Challenging the Old Gods of Fear & Hunger [Boss Battle]

Fear & Hunger doesn’t go soft in terms of enemies and bosses, providing a set of disturbing and grotesque creatures, including challenging boss battles against gigantic abominations able to wipe out the entire party in a festival of mutilations. In fact, this is the second entry for Fear & Hunger in Boss Battle, previously featuring the relentless Crow Mauler: When it is impossible to Save: surviving all the mutilations of the Crow Mauler in Fear & Hunger [Boss Battle].

Fear & Hunger has a complex Pantheon of gods, specifically divided into Old and New. While the New Gods are humans ascended to divinity, the Old Ones are ancient twisted and macabre beings, mysterious creatures born at the beginning of time. Usually, the Old Gods are described and portrayed in books scattered around the dark dungeons, manuscripts probably wrote by cultists trying to assign a physical form to their deities, even if this is often far from the God’s true form. At least 5 Old Gods are described in the books, starting with Alllmer, a sort of twisted revisited version of Jesus Christ, to the hermetic Moon God, which seems to have a relevant role in the upcoming sequel of Fear & Hunger. However, two Old Gods appear as hidden boss battles in the original game, offering brutal and challenging fights.

Gro-goroth is also known as the God of Destruction, a dangerous and malevolent entity connected with death and carnages. The Old God lies beneath the most difficult dungeon of the game, deep inside the mouth of a gigantic monster, after passing deadly traps and monsters. Moreover, Gro-goroth can be faced only by going for the Ending B, meaning that a party member, the Girl, should be dead (if you want an idea of all the horrible things that can happen to this party member, check my article: Fear & Hunger: the many ways to permanently sacrifice the Girl [Evil Quests]). Gro-goroth will emerge from the darkness below a platform entirely made of dead bodies, ready to fight the party after an existentialist conversation. Only the upper half of the gigantic creature is visible, a muscled torso made of twisted flesh, grotesque organs, wings, and gigantic stone-like claws. Gro-goroth is a visual cacophony of flesh, even having a mouth opening in the middle of its chest, or sort of beak-like elements decorating its neck. The face somehow keeps a sparkle of humanity, a pale mask similar to a marble statue.

As expected from an end-game boss fight, the enemy is a devastating force of destruction. The gigantic god has multiple attacks, caused by different limbs and organs. The sharp claws are its main weapon, able to inflict tremendous damage, including the bleeding effect. Taking this into account, cutting-off the claws is a vital strategy to facilitate the fight. But this is not all, multiple eyes can emerge from the flesh of its body, creating additional enemies. The eyes will cry out a scorching liquid on top of the party, causing moderate damage and the burning effect. Up to 5 eyes can open in its body and, even if they have few HP, not taking action against them could cause a swarming of damages and effects in each turn.

If this is not enough, Gro-goroth also knows powerful spells, such as Burning Gaze or the mysterious Whisper of Gro-goroth. The second enchantment is particularly peculiar: it will mark a party member with a countdown and, when it will reach 0, that character will instantly die. After all, Gro-goroth is the god of death and destruction for a reason.

The second Old God was added to the game in one of the last updates. While going for ending C, the player will now reach an empty and dark wasteland, a sort of abyss out of time and space. In this extreme environment, the main character should find again the other party members while avoiding deadly and dangerous hunting creatures. But it is on a stone bridge suspended above a green light that the party will face Sylvian, the god of sex and fertility. If Gro-goroth was very similar to the images inside the unholy manuscripts, Sylvian is drastically different. The books portray her as a humanoid goddess with the body covered in breasts, a fitting representation for the god of fertility.

Sylvian is honoured with orgies from her followers, worshipped as carnal and universal love. However, Sylvian’s love for mankind got twisted during the ages, becoming a sick parody of sex, passion, and love. For example, people marrying in honour of Sylvian will be blessed with an abominable marriage, meaning that their bodies will be fused together in a grotesque mass of flesh. This is also reflected in the true form of Sylvian: a grotesque mass of green flesh and tentacles surrounding a half-exposed ribcage, with pointed breasts and a shark-like head.

The boss battle is probably the most difficult in the entire game. The god has an insane amount of HP and it can use some really dirty tricks. Each tentacle attacks individually causing different negative effects, such as stun or bleeding, but the bigger ones are the true danger, especially if they grab party members, basically trapping them in a suffocating hug. Sylvian can also strike the mind of the characters, complicating the life of spell-casters. Color of the Unknown is the most dangerous between these attacks since it will damage the minds of the entire party.

However, the most disturbing move is related to a sort of tumorigenic mass that will grow at each turn from the ribcage of the god. The attack is very similar to the one of another creature, Uterus (you can read about this monster here: Monster of the Week: Uterus (Fear & Hunger)), just this time it is even more dangerous. If not defeated on time, the mass will transform each turn into a more humanoid figure. The fully developed creature will add an extra layer of difficulty in the battle, with the possibility of completely murdering a character with one attack.

While other Old Gods are present in the game, such as the dead body of Alllmer, only Gro-goroth and Sylvian can be challenged and defeated in battle. At the moment, the Moon God seems to have a relevant role in the sequel so, hopefully, soon it will be possible to fight additional Old Gods in Fear & Hunger Termina.

Haunted Atlas: The Abandoned Amusement Park – Nier Automata


Amusement parks are usually places of joy and happiness. But in the post-apocalyptic world of Nier Automata, where humanity is practically absent from the planet, the amusement park becomes a place of melancholy and sorrow. Robots are scattered around the park in a sort of parody of a human parade, throwing colorful confetti and playing music all around. The robots here are not as aggressive as in other places, except for Simone, the creepy boss hiding in the opera house. Some attractions are still partially working, providing a melancholic shadow of past happiness. But there is also another explanation, quite hinted in the official World Guide, describing the amusement park as a possible place to test unconventional weapons. In this view, maybe the machines thought that confetti and fireworks were actual weapons, and they are trying to use them against the visitors, of course with no effects. Whichever theory you want to support, the pacifist or the warmonger one, is entirely up to you.

Places of Interest

The roller-coaster is one of the attractions still functional. The robots are maintaining it for some obscure reasons, while the other games are instead broken and abandoned. Maybe in their mindless imitation of the disappeared human happiness, the machines know that the roller-coaster is the symbol of the park, an old memento of a past era that needs to be maintained. For each ride of the roller-coaster, the robots also provide a spectacle of fireworks, built using old ammunition, according to the official World Guide.

The flat-ride is broken, standing like the rusted skeleton of an archaic age. In the past, it was probably a symbol for a faraway future, with retro spaceships and rockets used to build the attraction. However, now the spinning twists and the high-speed are a memory, and the structure lies paralysed in the middle of the park, broken and ignored. The only activities that the flat-ride now offers are some platformer sections for highly-agile androids, a vestigial usage for a forgotten instrument of joy.

The opera house is the heart of the park and the most cacophonous element in this melancholic symphony of past joy. The seats are occupied by the crucified androids’ bodies, a creepy and unsettling location, where the psychotic robot Simone pursues her twisted concept of beauty. Moreover, the basement of the opera house hides a peculiar secret: a room full of packed PC monitors, a place connected with one of the bizarre synthetic secondary characters.

Local Wildlife

Robots dressed as colorful clowns or jesters are mindlessly playing around, throwing confetti and playing to keep a sparkle of artificial life in this place of forgotten happiness. They are not aggressive, and rarely will defend even if attacked, creating a place of fake but respected peace. The robot clowns move around the park in colorful parades, a carnival of artificial joy. Attacking those machines will create strong guilt in the player, an illogical act without punishment or reward, except for the player’s conscience. A variant of deadly and disgusting zombie robot clowns will appear in the basement of the opera house only in a specific side-quest, a group of unique enemies that attack by vomiting green and caustic bile.

The synthetic wildlife in the park is quite variegated, including the giant golden bunny in the entrance. The creature looks and acts like a statue, but high-level characters, with patience and effort, will be available to damage the bunny, starting a tough but rewarding fight.

Talking about bosses, a tank full of robot clowns is the first boss in the area. Again, the machine is peaceful, shooting colorful confetti instead of explosive ammunition, a sort of parade grouped inside a tank. However, the robots didn’t forget how to use a tank and, if attacked, they will switch to live and dangerous ammunition. Sadly there is no way to avoid the fight: the tank must be attacked and destroyed to proceed in the game.

Simone is the name of the psychotic boss at the end of the park, probably the most iconic fight of Nier Automata. The gigantic machine imitating an opera singer has a dramatic background, something that sent it insane and obsessed with a twisted concept of beauty. The creature is partially dressing with the skinned bodies of the androids, like if they were fashion accessories. The psychotic and macabre boss is a huge cliffhanger, totally changing the peaceful and melancholic atmosphere of the Amusement Park into a more creepy experience.