperately trying to find some solution to cut off the squid before it’s too late. Outside of Tetris 99, a game of Tetris has never been more intense.

Like real Tetris, you’ll scream yourself hoarse with “COME ON! GIVE ME A LINE!”

Keeping it real, this would basically just be an added mode for any Tetris release today, in 2022. It’d be hard to market this as a full game, except to NES collectors. But, Matt Hughson has really done something very special here, and I think he deserves to hear it from at least one semi-big game critic. So, here it is: From Below is the best thing to happen to Tetris since Tetris 99. I’ve now played a bit of Tetris Effect, and actually, I like From Below more. I love how seamlessly and intuitively it works with the long-established mechanics and rules. There’s a lesson to be learned here for developers of all stripes: you don’t need to make big, sweeping changes to classic games to create something profound and incredible. One tiny change can have gargantuan results. You know, I always liked that word. “Gargantuan.” I so rarely have an opportunity to use it in a sentence.

From Below was developed by Matt Hughson
Free to Play on NES Emulators. DOWNLOAD HERE

From Below is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard

If you want to show your support to Matt for his achievement, you can buy his NES game Witch n’ Wiz for $9.99. A full review of that, and other NES indies, will be happening in February for #IGCvNES Homebrew Month. If you know of an incredible NES homebrew/indie that you think should be included, let me know on Twitter and I’ll at least play it a bit and hot-take it on Twitter.

Find Me (PS4/PC Review)

Even though the name violates the Google Rule (seriously, go Google as many variations of “Find Me” with modifiers like “PS4” or “REVIEW” and enjoy the map it will show you of where you’re at right now. Ugh!), Find Me was an awesome choice for me to start 2022. My goal this year is to be the Chick of old. The one who did almost 500 indie reviews in her first two years. Who was so brutal in examining indies, even the ones she liked, that developers would have to breathe into paper bags just by me announcing I had started playing their game. And the key to this revival is I’m going back to my roots. What the FUCK am I doing writing a four-part review for a game that sold six million copies? Why the FUCK is Indie Goddamned Gamer Chick playing sixteen-year-old Shadow of the Colossus.. FOR WEEKS.. and then doing some kind of masturbatory love-letter to it? What happened to the old Cathy? The one made jokes about lighting farts on fire while playing Xbox Avatar games she found next to the latest app that turns your Xbox controller into a vibrator?

Oh, excuse.. massage app. Sure, boss. Whatever gets you past the Evil Checklist. Wink.

“So many different ways to bludgeon a person!”

No, I’m going to mostly focus mostly on small, under-the-radar games that don’t have huge marketing campaigns. The type of stuff that feels like it would have been listed alongside those damn Avatar games and Controller-to-Dildo applications on XBLIG. Yea, that’s where *I* belong. I’m going to cuss and rant and rave and light my farts on fire. I’m throwing up both middle fingers. The Chick is back, bitches!

Oh my god, that was beautiful.

(WIPES TEARS)

Ahem.

Man, Kim Possible got really dark after I stopped watching.

Find Me will inevitably draw comparison to Limbo. That’s the fate of every game that has a shadow/silhouette, all-dark-except-the-large-soft-white-eyes protagonist. And no, it’s not an unfair comparison. If developers choose this art style, it invites that comparison. That’s just how this shit works, people. I’m so sick of hearing complaints of it from indie fans. I’ll take it a step further: I like that they look alike, because they don’t exactly play alike. Limbo’s platforming emphasis is on physics. Find Me relies more on precision. If Find Me gets an audience (and it’s not looking very likely, as it’s been out since early December but the majority of people who saw I was playing it had never heard of it) I’d have the perfect two games to explain that there IS a difference. Looking alike within the same genre isn’t playing alike.

For a seed planted at a game jam, Find Me has remarkably tight and responsive controls and some of the most intuitive jumping physics I’ve seen. That double jump? Perfect. One of the best I’ve ever seen, indie or otherwise. I’ve played games by seasoned pros who couldn’t get the movement, speed, and precision as fine-tuned as Find Me has. Sublime effort, everyone. The best thing I can say about Find Me is the controller will vanish in your hands. It’s a total non-issue, as it should be.

And it has a hell of a hook: light is lethal. Sometimes. My #1 issue with the game is a somewhat lack of consistency in that area. There’s four worlds broken into four “levels” each. In most of them, any light touching you starts to make your shadow sputter and vanish. This led to moments where you’re having to ride on top of an ambulance while avoiding lights from windows and neon signs, but the ambulance also has lights going towards the front of the cab that don’t hurt you. I only found that out when I over-jumped my target and was like “oh shit.. hey wait a second, why didn’t I bleed shadow?” Later, a level set at a space museum also has lights that don’t kill you, which made me heel-toe my way through that stage in a way that wasn’t particularly fun. It feels a bit like a GOTCHA, only instead of a death you can’t avoid, it’s not dying in a boring way that could have been avoided. So, is that a reverse-GOTCHA? An AHCTOG?

When light touches you, it’s not IMMEDIATELY lethal. You don’t have a visible health meter, but you become more transparent as you get closer to dying, and the shadow that you are sort of bellows out whiffs of.. uh.. shadow blood? I guess?

But, otherwise the concept of avoiding the light works really well, and the striking visual of how taking damage looks is memorable enough. You don’t have to really worry about dying in Find Me. You have unlimited lives, and this isn’t one of those games with a death counter that quantifies your ineptitude. Invisible checkpoints are generously scattered about, you respawn quickly if you die, and the challenge scales properly. It’s super-short. The entire game can be beaten in an hour or so. It’s a quick & dirty platformer with fun set pieces, rock-solid controls (seriously, can’t stress enough how great the jumping physics are), and a really nice “run away” conclusion where you have avoid being caught by a giant monster that’s also allergic to light. Except all the times it’s not allergic to light. You know, I could swear I just went over this with the protagonist. So Find Me is consistent in its inconsistency. Ugh.

I don’t know who this chick is, but she’s into video games, loves animals, and is deeply interested in NASA. Hell, give her a Mom who says “fuck” three times on average per sentence and it could have been my life story in game form.

The finale would be the highlight of the game, but after beating it with no issue on my first attempt, I wanted to watch Find Me’s ending again. On the second play-through, the monster somehow missed a lot of the light, even though I was flipping every switch. By time I reached the finish line, the monster had the smallest fraction of health left, but not enough to kill it. So I died and reset to the previous checkpoint, which reset the monster’s health to where it had been at that point, and spent the next fifteen minutes trying to manipulate it into enough light to finish it off, but I always came-up just short and was forced to restart the whole stage. It was at that point I noticed that the physics for the monster aren’t consistent. For example, at one point, a cable made of lights will break and swing down at it, which will cause damage to the monster most of the time. But, once or twice, the cable just passed right through it, which is probably what happened to me the second play-through. Or, any number of other random-chance elements, like where a checkpoint is, which if you die in that specific spot, you don’t go back far enough to turn on a switch that activates light that causes more damage. The developers might want to go back and fine tune this a bit, because it needs work.

One thing they got right that Limbo didn’t: they saved their super-memorable chase for the ending. Maybe Limbo opening with the giant spider sequence made it a game everyone knows, but that whole segment would have worked so much better as a climax. The team behind Find Me wisely ended their game with the closest thing their adventure had to that moment. It assures everyone who finishes it will keep talking about it. Though maybe not for the right reasons, at least until they fix it.

Mind you, none of that is a deal breaker, and again, I beat it the first time without incident. In fact, I only needed roughly an hour to not only see the end credits, but get 100% of the trophies (1 Silver, 11 Golds and 1 Platinum? Yea, those trophies ain’t what they used to be, are they?). There’s sixteen hidden story elements, one per a stage, hidden in the game. Well, “hidden” being relative, as a lot of them are just RIGHT THERE along the path you’re taking. But otherwise, there’s a lot of pretty decent platforming tropes, some decent rudimentary jumping-and-hitting-switches type of puzzles, all in a fun setting. I was never bored at any point playing Find Me. It’s not a bad little platformer at all.

The white shining thing in the center there is one of the story beats, and if there’s such a thing as an object to Find Me besides just going from point A to point B, it’s finding all 16 of them. It won’t be hard, trust me.

“Sounds great? So, what’s it about?”

Well, I thought it was about drug addiction. That was my read. I’ll go ahead and spoil it, since HOLY SHIT, do I have egg on my face. I had been distracted during the opening cinematic, so I didn’t see what was actually happening. But, the person you’re trying to find is you. You’re a girl and the game is living moments of your past. Well, actually it’s just generic (but fun) platforming stuff, but the collectables reveal moments of your childhood. Adopting your first pet. Getting into video games, which leads into making a game. Going to space camp. But at one point, you see the girl in the memories being loaded into an ambulance to frame that level of the game. I didn’t see how the game started, so I was like “okay, she overdosed, and Find Me is about finding the happy, enthusiastic person she was who had all the potential in the world before getting hooked on drugs. Then, the big demon at the end is her symbolically showing resolve to get better.” This really landed with me, as that was who I was before becoming hooked on opiates in my teens (four years sober now!). The game-loving, space-enthused girl in this game could have very well been me.

Nope, I missed the part where she got hit by a car because she couldn’t pull her head up from her video game.

Whoops.

What kind of a cretin stands on top of a pinball machine? THAT’S NOT A PLATFORM! IT’S A WORK OF ART! IT’S QUINTESSENTIALLY AMERICANA! God, I hope you get hit by a car or something!

Okay, so that’s slightly less thought provoking, but thankfully I checked before writing the review, because I had gone very, very deep into how much this resonated with me, and now I’m so fucking embarrassed. Golly. My New Year’s Resolution: PAY ATTENTION, CATHY! But seriously, if you want to kill an hour with some old fashioned platforming, nothing unconventional, a dozen easy trophies for your collection, you could do a lot worse than Find Me. Short and sweet, to the point, professionally done proof-of-concept from a group of girls who have a bright future in game design if they want it. Oh and with levels by the guy who made Serious Sam Double D XXL. The jokes write themselves.

Find Me was developed by (deep breath) Girls Make Games, Team Invenio, and Mommy’s Best Games
Point of Sale: PlayStation Network, Steam

$4.99 walked into the light in the making of this review.

Find Me is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard

IN THE INTEREST OF FULL DISCLOSURE: I’m friends with Mommy’s Best Games owner Nathan Fouts. We don’t talk regularly or anything, but I’ve known and been friends with him for ten years now. I honestly, truly had no idea he was involved in this at all until I saw the Mommy’s Best Games logo during the end credits. But you deserve to know who I’m friends with if I review their games, so I needed to disclose that.

Cuphead: The Definitive Review – Part Three

Welcome back to the fourth annual Indie Gamer Chick Cuphead Review. Thankfully, the worst is mostly over. There’s three bosses in Cuphead I consider to be actively “bad” and you’ve already fought two of them. Upon finishing the second world, you still have nine bosses (one of whom is actually ten separate mini-bosses) and two really good Run & Gun stages. Of what remains, I only consider one lone boss to be actively bad, and another to be one that starts well enough but ends with a colossal “meh” that sours the whole experience. The rest is pretty fun. So actually, the really good stuff in Cuphead starts in..

Inkwell Isle III

RUN & GUN #5: Perilous Piers
STATED INSPIRATION: Small Fry (1939), Educated Fish (1937)
IGC LIKES: Very imaginative take on the seaside trope.
IGC DISLIKES: Extreme difficulty.

For my money, the toughest of Cuphead’s traditional levels. When I look back on my time with it, or watch clips of myself beating it, I think to myself “how did I ever struggle so much with Perilous Piers?” But, when I went back to get extra media for this review, the stage absolutely laid waste to me. Again. Without exaggeration, I lost more lives playing this level than all other levels in Cuphead combined. This is one tough stage.

Through most of the level, flying fish randomly pass across the screen, some of which can be parried. This is one of those stages where Seeker is SO helpful. On the other hand, the little barnacles that spit out spiky balls remind me of the stumps from Treetop Trouble: too spongy, even if you’re using more powerful weapons. They’re not even that difficult to dodge, so it’s just needless busy work. If they’re spongy so that you can’t just sit back and ping them to death without having to deal with the spikes, it begs the question “why even make them destructible at all?” It makes more sense to have them be fixtures that you have to time to avoid.

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One of the most memorable set-pieces from Cuphead’s traditional levels are the giant crabs that you hop across. Remarkable that a game based almost entirely around boss fights managed to avoid the trope of fighting a giant crab. These indestructible decapods are the closest you get to that. What I really love about the crabs is this is one of the set pieces they absolutely nailed the pacing on. This segment doesn’t go on forever and it’s probably simplest and easiest part of the whole stage. Hop-on, admire the visuals, switch crabs a couple times, grab the coin, and move on. Quick and fun, just the way I likes it!

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This is where Perilous Piers gets teeth. You have to work your way across a series of platforms and hanging crates, often by parrying off buoys (some of which are so far away you have to mid-air dash at them) while avoiding a giant lobster that claps lightning at you. Why lightning? Wouldn’t just splashing water at you make more sense? The section and the next are what destroyed me during my run. I easily lost more lives here than I did against more than half the bosses. It looks so unassuming, and when I recapped what it consists of, it seems like this shouldn’t have kicked my ass to the degree it did. But, trust me, this is about as brutal as Cuphead gets. BUT, it never gets boring, even in failure. Nicely done, MDHR.

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Finally, you hop across a series of tentacles holding up platforms, then ride a giant octopus to the finish line. If only it were as simple as that sentence. The octopus has a gem attached to its head, and there’s a series of rocks in the way of your path to the goal. You have to parry the gem to get the octopus to blow up the rocks, and all the while, shrimp are being launched at you (some of which can be parried) and an oyster is shooting bubbles at you from behind. Again, it doesn’t sound too bad, but it’s so much to keep up with. You can’t just continuously parry the gem, as it only activates when nearby a rock. You’re auto-scrolling right this entire time, with projectiles coming from both sides, while trying to keep the Octopus from crashing and sinking. A fitting conclusion to a level I think I lost more lives to than any other video game level. I liked Inkwell 2’s R&G stages more, but this wasn’t bad at all.

RUN & GUN #6: Rugged Ridge
STATED INSPIRATION: Aztec Adventure, Contra III: The Alien Wars, Castlevania (Franchise), Giantland (1933), Popeye the Sailor Meets Sindbad the Sailor (1936)
IGC LIKES: The most visually striking of the six traditional levels.
IGC DISLIKES: Heavy reliance on trial-and-error “one more step per life” gameplay.

During this last session, I realized I never played Rugged Ridge in any of my three previous times picking up Cuphead. I have no idea how I missed it the first few times around, since I very much preferred the Run & Gun stages to the bosses (and, in many ways, still do). But, having now played through it twice, it turns out I was missing out on the weakest of the six traditional stages. Though, weak for Cuphead is still pretty good.

I feel Rugged Ridge is too much of a “trial and error” stage. Die, make it past the thing that killed you, die. Rinse. Repeat. You start by battling mountain goats that throw boomerang-like pickaxes at you, all while standing on giant scales. I never found out if the scales can kill you if you stand on them too long. Let me check..

(Public domain music plays).

Nope. The scales apparently only exist to throw you off balance while you battle these goats. Well, that explains it, since I certainly would have been killed by them if they were lethal. I mean, everything else killed me. I got my revenge though: I broke this level somehow.

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There’s a couple of these mountain lions.. in this case, lions made out of pieces of mountain.. that blow you backwards and take forever to destroy. One of them is positioned next to a pit, the other placed in a courtyard designed to push you backwards into fast-spawning Satyrs. I’ve never been a fan of “wind” in games (it was my one major knock on Gris, so much so that my entire intro in that review is dedicated to how much I hate it). This is the nit-pickiest complaint in this entire feature, but I hated these mountain lions. They’re not particularly challenging, soak up bullets, and can feel free to blow me in a way besides the way they actually do.

Speaking of coins, I kind of like that once the coins are gotten, they’re gotten. If you missed any, they’ll be the only ones left when you replay it. There’s forty total coins. Thirty are in stages, one you get in the game’s tutorial, four are hidden throughout Cuphead’s overworld and five are given to you by NPCs. My only complaint is I wish there was more emphasis on hidden coins. There’s not a whole lot of excuses to explore the overworld.

In an apparent effort to squeeze every possible gaming trope into Cuphead, there’s an elevator where you fight an ever-spawning army of mud monsters and little baby dragons that The Art of Cuphead suggests have a tie to Grim Matchstick. Well, yea, I could tell. These are your only chances at a parry in the stage. Every other bullet they fire is parriable, but it requires you to not shoot the dragons. If you do, you’ll miss out on your three required parries. What is it with Studio MDHR and limited parry chances involving dragons? Is this some kind of in-joke? Also, I had the biggest bitch of a time grabbing the coin that was along this path, and when I finally got it, I felt like an idiot because it’s actually absurdly easy. This whole section is fine. Difficult, but not too difficult.

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If you have the spread gun equipped, you can cheese the next section. Walls pop up (they’re apparently another homage to Contra III), but walking next to them and blasting them at point-blank range will kill them before they have a chance to shoot at you. You’ll want to do this, because the little drops of oil they spit out are hard to dodge. In addition to these and the other mountain lion, these Satyrs shoot up out of the ground, then dash off to the left or right. If it’s the left, chances are you’re already in front of them and they pose no threat. But, they’re easily dispatched even if they head in your direction. It’s almost like they gave you a free pass for this section. I remember thinking “huh, that’s ominous.”

Oh shit.

Allegedly, the earring tips off some relation to Brineybeard. Cousins, perhaps?

In direct tribute to the Mecha Dragon from the first part of Wily’s Castle in Mega Man 2, you now race a cyclops to the finish line of Rugged Ridge. You have to make harrowing jumps across narrow platforms (some of which are orbited by indestructible flames) while avoiding contact with the one-eyed beast. The platforms are placed for maximum challenge, and the flames are placed in exactly the way you’d expect the world’s biggest dickhead to place them. I’d be very impressed if someone aced the Cyclops chase on their first attempt. God, I wish this was a boss, but in fact, this is the lone “mini-boss” in Cuphead you don’t kill. It’s simply a chase, and when you cross the finish line, you’ve finished the last of Cuphead’s platforming stages. Well, assuming you do this one last, which is a big assumption since, if you play the stages in the order you pass them on the map, this unlocks before Perilous Piers. Eh, play this last and end the Cuphead’s Run & Gun experience on the perfect note for the stages: exciting, memorable, and wishing the mini-bosses were full bosses.

BOSS #11: Rumor Honeybottoms in “Honeycomb Herald”
STATED INSPIRATION: Honey Woman (the unused Mega Man 9 boss that became Hornet Man), Darkstalkers, Ants in the Pants (1940), Mr. Bug Goes to Town (1941), Cobweb Hotel (1936)
IGC LIKES: That I never have to play this boss ever again now.
IGC DISLIKES: Every aspect of this part of the game. It’s the worst boss in Cuphead.

This is it. The boss I needed the most lives to defeat. One that took me five hours to beat during this session of Cuphead. What’s insane is, after beating Rumor Honeybottoms and only scoring a B+, I had to continue to fight it to reach my “A- minimum” goal on every boss.. and immediately won a second fight. Only, I got a B+ again. I lost the next attempt, but finally got past it with my desired A-. In theory, that means I “got good” at Rumor, since I won 3 out of 4 matches. In my authority as someone who can say they’ve won four times against her on Regular mode: Rumor Honeybottoms is the most boring boss in the entire game, and the most unfair.

PHASE ONE – SECURITY BEE:  The Rumor Honeybottoms fight presumably takes place immediately following the Grim Matchstick fight. That was a horizontal auto-scrolling battle. This one is a vertical auto-scroller, but with the same basic set of problems. The randomized platforms can absolutely screw you. In theory, they should keep you thinking on your feet. In reality: this is pretty much the most cramped battle in the entire game, which would make this difficult enough if it weren’t scrolling. But, the battle starts harmlessly enough. The idea of the security bee goes with the “bees as booming 9 to 5 business culture” that falls totally flat as this is one fight so busy you can’t take in the background. You have to focus on the platforms, since huge gaps in them will often appear, and all over. The gaps can even be in the dead center. Security Bee throws bombs that explode into six spikes. Half the spikes can be parried, but you have very limited space to do so. Worker bees also float by with suitcases, but they’re easily dispatched. This isn’t the worst part of the worst fight, so enjoy it while it lasts.

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PHASE TWO – A WHOLE LOT OF BEE S: Phase two has the queen attack you three different cycles. Which attack goes first is random, but the attacks will always follow the cycle’s order from there.

  • MISSILES: Rumor appears in the center of the screen and her head falls to the bottom, like a wrecking ball. She then spits missiles at you that zoom around half the screen in an S or Z pattern. It’s the hardest to clock and the attack that the randomized platforms can.. and will.. absolutely screw you the most on. I hated this attack. I hate this boss.

The randomized platforms can leave some downright absurd patterns. Look at how few are on Cuphead’s side of the screen in this shot. A massive gap between the player and the next platform above them, plus missing platforms on the side. It takes away the glory of finally winning when victory often comes down to getting favorable RNG lottery odds.

  • SPHERE: Rumor conjures a pair of pink energy balls that can be parried off of. This is the easiest of the three to avoid and a quick way to charge your cards.
  • TRIANGLE: Rumor will create triangles that always spawn right on top of where you’re standing and force you to move right away, or else suffer damage. The triangles then spit parriable bullets. Again, sounds great, until you realize this is the most difficult layout for parries in the entire game. Sometimes you’ll go to score one only to instead land on a platform and take damage. Plus, since rumor is taking up space, your ability to dodge out of the triangles is limited, especially if the Honeycomb Lottery from Hell decides to not spawn platforms to jump to. What a miserable stage.

Not exactly the most tightly designed boss in any form or fashion. When given a favorable order of attack cycles, speed runners can easily knock out Rumor before she can even transition to the final phase. Although exceptionally skilled players can phase-jump multiple bosses in Cuphead, Rumor is the only character that many novice players have, by total luck, managed to score a victory before the final phase starts. Hell, even *I’ve* had moments where I died during the second phase and my jaw dropped as I see I’m actually, technically, well over halfway through the final phase before she even turns into the airplane. Yikes!

Every aspect of the actual battle with Rumor is made completely unfun and tedious by the randomized platforms. You can’t really form a strategy, since it’s practically inevitable the floors will suddenly stop spawning near you. It’s like the match with Grim Matchstick on steroids. There’s nothing entertaining about it. Since this is the last major instance of auto-scrolling, I’m going to say that I hope they avoid this in the DLC. I’m certain Studio MDHR had the best of intentions with this setup, but it doesn’t work. It’s not the fun kind of difficult. It’s just frustration with no redeeming value. You don’t feel joy when you beat Matchstick or Rumor. You feel relief. Oddly, the majority of Cuphead never feels like a traditional punisher. This isn’t Super Meat Boy. This isn’t 1001 Spikes. It’s not Celeste. This might be the most notable accomplishment of Cuphead that nobody talks about: it defies the sub-genre it technically belongs to. Cuphead is a punisher that never feels like a punisher. EXCEPT for the Matchstick and Rumor fights. Those are punishers, and not the fun ones. All pain and no pleasure, like one of those days where your dominatrix’s heart isn’t into it. Not that I would know anything about that…………WHAT?

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PHASE THREE – GET IT? SHE’S A B-52 NOW! IT’S FUNNY BECAUSE SHE’S A BEE!: What should be an epic final form still doesn’t land at all because the fight still sucks. And that’s not even getting into how inelegant this battle is. Rumor’s bullshit sawblade attack is one of the biggest GOTCHA!s in the game, since there is absolutely NO WAY to see it coming the first time around. Or, several times after, really. It’s not set-up with a proper telegraph (and there’s NO point in doing this kind of game without a telegraph), too fast, and it covers over half the screen. It’s just a dick move, the shitty icing on the most disgusting cake in all of Cuphead. And this is all in addition to the still randomized platforms. I died just as much falling to the bottom of the screen as I did from the saw. The one shining light is this phase should go quickly, as you can ping a lot of damage off phase three while you’re still in phase two. Congrats, you’ve made it past the worst boss in a good game I’ve ever played. This was the absolute rancid shits. The worst they could have done. Ugh, horrible!

FOOD FOR THOUGHT: Rumor Honeybottoms is the one boss in Cuphead where I think the difficulty is ALWAYS of the “this is just frustrating” type. Even Grim Matchstick, as terrible as he is, has the parade phase, which is unlike any phase in any boss I’ve played, and totally in service to the character. Rumor is interesting and ALWAYS frustrating. That’s not a good thing, because that’s the type of difficulty that gets boring the fastest. In gaming, ideally you want to challenge players in a way where they think they’re getting closer, and where the body count isn’t the point, but rather surviving the stuff that keeps killing you. With Rumor, it feels like the body count is the point. Where every aspect of the challenge was designed by the world’s biggest dickhead. You never think “ugh, just one more time” with Rumor. You think “OH CHRIST I HAVE TO KEEP GOING AND I WANT IT TO BE OVER!” But, the good news, dear reader: this is it. She’s the last of the “bad” parts of Cuphead. Even the most annoying of the bosses still to come don’t override the fun factor.. well, except the ending to Dr. Kahl’s Robot.

BOSS #12: Captain Brineybeard in “Shootin ‘n Lootin”
STATED INSPIRATION: Bluto, Felix the Cat in “The Goose Who Laid the Golden Egg” (1936), King Neptune (1932)
IGC LIKES: Squint and you’ll swear you’re playing a Popeye game and not.. uh.. THAT Popeye game.
IGC DISLIKES: This really should have been a world two boss at the very least, or even the final boss of Inkwell Isle I.

Another iconic fight, and in my opinion, one that should have been in world two. I don’t know how they came up with the order for Cuphead’s bosses, but it’s all wrong. Like, hugely, historically wrong. The story I hear constantly (literally just heard it again as I’m typing this) is players hitting a wall in world two and throwing in the towel. If Studio MDHR had moved Baroness Von Bon Bon and Grim Matchstick to late in world three, while moving Brineybeard and Werner Werman to much sooner, I think a lot more players would have stuck it out to the end of Cuphead. Few owners of this game have actually beat it.

In fact, I’ll take it a step further: Brineybeard’s placement is significantly out of whack. He should have been the final boss of world one. It’s inevitable that a game based entirely around bosses would have a few scaling issues, but the degree of which Studio MDHR bungled it is stunning. “But if a boss made them quit, doesn’t it stand to reason they’d of quit at that boss no matter what world it was in?” NO! That’s just wrong. You expect any game to get harder as you go along, and people are a lot more likely to press on through difficulty if the end of the game is in sight. But, fighting extremely difficult bosses before the mid-point of the game is demoralizing and makes you fear how bad things will get. Yes, there’s going to be players who freak into acing difficult fights (my sister beat Djimmi on her very first try, and I beat King Dice the first time I ever reached him when I first beat Cuphead in 2019 DESPITE horribly shitting the bed in the battle), but on the whole, most players seem to agree that Brineybeard is too easy.

PHASE ONE – KILL HIM MR. TAKO!: What makes the battle with the pirate stereotype interesting is you have to shoot up at him. There’s no elevated platforms, so you’re forced to either hold down your aim-lock and fire diagonally, or jump A LOT, which is probably what makes this battle feel longer than it actually is. Briney will start every fight by firing bullets out of his octopus. Some of these are parriable, and in fact, there’s no boss that you can charge up your special attack faster on. Of course, you have to watch out for the ever-present barrel during this match, which crashes down on you whenever you pass under it. The barrel sticks around for the duration of the entire fight. The octopus gun stops when you reach the final phase. This is the only non-shmup fight where I could fire off three fully-charged super weapons over the course of the battle, mostly owing to these bullets. Even on expert mode, I could do it.

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PHASE TWO AND THREE- UNLEASH THE KRAKEN.. AND SEADOGS.. AND THE SHARK: After pinging enough damage off Brineybeard, he’ll start to summon various sea creatures to lend whatever qualifies as their hands. The seadogs jump onto the right side of the dock and quickly scuttle to the left, but can be killed easily with a few bullets (apparently their collars are a tribute to the Sega Master System title My Hero). The giant squid pops up in the center of the screen and inks the camera so you can’t see what’s going on, but he’s also easily dispatched with bullets. Finally a shark will dive onto the dock from the left side of the screen, but you get ample warning it’s coming. This phase goes on for quite a while, and seeing multiple of the same attack isn’t rare. After a little bit, a third phase will start which adds the boat spitting out cannonballs across dock. In Simple Mode, this IS the first phase, before Brineybeard starts shooting you with the octopus. It’s weird how different the simple and regular phases can be handled. Just wait until the next boss. I’m extremely impressed by the balance in the random difficulty. This might be the most evenly balanced any set of randomized attacks are in the entire game.

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PHASE FOUR- BOATY McBOATFACE: Eventually, the boat will have all it can stands and it can stands no more. It pops up (if you watch closely, you can see Brineybeard go flying into the water in the background) and reveals it’s a whale-like monster. It shoots fireballs at you that loop from right to left. After a bit, it charges up a gigantic beam that holds on the screen for a while. Remember, the overhead barrel is active this whole time and can still crash down on you. But, the catch is this is one of the few “super shot” attacks by a boss that can be parried. If your timing is true, you can bounce across this beam and charge-up a super shot. The ship’s uvula is the weak point, and it makes for a cartoonishly delightful finale to one of my favorite Cuphead bosses. Studio MDHR were wise to focus on this encounter during the marketing.

FOOD FOR THOUGHT: Brineybeard was one of the characters that got the lion’s share of pre-release footage and hype. So, I find it kind of bizarre that the actual fight happens so uneventfully, early in world three. It doesn’t feel like a battle that should take this long to get to. It’s not an event by time you reach it. It’s just another boss to check off. That’s a shame, because Briney is a treat to fight and the ship losing its shit is one of the great moments of the entire game. Again, I haven’t the faintest clue how they determined which bosses go where, but besides the first two and final two bosses, they got it all wrong. If the first world ended with the captain, or the second world opened with him, I think a lot of Cuphead quitters would have pressed-on. After a boat flings its captain off and has its uvula shoot lasers at you, who knows what they’ll come up with next? It makes you wonder if Studio MDHR had any clue at all or if they’re the biggest hacks who lucked into an amazing project since George Lucas. I guess we’ll find out with the DLC, but so help me god, if they changed it so Brineybeard shot first.. well, I can’t be held responsible for my actions.

BOSS #13: Werner Werman in “Murine Corps”
STATED INSPIRATION: The Barnyard Battle (1929) Mickey’s Rival (1936)
IGC LIKES: One of the more visually striking and twisted finales of any boss in Cuphead.
IGC DISLIKES: Uh.. why is the simple mode arguably harder than regular mode?

Yea, you heard me: for whatever reason, Werner Werman is possibly more difficult to beat in simple mode than it is in regular mode. As a reminder, like most other bosses in Cuphead, simple mode is missing the entire final phase, because players who use the easy mode developers chose to include must be punished for doing so. Only, the second phase of Werner is actually a lot tougher on simple than it is on regular. It’s so weird! Even worse: Werner is among the cinchiest bosses in all of Cuphead and very easily should have been a World One boss. Maybe. Actually, I got a mixed reaction to this when I posted it on Twitter, with several friends and followers saying they had a bitch of a time beating the rat.

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PHASE ONE – CAN OF WORMS: Werner scoots back and forth in his tomato can tank while either firing bombs at you or catapulting junk at you. The bombs must be avoided completely, and when they hit the ground, they explode in fire trails that go left and right. The catapult offer two projectiles that can be parried, though the position of the parriable objects is randomized. Eventually, he’ll fling two springboards out that you must parry to launch yourself off of in order to avoid his charge. This phase is so simple and basic, even on regular mode, that I can’t believe this is a world three boss.

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PHASE TWO (SIMPLE) – THIS IS EASIER?: Actually, once you get the pattern down, it’s not so bad. Werner emerges from his tank with a cherry picker and two flame throwers attached to it, and now the walls are lined with sharp bottle caps. In simple mode, Werner moves up and down AND left and right while firing bursts of flames. You have to time when to switch between the upper and lower platforms. When Werner is shooting along the top platform, you can actually stand on his vehicle and fire up into him. This is one of the fights that took me the longest time to beat on simple, but when the time came to fight him on regular, I shredded him.

PHASE TWO (REGULAR/EXPERT) – NO, THIS IS EASIER: For whatever reason, Werner doesn’t move left and right in regular mode. Instead, he remains in the center of the screen and rises up and down while firing his torch across the top and bottom platforms. The “added challenge” is that the bottle caps on the walls activate and randomly stretch out. There’s apparently no logic that dictates which caps are the ones that extend. I’ve had entire battles go where one never even came close to me. The balance is totally out of whack.

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PHASE THREE – KATZENWAGEN: The menacing cat that you’ve seen periodically peeking in on the battle emerges and swallows Werner, and begins probably the easiest final phase since the first two bosses. The cat will swipe with either its left or right paw, but you have more than enough time to dodge out of the way. Every time he swipes, the banging of the paw causes pieces of debris to rain down from the ceiling left to right or vice-versa. After a while, he’ll also unleash the ghosts of mice, who shoot balls of energy at you that split into two when they hit the floor, though most of their initial shots can be parried. Fitting for a a battle with a rat, this is one of the most cheeable battles in Cuphead. If you have spread equipped, you’re really golden, as you can simply jump in front of the cat’s face and fire your super shot, and all eight bullets will score an immediate hit. I’ve taken the cat down in just a few seconds several times. Even on expert, it’s absurdly easy. Maybe the easiest finale in Cuphead, actually. Visually, it’s among the most amazing, but it’s so easy that it’s probably the biggest letdown in Cuphead.

FOOD FOR THOUGHT: I’m as far removed from “professional” gaming skills as possible, but even I can consistently beat Werner’s second and third stages combined in under thirty seconds with no effort. Thus you have a world three boss that could have been one of the first three bosses. Don’t get me wrong: it’s the last time a boss is this big a push-over, but I firmly the reject the notion that it’s okay to insert a cinch battle as a cool-down late in the game. If people need breaks, the last time I checked, game controllers have a big ole pause button right in the middle of controllers.

BOSS #14: Dr. Kahl’s Robot in “Junkyard Jive”
STATED INSPIRATION: Dr. Wily (Mega Man), Dr. Robotnik (Sonic The Hedgehog), Gunstar Heroes, Mickey’s Mechanical Man (1933), Modern Inventions (1937)
IGC LIKES: The concept of systematically shooting down a boss, part by part.
IGC DISLIKES: That the battle ends on the laziest idea in the entire game.

Far and away the boss that most of my readers cite as the hardest (and worst) in the entire game, this shmup battle is infamous for having one of THE “what were they thinking?” moments in all of Cuphead. I seem to be better at shmups than I realized (to my credit, I have beat Ikaruga without cheating, though that was nearly twenty years ago), and in my first time actually beating Cuphead, I only needed six attempts to take down the Robot, which was the last contract I needed. This time around, I fared a little worse, but still won the battle after only eight attempts. But, if you’re not wired for shmups? Yea, this is going to be brutal.

I put in far too much effort trying to get a quality shot of all three weapons firing at once.

PHASE ONE – PIECE BY PIECE: Dr. Kahl’s Robot (which I erroneously credited as being inspired by a Superman cartoon, something the Art of Cuphead never mentions) starts by forcing players to destroy three sections of the body, with three completely different attack points that all fire independently of each-other. Each segment introduces a different “penalty attack” for blowing up. This boss is going to shit the bed like it’s on an all Metamucil diet, but let it be said, the shmup boss with the worst idea in Cuphead also has the best idea in Cuphead. Perhaps Studio MDHR practices video feng shei or something.

THE HEAD: The robot fires a laser from an antenna on its head that lingers on the screen for a while and takes up a TON of real estate, thus limiting your ability to dodge other attacks. I strongly suggest focusing your efforts on destroying this first. Upon its destruction, the robot will start firing a spread of nuts, bolts, and screws at plays until the phase ends.

THE BELLY: The robot unleashes a wave of four drones that fly back and forth around the screen in an S pattern. As soon as you blow up the head, head to the bottom and blow this up. After being destroyed, it’ll unleash gigantic bombs that, when you shoot them down, still blow-up in still-deadly explosions that must be avoided. Keep a distance and you’ll be fine.

THE CHEST: Leave this alone until you have to blow it up, as it provides players with a means to charge their power shot. It unleashes slow moving drones that can be disabled with a quick parry. Even if they fire their full-screen vertical laser beams, you can still disable them with the parry. The “penalty” for blowing up the dock these launch from is the Robot starts using its hands, either by thrusting them from the left side of the screen (then shooting bullets as they retract) or using a magnet that draws players towards it. You really don’t want this happening while you fight the rest of the robot, and by saving it for last, you should only have to deal with it once. Blowing up the chest last also puts you in the position for the final portion of the phase. Believe it or not, you just finished the easy part.

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THE HEART: After all three sections are blown up, the heart will pop out of the chest cavity. Fire at it while dodging the three penalty attacks until it’s dead. Phase over, and if you’re playing on simple, level over.

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PHASE TWO – USE YOUR HEAD: The robot’s head flies off and will pass back and forth until you shoot it down. It’s one of the shortest boss phases in Cuphead (by design instead of by cheesing transition between phases like other bosses). While it can be a pain in the ass if you try to shoot it down normally, there’s an easier solution. By the end of the first phase, you should have a fully-charged power shot. Save it for this phase, position yourself directly across from the head as soon as you blow up the heart, and when the head launches, activate the big bomb. While it won’t take the head down instantly, you’ll only need a few more bullets to end the fun of Dr. Kahl’s robot and enter the worst phase in the entire game. Oh, and the belly torpedoes from earlier keep flying in at a faster rate. Do what I said and they’ll stop too.

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PHASE THREE – YEA THEY COMPLETELY RAN OUT OF IDEAS: Welcome to the moment where Cuphead’s design team gave up. The finale of Dr. Kahl, now riding the robot’s head in a homage to Dr. Wily, is him holding up diamonds, which spam the screen with bullets. Why diamonds? Unclear. This is a lazy bullet hell with emphasis on HELL. There’s two attack patterns, but the concept is the same: move out of the way of bullets (some of which can be parried, though it’s random chance if you’ll be able to reach them or not) and electrified walls that you must quickly avoid, or else they will cut off your path (oh and you can’t shoot through them). This section is over half this battle. It doesn’t really change-up. It’s just a spam of bullets, a brief break as he switch diamonds, then another spam of bullets, all while avoiding walls. Seriously, this is the end of the battle, and it goes on (in my best Smalls voice)..

It’s sooooooooooooo boring. Do you mean to tell me the same team who came up with some of the most imaginative and inspired character designs, bosses, and attack patterns in the entire history of the medium couldn’t think of a better thing to do with a goddamned giant robot? Hell, this could have been fine, even as a finale, if it went, like, fifteen seconds. One burst with the blue diamond, two bursts with the red diamond. But OVER HALF THE BATTLE? Fuck off. It’s one of those things where it goes so long that it becomes boring and you just want it to be over, and then it goes even further past that and you actively begin to hate the entire battle for making you do this. Plus, there’s not a lot of room to maneuver AND there’s the occasional foreground elements that block your view and make it even harder to follow the bullets. I’ll actually defend the opening segments of Junkyard Jive. It’s an inspired idea and an incredible visual. Maybe my favorite design of any boss in the game. But this back end of the battle sours the fight and the whole game something awful. Not only is it not fun, but it just makes players angry. What were they thinking?

FOOD FOR THOUGHT: I’ve not met a whole lot of fans of the giant robot fight. I can’t imagine I’m alone in thinking the opening section is among the most clever uses of the shmup mechanics as any in Cuphead, but the only thing people talk about with the Dr. Kahl fight is the pain. The finale is supposed to be a tribute to chaos emeralds in Sonic The Hedgehog. I guess I’m not versed in Sonic lore, but I can’t remember which game in the franchise featured Dr. Robotnik lazily spamming the screen with bullets. I have a hunch there was supposed to be more to the battle than what happened, but this is one of the few parts of Cuphead that has no “deleted scenes” that I could find info on. I can’t help but wonder if the final phase was meant to be shorter and they padded it out. Either way, congratulations: the worst of Cuphead is over. What’s left might still be difficult, but never to the point that it feels uninspired, lazy, or boring. I hate Dr. Kahl’s finale, especially because I know Studio MDHR is capable of better.

BOSS #15: Cala Maria in “High Seas Hi-Jinx”
STATED INSPIRATION: Olive Oyl, Betty Boop, Moth and the Flame (1938), The Rescuers (1977)
IGC LIKES: One of the more fun shmup stages.
IGC DISLIKES: Even professionals hate the randomized nature of this stage.

Apparently, Cala Maria is the level that Cuphead pros.. not an occupation I imagine pays well.. dread most. If you don’t have to worry about making “perfect runs” you won’t find High Seas Hi-Jinx as annoying as they do (apparently it was even worse before the 1.1.3 update, where you had far fewer parry chances). In fact, the concept, the huge variety of attacks, and overall character design are downright inspired. I don’t really have a exact favorite battle, but Cala ranks near the top of my list. A great way to end the shmup stuff.

PHASE ONE – THE (NOT SO) LITTLE MERMAID: Cala Maria, who can only be shot in the head, has completely randomized attacks that are stackable with each-other. I’d like to note that this is another one of those “see, they CAN balance the difficulty for randomized attacks” situations that makes it so I can’t give those bosses where there’s highly-desirable random attack cycles a free pass. Of the six ways Cala can hurt you, only one combo is really of the “aww shit” variety. That ain’t bad.

  • GHOST PIRATES: Cala burps out three ghosts that home-in on you and dart in a very fast straight line once they finish emerging. By itself, this isn’t bad. When combined with other attacks? It’s among the hardest attacks to dodge in all of Cuphead. It’s absolutely uncanny how often I had perfect runs ruined by this. Far more than the stun-locking fuckery to come.

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  • GIANT FISH: Cala sinks under the water, and when she returns, she’ll have one of two fish. If she has a yellow fish, she’ll shoot an electrified dolphin that heat-seeks you and lingers on the screen for quite a while. If she has a red fish, she’ll shoot a series three of spreading shots at you, some of which can be parried. After each fish attack is completed, it’ll wiggle loose and return to the watch, causing you damage if it makes contact on the way down. Red fish give you chances to charge cards, so maybe they’re too desirable, but both are tough.
  • SQUIRTY McSQUIRTER: Yes, that’s it name. I didn’t know that when I made the Boaty McBoatface reference above. Anyway, it’s a sea horse.. in this case a normal horse that hangs out in the sea, who follows underneath you and squirts a stream of water that’s harmless by itself but it pushes you up into whatever other attack she has going. If you randomly draw the combination of Squirty and the Ghost Pirates, you’re in big trouble.
  • BOMBSHELL BARRY: A turtle that fires off bombs that explode into shrapnel in eight directions. Despite the fact that this thing’s attacks hurt you and the horse’s doesn’t, I’d much rather draw Barry over Squirty. It’s worth noting that both can be killed, though you have to take your focus off Cala Maria in order to do it. For Barry, it’s not worth it. For Squirty, you might want to at least think about swapping to bombs and taking it out.
  • THE PUFFER GANG: Cala Maria raises an army of puffer fish that float vertically. At least some of these things can be parried. I don’t know what the RNG odds are, but this is the only one of her attacks that seemed like it happened every single match against her.

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PHASE TWO – SHE DIDN’T EVEN HAVE TO BOINK POSEIDON IN ATHENA’S TEMPLE: Two eels do a stranger danger thing to Maria, and she turns into Medusa. The previously nuanced fight becomes really simple at this point: an army of eels spam the screen with bullets, some of which can be parried. The eels actually can be shot down, but I’ve found it to be neither helpful nor detrimental to do so. Just keep focusing on her head. The difficulty isn’t merely the bullets, but the fact that she can now turn you to stone, and as it fills the entire screen, there’s no way to avoid it. She’ll fire off this once before the eels start shooting to give you a heads-up she can do this now, and you have to button mash to revert back to normal. The first time I played this, I was so pissed that they chose to do this, but I can clear it without taking damage a lot easier than I can dealing with the seahorse from earlier.

SIMPLY OFF-PUTTING: This portion of the fight is missing if you choose simple mode.

PHASE THREE – BRING ME THE HEAD OF MEDUSA: This is where they might have taken the whole “turn to stone” angle a little too far. After you cause enough damage, Cala’s head will break off from the body and enter a narrow tunnel. Despite what you’d think from the NES Teenage Mutant Ninja Turtles, the coral lining the tunnel is not lethal to the touch, but you must still avoid the walls themselves. Maria will now drop little skull bubbles and continue to stun-lock you. There’s also spiky barriers that you have to avoid. The bubbles and the barriers would be challenging enough, but getting stun-locked (which seems to be 100% unavoidable) forces you to quickly hit 22 input commands (that’s what the Cuphead wiki says) before you unfreeze. A memorable conclusion, but one that can be randomly unfair. That’s why this is among the least favorite battles among pros.

FOOD FOR THOUGHT: Besides a couple mini-bosses during King Dice’s stage, this is it for the shmup portion of Cuphead. In total, there’s five of these levels, all which are, for better and for worst, among the most unforgettable moments in the entire game. All of them have some high-quality aspects. When I first played Cuphead, I was totally baffled by their inclusion. I fully admit that I went into the game with the wrong mindset. I thought I was signing up for Contra/Gunstar like shenanigans. Shmups are one of those genres that I rarely seek out, but when done right, I have an amazing time. In my ongoing #IGCvSNES initiative, I have three Parodius games ranked in the top 25. As of this writing, I’ve played nearly 200 games for that project, so yea, I really like a well-done shmup, especially when they defy convention with original ideas. Cuphead brought the goods there, and then some. I’d be willing to pay $59.99 for a Cuphead sequel/spin-off that was composed of 15 to 20 levels of this type of action. It’d be first in line, and I’d be as excited as I’ve ever been.

BOSS #16: Sally Stageplay in “Dramatic Fanatic”
STATED INSPIRATION: Samurai Showdown III, Final Fantasy VI
IGC LIKES: One of the most non-conformist boss concepts I’ve ever experienced.
IGC DISLIKES: One of those “middle of the pack” fights where the execution isn’t anywhere near as brilliant as the concept.

Sally is probably the highest-concept boss of Cuphead. A drama queen.. literally.. whose battle is represented as a complete life-of play. A wedding (which can end tragically if you play it right), a family, and the afterlife. While the actual mechanics of the battle with Sally are among the most conventional in all of Cuphead, it’s how it’s presented that makes it unforgettable. While this plays like any boss in any game, it never feels it.

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PHASE ONE – WEDDING DAY: Despite her smaller stature, Sally might be the most space-invasive boss in all of Cuphead. In phase one, her primary attacks are to do twirling jump kicks at you, or to teleport and crash down on top of you. Additionally, she’ll jump up in the air and throw a fan that sticks in the ground, further cutting off your space. Finally, she’ll blow kisses at you, which are a chance at a parry. While she seems easy, she has an uncanny knack for hitting exactly the right move when you make the wrong move.

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SECRET PATH – WEDDING CRASHER: Till death do you part, indeed. Sally is the final boss (at least as of this writing) who has a secret path. When she blows the kisses at you, you can you parry off the hearts and onto one of the two cherubs on the side, which will lower and signal you did it correctly with a subtle chime. Do it to both and the chandelier will crash down on Sally’s husband at the alter, killing him. A weird glitch (maybe it’s not a glitch?) I discovered right before publishing this review is that, if you cause enough damage to Sally after you activate the final cherub but before she teleports to go mourn her husband, you will actually skip the entire second phase and go straight to phase three.

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PHASE TWO – LIVING THE LIFE: In the normal pathway, you transition to Sally’s house, where she continues to throw jump kicks or stick her fan in the ground. The kisses are gone now, and in their place, she opens her umbrella and drops remote-controlled mice that run across the ground, up the wall, and across the ceiling, at which point they’ll drop down on you once you cross their path. This whole time, her unholy offspring will drop bottles out the windows. Weirdly, there’s no ways to score a parry during this portion of the battle. In the SECRET PATH version of phase two, Sally apparently turns to religion to cope with her dead husband and the phase transitions to a nursery. The battle plays out the same, but the baby with the bottle is replaced with a nun who throws crosses in your direction, every-other of which can be parried. No matter which path you choose, you will ALWAYS be cramped this phase.

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PHASE THREE – ACTING GODDESS: The only time in Cuphead where the art style changes, this as an apparent tribute to rare stop-motion films of the 1930s. Sally lowers from the ceiling dressed as a goddess. In the normal path, she has three attacks. In one, a meteor lowers from the ceiling. It’s not very hard to miss, and upon shooting it, it opens to reveal a parriable star. She can also call a tidal wave, and if you don’t have the smoke dash equipped, you’ll need to use the meteor’s star to parry over it. Finally, she’ll call lightning down, which comes in groups of two, three, or four. If you took the SECRET PATH, this is one of the spongiest battles in all of Cuphead. I believe all the hit points you skipped in the first path carry over here, where the husband joins her, eating grapes like Caeser while her unborn child utilizes a new attack: rolling fireballs at you.

SIMPLY OFF-PUTTING: This portion of the fight is missing if you choose simple mode.

PHASE FOUR – JUST CALL ME ANGEL OF MOURNING: Sally takes a bow in one of the most difficult short phases in the game. Her parasol acts as a heat-seeking top that you have to constantly jump over, and all the while, an angelic Sally flies overhead, pumping her fists in gratitude while the audience throws roses that are lethal to Cuphead’s touch, though some can be parried. This phase is the same whether or not you took the secret path, but the background characters change. A pretty underwhelming conclusion to one of the more conservative, traditional-feeling battles in all of Cuphead. But one with no respect for personal space at all.

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FOOD FOR THOUGHT: The entire Sally Stagehand sequence is one of my go-to examples for dressing-up something that feels sort of “been there, done that” otherwise. Sally is that rare Cuphead boss that feels like she could be a boss in any other game, at least based on how she fights you. But, they took her attack cycles and staged them (no pun intended) in a way that makes a pretty run-of-the-mill fight still an unforgettable experience. It’s something a lot of developers need to think about when creating their games. Not everything you do has to be original from a video game aspect to still leave a lasting impression if you implement it creatively.

BOSS #17: Phantom Express in “Railroad Wrath”
STATED INSPIRATION: Final Fantasy VI, Pan’s Labyrinth (2006), Lonesome Ghosts (1937), The Skeleton Dance (1929), The Skeleton Frolic (1937) Swing You Sinners! (1930)
IGC LIKES: The eerie, macabre tribute to a time when cartoons were out of fucks to give when it came time to “think of the children.”
IGC DISLIKES: That I said I didn’t have a favorite battle. Upon reflection, actually, I think this might be my favorite.

As a kid, I had a VHS recording of a special called “Disney’s Halloween Treat” that I pretty much wore out. At a certain point, they stopped airing it on TV, even though it was basically the greatest clip show in TV history. My point is, while I’m not particularly a fangirl of the era of cartoons Cuphead pays tribute to, I do happen to have much love for the shorts that aspired to scare. Phantom Express is a loving tribute to that, and in my opinion, the best stage in Cuphead. There, I said it. What’s really weird about that is, each of these mini-bosses that makes up this stage are extremely basic, consisting of one attack each (except the finale, which has two), like they’re made to prep you for the fight against King Dice.

PHASE ONE – THE BLIND SPECTER: This whole battle is fought on a train car with two switches you can can parry to switch between three positions on the track: left, center, and right. But, you’re not the only one who can activate them. Railroad Wrath’s first two phases have a squadron of jack-o-lanterns that fly by and drop bricks on the switches, which could lead to you being maneuvered directly into taking damage. The bricks can be parried as well, which you can use defensively, or you can shoot down the pumpkins. Sometimes, you might even use the pumpkins and their bricks to switch your position so that you can focus on whatever mini-boss you’re shooting. This all starts with the Blind Specter. Apparently inspired by the hand demon thingy from Pan’s Labyrinth, the Specter bounces eyeballs at you. The eyes can be shot as well. It’s a pretty spongy opening, but it’s a suitable intro.

PHASE TWO – THE CONDUCTOR: God, this game is gorgeous. I’ve said it before, but has there ever been a more fun game to watch than Cuphead? Hell, give Studio MDHR Dragon’s Lair and see what they do with that. Anyway, the Conductor will always start in the center car and slam his massive hands down. From there, the head will move around randomly (though never in the same car twice in a row). Despite the girth of his hands, even if you’re not under the head, there’s actually a safe spot on the rail car no matter what position you’re in. I’ve had entire fights against this thing without ever paying any heed to what position on the track I’m sitting on. What a bonehead.

PHASE THREE – THE LOLLIPOP GHOULS: I’m not sure what lollipops have to do with the theme, but they sure look like monsters straight out of a 1930s horror cartoon so I’ll zip my lips. This time, there’s one situated to the left and right, and randomly, one of them will fire a gigantic blast of electricity across to the center car and back. Even if you’re under the one that’s about to fire, you can stay safe by staying close to the wall (as seen in the above picture). For this phase, the jack-o-lanterns are replaced with ghosts that heat-seek you. When you shoot them down, they drop pink skulls that can be parried, but also activate the rail car’s controls. It’s a lot to keep up with. I find the seekers useful for this battle, even if they do less damage. Use the other gun for whatever Lollipop you’re under, then switch to seekers to ping the other from a safe distance, and to also knock out the ghosts before they get too close. Fun fact: the twins are the boss that underwent the fewest changes from conception to release. They were happy with the design from the start, and rightfully so.

SIMPLY OFF-PUTTING: This portion of the fight is missing if you choose simple mode.

PHASE FOUR – OFF THE RAILS: The damn train starts running for it, which seems like it would be slower than, you know, going like a train. This is one of the more fun final phases, though frustrating too as there’s some minor visibility issues due to the speed of the action (huh, I guess it is faster). You have to parry off the train’s tail to open its firebox, which shows the train’s exposed heart. This is another battle I found the seekers to be preferable, as the heart is quite high off the ground, the train doesn’t remain stationary and readjusting your position for a clean shot is frustrating. Jumping to reach it is also often impossible. The Seeker was MADE to fight this train. But, the nose shoots rings of fire that have to be jumped over if they land on the tracks. Also, when the firebox is open, it rains fire down upon you. The only thing keeping this entire fight from being *perfect* is how tough it is to see both these attacks in the heat of battle (pun intended if you laughed).

FOOD FOR THOUGHT: Probably the best thing I can say about Cuphead is that it has actually stoked my interest (waits…….. moving on) in the source material that inspired these incredible characters. Not just the Phantom Express, but the whole cast of Cuphead. They’re all so vivid and, exaggerated as they are, they feel alive and playful. Perhaps that’s Cuphead’s greatest success. It’s astonishing how fast this game is becoming a major media property. There’s even going to be a Cuphead show on Netflix. I hope when this is all said and done, Studio MDHR doesn’t forget where its bread is buttered. I absolutely think they should keep this style, make it their studio signature, but explore other characters and genres.

Once upon a time, I never thought I’d make it past this point in Cuphead. But, when I finally did it, it was one of the most rewarding experiences of my gaming life. I even had to wipe tears. That was 2019. Here I am, closing out 2021 with the most in-depth review I’ve ever done. CLICK HERE for the final part of Cuphead: The Definitive Review

Cuphead: The Definitive Review – Part Two

Welcome back to Indie Gamer Chick completely losing her mind and deep-diving a game that she already reviewed three previous times! In part one of this feature, I reviewed Inkwell Isle I. If Cuphead scaled properly from there, I think it’d be talked about as one of the greatest video games ever made. But, it’s not in that discussion, even among some of its biggest fans. Why? Well, the big problems start in the game’s second world.

INKWELL ISLE II

RUN & GUN #3: Funhouse Frazzle
STATED INSPIRATIONS: Castle of Illusion Starring Mickey Mouse, Dynamite Headdy, M.C. Escher, Salvador Dali, The Cabinet of Dr. Caligari (1920)
IGC LIKES: One of the best “anti-gravity” stages in gaming history.
IGC DISLIKES: Perhaps leans too heavily into trial-and-error gameplay.

Both of Cuphead’s second world Run & Gun stages feel like they could be final levels in other games. The monstrously difficult Funhouse Frazzle is overwhelming when you first enter it. I’m a huge fan of anti-gravity platforming. In fact, I selected XBLIG all-star Antipole to be included in the 2013 Indie Gamer Chick Bundle for Indie Royale. Cuphead takes gravity-swapping to an extreme, but it’s still a LOT of fun!

Right at the start of the level, you’re given a warning to switch gravity now, or be run over by a parade of cars that’s far too long to simply leap over. You have to parry the switches, and there’s this weird little delay that follows as the gravity changes. A wall is launching these traffic jams at you, and you’ll have to swap back and forth between the floor and ceiling before you get a chance to attack it. It’s one of the most intimidating intros to any stage I’ve ever experienced. At this point, Cuphead is done easing you into bosses or stages. And remember, there’s no simple mode for any of the Run & Gun levels. It makes me wonder if perhaps they should have been a little more gentle in introducing the anti-gravity mechanics.

I haven’t talked about the different guns in the game yet. The more toxic element of Cuphead’s fanbase shames players for using the heat-seeking bullets, but I find they work really well for some bosses and pretty much all the Run & Gun stages. They do the least damage of all the bullets, but for sections like the wall above, you’ll regret not having them equipped. They free players to focus on avoiding the various objects and projectiles being thrown at them. Meanwhile, I never used the charge gun once during my entire Cuphead run. I used the Spread/Roundabouts for all but a handful of bosses, while on levels I’d usually do spread/seekers. As for the special items, I’ll get to that in Part Four, but let’s just say that once you have smoke dash, you might as well ignore all other non-guns.

The majority of my lost lives in Funhouse Frazzle were the result of the brutal introduction to the stage. Once you get past that initial section, the rest of the level plays out in a way that’s almost conservative, at least as far as Cuphead goes. From here out, the challenge comes from simply picking the right spots to swap back to either the floor or the ceiling and making sure to clear the gaps while you’re at it. You don’t even have to engage the tuba guys pictured here, even without the heat seeking guns. Just avoid their blasts, clear one final wall, and you’re good to go. Funhouse Frazzle does lack in big-time set pieces, but as a concept-type stage, it’s unforgettable and one of the best Run & Gun segments in Cuphead!

RUN & GUN #4: Funfair Fever
STATED INSPIRATIONS: Ringling Bros. Circus posters, the Super Mario franchise.
IGC LIKES: Excellent series of set-pieces and high-concept platforming sections.
IGC DISLIKES: The final section of the stage goes a bit too long.

The best of the six traditional levels of Cuphead, Funfair Fever is an absolute delight to play and experience. Like the best levels in any game, it combines a series of memorable set-pieces with a scaling challenge, pitch-perfect timing and placement of enemies and obstacles, all while squeezing as many possible tropes out of the theme as possible. Unfortunately, it does slip a little towards the end, but it still pulls off being the most consistently dazzling of Cuphead’s limited traditional jaunts. Level designers of the world: take notes. This is the good stuff.

The level starts with a sentient trampoline running back and forth, which you must use to bounce over walls and avoid, or possibly parry off-of, balloons. There’s a risk/reward element to the balloons: if you ignore the non-parriable ones, they’ll float by you. If one is in your way, you can shoot it, but doing so unleashes a hail of bullets that might be even tougher to avoid. There is one issue: the trampoline is shown to have teeth jetting out of the side, or possible spikes. Either/or, but regardless of what they are, they’re drawn in a way to signify something sharp and dangerous, which suggests you MUST keep from touching the sides of the trampoline. In fact, doing so doesn’t damage you, but rather just launches you into the air. This might still result in damage if there’s a balloon overhead, but why include those teeth at all if they don’t hurt you? It’s so misleading, especially in a game meant to be ultra-difficult, where everything hurts you. This won’t be the last time this becomes an issue.

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Next is the truly inspired dunk tank section. You navigate a series of platforms, each of which is attached to a target. Along the way, you hit walls of toys that must be shot until they stop refilling. The catch is the final wall is shooting balls this entire time that will drop the platforms upon hitting the targets. It requires quick reflexes, precision platforming, and use of your dash to get past this part of Funfair Fever. Some of the balls can be parried, but otherwise, you have to keep track of the placement of the projectiles and plot which platforms will be safe. Every part of this is well done. They even wisely made the final wall not be unbearably spongy. This is an area so inspired that I wish they’d made a boss battle based around it.

Along the way, you’ll have to face a magician that’s a direct-tribute to Magikoopa from Super Mario World, along with clowns balancing on balls that are pretty easy to get past. This leads to the first of two mini-bosses: a sentient 30s midway-style arcade machine. So cool. This actually makes me wish Cuphead had taken a crack at vintage pinball machines. I bet they could have come up with some imaginative designs (fans of pinball, check out The Pinball Chick!). Anyway, the machine fires off a shotgun that causes duck targets to rain from the sky. The battlefield for this fight is cramped by a previous wall you had to scale over. It’s really well done. Another mini-boss I wish had been turned into a full boss.

Finally, the stage ends with a bit of a whimper as you scale a few platforms and then make your way across a series of platforms where every-other one moves up and down. You have to shoot down sentient pretzels (truly the most evil of all snack items) and avoid squirts of ketchup, mustard, and relish that look suspiciously like the flames of an iconic game boss. Indeed, the giant hot dog is a direct tribute to Bowser from the original 1985 Super Mario Bros, only there’s no axe to kill it. Instead, you have to ping it until it dies. This whole section goes on forever, and while it’s intense at first, by time you fight the hotdog, it’s long since stopped being white-knuckle and just became an overly long slog. Cut it by a third and it’d been an satisfying cap to one of the best levels in the history of video games.

BOSS #6: Baroness Von Bon Bon in “Sugarland Shimmy”
STATED INSPIRATIONS: The Cookie Carnival (1935), Somewhere in Dreamland (1936), Moose Hunters (1937), Kirby’s Dreamland, Castle of Illusion Starring Mickey Mouse, Candy Land
IGC LIKES: Tons of eye-candy. Hah, get it?
IGC DISLIKES: One of the most RNG-heavy battles in Cuphead, and not in a good way. Absolutely should have been a world three boss.

One of my biggest complaints about Cuphead is how Studio MDHR completely, totally screwed up the difficulty scaling. There’s two world two bosses that belong in world three, which is incredibly fitting as there’s two world three bosses that really are easy enough to have been world two bosses. Baroness Von Bon Bon (named after Baron Von Blubba, the time-out skeleton from Bubble Bobble) absolutely should have been a battle that happens much later in Cuphead. She’s one of the most difficult bosses in the entire game. Being the 6th boss is ridiculously under-valuing how damn hard (and miserable) battling her is. It’s inexcusable, and the poor placement makes her one of the worst fights in the game.

PHASE ONE THROUGH THREE – CANDY MINIONS: The fight with Baroness Von Bon Bon opens with three randomly-selected mini-bosses, one of which doesn’t ever appear in simple mode. The order will be different every fight. What’s really bothersome about this arrangement is the five bosses are most certainly not equally difficult. A few are much easier than others, and one in particular is significantly more difficult. On top of all this, environmental elements get added with each passing boss. The second phase adds small, easy-to-miss jellybean soldiers running across floor, some of which can be parried. The third phase adds the Baroness firing a slow-moving trio of clouds at you, the pink-portion of which can be parried, though I have no clue why they bothered with that since it’s nearly impossible to pull off without taking damage. Depending on the order of minions you get, the hazards of the arena can easily become too much to keep-up with. They went so far overboard with this fight that it’s almost shocking.

I’ve decided to breakdown the mini-bosses in the order of least difficult to most difficult.

LORD GOB-PACKER: The Pac-Man-like evil gobstopper is easily the simplest-to-defeat of the Von Bon Bon’s five mini-bosses. It slowly stalks you around with one of its children (two in expert mode and none in simple mode) not far behind. Even if you’re not using the smoke dash, it’s just a matter of keeping a distance on it and firing upon it whenever you can. Seekers or Roundabouts are especially effective for this battle. You can breathe a sigh of relief if you draw the jawbreaker.

SARGENT GUMBO GUMBULL: A close second place for “easiest Von Bon Bon mini-boss” that only loses by virtue of it actually becoming a really hard fight if you draw him third on regular. He has the simplest pattern of all the candy mini-bosses, mindlessly running back and forth. If you don’t have the smoke dash equipped.. seriously, go get enough coins to buy it and put it on. I can’t imagine fighting this thing without it, since it allows you to pass from one side to the other without taking damage. On simple mode, you can easily leap over it with the platform. On any other mode, it rains gumball continuously on you. The biggest factor for why this becomes a difficult fight is the sheer amount of projectiles it spews becomes especially overwhelming in phases two and three, when you’re having to watch out for the hard-to-spot jellybeans.

KERNEL VON POP: Nobody likes candy corn, so it’s fitting that it’s the middle-of-the-pack mini-boss here, neither desirable nor frustrating to get. It sticks to the edges and occasionally cuts up and down the middle of the screen. You simply have to avoid it and the tiny, slow-moving corns it drops. It’s not exactly difficult to avoid, and I’m only putting it ahead of the gumball machine because it moves faster and has a slightly more randomized pattern. If players remember to avoid the center of the screen when it’s moving along the top, they should be fine.

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SIR WAFFINGTON III: I spent the longest time calling this the “chocolate bar” but no, it’s supposed to be a waffle. That’s butter its wings are made of, not filling squirting out (that’s what he said!). Either way, this battle has teeth. It flies in a somewhat unpredictable pattern, and occasionally breaks apart into eight pieces that fly out before returning to the mouth. This is the definitive “crowding your space” mini-boss, since I often found myself pinned against a wall when it began to launch its attack. Even if you get cramped, you can avoid the pieces individually, but it requires absolute precision timing. As tough as this is, it’s also the best, most-balanced of the five mini-bosses.

SIMPLY OFF-PUTTING: This portion of the fight is missing if you choose simple mode. Though this is a rare instance where you’re better off.

MUFFSKY CHERNIKOV: The only of the five mini-bosses that never appears in simple, and there’s a reason for that. Beating this cupcake is no piece of.. um.. some kind of easily obtainable frosted snack item. In fact, I’d actually make an argument that Muffsky here is the single most difficult phase in all of Cuphead that isn’t a secret phase. Far worse than anything any other boss throws at you, including King Dice or the Devil, with only Djimmi’s optional secret phase being harder. I’ve only successfully defeated it twice, ever. Once was during my fight against it on Xbox One that ended in total victory. This mini-boss leaps around the stage at fast velocities before attempting to butt-stop you. When it lands on the ground, not only is it seemingly invulnerable to your shots, but it creates tidal waves of cream that make the floor deadly. The waves are so low in visibility (in a stage that already has frustratingly small, deadly elements running across the floor) that they’re hard to track and easy to miss. You have to jump to avoid them, which puts you right in the path of the cupcake, who flings himself back up, often right in your direction. I hate this boss. It’s so imbalanced. I don’t know what they were thinking, but the little shockwaves of icing went too far.

PHASE FOUR (SIMPLE) – CUP HUNT: The Baroness has two completely different ending phases, depending on which difficulty you’re playing. In simple mode, after dispatching the final mini-boss, she pops out from behind her castle and begins firing clouds at you, the pink portion of which you can score a parry off of. While this is going on, the jellybeans are still running across the floor. It’s not an incredibly complex fight, but I found it to still be very difficult, even for a “simple” mode. This is one of those fights where equipping the spread gun bites you in the ass, since it requires you get close enough for the shorter-ranged bullets to hit. The clouds can be shot down, but it takes several hits to do so, and being in close proximity might not leave you with enough time. The only way I could successfully beat this phase was to throw on the Seeker and cheese it by standing back and letting the bullets slowly ping her to death. It’s especially frustrating because the bullets chase down her bullets and the jellybeans too. But, I went ahead and played ten complete rounds against the Baroness on simple. The “stand back and shoot the seeker” method carried a 100% success rate with absolutely no effort needed. That officially qualifies as cheese in my book.

SIMPLY OFF-PUTTING: This portion of the fight is missing if you choose simple mode.

PHASE FOUR (REGULAR) – HOLY CRAP, NOW THE CASTLE IS CHASING ME: If you’re playing on regular or expert, upon beating the third mini-boss, the castle comes to life and starts chasing you. Suddenly, this boss fight becomes an auto-scroller where you must keep running left while avoiding obstacles and still figure out a way to shoot the Baroness. The creepy bitch THROWS HER HEAD OFF at you, which heat-seeks you for a bit before pausing to linger and block your movement before heat-seeking you again. Oh, and the the castle itself spits out giant peppermints, but at least you can parry off those. This whole section is far too spongy and goes on so long that it renders what should be a memorable “holy shit!” moment into a fight that’s actually a little boring. A miserable conclusion to one of the poorest-balanced bosses in the entire game.

FOOD FOR THOUGHT: How the hell did this make it past play-testers in one of the most extensively play-tested indie games ever made? Seriously, I know the team at Cuphead is capable of better. NO, I’ll take it a step further: I know they’re smarter than this. I know they are because, throughout the entire game, they deleted several concepts that were speced-out and often even programmed because they knew it threw the balance off. Apparently, even this fight had some major deleted content, including having the jellybeans begin jumping (oh FUCK OFF for even thinking about that!) and a sixth mini-boss that would have paid tribute to the red arremers from Ghosts ‘n Goblins (these things). How could they show restraint in keeping those things out of this battle but still manage to make such a frustrating fight? To put it in perspective, I’ve beaten Cuphead twice now, and the only boss I died fighting more times than the Baroness is Rumor Honeybottoms from Inkwell Isle III. In fact, I’ve actually have lost more lives to the Candy Bitch over my two full play-throughs of Cuphead than I have to King Dice and the Devil COMBINED! Yet, this is considered the first boss of the second world? No. Just…………………………………. no.

BOSS #7: Beppi the Clown in “Carnival Kerfuffle”
STATED INSPIRATIONS: He Who Gets Slapped (1924), Beetlejuice (1988), Super Mario World, Dynamite Dux, Koko the Clown
IGC LIKES: A memorable boss fight with four distinct stages.
IGC DISLIKES: One of the most cheesable stages, especially with the spread gun.

One of the iconic fights of Cuphead, the crew at Studio MDHR struggled with the design of Beppi more than most of the game’s cast of characters. In fact, the Art of Cuphead shows several possible designs that range from traditional terrifying clowns to slightly more terrifying clowns to “what the HELL is that?” surreal clowns (also terrifying). This is one of the few fights in Cuphead where every phase is a distinct form with unique attacks and play styles. Is Beppi fun to fight? Yes, but some weirdly exploitable portions of the game make it too easy to cheese as well.

PHASE ONE – BUMPER? I BARELY KNEW HER!: This is one of the most invasive phases of any boss battle in Cuphead. Beppi shuffles along in a bumper car, but the way he does it is so erratic that you can’t ever get a comfortable feel for safe distance. When you think he can’t scoot any further, he does. When you think he’s going backwards, he goes forward. Eventually, he’ll zoom forward and you have to jump over him, but while you do this, there’s shooting gallery duck targets passing above you that are lethal to the touch. Some of these can be parried, and all of them only take a single hit to render safe. This is actually one of the more intense opening phases of any boss in Cuphead. Even in replaying it, I was caught off-guard by how hard to clock this whole sequence is.

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PHASE TWO – BALLOON FIGHT: Beppi becomes a giant balloon animal machine that unleashes dogs upon you, some of which can be parried. This would be one of the easiest phases of the game, if not for the fact that a roller coaster becomes part of the fight at this point. You can parry off the nose of the front of the coaster, but you still have to dodge seats occupied by crash test dummies. Weirdly, the back of the coaster looks like it would also be lethal to the touch, as its covered in spikes. But, it doesn’t hurt you. DON’T DRAW SPIKES IF THEY’RE NOT GOING TO HURT YOU! This is real basic game design stuff, people!

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PHASE THREE – A HORSE OF A DIFFERENT COLOR: Bring on the cheese! If luck is on your side, you can park yourself right under Beppi and unload bullets directly into him with minimal fuss. There’s two attacks here: if the horse is green, it’ll cough up horseshoes that travel in a sine curve at you. This usually includes one that can be parried. If the horse is yellow, a fast moving row of shoes will shoot out, stop, then drop straight down, leaving a small safe zone for you to avoid them. The roller coaster remains active for the entire fight, but you can see when it’s coming if you watch for it to climb up the hill in the background. Just stand under the horse and pump it with bullets. This is one of the easiest and most embarrassing phases in all of Cuphead.

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PHASE FOUR – CAROUSEL OF DEATH: One of the most visually striking finales of Cuphead, the carosuel is also surprisingly difficult. Even if you are using spread and cheese it by using your special attack in the center, which results in all eight bullets immediately registering a hit, the carousel is spongy enough that it takes quite a while to beat it. The roller coaster goes significantly faster this phase, so much so you’re really only safe by leaping across the chairs. But, Beppi also spits out baseball-throwing penguins (a nod to the Chargin’ Chucks from Super Mario World), which prevents you from getting into a rhythm on the swings. I can’t imagine how hard this would have been without the cheese of the spread shot. Compared to the previous two phases, this is maddeningly difficult, and also epic as all hell. One of the great finishes to a battle in the game. If only they were all this amazing.

FOOD FOR THOUGHT: This is a boss that Studio MDHR had to work quite a bit on before they got it to the point that they liked the look, personality, and set-pieces. For all the numerous problems Cuphead has, they never settled for “eh, good enough” when it came to their character design. Even if it caused delays in getting into the meat of programming, they kept experimenting with the appearance until they got it where they LOVED it. Beppi is the prime example of that, and the final result is an unforgettable boss. There’s a lesson to be learned there for indie developers: the game itself might not come out the way you want it to, but it’s going to be your name on it. Work it until you’re VERY happy with the end product. If you’re settling for “that’s fine, I guess” it’s time to rethink things.

BOSS #8: Djimmi the Great in “Pyramid Peril”
STATED INSPIRATIONS: Darkstalkers of all games (the sarcophagus section), any game where you fight an evil version of yourself.
IGC LIKES: The best of the shmup levels, and one of the most memorable boss fights in gaming history, with five distinct phases (the most in the game).
IGC DISLIKES: RNG luck rears its ugly head again. And my sister beat this on regular on her very first try ever, which is SO annoying because I’ll never hear the end of that.

The battle with the genie is probably the best stage from a technical standpoint in all of Cuphead. While I’m not sure it’s the most fun to do battle with (honestly, I don’t have a favorite boss) and perhaps goes a little too long, Pyramid Peril is the complete Cuphead package. The artistry on display here, from the character design to the memorable set-pieces, the music, and even the background combine to form a truly wonderful experience.. provided you get the right RNG. And you don’t just totally cheese several of the phases. Or you don’t attempt to beat the nigh impossible secret fifth phase. Okay, wow, Djimmi has a lot of “ifs” doesn’t he?

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PHASE ONE – TREASURE TRACKERS: The genie unleashes one of three random attack styles on you. Such as the worst random elements of Cuphead, these three patterns are not equally difficult. The swords are the most desirable in my opinion. They’re the largest and easiest to to avoid, as they come out and take a formation before heat-seeking in your direction. Another wave has the chest simply spam the screen with small pieces of junk, some of which can be parried, though the pieces might be too far away and with too much clutter between you and them to reach. Finally, miniature cat sarcophagi open to reveal heat-seeking cat scarabs, one or more of which will be parriable. The junk/cat waves are very problematic in how much crowding they feature and how much luck you need to even be granted a clear path. I’ve seen professional players have perfect runs ruined during these phases (granted, on expert. Still counts..)

PHASE TWO – PUNCTURE THE PILLARS: This is where the genius of Cuphead’s design really shines. You’re still fighting a boss here, yet the stage transitions to a vintage shmup area where you have to shoot your way through walls. Only the bricks with faces can be destroyed, and you also have to dodge bouncing spinning blades while you do it. The faces, still being part of the boss, count towards damage, so if you use bombs, the overkill damage carries over to the main fight. If there’s a column with two faces and you blow them both up, you essentially do double the damage to Djimmi for that section. This allowed me to beat the third phase in literally five seconds yesterday. Whoa! Hey everybody, look at me! I’m a speed runner! Next thing you know, I’m going to be mainlining Red Bull and hocking shitty gaming equipment from a shady sponsor on Twitch.

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PHASE THREE – SAR-COUGH-AND-CUSS: If you don’t totally cheese your way past this phase, you can cheese it in other ways. A series of mummy-ghosts will float out at three different speeds while Djimmi is now basically a formless slug who occasionally shoots out bullets shaped like Saturn that are actually his eyeballs, because gross. You can switch from bullets to bombs, linger towards the top of the screen relatively close to Djimmi and cheese your way through this phase without taking damage.. sometimes. I’ve heard some players can pull this off 100% of the time, but I take damage every 3rd or 4th attempt at it, which still means this is a safe and effective strategy in at least two-thirds of the runs. I think it’s a matter of whether you get in the right rhythm for when the mummies spawn versus when you’re actually firing the next bomb. If not for this trick, this wave would be really hard, but the trick is there, so it ain’t.

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PHASE FOUR – CUPPET: Cuppet is certainly one of the more memorable encounters in the entire game, so much so that I sorta hope it returns for a traditional platforming-based boss fight in the DLC. Hell, that would be an interesting DLC pack, no? Take the five shmup bosses and turn them into platform encounters, and maybe remix a few of the traditional bosses as shmups? That idea is all yours, Studio MDHR. Anyway, the ability to totally screw with the Djimmi ends here. Cuppet shoots you with bullets, some of which can be parried, and all the while the genie’s hat floats aimlessly around, causing crowding issues and occasionally unleashes waves of bullets. The fight gets surprisingly intense here, as you always feel like you have very little room to maneuver. The intensity combined with the menacing laugh of Djimmi when Cuppet starts firing at you assures this is a phase you’ll never forget.

SIMPLY OFF-PUTTING: This portion of the fight is missing if you choose simple mode.

PHASE FIVE – YEA, HE’S HUGE NOW: The final phase of Djimmi is almost as visually striking as the Hilda’s moon phase, but this is a lot more difficult, as the genie spawns three Illuminati-style pyramids that unleash deadly waves across the screen. It’s a solid concept, but problems abound. One issue is that Djimmi fires an almost-invisible series of ring-bullets. Why did they make them so transparent? I didn’t even realize what was pinging me at first on a multi-thousand-dollar 4K TV when playing on Xbox. The first time I actually beat Cuphead, it took me several rounds before I even realized I was being shot during this section. In a game that put such a high premium on mind-blowing visuals, it’s jaw-droppingly stupid to have any projectile (in a goddamned shmup stage nonetheless!) be so transparent that you can easily miss it in the heat of battle. Once I knew what to look for, it’s a matter of sticking to the center, avoiding the death rays, and hurling as many torpedoes as I can charge-up at it. Thankfully, this phase is over quickly.

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SECRET PHASE FIVE – I REALLY SHOULDN’T HAVE DONE THAT: If, during the transition between the third and fourth stages, you shrink down to the smaller plane as Djimmi scans you to find the inspiration for Cuppet, you’ll actually skip the fourth phase entirely and go directly to finale, only with a twist: a miniature Cuppet will now clog up the center of the ring of pyramids. You know, that area where you were relatively safe when you beat this without the secret phase? Not only does he clog it up, but he fires bullets in addition to all the other attacks of phase five. It turns a fairly balanced finale into likely the hardest phase in all of Cuphead. Every-other bullet fired by the mini-Cuppet is parriable, though in almost thirty attempts, neither Angela nor myself could score a single, solitary parry off this. There’s no comfort zone and every single area you can maneuver is now a tight squeeze. I’m not ashamed to admit: I couldn’t beat the secret phase. It’s a nice bonus though. You know, if you’re a masochist.

FOOD FOR THOUGHT: I didn’t realize how deeply flawed Djimmi was until I really dove deep into the nuts and bolts of this battle. Pyramid Peril has more problems than an algebra quiz. Yet, it’s a sequence nobody who plays it will ever forget. A big part of that is Studio MDHR’s imaginative “anything goes” attitude with characters and phases. But, I have to also call attention to the incredible backgrounds of all the Cuphead battles. The battle with Djimmi is a tribute to the 1930s Fleischer Studios “setback” backdrops for their Popeye cartoons. They could have easily cheated and did the thing in CGI, but instead, they used real models and photographed them just like artists from nearly a century ago did. A lot of things frustrate me about Cuphead, especially the snotty attitude of gating via the easier difficulty that’s just about as shittiest a thing I’ve seen a developer do in my ten years of IGC. But, I admire the fact that nobody at Studio MDHR took any shortcuts making Cuphead, when they could have in multiple different ways. It’s commendable, even if the studio is populated with more dicks than the national convention for the American Association for the Advancement of Persons Named Richard (the AAAPNR, annual dues are $75 and include a quarterly newsletter, though it’s mostly full of dicks too).

BOSS #9: Wally Warbles in “Aviary Action”
STATED INSPIRATIONS: Popeye the Sailor Meets Sindbad the Sailor (1936), Yoshi’s Island, Earthworm Jim
IGC LIKES: The most conventional of the five shmup levels, until it’s suddenly not. Absolutely twisted finale. Fine-tuned difficulty balance.
IGC DISLIKES: Final phase, twisted as it is, also totally ruins a great level.

One of the stranger levels in all of Cuphead. Apparently, one of the least memorable too. Nobody talks about Wally Warbles, and this in spite of the battle having some damn shocking macabre imagery and an up-tempo theme that includes a sample from Ride of the Valkyries.The fight literally ends with two EMT birds salting and peppering Wally’s possibly dead body, an unforgettable visual, yet this isn’t one of the top discussion points of Cuphead. What happened here? Maybe it’s too traditional, until it’s suddenly not.

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PHASE ONE – SCRAMBLED EGGS: Wally usually starts by shooting comically large bullets from his fingers before he starts coughing up eggs. The eggs have to be dodged from the front and back, as they break into three smaller portions against the wall. Oh, and during the first two phases, chicks (as in baby birds, not me) fly across the screen with goddamned nails tied to them. Seriously, this is one twisted stage. It’s also as conventional as a shmup gets. Though it never feels like it, I suspect that’s why Wally is one of the “forgotten” Cuphead bosses. If, during this phase, you replaced Cuphead with a spaceship and Wally with a.. er.. larger spaceship.. would you even think of this as a Cuphead boss? Perhaps this was too conservative and Studio MDHR should have focused on more character gags. I dunno.

PHASE TWO – PULLET HELL: I’m far too proud of that pun. Give me a moment to pat myself on the back. (ahhh, that’s the good stuff) So, yea, after X amount of shots, Wally loses his shit and starts spamming the screen with feathers. As far as lazy bullet hells go, this isn’t bad. No, I can’t explain why this is okay while in Part 3 of this review I’m going to absolutely skewer Dr. Kahl’s Robot for doing the same thing. Well, maybe I can? #1: this is more creative. Dr. Kahl’s Robot involves the mad doctor simply hold up a diamond that generates the bullets. This is a bird that’s so angry it’s shaking all its feathers off at you. That’s more in the spirit of this battle than the Dr. Kahl setup-payoff is. #2: They’re also larger and easier to dodge bullets. #3: The section doesn’t go on as long. The bullet hell in Dr. Kahl’s stage goes for nearly half the battle. So long that it stops being intense and simply gets boring. #4: The lazy bullet hell (and let’s face it, this shit IS lazy) isn’t the finale to Wally’s battle. Dr. Kahl’s is, and combined with the length of the spamming, it makes winning feel less victorious and more a sense of relief that it’s finally over. That’s why it’s not fun there but it is here. Okay, so I could explain why it works here. The best bits in games are the ones that are in service to the setting and characters.

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PHASE THREE – WILLY WARBLES: God, this thing is so creepy. But, again, the conventional shmup design of having a shield around the enemy and having to carefully aim to get your shots in works so well here. Not only that, but as the eggs spread outwards and you have to weave your way in and out of the shield, it NEVER stops feeling intense and awesome. I also like that all of his shots can be parried, though at no point in Cuphead did I have more instances where I both scored a parry AND took damage than during this phase. It’s so weird. How is that even happening? Shouldn’t the act of being shot be the end of the bullet, thus no parry, or the act of scoring the parry also be the end of the bullet? One or the other, gang. I’m going to guess this is a glitch that never got patched out, but it happened several times.

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PHASE FOUR – THAT’S SO DARK IT LEAKS HAWKING RADIATION: (rubs eyes) Yea, so a mangled Wally is being stretchered out by two EMT birds, and the level totally shits the bed here in terms of feeling fair. Wally, the two EMTs, and even Wally’s heart are shooting you, but there’s little room to maneuver and get your attacks in. It’s the issue with the giant moon in Hilda’s stage, amplified: you have to spend forever getting back to this section only to quickly die over and over again trying to figure out where the bullets are coming from and how you can dodge them. But this time, there’s an even larger variety of attacks. Heck, I often took damage that I didn’t even know where it came from. Every time I’ve beaten Wally, I felt like I got lucky that I didn’t die right before the final point of damage came in. It seems like it’s meant to be a finale that forces the use of bombs, but perhaps they would have been better off limiting the final phase to Wally’s coughing-up of his own bullet-spitting heart and having players shoot it while dodging the pills from the EMTs without all the other crap. The heart gag is brilliant and original! The whole phase should have been built around it!

FOOD FOR THOUGHT: Yea, Cuphead has an issue with closing the deal on their fights, but I appreciate the anything-goes attitude. As far as visual gags go, seeing the EMT birds begin seasoning Wally is so damn funny that I almost forgive how sour a note the fight ends on. One of the amazing things about Cuphead nobody talks about is how smart the decision was to have fights end with a boxing bell and the dramatic “A KNOCKOUT!” graphic instead of having a typical gaming death animation. I mean, those happen too, but the moment you win is a MOMENT, and Cuphead does that moment even better than Shadow of the Colossus.

BOSS #10: Grim Matchstick in “Fiery Frolic”
STATED INSPIRATIONS: Mega Man 2, Contra III: The Alien Wars, Woos Whoopee (1930), Mickey’s Fire Brigade (1935)
IGC LIKES: Fun personality? Eh, screw it: there’s nothing redeeming about this fight.
IGC DISLIKES: Randomized platforms. The fact that I had several rounds that only had two chances to parry.

The other boss that’s so hard that it should have been moved to world three, and in my opinion, one of the worst bosses in all of Cuphead. An auto-scrolling nightmare with totally randomized attacks and more issues than Time Magazine. It’s not merely a slog to fight, but I think it’s just really badly done overall. In order to get high grades at the end of fights, one of the conditions is that you must score three separate parries over the course of the match. But, I had multiple battles with Grim (named after Snow White animator Grim Natwick) where only two chances for a parry ever happened over the course of the fight. You can’t do that, Studio MDHR. If parries are so fucking important, you have to give players more chances at them. There should be something parriable every round. Inexcusable. This boss is total crap.

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PHASE ONE – HOW EXACTLY IS THIS A “FROLIC” HMMM?: This miserable battle opens with Grim shooting laser eyes at you. This could be the only part in the entire match where you have a chance to score parries, BUT, he might only shoot the lasers twice at you. From there, he’ll spit meteors at you and jab his tail up into the playfield. After this, what he does is randomized, and it leaves open the possibility he’ll never fire the lasers again and stick to the meteors. Even though one of the conditions for a perfect score is scoring three parries, it’s not even that rare for a match with Grim to only have the two parriable shots fired. I had several times where I played good (well, good for me) but I’d been at a disadvantage in the score because the game never presented me with the opportunity for the final parry I needed. It pisses me off so much because I actually cared this time whether or not I got high scores on the bosses (my mission this session of Cuphead was to score at least an A- on every battle). And there were multiple other instances where they could have very easily programmed other parry opportunities in phases two and three. What an absolute brain fart on their part. The randomized platforms also often have unfair alignments, and the stage moves just fast enough that you can be absolutely screwed.

PHASE TWO – MATCHSTICK MARCH: This WOULD be the most interesting part of the battle, since there’s nothing quite like it in any other game, but again, it’s a pain in the ass because of those randomized platforms. The flames marching across the bottom will periodically fling themselves up at you. They could have easily made the occasional one pink. I mean, it would make total logical sense and reward fast-reflexes. Not sure how that didn’t happen, especially since you could totally be fucked on your grading after the first phase. Seriously, I’m not letting it go. It makes me mad. Anyway, this is probably the best part of the fight, since I’ve never experienced this type of action in any game. It’s inspired. I wish the rest of the fight hadn’t been completely unlikable.

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PHASE THREE – HEY, WHERE DID THOSE OTHER HEADS COME FROM?: Grim is now three-headed and constantly spits fireballs at you. The fireballs break into four directions if you accidentally shoot them, which is sort of inevitable. After a while, the middle head will throw on a mask and spit a flame across the middle of the screen, and I’m sure it’s because I suck at video games but I never saw this coming. A big reason for that is this phase takes place in a really dark lightning storm, and since you have to focus completely on making your jumps, you can’t really pay attention. The first few times you fight Grim, it feels like a GOTCHA! but at this point I’ve come to expect that shit from this fight. The third world somehow opens with an even worse battle, which is the only thing that keeps Grim Matchstick from being the bottom of the barrel of Cuphead’s otherwise epic bosses. And again, any of those bullets Grim fired could have easily been a parry chance. Grrrrr. SERIOUSLY HOW DID THEY FUCK THIS UP SO BADLY?

FOOD FOR THOUGHT: In theory, the only way to 100% for sure prevent the Grim Matchstick battle from shorting you on enough parries to earn a perfect score is to deliberately play poorly until the third parry is earned. Um, yea. When was the last time a truly great action game penalized players for excelling? The obvious answer is to not force players to score parries, but I actually like that idea. I just think, for something that they put such a high premium on, they really needed to include more chances at them. Not just in this fight, but several others. The good news is, this could easily be fixed with a patch. I mean, the overall fight can’t. It’s boring and bad as a concept, except the second phase. But, at least they can take away the frustration of playing perfectly and still only getting an A instead of an A+ because the damn dragon only shot twice at you instead of three times.

Click here for Part 3 of Cuphead: The Definitive Review! I head to the biggest world in the game: Inkwell Isle III, where I’ll face two more Run & Gun stages and seven bosses.

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