It is nice to see when two different worlds collide together in the video game format. It happened several times, especially for big companies, for example hunting a Final Fantasy’s Behemoth inside Monster Hunter World. However, what is not so common is a collaboration between a big company and an obscure indie title, especially if they are from far away worlds such as JRPGs and survival-horrors. But this is exactly what happened between Death end Request 2 and Ao Oni.
Death end Request 2 is a JRPG with a strong horror component and a creepy set of creatures. If you follow the blog, the game should be already familiar since I wrote different articles about it, including a review where you can find more complete information: Death end re;Quest 2 Review: mysterious Visual Novel by day, horror JRPG by night. On the contrary, Ao Oni is a Japanese game survival-horror, a freeware and obscure title that got quite popular around 2007. The game is a RPGmaker-style horror game, with a great focus on hiding and surviving a creepy stalker. The game got quite a following in Japan, even getting manga, anime, and live-action movie adaptation. The real protagonist of the game is the enemy, the actual Ao Oni, a gigantic blue ogre with a peculiar face and altered proportions. The creature got iconic, an example of Japanese indie horror games, with a look not so intimidating, but for sure somehow disturbing.
How the collaboration between Death end Request 2 and Ao Oni take shape? During the first playthrough of the game, the player will see nothing related to the Ao Oni. Anyway, horror elements will be not missing from the experience, from gory and tragic bad endings to multiple grotesque enemies (more info here: The most creepy and disturbing enemies and bosses of Death end re;Quest 2). After reaching the good ending, in Death end Request 2 it will be possible to continue in a NG+, keeping the experience and the equipment, while accessing new contents, story branches, and a new ending. It is during the NG+ that the Ao Oni will become a more present element.
In the first area of the game, an old telephone will allow the player to access new contents. The first one is a mini-game, and it is the most horror-shaped experience featuring the Ao Oni. In this short but intense mini-game, the main character needs to run fast inside a city area while avoiding different Ao Oni jumping out from nowhere. The creatures are of different sizes, from small Ao Oni to more human-sized ones. They will also jump out from the most unexpected places, including cars and water elements.
The stressful event is a fast and crazy run against the deadly blue humanoids: trial and error is the only way to survive and conquer this mini-game. Only by learning the positions of every sudden appearance of the Ao Oni, the player will have a concrete possibility of surviving. Avoiding the many blue creatures while running is not the only way of surviving because scattered around the map there are suspicious closets that can be used as temporary hiding places. Of course, this is not a completely safe solution, since the Oni can still discover you while hiding. This mini-game is an easy and different addition to the main game, and it really tries to encode the horror atmosphere of Ao Oni, with frenetic chases and breathless hiding.
There is also another surprise involving the Ao Oni in Death end request 2. Moreover, during NG+, starting from the third Act, it will be possible to visit a challenging bonus dungeon: the Pain Area. This place is a hellish maze with dozens of tough and mandatory battles, including unique and interesting bosses. But the true surprise hides on the fifth and last floor of this dungeon, where the ultimate boss fight against the Ao Oni itself will take place. The blue ogre is the toughest battle in the entire game, the secret hidden boss typical of JRPGs, which usually needs the best equipment and high-level characters. The Ao Oni is a super boss for a reason: it has an insane amount of HPs, the highest in the game, with >6 million, plus maximised attack and defence. The creature is indeed an extremely dangerous foe able to use many tricks, including almost every possible negative effect, and a complex combo of energy attacks executed as fast karate moves.
Watching the giant blue creature rendered in 3D graphic, performing deadly attacks while the group of heroines throws it around the stage, is a unique and bizarre experience. A collaboration between indie games and a big production is always a welcomed experience, especially if horror elements find a new home inside JRPGs.
Devil Slayer Raksasi was really a surprise: a top-down action RPG with a souls-like battle system and roguelike elements, together with an innovative dark-fantasy atmosphere with strong references to Chinese folklore. The game has an addictive and challenging gameplay, with strategic boss battles against really interesting creatures, a lot of items and weapons to equip, and a set of 7 main characters with different skills and powers.
The game is still in Early Access on STEAM, but in one year received many updates, from new modes and gameplay-elements, to additional playable characters, bosses, and sub-chapters. The game is yet a complete and challenging experience, with different routes and optional bosses, secret sets to acquire, and the possibility to train and level-up the main characters. The heroines are all quite different, from a half-fox woman using a giant cannon, to a fast demon using knives: the replayability is very high and completionists will need dozens of hours to see everything
Raksasi’s most unique feature is the amazing mix of a novel dark-fantasy universe inspired by Chinese legends, myths, and ancient folklore. Settings, secondary characters, and especially enemies are all very interesting for design and lore. As a great addition, a recent update also improved the bestiary, and now not only it is possible to read the lore of more than 100 creatures, but also to enjoy the gorgeous and detailed portraits of each monster.
Today, together with Glasses Cat Games, the team of three developers behind Raksasi, we will look at the development of the game, the future updates, the lore behind secondary characters, and how the Chinese culture influenced the game. We will also know the favorite bosses of the developers, so if you are curious to know more, check the following interview.
Q1: First of all, thank you for the opportunity. Raksasi is an interesting take on both souls-like and rogue-like RPGs. How the idea behind this project was born?
A1: Devil Slayer Raksasi is inspired by the Souls-like games a lot while we are all big fans of this genre. The early prototype is just a simple top-down action game demo with a souls-like style combat system. Since we are worried if the core mechanism is too simple and a pure souls-like game made by a small team will lack enough game contents, we consider incorporating Roguelike elements to increase the lifespan.
Q2: From the art-style to the gameplay, Raksasi is an interesting production. Which other games influenced your work while developing Raksasi?
A2: We try our best to make our own unique game by standing on the shoulders of giants, and you may find some familiar designs and systems in Raksasi from these great titles: Souls, The Binding of Isaac, Dead Cells, Darkwood, Blade & Sword.
Q3: The art-style is really well characterised and unique, especially the portraits of the main characters and the bosses. Why did you decide to use this particular aesthetic for Raksasi?
A3: The reason is very simple, there is no other choice! because we are a very small team, the only artist in our 3-man development team chooses his own style to create all the artworks. Our artist’s early style was influenced by the Japanese anime he watched in his childhood, but he always had his own unique pursuit and did not follow the trend blindly. Therefore, the final art effect is very likely to be quite different from the current popular and most popular styles and colors and is also more recognizable.
Q4: From the setting to the design of the enemies, the influence of Chinese culture are evident in Raksasi. How Chinese traditions and legends influenced the world of Raksasi?
A4: It’s cool to create a game with the Chinese culture we are familiar with. We did look at a lot of historical and mythological materials, and take many elements and characters from them to build the world. We hope these designs can cause the most common popular culture aesthetic and emotional resonance among Chinese and foreigners are interested in Chinese culture.
Q5: The main heroines got particularly popular, both for their gorgeous design and for their peculiar weapons. How was the creative process behind the creation of each new main character?
A5: While designing our character artwork, the artist’s first goal is to meet the functional needs in the basic scheme, “it should work well as the plan”, such as the native weapons, race, and so on. After that, these characters will be given different personalities. According to these personalities, the artist will select the appropriate color scheme, decorative style, facial features, etc…Then, Bingo, who is responsible for the stories, will refine the character’s background information based on enough existing visual elements as well as the artist’s markup. Basically, all the characters are formed after everyone collides with each other’s ideas.
Q6: A pale kid, a creepy blind woman, and a giant masked-man: the merchants and the secondary characters of Raksasi are really mysterious. Could you tell us something more about the backgrounds of some of these characters?
A6: The pale kid’s name is Jubilant Altar. He looks like a little child in a wine jar, but actually, he is not a human. The ancient Chinese believed that all things have spirits. An artifact will give birth to wisdom over the years and become a human-like creature with supernatural powers, that is, the “devil” in the title name of this game. Jubilant Altar is a “devil” turned by a wine jar. He’s the warehouse manager, and his biggest preference is to collect all kinds of treasures and organize them every day. And the idea comes from a Chinese movie, The Miracle Fighters. The creepy blind woman’s name is Raven. You may think her look reminds of Frankenstein a lot, and yep, it’s very similar. Her body is just a puppet created by the ancient gods, but she has a real human soul inside the body. As long as there is energy, she can live forever. Through countless years, she has accumulated a wealth of knowledge. The merchant, Baldwyn, is a fat guy with a mask, who is a member of a large and mysterious organization that operates many wilderness stores, selling secret treasures to adventurers. Many people think they are not just a purely commercial organization.
Q7: Between so many dangerous enemies to face, which are your favourite bosses and why?
A7: Haha, we love all of them. For example, the five immortals are all mysterious, powerful, and highly individual: The rat boss, Gray Immortal, has countless henchmen, hiding in the forest, brewing some kind of conspiracy. The snake boss, Willow Immortal, has a white Snake and a green Snake as partners, and they are from a familiar story to the Chinese called Madam White Snake. The weasel boss, Yellow Immortal, who is an old man addicted to drug research often picks medicines in the deep mountains. The hedgehog boss, White Immortal, is obsessed with fighting and always looking for powerful opponents. The fox boss, Fox Immortal, who is the noble and beautiful king of the foxes can confuse people’s minds. The ideas are from some folklores of Northeastern China influenced by Shamanism a lot.
Q8: The game is still in Early Access (EA) but got many conspicuous updates in the last year. Do you have some surprises or clues of what will be the next contents available before the final release? Maybe some clues about new bosses?
A8: We will continue to announce our upcoming new content in our steam community. We are always trying to add richer and more interesting content to our game. Soon, the game will have a new update, which adds new map Sea Caverns, and new bosses, as well as a very fun challenge mode.
Q9: Which were the elements that changed more during the EA period?
A9: In the EA phase, we’ve added a lot of new content, such as new difficulty modes, a wooden tablet system, and a Soul charms system. In the process, a lot of new bosses, maps, characters, weapons, and props have also been added. The difficulty system is one of the more important mechanisms, the easy difficulty can be adapted to more users, and the new high difficult mode called Demonic can provide a more interesting challenge for these game masters.
Q10: Of course, I imagine that finishing Raksasi is your priority right now, but I am curious, are you already thinking of your next project? Maybe a sequel of Raksasi?
A10: Yes, we have some ideas about the next title, and we are doing some preparation work now. But there are a lot of things that are not determined and take longer to explore. So it’s too early to determine what the next game will be like.
I would like to thank Glasses Cat Games for their quick responses and the interesting answers. It is really fascinating to know more on how the Chinese traditions influenced this interesting dark fantasy world, and I cannot wait to face the new creatures in the future update of the Sea Caverns. Even if it still in EA, Raksasi already got >1200 reviews with an overall “Very Positive” grade on STEAM, so if you want to check it, the game is available HERE. Also keep an eye on Dark RPGs for a future article about the Chinese-influenced bestiary of Raksasi.
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.
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.
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.
The sun shines high in the sky, the grass is green, the new neighbours look really friendly, and the town smells of cake. What could go wrong? Sometimes a lot of things, especially if you are unlucky enough to finish in a Town with a Dark Secret. This trope is quite well explored in horror […]
If you never listened before about Despiria, it is not a surprise. Despiria is a game released by Atlus for Dreamcast, but only in Japan. The game is an interesting RPG combining turn-based combats and a first-person exploration using stating high-resolution 3D backgrounds, common to adventure games such as Myst.
The setting is a dystopian sci-fi universe, where a religious association is in control, and several people use brain parasites to enhance their intellectual skills. The mature setting is typical of early Atlus games, such as Shin Megami Tensei saga, with disturbing enemies, violence, and delicate topics. If the Church ruling the world was not dystopian enough, people also have special mental power thanks to those disgusting brain parasites. Of course, the language barrier is a huge obstacle to understand the lore and the stories of this dark cyberpunk world.
The battles have a peculiar aesthetic, partially shaped by the uncommon 3D engine. The main enemy is visible as a giant figure in the background, while the enemy’s parasites and the ones of the player are in the front rows. Only by damaging the main enemy, the battle will end, same if the player receives enough damage. On the contrary, the parasites, when present, work as support and are often re-summoned once killed.
The game will start with the player’s character and many others trapped in old subway tunnels. They should find a way out without going insane or being killed by the broken androids inhabiting the tunnels. Very few humans live hiding there, while many androids with different degrees of damages and insanity are roaming around. The androids have similar appearances, usually bold and pale figures, with void expression and the bodies shaped by injuries and damages. Interestingly, the majority of them have female bodies, with usually revealing clothes or directly half-naked, creating a contrast between the female forms and the extreme damages of the synthetic components. Moreover, some of the androids are so beyond the aestehtic damages, assuming bodies which are so further away from human empathy, jumping in an uncanny and disturbing territory.
In the following article, I will describe the most creepy androids from the first chapter of the game. The list is ordered in an increasing uncanniness of the artificial figures, from quite generic androids, through really damaged and disfigured bodies, till the bottom of disturbing experiments and prototypes. Luckily the first chapter of the game is quite linear and, with the help of a translator, it was possible for me to extract information and the original names for each android. However, you should take every information not as 100% accurate since anyway I am not able to speak or translate Japanese.
The first android in the list is one of the most human-looking. The skin is pale, almost of a shining silver colour, but with metallic arms. The creature is dressed like a soldier, or a repairman, since it is using a giant wrench as the main weapon. The military-looking android is a common random battle in the abandoned subway, an easy enemy to defeat, without the support of brain parasites and relying only on weak physical attacks.
The creature has a very human appearance, a bold and delicate woman, with the body almost completely normal. However, the head is strangely connected with a complex device, a half-helmet that could be a scanner or a probe, part of some kind of industrial process or medical surgery. Her eyes are sealed, showing how the device is somehow still having an effect on her mind. The truth is easy to translate from the files, this is not a proper android but a human captured by the rogue androids, and now brainwashed and “remodelled” to be a sort of living android. Even without the support of parasites, this battle can be tricky.
A group of teenage androids lives in an abandoned factory. Even in their half-functional state, regardless of their apparent age, the androids are all openly aggressive. The body is already showing the cybernetic parts, especially half of the face and a complete arm. However, the punk clothes are somehow giving humanity to this figure, a memento of another or a wanted-to-be life. The android will attack with a broken golf club spotted in blood, highlighting how this android was very aggressive also in the past. Even if this is a unique fight, the creature is easy to defeat.
Here things start to go down into the uncanny valley. The female android has blonde pigtails, a skirt, and the upper body is completely naked. However, this is not a pleasant view since its skin is practically ripping off, revealing the metal structure underneath. The contrast between the revealing female figure, with still a trace of fashion clothes and style, against the melting skin, creates a really disturbing character. The creature is not a random wasted android, but a more evolved model, even equipped with brain parasites and able to offer a challenging fight. She is smarter and more functional than any other android, a more subtle and unpredictable model.
Combed hair, nice clothes, and an overall businesswoman appearance are not very scary-inducing on their own. However, the android has the mouth completely ripped-out, revealing the muscles and the teeth below in a disturbing and grotesque grin. The abnormal abomination is really showing how a small and out of tone detail can really twist a design. This is also one of the few androids where raw flesh is exposed underneath instead of metal or plastic, highlighting how this discarded model was probably a prototype. The creature is aggressive and brutal, even without having parasites, it is able to inflict heavy damages and negative effects.
This abandoned model is completely devoured by the ages of abandonment. The skin is again melted, exposing the robotic layers, but the damages, in this case, are even more severe, especially on the face and the abdomen. An arm is completely missing, and the body is barely functional, the last sparkle of artificial life. The fight against this android is an easy and mindless battle.
This android exists at the edge between a broken junk and a dead body. The body is more dysfunctional and worn out than the previous examples, running to the bottom of the uncanny valley. The skin is completely rotten, with colorful spots around, while the ribs are exposed, making look the figure more like a zombie than an android. Moreover, since the translated name says “Mutant,” maybe this creature is not an android at all. However, since the language barrier is too steep to understand the details of the world’s lore, I still would like to believe that this is an abandoned model of a more organic artificial life. This enemy is an optional but tough fight, but the dead body will attack only if carefully examined.
This is one of the most interesting and creepy designs, with a peaceful but disturbing aesthetic. A broken robotic model here becomes a twisted and unique creature, where a naked body collides with a nightmare made of cables. The figure is almost peacefully smiling, even if she is missing half of her upper face. Long and viscid cables come out of her head, like hairs made of tentacles. One arm is severed, but it is still partially connected with cables and used as a sort of rudimental mace. The creature craves to have a human body and will do everything to achieve her distorted dream. Even in this pitiful condition, this boss is a challenging fight, also assisted by two brain parasites.
This creature is a disturbing being that could be considered a sort of embryonic stage, an incomplete template, for an android. The female red body looks in constant sufferance, with the mouth wide open, like gasping for air under the thick plastic cover. The creature is an experimental being, not only for the color of the skin, but also for the third arm in its abdomen, an abandoned experiment of something more than human in a factory long forgotten, forced to live a painful experience trapped in layers of plastic. Regardless of the creepy appearance, the android is an easy and common random battle at the end of the first Chapter.
Same as for Specimen A, this is a long-forgotten experiment or an intermediate state in the production of an android, still able to exist with a sparkle of artificial life. But in this case, the creature is even more twisted and grotesque than the previous one, rightfully gaining its position at the bottom of the uncanny valley. Trapped under tight plastic layers there are multiple bodies horrible fused together, at least two of them, judging by the number of heads. The skin looks like melting together, while the figures try to fight this process by separating their heads. As for Specimen A, this is another common random battle, just a little bit tougher than the previous one.
Appearance: The boss is a giant and grotesque abomination, showing female humanoid traits combined with insect morphology. The abdomen especially resembles the one of a giant larva, or of the queen of a hive. Atrophic wings are falling on her back, like vestigial elements clearly unable to lift such a massive figure. The arms are extremely long and dangerous, used as a weapon, especially for the claws at the end. The long neck and the face are the only elements still keeping a sparkle of her female appearance, especially the pale face that resembles a marble mask. However, when her mouth is wide open, the creature shows inevitably her grotesque nature. Her body is curved under extreme sufferance, an amorphous and unfunctional mass acquired through wild experimentations, with scars and stitches covering her body as proof. But the Brood Mother would not be described as a mother without having a progeny, and definitively this is the most grotesque detail about this creature.
Background: The deformed and grotesque creature was not always in this way. The Brood Mother was once just a normal girl, following religious duties, and in love with her boyfriend. Sadly one day, she was betrayed and became the guinea pig of an insane doctor. Her body was subject to twisted experiments, while she slowly lost both her mind and her humanity. Now the pain of those wild experiments is a clear mark on her body, as the twisted path of stitches crossing her body.
The main weapons of the gigantic boss are of course her arms, incredibly long and dangerous, able to easily crush even the most worthy opponent. Her strength is so abnormal and human, that even the ceiling of the cave will collapse under her devastating punches. But as previously specified, the progeny of the Brood Mother is her most dangerous and twisted detail. Small and grotesque infants will be expelled from her body as rounded eggs that, if not promptly destroyed, will hatch in her swarming progeny. The small creatures have deformed bodies fused together like an amorphous mass of sufferance, a sort of sick combination between a fetus and a larva. The void expression on their faces and the infant-like appearance almost create a deep feeling of guilty uneasiness inside the player, who will be forced to slay the apparently harmless creatures. An interesting detail is that, even after slaying the boss, her infants will continue to grow and evolve, from larvae to fly-like monstrosities.
By coming back to the cave later in the cave, the main character will face these new and disturbing abominations, able to spit poison and to self destroy after charging the player. Definitively this time the sense of guilty will disappear. One terrible and macabre detail hinted behind the tragic story of the Brood Mother, especially since the poor woman was in love and having a boyfriend, and the mutated Brood Mother is constantly giving birth, is that probably the woman was pregnant when the experiments started.
Death end re;Quest 2 is a proper horror JRPG, with an interesting battle system, disturbing scenes, and creepy monsters (for more info check my complete review: Death end re;Quest 2 Review: mysterious Visual Novel by day, horror JRPG by night). I personally find the design of the monsters as a jump forward for the saga. The first Death end re;Quest had enemies almost entirely modelled around insect anatomies, probably to convey the concept of computer bugs in a metaphoric way.
The creatures roaming the streets of Le Choara, the town where Death end re;Quest 2 is set, are disturbing and twisted beings that will be perfectly integrated even if moved inside a classic survival horror game. From obese creatures imbued of an unknown energy, to laughing dolls missing the eyes: the level of horror elements inside the design is always of great visual impact. The connection with horror games is so strong that even the Ao Oni, the famous immortal monster of a Japanese indie game, will make the appearance as super boss.
Worth to specify that creatures showing a twisted insect morphology are also present in the sequel, but this time other concepts are far more common in the monster designs. Doll-like enemies are a major part of the pool of deranged foes, both bosses and common enemies. More than common dolls, straw or rag dolls are more present, providing an additional level of creepiness with the stitches covering their bodies, or the organic secrets hidden below the fabric. Symbolism hidden behind the design is also quite common, especially for bosses, with complex designs enriched in elements underlying a complex story, such for example twisted and jealous love.
The battles are interesting puzzle-like challenges, where each enemy can be thrown around the battlefield, to crash against barriers, or to be intercepted by other party members. The size of the enemies also affects this throwing mechanic, so forget about launching colossal bosses around the arena. Each monster is also associated with one of the three elements, star, moon, and sun, and will receive damages accordingly.
In the following article, I will describe the most creepy and disturbing creatures of the game, from bosses to common enemies. The article is practically spoiler-free, so feel ti jump inside without much worry.
A sort of doll, or a small girl with something really wrong, dressed in elaborated and ancient clothes. She always comes running, with the arms open as if she is ready for a hug. While standing-still, Mary happily moves and performs pirouettes. This apparently sweet girl is a terrifying creature since she is missing any facial features, with the exception of a cartoonish and big smile that looks like stitched on a sack. Laughing Mary acts as the boss in Chapter 2, becoming soon after a regular enemy, changing colors of clothes and also of skin, such as Metal Mary, a version with dark and metal skin.
The disturbing creature looks like a nightmare born from Tim Burton’s mind. The body is an amorphous mass covered in a torn green piece of cloth, like a sort of grotesque dining table. A grinning face comes out from the front, a dark clown with heavy makeup and reversed anatomical traits, with the grinning smile in the place where the eyes should be. From a hole in the middle of its body, right below the fabric, insect-like appendices turn out like a mass of teeming organic scythes. Killer Filler moves and attacks on the four legs, like a feral predator. It is not a super dangerous foe, but some of the most evolved variants can be quite troublesome if not quickly eliminated.
This disgusting and obese obscenity would not be a surprise if seeing wandering in Silent Hill. The monster is the first boss of the game, before becoming a regular enemy with many variants. The chubby and pale body is covered in veins, while a sort of liquid energy is flowing inside its massive neck. Other variants, called Gigas, have their middle part of the bodies completely exposed till the bones, as if the glowing energy corroded their flesh, or exploded shredding their bodies. The fatty creatures usually attack in couples: they hit strong and, due to their weights, are quite difficult to throw.
An upgraded version of Laughing Mary, but this time the doll-like creature is mixed with a butterfly, creating an abomination that looks like a sweet fairy. The creepy stitched smile is still there, but this time the creature has also the eyes, similar to the ones of a fly. The monster is very fragile but hard to hit, it is also quite bothering since can heal or power-up other enemies, and even flee the battle if too damaged. The Blood Butterfly variant is one of the last battles in the game, an enemy that is better to not underestimate.
A huge dragon without a face, the creature is a secondary boss inside the game. If its body is clearly resembling a dragon or a similar beast, what is happening where the head should be is a really interesting and peculiar detail. The upper-body is covered in a combination of black goo and crystal shards, creating a sort of glitchy effect on the creature, as if it was an incomplete or still in developing being. The head is a long worm-like appendix, amorphous and missing any anatomy, just a long and disgusting mass of blackness. The incomplete creature is a strong enemy that works as a hidden boss for some Side Quests, but it will get a common enemy in the last hidden dungeon during NG+.
The boss of Chapter 5 is a true nightmare, not only for its design but also for its strength. Just by looking at it, the boss sends symbolic vibes of whatever could be wrong in a mother-child relationship. The abomination is a towering and obese creature, with the purple skin terraced by fatty rolls or falling breasts. The legs are especially disgusting, composed of lumps of red flesh fused together. Like souls trapped inside a living material, disturbing faces are emerging from below the skin of the legs. The twisted mother is wearing a cuff similar to the ones used for babies, and she is wielding a massive club that also looks like a baby rattle, strong details amplifying the twisted mother-child dualism. The boss is one of the toughest battles in the game. Its attacks are quite dangerous and can easily kill a character in one turn. Moreover, the boss has a massive amount of HP, and it is even able to completely heal itself with just one action, creating a long and exhausting battle.
The boss of Chapter 4 has one of the most complex and symbolic designs in the game. At first glance, the creature looks like a cute fairy, with a delicate body and colorful butterfly wings. However, at a closer look, all the creepy details emerge. The face is partially blindfolded, while the body has multiple arms, similar to the ones of a mannequin. Another head is positioned in the belly, even bigger than the actual one. Every detail in the design screams about a painful love, one not corresponded, from the eye blindfolded to the two independent heads. Everything is fitting with the events of Chapter 4, but I would avoid spoilers. The most creepy details are the legs, twisted like a rope to form a single appendix. If you still have doubts about how this design is a symbolism of twisted love, this particular choice for the legs is clearly inspired by the tragic end of two lovers in Junji Ito’s masterpiece Uzumaki.
The boss of Chapter 3 is a disgusting and strong being. The creature is described as an old man practically naked, with a mouth opening in its belly. When discovered, the monster was ready to eat two children with fork and spoon, like if they were a proper meal. The obese creature has a dumb and void expression on its face, with intimidating and gigantic proportions of the body. The boss wields a scythe and is able to use it quite deadly. The battle is, in fact, the toughest one until that point, not only for the amount of HP of the boss, but even more for its ability to heal almost completely and to kill a character with a single swing of its scythe.
The boss of Chapter 7 is bigger than expected, a colossal being that looks like a nightmarish version of a Shrek character, or an inhabitant of Halloween town in Nightmare Before Christmas. The monster is a sort of humanoid sack, a rag doll with stitches all around its body. However, the creature is well-dressed, with a hat, a wig, gloves, and boots, providing even more cartoonish vibes. But the creepiest detail is what lies below its artificial skin. A mass of raw and amorphous flesh is revealing where the cloth is not falling apart, a layer of grotesque skin covered with eyes. Something monstrous is clearly living under that fake fairytale appearance. The boss is wielding a giant anchor as a weapon, a deadly mace used to crush the opponents. The battle is a long fight of eroding strategy. The boss not only is hitting hard, but has also an obscene amount of HP. The boss is even able to use a defensive pose, counter-attacking all the player actions in a deadly and accurate way.
The real name of the boss will hint heavy spoilers on the game’s plot, so I decided to leave it blank. The titanic abomination sends strong Lovecraftian vibes in any detail, especially in the face. A grotesque puzzle of eyes and teeth, the creature is a terrifying nightmare, including long hair composed of a sort of yellow tentacles. The hands are even bigger than the rest of the body, totally out of proportions, gigantic and intimidating from the long fingers to the claws at the end. The monster killed a multitude of humans during a rampage, this explains while the hands and the mouth are covered in blood. The boss doesn’t have much health, compared to previous encounters, but sadly this is its only flaw. Its claws will kill any character with one single attack, transforming every turn in a desperate struggle to increase defence or gain immunity.
Appearance: In the beginning, the boss will appear as a common old woman apparently working at a textile spinning wheel. Even if the woman seems harmless, the battle will begin, highlighted by the eerie and foreshadowing text ‘You get ominous vibes from the old lady in the darkness’. The old woman will quickly change in an abomination. The textile spinning wheel will be directly incorporated into the creature, like a unique entity made of flesh and wood. She has long and mannequin-like limbs, including an extra arm extending from behind her back. Her face is the most terrifying detail, with a deranged smile and a completely psychotic expression. Maybe for the floating position, or for the red veil partially covering it, but the wooden-creature has a vague resemblance with characters from classic paintings.
Background: The old woman will appear at the end of a dream sequence telling the past of the main character and the town. She looks like an innocent and harmless woman, hiding in the darkness of a house, but regardless of the peaceful scene, a battle will anyway start. After the first attack, the main characters will try to talk with the old woman, trying to create an understanding of how futile this battle is. But she will not react, nor will take any damage from the attack. Then, the old woman will change shape, becoming a demon of flesh and wood, starting the real battle. The boss is a tough fight since it is able to attack multiple times in a turn with all its limbs. The arms will slash the party causing bleeding, and also the leg will kick the player, but they are less dangerous than the arms. However, the most threatening part is when its fingers start to flex. The next turn after this ominous message, the characters have a 50% chance of being instantly killed. The Skin Granny will literally rip-off the face of a character, wearing it like a grinning mask connected with wires, in a scene remembering Hellraiser (image below at the end). Now the name Skin Granny has a meaning, and the old woman was probably not working with textiles on her spinning wheel. The instant-killer attack is performed from the arm behind her back, so taking it out is a priority. In Fear & Hunger targeting limbs is the most common strategy, and to easily survive against the Skin Granny it is necessary to mutilate all its arms. The background behind this creature is the most mysterious in the game, even the Gods know nothing about the lore of the Skin Granny. The monster is a construct, so it will be safe to assume that Valtiel, the God creating artificial creature, is also its father. But the Skin Granny appears in a dream induced by another Goddess, as the last test before speaking with her, so the Skin Granny is probably an ethereal being more related to the mind. The Skin Granny can be a symbolism of what is happening, on how the life of an ordinary town got twisted and mutated in something horrible. The old woman is the peaceful life that was abandoned, a mirage of the new violent reality, and its true form is the world that now needs to be faced by the main characters. The last test of a Goddess that wants to know if the characters are ready to abandon their old lives and face the terrifying challenges of the new one.
Death end re;Quest 2 is classified as a horror JRPG for a reason, and it does everything to support the definition. The general atmosphere is oppressive and tragic, a world where every person could experience a brutal death or an unfair fate. Every story and background is not for the faint of heart, usually involving abuses and tragedies. This is the story of a girl with a traumatic past, searching for her sister in an orphanage for girls only. This story is not a common drama but something deeper and more twisted, set in a mysterious town with a secret. People at school and also at the town are involved in the mysterious religion of “El Strain,” so it will be very clear since the beginning that the small town is hiding a secret, and the curfew at midnight is only a part of it. Obscure religions and alternate realities will meet cyberpunk themes connected with the first Death end Request, creating a complex atmosphere for one of the few and rare Japanese horror RPGs. However, knowledge of the first game is not essential to enjoy the sequel (in fact, I still didn’t have the chance to play the prequel).
Gore and blood are also quite present, especially in the cutscenes, both in anime and 3D events. Special examples are the BadEndings, graphic and violent Game Over scenes that are associated with bad decisions during the events, even if it is often text-only violence. This in not unfair as could sound, and discovering all these violent endings will soon become more interesting than avoiding them. The darkness of the writing it is not a surprise knowing that Makoto Kedouin, writer for the survival-horror series Corpse Party, was involved in Death end Request 2. Worth to notice that several secondary characters are disturbed or plainly psychotic, behind their friendly facade, with cases of bullying and toxic friendships.
The game shows two souls, perfectly divided both for aesthetic and gameplay. During the day, Death end Request 2 is mainly a Visual Novel (VN). The player can explore the school and the town to interact with several secondary characters and discover new events. Some of the dialogues will add background to secondary and main characters, providing also small clues to enrich the complex lore of the town. Other events are just plainly comedic and light-hearted, useful to break for a moment the dense and dramatic atmosphere of the game. The wall of text is not as thick and aggressive as other productions, plus players that want to jump directly into the action can easily skip the daily events, of course losing layers of information about the game. From an artistic point of view, the VN sections are also well realised and rich in detail. Characters have nice animated portraits and are able to show many different expressions. The dialogues are also almost entirely dubbed in English and Japanese, providing an additional level of immersion and quality.
During the night, the gameplay will switch toward horror JRPG. The player will explore the town, a creepy and eerie place of twisted architectures, where disturbing monsters roam in the streets. During these moments, there is of course space for exploration, collecting items and discovering secret paths by hacking cameras or using character-specific skills. Monsters are visible on the map and can be avoided or attacked to gain an advantage. The battles are where the gameplay truly shines for originality. Each battle is a sort of kinetic puzzle. The characters can freely move around to decide the best position and angle to execute the actions. The battlefield is full of glowing spheres, assembled in complex patterns, which provides a bonus if touched or by throwing an enemy on them, from healing to a boost in attack or defense. The ideal strategy is to attack and throw the enemies around the battlefield, deciding the best direction to maximise the number of glowing symbols touched by the enemy. But this is not everything: the knock-back function opens a world of possibilities. Enemies can be smashed on each other, threw against energetic barriers, or in the direction of an ally, which will perform a counter-attack launching the enemy even more further away.
Even if thismechanic is already deep enough, each character has also its peculiar way of attacking and throwing, plus a complex set of skills to use and unlock. In a single turn, each character can execute a combination of 3 skills and actions, and some combinations will even unlock extra skills! The game also offers a good level of personalisation: favourite skills can be arranged in groups, while weapons and accessory can be changed from the menu to improve each character. Weapons also change in appearance during battles, and trust me, having the main character fighting with a hatched or a chainsaw is really rewarding. Battles are unique and deep, but it is also true that sometime even the most standard battle will need time to be completed. This can add some tedious moments in long explorations, but luckily the escape action is there to help.The maps are also quite linear, but the variegated selection of creepy adversaries and the many rewards scattered around every corner are keeping high the attention. Moreover, the game does not require excessive grinding, it offers a fair but not to be underestimated level of challenge, but levelling up is quite easy and the results quite fruitful. Boss battles can be especially tough, with some enemies able to destroy a character with a single attack. Good planning and a bit of luck will be crucial for these tough encounters. Some of the bosses can be really long and a bit unfair battles, not only for the one-hit-kill, but also because they have millions of HP and they are even able to heal at full life with one action. Be prepared for a difficulty spike after the first chapters.
The enemies are disturbing and creepy beings, far more characterised and interesting than the ones of a standard JRPG. Clearly, the team pointed toward a horror atmosphere in every artistic direction, and the monsters are not an exception (if you are looking for the most creepy monsters, have a look here: The most creepy and disturbing enemies and bosses of Death end re;Quest 2). Sometimes you will even forget that you are not wandering the streets of Silent Hill. Bosses are especially disturbing both for design and name: fighting a mass of tentacles and fangs called “No Face” has clearly a different effect, or “Laughing Mary,” a doll without a face. Moreover, I am not here to spoil the game but for fans of indie Japanese horror games, if the name Ao Oni sounds you familiar, you will be glad and surprised to know that it has a collaboration with Death end Request 2 (and if you are really curious you can find more info on this Gematsu article).
But the horror doesn’t end here. While wandering in the city at night, sometimes the player will be ambushed by the Dark Shadow, a tall and disturbing creature with the only aim of annihilating the party. Since the first encounter with the creature, it is very clear that the only option is to run away as fast as possible. Because being caught by the Shadow means an instant game over. This small detail provides an even stronger horror profile to Death end Request 2, a deadly and immortal stalker that will instantly slaughter the entire party. Idea Factory/Compile Heart already explored a similar idea with the Nightmares of Mary Skelter, with really good results (here my article about: The Nightmares of Mary Skelter: fairytale characters reborn as twisted immortal stalkers).
As fans of slasher movies should know, horror and sexual themes are often two sides of the same coin. Death end Request 2 is not very different, often jumping into subtle sexual dialogues between the protagonists. Of course, the setting of a school for only girls is already hinting to the majority of light sexual elements and jokes associated. Also while fighting, the girls will enter is an overpowered Glitch mode, changing into more revealing outfits. Again, nothing too much aggressive about it, just a bit of skin revealed.
With very few pure horror JRPG around, and even less available outside of Japan and for PC, Death end Request 2 is a game to really take into consideration. If you want and classic JRPG but with a unique and interesting battle system and a mature and horror atmosphere, Death end Request 2 will be a game to try.
The review is based on the STEAM version, for which I received a key from Idea Factory International.