The most disturbing eldritch creatures from the bestiary of World of Horror

World of Horror is one of the most original horror games of this year. Strong of a peculiar art-style, important references to horror manga, and a system inspired by retro text-based RPGs, World of Horror created a unique and disturbing universe for modern horror-RPGs. The cosmic horror typical of Lovecraft meets the aesthetic and the creatures of Japanese horror manga, such as the works of Junji Ito or Kazuo Umezu, creating the perfect melting-pot for creepy and disturbing creatures.

Grotesque ghosts, cursed cultists, unthinkable abomination, and ancient eldritch gods surround the small town at the center of all the events of the game. There are bosses and random encounters, and the battles occur using a classic turn-based system. The entities can hurt the player’s Stamina or Reason, based on their background, while the stronger abominations can damage both. Cryptic creatures will not damage directly the player, but will increase Doom, a doomsday counter, difficult to reset, which will awake the Old Gods when reaching 100%, causing of course Game Over. Worth to specify that ghosts and other intangibles entities are immune to physical damage, and can be mainly defeated by guessing the correct ritual. World of Horror is a rogue-lite game with a heavy random component. To face all the monsters, the player needs to finish the game multiple times.

In the following article, I will describe the most disturbing, grotesque, and interesting creatures from World of Horror. The game is still in Early Access, so more creatures will be added in future updates. However, even now the bestiary is very generous, with more than 50 disturbing enemies. Probably this article will also expand and update following the final release of World of Horror, including even more twisted and eldritch abominations.

  • Scissor Woman

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The first boss of the game and one of the most amazing designs, the Scissor Woman is an innovative interpretation of a classic Japanese urban legend. Three faces are vertically fused, with a giant and grotesque smile working as a bridge between the heads. The rest of the body is just a normal woman dressed in a long coat. As the name suggests, she fights using long and sharp scissors, a dangerous foe able to inflict an insane amount of damage.

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The Scissor Woman has 3 different forms, each more difficult than the other. The human form can be faced by performing the correct ritual during the case. A wrong ritual will instead summon the Horror version of the boss, definitively a tougher battle. The Burned version is more rare and can be faced only by burning the school as result of the ending of a previous case. In this case, not only her face is a grotesque nightmare, but the flesh is also burned and fused together, creating probably the creepier manifestation of this boss.

  • Puppet Matron

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A group of three hideous and grotesque dolls, which were hiding in the wardrobe of an ancient mansion. Their faces are like bloated and sweating, looking more organic than it should be. The two dolls behind look more submissive and scared, also missing the eyes, compared with the one in the middle. The matron looks definitively more dangerous and dominating than the other two. She is holding a knife and is not afraid of using it. The creature can slightly damage both Stamina and Reason, affecting both body and mind. The creature is probably inspired by Jean Pierre, the puppet from Junji Ito’s House of Marionettes.

  • Class of 1971

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Definitively this is a unique and disturbing creature, with a simple but effective design. The story behind this monstrosity is rooted in the tragic accident of the class of 1971. All the kids of the infamous class felt inside the sea while taking a group picture. Till now, the bodies were never recovered. The collective creature is an amorphous amalgam of the drowned bodies, a grotesque creature missing any trait, except for several limbs. The monster can be faced only as a random encounter in the seaside. It is a tough enemy, considering that it is not a boss, which can damage both Stamina and Reason.

Class of 1971 could be inspired by Kazuo Umezu’s work, more than Junji Ito’s ones.

  • Ribcage Woman

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What can be more disturbing than a woman having a ribcage opening directly inside her face? If you are looking at the picture, the answer is probably “very few things”. The creature is odd and grotesque, an enigmatic being outside of any logic. She is quite weak and not very dangerous, damaging the body of her victims. There is no explanation for her terrible state, or why her face is a mass of flesh and bones, she is just a mysterious creature emerging from the darkness of a forest. Another secret of World of Horror.

  • Drowner Sponge

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The disturbing creature at the beginning appears only as a rock lying on the seaside. At a closer look, the abomination is revealed. The name and the description (“It needs another body now”) imply that the black spongy mass full of mouths is a sort of parasitic entity, which uses dead bodies to move around. The Drowner Sponge is a creature probably living in the oceans, preying on the people swimming, drowning them to then control their bodies. The creature is tough but weak, relying mostly on its disturbing appearance to damage the mind of the victims outside the water.

An interesting detail is that the creature was before called the “Bondage Demon” with concept and head-design completely different.

  • Dream Devourer

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Dream Devourer is one of the most cryptic and dangerous entities of World of Horror. Cosmic abomination defying reality and sanity, the creature is an invisible force feeding on the dreams of its victims. The Dream Devourer is responsible for a series of unexplained comas, of course, related to the victims that it is feeding on. The Dream Devourer can be faced only by retrieving a specific powder, which will reveal its presence while feeding on a comatose subject. The worm-like creature is otherworldly, with an empty face full of void and glyph, while the body is slimy and naked. The real mystery behind this creature will be revealed only after defeating it: the long worm-like body is connected directory to a huge mass in the sky. The Dream Devoured is not a monster, but just a part of it, like a finger of a gigantic hand! The battle is also one of the most challenging in the game: the creature is highly-resistant and able to heavily-damage both the mind and the body of its victims.

The Dream Devourer is heavy-inspired by Juni Ito’s Long Dream, not for the design of the creature, but more for the background related to dreams inducing coma.

  • Tatoru

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A chaotic mass of fur, teeth, and dirt, disgusting in the appearance but not very dangerous. The floating entity lives in the woods, hanging on trees or telephone poles, just a hairy ball ready to drop on its victims. The creature is unable to inflict direct harm, but with its only presence, Tatoru will speed up the awakening of the Great Ones, increasing Doom at each turn.

  • Forgotten Specimen

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A twisted and grotesque mass of flesh, devoid of any consistent shape. In the amorphous conglomerate of flesh, the only distinguishable thing is an intense spiral pattern. If the creature was part of a bigger being, it is now a mystery, since this is only a biological sample stored in the school lab. However, I could speculate how this is only a sentient sample of Oetaru (see below), due to the similarities. A teacher killed himself with a knife in front of the mysterious jar, highlighting how the creature is probably able to irradiate suicidal impulses. This is consistent with its way of attacking, since the creature can only damage Reason. However, regardless of how creepy and mysterious it could look, the Forgotten Specimen is a weak and easy fight.

The spiral pattern is, of course, a strong connection with Uzumaki, probably the most famous Junji Ito’s story.

  • Bloated Swimmer

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There is nothing so original about the background of this creature, basically it is just a ghost or a ghoul infesting a swimming pool. But its design is so mysterious and creepy, so I feel that the Bloated Swimmer should be here. The body is wet and partially bloated, while the face is hidden in shadows, increasing the sense of dreadful mystery of the creature. Judging from the silhouette, the creature is bold, with big sparkling eyes. The bloating of the drowned body looks weirdly wrong, like if the female creature is somehow pregnant, more than simply bloated. As previously said, the Bloated Swimmer is a sort of ghoul living at night in the school swimming pool, drowning the people wandering there. The battle against this creature is an easy one, since its attacks are weak and its body fragile.

  • Oetaru

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Here we are entering the world of colossal cosmic abominations. Oetaru is an old and forgotten god living underground, and probably the only one that can be directly challenged in World of Horror. Just to better understand the size of the monster, the small background behind is a city, with also a lighthouse far on the horizon. The part that we can see of Oetaru is a mass of twisted flesh, a sort of colossal tentacle emerging from the ground below the city. The battle is of course impossible to win, the colossal creature cannot be damaged by any mortal weapons. The only way to survive is to escape or to sacrifice an ally, to please the old gods back to its slumber. Oetaru will not directly harm the main character, but will quickly speed up the Doom clock toward an early Game Over. In this case, the creature will kill the player by causing a massive sound wave.

The spiral pattern is again a strong reference to Uzumaki. But the references are not ending here, since Oetaru also clearly resembles the final form of the entity in Ito’s work.

The Pocketcat of Fear & Hunger: what RPG merchant could be more disturbing than one exchanging items for children? [Evil Characters]

If you read other articles about Fear & Hunger, you would know that it is a really grim and dark world, where the world friendship does not exist. Between the many creepy and twisted enemies, with disfigured and mutated bodies, Pocketcat is just a human figure with a cat head. At first glance, he looks goofy and out of the content, a character ready for a cartoon, not for a sadistic and horror RPG. But as often as in real life, sometimes appearances are wrong.

Pocketcat is one of the merchants in Fear & Hunger, and it will establish its shop in the depths of the mines. After interacting with the player, Pocketcat will say how happy it is and how much life is beautiful. Living in the depths of a prison, with people tortured and mutilated, its positive view of life is definitively out-of-place. Pocketcat sells interesting artifacts: a powerful sword, a book that allows saving once everywhere, and the Necronomicron! Strangely enough, you cannot buy anything with gold in its shop. Because the Pocketcat is using another coin.

In the most normal and joyful way, Pocketcat will exchange its powerful artifacts for… human children. The cartoon-ish and joyful character is, in reality, a sort of children predator, a mischievous creature exchanging items for kids. Even one of the main characters could be exchanged in this way, as in other evil deals (for more info check my article in Evil Quests section: Fear & Hunger: the many ways to permanently sacrifice the Girl [Evil Quests]). Who or what is the Pocketcat? It is not only a merchant enslaving of kids for who knows which disgusting purpose, but also a more ancient and evil being.

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By asking information about the Pocketcat to the New Gods, the player will know that the Pocketcat is a Trickster associated with the ancestral Moon God. The Moon God is hidden and mysterious in Fear & Hunger, but it looks like that will be more integrated into the plot of the sequel: Termina. Anyway, the Pocketcat is clearly something more ancient and powerful than a sick and deviated merchant. The origins of the mysterious Pocketcat are also revealed inside a book, apparently telling a sort of fairytale.

The book tells the story of a child called Willem, ignoring his mother’s warning going to play in the woods during a rainy day. But as his mother says, rainy days bring problems to children. The Pocketcat suddenly emerges from the bushes, stalking the kid till home, with its big glowing eyes. When safe at home, the boy will find a parcel addressed to him, with a mouse printed on it and catnip inside. He was marked as prey from the Pocketcat. In a picture from the book, the creature is unnaturally tall, “twice as tall as Willem’s father would be.” The hidden nature of sexual predator of this entity is even more highlighted in the book, since “its hand was moving swiftly inside its pocket while the two big yellow eyes glee’d inside a burlap bag in great excitement.” Maybe this is why it is called the pocket-cat.

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The player can also witness the true boogeyman’s nature of the Pocketcat. During a dreamlike flashback, the player will visit a town before the madness started to spread, a more peaceful compared to the insanity of the dungeon. However, in the darkness of an empty corridor, a kid is running, maybe scared of the darkness behind him. There is no time to do anything since something will drag the kid in the darkness. Before everything gets silent again, the distorted smiling face of the Pocketcat will briefly appear in the darkness.

A boogeyman, a servant of an ancient God, a slaver, and a merchant, the Pocketcat is all these things, and probably more. An ancient being who hides its true evilness behind a cartoon-ish facade, playing its own game with very mysterious rules. Another disturbing character in the grim world of Fear & Hunger.

 

 

Monster of the Week: Exposito, Scion of Abjuration (Blasphemous)

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Origin: Blasphemous

Appearance: At first glimpse, he could even look like a normal child, a sort of oversized baby Jesus or a giant cherub. Then, his nightmarish profile will become very clear in all the sick details. The giant baby is blindfolded, and looks like that he is constantly crying tears of blood, flowing down under the bandage in red rivers. Exposito wears on his head a big wicked crown, a very clear symbol of Catholicism, and a close recall to the figure of baby Jesus. The baby is held by a wicker woman, a colossal figure missing detailed traits, holding the baby like a maternal shadow. During the battle in the game and also in the last released concept art, a  snake-like creature extended itself from the main body of the wicker woman, like a sort of appendage. While the wicker woman simply moves around, and the baby only tries to catch and dismember whoever can perceive, the snake creature is attacking and protecting the baby with a multitude of skills. It is interesting to notice that, especially in the concept art, the face of the snake is like the one of a sad woman, probably representing the deceased mother of Exposito, which still tries to protect him.

Background: Exposito is really the embodiment of whatever could be interpreted as creepy or scary inside catholic art. The holiness fades because of the disturbing details of this figure, which clearly express the contrast between holy and profane. The complex creature is also a sort of unholy trinity, composed by 3 wicked creatures: the mother (instead of the father), the son is clearly there, and let’s suppose that the snake is a sort of holy spirit. However, the story of Exposito is provided directly by the game itself, and it is really a sad one. Just as introduction, the name Exposito is used  in Spain for orphan children with unknown parents. Exposito was a child, when the Inquisition burned his mother for heresy. The child was blindfolded to avoid to see the horrible scene but, even blindfolded, the poor kid was continuously crying. The last wish of the mother, while burning on the pyre, was that the people build a wicker figure in her image, to hold and to comfort her baby for when she will be dead. The Miracle, an energy mutating and twisting religious events in the land of Custodia, saw this scene and granted the wish, creating Exposito. The giant baby and the wicker woman are the perfect representation of the dualism between mother and son, even if in this case it is twisted with sadness and horror.

Regarding the fight itself and the attacks, the snake-like creature will do most of the job. The monster can attack with its own body, or can spit  poison or fire bullets. The creature will move following complex patterns, making really difficult to fight while avoiding its body. The giant baby will instead target specific regions of the arena. If the main character will be unlucky enough to finish in one of those areas, the giant baby will instantly kill him, brutally dismembering his body.

The dreamlike tale of Elaiza, an imprisoned soul able to travel between dreams and nightmares – Code Vein [Characters, Diaries and Stories]

Second issue of “Characters, Diaries and Stories”, a collection of fan-fiction stories regarding peculiar RPG characters of my own invention written as tales, but based on the action of the actual character and together with screenshots (the previous story set in the world of Fallout 4 can be found HERE). I would like to promote in these articles the connection between character creation, fictional tales and free roaming games. In this issue I will tell the story of Elaiza, a soul able to travel between memories, dreams and nightmares. This character was created using the powerful character creator of Code Vein, an interesting dark Soul-like RPG released in September 2019. To tell Elaiza’s story, I will re-imagine the world of Code Vein as an irrational nightmare, which could be anyway not so far from the reality of the game.

The snow is a symbol of purity and perfection. While the ice is cold and distant. The snow brings happiness to the children. While the ice isolates entire families. Elaiza was out for an expedition in that snowy day. While the ice brought her to a tragic death.

Elaiza at the time was a young girl living with her tribe in a very unwelcoming and cold land. The ice and the snow were constantly shattering the environment, and the people were hiding in the ruins of a forgotten society in order to find ephemeral warm. Regardless of her young age, Elaiza was going in expeditions to collect burnable objects for the tribe, helping them to build bonfires to survive the cold night. It was during one of her expeditions that Elaiza embraced the cold death. She saw a rare medicinal plant on a cliff, something very important for her tribe, which could save many lives with its healing properties. At this point, the gears of a tragic machinery were already in motion. The wrong step, the unforgiving ice, and Elaiza was falling down the cliff. After her disappearance, the tribes searched for her everywhere, but when they finally found Elaiza, she was dead.

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Destroyed for the grief and the sadness, for the tragic death of such a beautiful and lively flower, Elaiza’s parents decided to break one of the most ancient taboo of the tribe, contacting the exiled Dollmaker. The old man was a powerful shaman, able to infuse young deceased souls inside the artificial bodies that he created. He was exiled from the tribe, because his practices were considered forbidden magic, but for Elaiza’s parents that was the only chance to see their daughter again. The Dollmaker was able to help them. He created a beautiful doll based on the exact image of their deceased daughter. Chants, smoke, fire and ancient magic, the ingredients to alter the natural laws, to bind a deceased soul to an inanimate object. The mysteries of the universe are infinite, and the ritual worked. The doll started to move, and she was able to recognise her parents. But there was a grievous secret that nobody was aware of, that Elaiza didn’t die for the fall, but after hours of freezing in the cold. Unable to move, with her bones broken, Elaiza suffered the deadly embrace of coldness for hours, before to finally die. Even when she came back to life inside the artificial body of the doll, the coldness was always with her.

The doll was able to move and to talk, to experience and to feel. It was a huge success for the Dollmaker and Elaiza’s parents. But the problem of the cold was very serious. Whatever she was doing, that sense of coldness was always there. The fire was just a mite dancing entity. Hot steam was simply cool air. There was nothing warm enough to dispatch that horrible feeling. Day after day, the intense cold feeling was increasing, morphing the new artificial life of Elaiza into a hell of sufferance. One day, the cold was so strong that the glass eyes of her doll body cracked. The coldness got unbearable, and the only relief for the poor Elaiza was to sleep. Only by sleeping, she was feeling warm. She started to sleep more and more, in short but warm comas.

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Elaiza’s dreams were not a void emptiness, as it could be expected from a doll, but weird and mystic travels full of life and surprises. Colorful roads lightened by sunrise, dreamlike fragmented landscapes made of floating islands, surreal cities, colossal statues and impossible geometries; Elaiza saw every possible and impossible thing inside the dreams. Her artificial life shifted toward the sleep, having the dream as the only way to experience a life without coldness. Because every new dream was like an unthinkable adventure, a place of mystery and surprises. Not everything was lively and colorful, and for every intense dawn and vivid forest, there was a dark pit, or a cold silence. Dreams and nightmares alternated between each others, like light and darkness, melting in complex and impossible landscapes. Elaiza’s travel in the dreamlike world became more challenging, sometime even dangerous. Pits opening from nowhere, mutable landscapes, sentience crystals and falling objects; many things were dangerous and unstable in this world.

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The time was passing, and the doll that once was Elaiza started to spend less and less time in the awake world. The cold and constant embrace of her daily pain couldn’t reach her while sleeping, and her soul was free to explore. Her powers of dream traveller increased, and with time Elaiza realised that she was able to enter inside the dreams of other people. She recognised other members of her tribe, while dreaming about a lost son, a hidden lover, or simply the challenges of the everyday life. The constant cold that was scourging her body while awake, inside the dreams, morphed, taking the shape of a small snowman. The persecution that was depriving Elaiza of a normal life, became in the dreams her closest friend, a small companion that was always standing on her shoulder.

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But for Elaiza there was no rest even in the dream world, and the nightmares started to get more frequent. She went too deep into the dream world, and opened a door that brought her too close to the realm of nightmares. If before nightmares were only characterised by hazards or traps, now they were able to give birth to unthinkable monstrosities. One particular nightmare was also quite recurrent, a dangerous and tough land full of violence and deadly monsters. In this horrible nightmare, everybody was preying on each other. Evolved human beings called Revenants were feeding on the humans, using their powers to hunt them down. Nightmares here took the shape of entities called Lost, feral and aggressive creatures attacking whoever in their path. That place was a constant battlefield, and the blood of whoever was the victim was the trophy. Hunter or prey, there was no other way in this world. But the most horrible truth regarding this violent nightmare was that Elaiza got trapped there. No matter how much she tried, there was no way to come back to her cold reality, no way to wake up in her bed with her tribe.  After wandering through hundreds of mesmerising dreams, she was trapped in the worst of the nightmares.

Elaiza could only fight her way to survive in that nightmare. Lost and Revenants attacked from everywhere, horrible bloodthirsty monsters, but she was able to defeat them quite easily.  Somehow, she was draining power from the nightmare itself, absorbing the constituents of this violent reality. Her powers in the dream lands were growing more and more, giving not only the possibility to summon creatures, such as her loyal snowman, or strength, but also altering directly her body. Elaiza was able to modify herself using the essence of the nightmare itself, morphing her artificial body in grotesque creatures or deadly appendages.

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Unable to wake up, trapped in a violent nightmare, with her body slowly morphing into a shapeless monster, Elaiza soul was at the edge of a breakdown. Then something happened. The Revenants realised of her powers, and they asked for her help against the Lost. The Revenants promised to stop their uncontrolled feeding on the other souls trapped in this nightmare, because they were also the victims of the Lost, which were sitting at the top of this nightmarish food chain. Elaiza found a purpose in this nightmare, but she was still unable to wake up. She continued to fight the Lost, defeating monsters after monster, while her body changed and her powers grew.
Will she ever be able to wake up from this nightmare? Or will her body corrupt into a nightmare before?

The gray machinery of the Inquisition behind the cute facade of Minoria [Review and Analysis]

When you check images of the new game from the creators of Momodora, Minoria, you see an interesting aesthetic full of cute characters, like a modern fairytale. But behind this delicate facade, Minoria touches really dark and delicate topics, from religion, to dogmas, the oppression of the weak ones and the violence against nature. The colorful aesthetic is hiding the gray moral patterns of Minoria’s plot and setting.

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From the gameplay point of view, Minoria is a classic Metroidvania with a good RPG component. There are secrets to discover, different equipment and magics (called incenses), and also a bonus boss fight. The game is short for the genre (around 5 hours), but with 2 endings and also secret equipment unlocked when defeating a boss without getting damaged.

But the plot, the lore and the hidden layers built of small details are the most interesting side of Minoria. In the world of Minoria, an unforgiving Catholic Church is using the Inquisition to hunt for witches, powerful beings in contact with nature. If this is not dark enough, behind the fairytale facade of the art-style, the dark core of Minoria will slowly and subtly appear. First, it will be the dead bodies lying in the background, then it is the turn of lore books with really disturbing details.

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It will soon be clear through notes and books that the silent protagonist was brainwashed to become an inquisitor. A weapon without a morality ready to kill whoever is judged by the Church. The Church is also a rotten and corrupted organization. For example, the Saints in this world are members of the clergy who now live isolated from the world, surrounded by extreme wealth and pleasures. If games like Blasphemous use the horror of religions and Inquisition in a very direct way, in Minoria everything is more subtle, the grayness is hidden in few lines of dialogue, or in the backgrounds. But the player will feel this sense of uneasiness. The lack of free will, and the absence of morality, are also translated into the gameplay. Somehow, the linearity of the game is the main responsible of creating those chains. While killing witches, you will soon realize that they are not that evil, but, anyway, you cannot do nothing other than killing them.

This is really evident while fighting a couple of specific bosses. When they will be at low health, they will stop fighting, dragging around the arena while cursing you. They are already defeated and deadly wounded, but you have no alternative than keep on fighting. There is no way to have pity for the boss. The main character cannot fight the orders of the Church, as well as the player cannot break the linearity of the game. But you would like to do that, to find a way to avoid these murders. The linearity of the game is making you question your morality. Why cannot stop? Why cannot avoid to kill this character? But you character is only a brainwashed gear of a bloodthirsty machinery, so you just keep on fighting. Only at the very end of the game, the player will have a real decision to do. But, even in this case, the choice is reverted, and a promised happy ending will bring to even more death; and also to a final boss fight against a hopeless and powerless character.

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Under the main cathedral of the Order, a dark dungeon will reveal all the hidden torments caused by the Church. While fighting your way through the dungeon, you will meet skinny and traumatized prisoners who will only ask to kill them, such big is their pain. There is no reward for sparing or killing them, so also in this case the weight of your choices is meaningless, like if for the main character the life or death of another human being is totally irrelevant. This will cause a huge sense of uneasiness for the player, in a gorgeous and colorful world with fairytale-like characters, death will powerfully emerge from the background.

Also the concept of fighting against the nature will make you question your action. Some of the boss Battles are against primordial forces of nature, called Witch Deities, but is it truly necessary to destroy something so ancient? Also the main purpose of the game is to burn down a magic forest, which of course can open so many parallelism with the problems of our real world. But this is another story.

Behind all the colorful and the beauty of Minoria, a dark truth lies, a gray story where the linearity of the game will make you feel a brainwashed and blood-thirsty machine, without second thoughts for questions or pity. A deep story where nature and free will collide against dogmas and impositions.

When it is impossible to Save: surviving all the mutilations of the Crow Mauler in Fear & Hunger [Boss Battle]

Saving anywhere is a luxury of modern game, but it was never really common in old-school JRPGs, for example. Having fixed save-points would of course make the game harder by planning good the gaming sessions, putting a lot of care in your strategy to survive till the next save, or else you would be cursed to repeat entire sections. Some games push this even further, almost to a masochistic level. Permadeath is surely the worst case, erasing your save files after dying. Other games will also try different strategies. For example, Fear & Hunger will try really hard to make your journey a nightmare.

The save point for the first half of the game is a bed hidden inside a cell. If at the beginning this will look like a lucky event, after saving for the first time, the situation will get worse. Each tentative of saving has 50% possibilities of triggering a deadly fight against a really tough boss: the Crow Mauler. The abomination has the head of a crow, with a really exalted expression, on top of a muscled human body. The left arm is fused with a spiked mace, which of course is used as his main weapon. Official lore of the game describe the Crow Mauler as something that “was set on purifying the dungeon from filth and deprivement”. This deadly creature will easily wreck an unprepared party, and it is one of the most difficult bosses of the game. But only by defeating the Crow Mauler, the player will be able to use the save point without any more worries.

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However, the fight is a real challenge, and surviving without casualties or deadly injuries is an almost impossible dream. Because the Crow has several nasty surprises to show to the player, so many ways to kill or mutilate the characters. The huge mace is for sure the main source of damage of the Crow Mauler. This scourge can inflict an insane amount of damages, and can easily kill a character with a couple of blows. Each attack has also a really high probability of breaking bones, a negative status effect which will permanently reduce the maximum HPs of a character. Without any possibility of healing it for the rest of the game. Also his arm-mace has an insane amount of HP, making practicality a waste of turn trying to cut it. But if you think that this is the most deadly attack, you are terribly wrong.

The Crow Mauler’s beak is not there as a simple animal vestige, but it is in fast his most dangerous weapon. The beak has a really high probability of hitting a character, resulting in… an instant death. With a single attack the Crow can one shot whichever character, by pecking away his head in a gory geyser of blood. Let’s also remember that as any mutilation, death in Fear & Hunger is permanent. So even if you can finally kill the Crow, there is a critically high probability of losing at least one character.

Sadly for the players, death and broken bones are not the only permanent statuses that the Crow Mauler can inflict. The creature can summon a flock of crows to strike the eyes of the main character. The damage is pretty ridiculous, but a mysterious symbol of an eye-patch will appear as status, while a threatening message will also describe how the flock of crows clawed your eyes. But, apparently, there are no consequences of this attack and the battle can continue as usual. Let’s imagine that, after a tough fight the player, manages to defeat the Crow. The moment after the battle, the screen will be completely black. The character can still move and examine, but in the absolute darkness. Could this be a bug? Of course no, the main character was blinded by the crows, and there is no way to revert this, since has any other mutilation in the game thus is also permanent. The only way to prevent this status is by wearing a complete helmet. There is absolutely no way of playing the game with this affliction, so the only way is to load a save to try again to fight the Crow Mauler. After a tough fight and an impossible win, the last sarcastic joke of the Crow Mauler is to let you believe that you won, while without eyes, this is just another burning defeat, even if the monster is dead.

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Also if one Crow Mauler is not enough, the very late game has an unpleasant surprise. The last secret dungeon, and also the most difficult level of the game, hides several pits, which will throw the party in an organic basement. If falling in this viscid and damaging underworld was not enough as punishment, this place is also the hunting ground of a two-headed Crow Mauler. Even a well prepared party will find its hell in this fight, since double heads means also double beaks.

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The Crow Mauler is a deadly adversary, and a sadistic trap for unprepared players. He will strike you when you least expect it, when you feel that finally you found a resting place where to Save. Every tentative against this monster is a breathless challenge, hoping to defeat it quickly, before having casualties or losing the eyes. The Crow Mauler embodies the atmosphere of Fear & Hunger, a dark, hopeless and unfair world.

Mary Skelter Nightmares: When the dungeon is a colossal living creature with its own needs

There are worst things than wandering through the dark and cold corridors of a dungeon. If you think that a claustrophobic and repetitive space made of moistly walls and empty silences was the most terrifying and standard environment for a dungeon-crawler, now you will change idea. Because if the dungeon was instead a colossal living creature, the situation will be far worse. This is exactly the main idea for the setting of Mary Skelter.

While you wander through the dreadful but colorful dungeons, you may forget that you are instead inside the body of a colossal eldritch entity called the Jail. As the name suggests, for the few survivors it is impossible to leave the body of this creature, and they are doomed to endure terrible torture inside this organic prison. The Jail is able to mimic things that assimilated, explaining the peculiar and variegated environments. The creature also possesses a sort of immune system, but of course instead of macrophages and lymphocytes, there are monsters called Marchens, and the immortal abominations known as Nightmares (have a look at one of them here: Monster of the Week: Downtown Nightmare (Mary Skelter) — Surreal and Creepy). Sometimes by watching at the variegate and interesting dungeon setting, the player could forget to be inside a living creature, but the game will find ways to remember it. For example, it is quite common to find healthy flesh pulsing out of the walls, just a small fraction of a gigantic living organism. Sometimes, huge eyes will open on the walls, following the party in a creepy and disturbing way. Also the main objective of the party is quite straightforward: to search and to destroy the Jail’s hearts in each different layer.

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The really interesting thing is that being inside a living organism is not simply a storytelling trick to make everything more interesting, but it is directly integrated into the gameplay. As every living organism, the Jail has needs, both physical and psychological. If the player satisfies one of the needs, it will be possible to access to a specific wheel which allow to win a random reward. If some prices are bonus in battle, more experience or less enemy encounters, other bonuses are more rooted in the setting of the game. For example, one of the most interesting reward is the possibility to morph the Jail body itself, unlocking secret areas or creating complete new floors. To fully explore each level of the Jail will be not only necessary to satisfy its needs multiple times, but also putting extra care while unlocking the “random” rewards. The concept of satisfying the biological needs of a giant monster in order to control its own growth, to explore new floors of the dungeon, is a really innovative concept.

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Which are the biological needs of the Jail and how the player can satisfy them? Of course the primary necessity of any living being is the hunger, and the fundamental need of feeding. The Jail in this sense is not different from any animal and, even as a colossal abomination, it still needs food. The Jail will feed on the fluids of the creatures roaming inside of it, absorbing and digesting the blood that is splattered on the walls of the dungeons. How can the player satisfy this need? In each battle if an enemy is killed in a critical way, it will splat pink blood on the walls of the Jail. By critically kill many enemies, the dungeons will turn in a pinkish slaughterhouse, and the Jail will satisfy its hunger. Other than feeding the Jail, the blood will stain on the walls of the dungeon for the entire game. So yes, practically speaking, a player could turn the Jail into a pinkish hell.

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Another primary need of any animal is sleeping. Also the Jail, an eldritch monstrosity, sometimes needs to peacefully sleep. Only when the Jail is sleeping, the player can take advantage of this situation to satisfy this need. In some specific moments, the Jail will simply fall asleep. This is the only time when the player can fill the sleep bar. Just walking in silence is enough to keep the Jail in its peaceful sleep, increasing the sleep bar towards the bonus. Fighting will of course negate any satisfaction, since a battle is of course very noisy and will bother the Jail’s sleep. However, if the player is able to defeat the enemies without taking damages, this will provide anyway a step toward satisfying this need. For sure a quick and deadly battle is less noisy than a long one.

The third need is more complex and, well, a more delicate topic. Because apparently even for a gigantic eldritch abomination, the third physiological need is the libido. Japanese RPGs will never stop to be a surprise. Anyway, also this need can be satisfied by the player in order to take control of the Jail, its growth, and the relative bonuses. Before being traumatized by what the main characters should do the satisfy the libido of this huge abomination, let’s take a big breath because the solution is not as disturbing as could look. Scattered around the dungeon there are innocent looking heart symbols. Those are called “Emotion Points”, and are the quickest way to increase the Jail’s libido. If you forget for a second the name and the bland appearance of these symbols, the main idea is anyway that the characters are looking for “very sensible points to increase the libido from the inside of a huge organism”. Yes, now everything is really more disturbing.

If hunting for “Libido Points” inside a colossal being is not your daily meal, there is another more direct and less subtle way to satisfy the Jail’s libido. The main party is composed by only good looking girls, often with very few clothes on. If this alone could be enough to increase libido, they also have a more interesting secret. They are not human, but something called Blood Maiden, a class of warrior related to blood. Their true power arises when they get covered in blood. But when they are extremely drenched in blood, they could become corrupted, going into a dangerous frenzy. So what could be the most efficient way to clean the blood from their skin? Of course by licking each other. Japan, what a wonderful land for dark RPGs. This action is however not shown to the hungry player’s eyes, but, apparently, the Jail is instead enjoying the spectacle, since its libido will increase.

Mary Skelter is a dark JRPG with a really unique setting. Not only the player is wandering literally inside the “final boss” for all the adventure, but the player is also directly integrated in its ecosystem, trying to play with the Jail’s needs to control its growth. This is really a unique concept with a huge potential, and a very innovative way to connect the gameplay with the setting. For more info you can also check my review: Mary Skelter Nightmares Review: an innovative dungeon-crawler where fairytales are drenched in blood.

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Interview with Chris Bourassa, co-founder of Red Hook Studios and Creative Director of Darkest Dungeon

Darkest Dungeon is one of the most original and innovative dark RPGs ever. The addictive gameplay, the incredible art-style and the horror elements, created the perfect formula for a game that defined a new genre. As the name suggests, this is a really dark RPG, with strong horror components rooted in an unforgiving and complex system. Permanent death, mental and physical diseases, balance of light and darkness, Darkest Dungeon really knows how to perfectly integrate horror elements into a modern RPG. Worth also to specify that the world of Darkest Dungeon is one of the most original dark fantasy settings, from every abomination lurking in the darkness to the original classes.

With the recent announcement of Darkest Dungeon 2, the series is back to bring horror and despair upon the players. I had the opportunity to chat with Chris Bourassa, co-founder of Red Hook Studios and creative director of Darkest Dungeon. With more than 14 years of experience as art director and concept artist for several videogames, series and also pen-and-paper games, Chris is not only co-creator of Darkest Dungeon, but also the main artist behind the distinctive art-style of the game.

His answers provide information on how Darkest Dungeon was born, about his art-style, and also some details about a very interesting unreleased creature (which I really hope to see in the sequel). If you are like me, craving for news regarding the sequel, the following interview is the perfect reason to dig even more in the lore and the secrets of Darkest Dungeon.

Q1: I would like to thank you for the opportunity of interacting with you. Darkest Dungeon (DD) became in the last year a new reference for dark RPGs, with many games inspired by its art-style and mechanics. How the idea of Darkest Dungeon was born?

A1: Darkest Dungeon began as a series of loose sketches I would chip away at on my bus rides.  It struck me that that power in games is represented primarily through more and more elaborate gear.  However, in reality, it’s the willingness to fight, rather than the rarity of the sword that is the mark of a hero. Tyler Sigman and I sought to explore a more subversive take on the traditional RPG tropes – one that embraced the idea that heroes are human – have flaws, weaknesses, and shortcomings.

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Q2: The gorgeous art-style of DD is also something that contributed to the mainstream success of the game, something really unique that now defines a new style by itself (often you can read around “Darkest Dungeon style”). Why did you decide to use this particular art-style to portray the world of DD? Which are the main influences in your style?

A2: I had spent many years working in a variety of styles, generally more painterly.  However, I decided Darkest Dungeon needed a look that would reinforce its central themes.  Hard edges reflect the uncompromising choices a player is faced with, and the pooling black suggest ever encroaching disaster. I looked at a lot of illuminated manuscripts, medieval woodcuts, and modern comics including Mike Mignola’s Hellboy and Guy Davis’ The Marquis.  The latter being my favourite graphic novel of all time! All of these ideas and influences helped me craft a style that was morbid, but iconic.  I like to think that despite the subject matter, there’s still some ‘fun’ injected into the work.

Q3: There are many interesting references inside DD, but personally I love how you integrated in an original and personal way concepts from Lovecraft in the world of DD. Why did you choose Lovecraft’s myths as one of the main references for DD? Was there something “Lovecraftian”, such a tale or a setting, that you truly wanted to introduce, but at the end you were not able to?

A3: What appealed to us most was cosmic horror.  We didn’t want to make a Lovecraftian game, we wanted to make our own dark corner of the earth, and work with Lovecraftian themes like the cosmic insignificance of man.  I will confess that the story ‘Rats in the Walls’ was a touchstone for the narrative set up of the game, but we consciously avoided established nomenclature and specific creatures/references from Lovecraft.  By this time, all the DLC has come out, and I can’t say that we left much on the cutting room floor!

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Q4: DD implements several mechanics maybe more common in horror games, from sanity, to light/darkness management and permanent death. Why did you implement these features into DD? How these mechanics are integrated into the world you created?

A4: It was important that our game feel like high stakes poker – the player is playing with her best characters, each of whom represent a certain amount of time investment.  Permadeath in this context helps increase the tension and player engagement. Other mechanics, light torchlight help sell the feeling of dread and pressure – crucial to creating a good horror experience.

Q5: Fantasy RPGs are often quite standardized and can be easily full of stereotypes, especially regarding the heroes/classes. However, when the majority of the games have the Mage and the Paladin, Darkest Dungeon was really able to create unique and interesting classes, such as the Plague Doctor, the Grave Robber or the Hound Master. How did you came up with the idea to go far from the standard fantasy stereotypes? 

A5: Establish tropes carry a lot of expectation with them from audiences – that’s part of their appeal.  However, it can create dissonance when those expectations aren’t met. We explicitly decided to avoid standard RPG nomenclature and character classes wherever possible – the tropes themselves can really box in creative thinking.  If I tell you we have a Rogue in our game, but that the Rogue can’t turn invisible, doesn’t backstab, and has a pistol instead of dual daggers, your response would probably be “…that’s not a great Rogue.” But, if I tell you it’s a Highwayman, suddenly, as a creator, I’m free to dictate what makes this character cool, unconstrained by your expectations.  Additionally, the sense of discovery a player experiences as they learn about these new character classes is an engaging and refreshing journey!

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Q6: Still regarding the heroes/classes, which is your favourite hero and why?

A6: I like them all 🙂

I think I identify most with the Highwayman – something about the practical jack-of-all-trades brawler appeals to me.  I referenced The Shadow when coming up with his design, and I like the mystery that the bandanna brings. That said, the Leper and Plague Doc were milestones for us in terms of how we thought about our classes. 

Q7: DD was one of the finest example of a good use of the Early Access (EA). For the fans that didn’t follow the game since EA, what was the mechanic that changed the most from EA to the final release?

A7: Enemy corpses and skill/trinket balance are the things that changed most throughout our stint in Early Access.  Obviously, we added a ton of content as well, but as far as gameplay-oriented changes, those were the big ones.

Q8: DD is famous to be a challenging and unforgiving game, with a deep system difficult to master. Did you have some challenges yourself while testing the game?

A8: The biggest challenge we faced was getting the actual game finished!  Our team was small, and everyone worked extremely hard. There were periods of elation, periods of despair.  We had children born, and loved ones pass away. It was an intense, exhausting, and profoundly rewarding time in our lives.  We even began referring to our current state of mind in game terms, admitting when we were stressed, ‘afflicted’, or celebrating when someone over delivered by telling them they passed their stress-check!

Q9: DD is a unique game also for the design of the enemies. From the Collector to the Swine Prince, each boss battle is unique and interesting both for design and mechanics. How did you create these creatures and what inspired you the most during the process? Was there a creature you really wanted to introduce, but at the end was cut-out from the final release?

A9: The monsters and bosses were great fun to design and draw.  Often times they were built ‘theme-first’ – that is, the Hag and her pot was such a great visual that we figured out how to make the mechanics work after the fact [Figure Below].

I had an idea for a schoolteacher whose classroom was full of desiccated corpses tied to their chairs.  If you let him complete the lesson, he’d drive you mad. It was a cool idea. Actually now that I think about it, maybe we’ll put that in the sequel!

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Final Remarks

I would really like to thank Chris for his courtesy and kindness. It was really interesting to discover the complex processes behind the developing of such important game, and I am sure that fans of dark RPGs will appreciate too. As many others, I am really looking forward to discover which new classes and terrible abominations will be available in Darkest Dungeon. While waiting for the sequel, I suggest to the readers to try Darkest Dungeon, which is available for Nintendo Switch, PlayStation 4, Microsoft Windows, Mac, Linux, iOS, PlayStation Vita, and Xbox One.

Fear & Hunger: the many ways to permanently sacrifice the Girl [Evil Quests]

Fear & Hunger is probably one of the most dark and disturbing RPGs ever made (check my review fir more details: Fear & Hunger Review: a journey in a land without morality for the darkest RPG ever made). The game lacks any morality, and every action falls in a gray or in a completely black zone. Between the many questionable actions and deeds, the fate reserved to “the Girl”, one of the most important and mysterious characters, is particularly disturbing.

The Girl is found imprisoned in a cage in the entrance of the dungeon. Unable to clearly speak and to explain anything, she can be anyway set free. She will then join the party following the main character around. She is practically useless in combat, and will die pretty easily. However, there is a secret behind the existence of the Girl, and only by bringing her to the very heart of the dungeon, it will be revealed. This is not an easy task, even because the game will try to trick the player several times into sacrificing the Girl. Because in the dark world of Fear & Hunger, sacrifices are a powerful currency. And the Girl is one of the most precious coins, so it is not a surprise that many entities will lurk for her soul.

Even without being tricked by a mysterious creature, the player can even simply decide to sacrifice the girl at any offering circle, common spots scattered around the dungeon. The magical circles allow the main character to gain trust with powerful and ancient Gods by performing different rituals. For example, sacrificing one of the party member is one of them. The Girl is the best sacrifice to increase your loyalty with the dark god, unlocking new spells and abilities. Of course the Girl will permanently die, after being sacrificed in a violent and cruel way. In a grim world where party members can be sacrificed to obtain new skills, the Girl could be sacrificed just few minutes after obtaining her, at the very beginning of the game. By doing this, for a cheap but immediate reward, the player will be locked out from one of the endings.

Being sacrificed to please an ancient god is not the worst fate reserved to the Girl. There are other far more grotesque creatures desiring to simply devour her. An example of this is the disturbing Human Hydra, a creature born from the fear and the despair of all the guards of the prison, which tried an horrible ritual to save themselves (you can read my extensive analysis about the Human Hydra character on Surreal and Creepy). The grotesque abomination is hungry, and of course he wants that the player bring him food. What food would eat this horrible creature? Of course the meat of a young girl. The player could think to offer the girl in sacrifice to this monster, hoping in who knows which powerful and rare reward. The Girl is useless in combat, and the Human Hydra looks like a giant and terrible being, so why not?

This time the sacrifice is even more disturbing than the previous one. The Girl will be swallowed by the grotesque mass. She will try to fight back, trying to escape from this suffocating mass, trying to swim out of his body. But the more she tries to escape, the more the creature will absorb her. Till she disappears in the body of the Human Hydra, accompanied by disgusting squishy sounds. The reward of the player for such evil deed? Simply nothing, since the Human Hydra is a dumb and useless being, regardless of his terrifying appearance. Never trust a character in the dark world of Fear & Hunger.

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Talking about creepy and mysterious characters, the Pocketcat will surely be on top of the list. This creature, with the head of a cat, acts as merchant hidden inside the mines. He appears to be always extremely happy and full of life, often in a really disturbing and inappropriate way, especially since the world is now a place of evilness and madness. His shop offers really powerful and unique items, from ancient tomes, to powerful enchanted swords. But of course, the Pocketcat is not looking for gold. The only way to obtain one of his items is to offer him the Girl. Because he clearly says that he will accept only “children” as currency. The background of the mysterious Pocketcat can be discovered later by reading books or in specific flashbacks. He is an ancient and powerful being, acting as a sort of Boogeyman in the world of Fear & Hunger, predating on children and trying to kidnap them. At least, compared to the Human Hydra, this time the deal has a reward. The Girl will also not die, and she will not being gruesomely devoured in front of the player. But maybe her fate is even worse this time.

The Girl will appear for the rest of the game behind the Pocketcat. However, she will refuse to speak with the player anymore. Her eyes are full of sadness, highlighting that something truly bad happened to her. Her body is intact this time, but her mind is broken. As always, instead, the Pocketcat is super happy and full of life. According to his own words, he is really enjoying the deal. Whatever this is implying, it is something clearly not nice for the Girl.

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There is one last entity that will ask the Girl in exchange for something. Hidden in the depth of a tomb, behind a complex puzzle, and existing only in another reality, the Lady of Moon will make her appearance from a pit full of green light. She is an ancient deity, appearing as a complex mix of female faces fused together in a jellyfish-like body.

The creature is not aggressive, even if she will talk to the player during a battle. The Lady posses powers beyond imagination, typical of an ancient being. However, she can be easily defeat in combat with one single slash. But she has a better deal to offer, of course in exchange of the Girl. She will completely heal the party, but she will also bring away the Girl forever, dragging her in another reality. In Fear & Hunger, this full heal is not a simple matter of regenerating HP, but it is the most unique and complete form of healing available. During the journey, the characters could permanently lose eyes, multiple limbs, or they could being injured with fractures. All these status effects are permanent, and the deal with the Lady of Moon is the only way in the game to heal them. It is not clear what will be the fate of the Girl after accepting this deal, since she will simply vanish with the mysterious Lady of Moon.

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Fear & Hunger is a really dark and macabre RPG, which offers really interesting a questionable moral choices. Party characters, especially the Girl, can be used as bargain for really evil deals. But not always this is the best choice, because in this dark dungeon, the player cannot trust anyone.

Demoniaca Everlasting Night Review: a dark and mature beat ’em up metroidvania

Castlevania Symphony of the Night (SOTN) is probably the best Castlevania ever created, so no wondering that future metroidvania often used it as main inspiration. Sadly, right now the series is practically dead, and between the many indie metroidvania, very few of them have a comparable dark and gothic atmosphere. Demoniaca is the project of an Italian team, inspired by SOTN but bringing its own identity into a really dark and grim world, with a small amount of violence and nudity. Other than a mature and violent world, Demoniaca is also offering a deep and innovative combat system for the genre, and a beautiful pixel art. But I will talk about that shortly.

Demoniaca tells the tale of a girl abandoned half dead by a group of demons in a mass grave. Her blood got mixed with the one of demons, and she is able to heal and reborn as half’demon. She will follow her own revenge path while trying to stop a catastrophic ritual in a huge tower full of demons. Along her path she will face terrible monsters, huge bosses, and will also meet weird characters. The pixel art of the game is very gorgeous and complex, especially for characters, enemies and bosses. There are a lot of effects on the screen, sparkles, lightnings and also characters appearing during specific summons or attacks. Also in some cutscenes or after loading a new area, a zoom function will better highlight the characters, providing lot more details. The music is fitting with the general atmosphere, with rock tracks based on a strong guitar, which will accompany the player while exploring the dark depths of the tower.

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The combat style of the game is very peculiar for the genre, and it is also very deep. Basically it is based on fighting games such as King of Fighters or Street Fighter, with the four basic buttons connected to different kind of kicks and punches. While progressing through the game, the main character will unlock new moves, to be executed as combination of buttons. Some new attacks are also able to open hidden areas or to progress in the game. There is also a parry function, which allow to reduce or to completely waive the damage received by the enemies. The combat system is deep and appealing, but quite difficult to master and to practically apply, often reducing to spamming the most effective  single attack against a specific enemy.

The RPG side of Demoniaca is well developed and integrated. The main character is able to level up with experience, to collect souls as money to buy new items, and can equip several accessories. There is a huge quantity of items to collect, from rings or necklaces to boost the statistics, to more peculiar items which will expand for example the information on the mini-map, showing also the movement of the enemies. The items can be collected from hidden chests, but also the enemies will sometime drop special necklaces or rings. The emphasis is however not on obtaining new weapons, but on discovering new combos and attacks to practice and to perform them.

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Demoniaca is a really challenging and punishing game, with a huge step in the difficulty after the first boss. The enemies punch hard, with strong and fast attacks, usually lot faster than the main character. Also flying enemies are particularly nasty and difficult to fight or to simply avoid, since often they are almost immortal and with very narrow space between them. Demoniaca also feature an old-school save system, based on finding save points. So forget about autosaves or checkpoints and go to save often, because if you die then you will lost lot of progresses. Of course these are not negative side, but it worth to mention that people looking for an easy metroidvania will find in Demoniaca a real challenge. Instead, old-school players will probably love it.

The enemies are interesting in both design and attacks, with a lot of variety in each new area. The bosses are huge and challenging, usually providing long and strategic battles. Even regular enemies are quite hard to defeat, and it is very important to discover their weak points, even if sometimes this is not too obvious. For example, a huge robot fighting with a telekinetic knife will make the main character into pieces, especially because its attacks are unblockable, till the player will discover that the telekinetic knife can be punched-back to avoid any damage, if executed at the correct moment. Each enemy is really a unique surprise. A small and apparently useless enemy can inflict the status “Retro”, reverting the graphical style of Demoniaca into a retro gameboy-like aesthetic.

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The characters show also a peculiar design, going from aggressive demon-like human, to mysterious being such as the Boxman. I am particular fan of this character, a weird and mysterious being wearing a cardboard box over his head, teaching techniques and appearing in the most unexpected situations. For some reason he really hates crows, but this is another story.

The game is full of small secrets, and has a lot of back-tracking, in the good metroidvania formula. For example, some secret areas or events can be accessed only later by using a specific ability. There are also super strong unique mini-bosses, marked on the map with a star, which are usually too strong to fight when met for the first time, and they need to be revisited again later in the story. The game is full of references, especially of course to Castlevania, but also to King of Fighters, for example in the main character sprites. I was also surprised to see some enemies very inspired by Doom, especially by the Pain Elementals and the Cacodemons.

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Sadly there are some negative sides in Demoniaca’s experience. The background is a bit static and repetitive, compared to the level of details of characters and monsters. The game is also really challenging, but with the correct items and with practice, every challenge can be overcome. The controls sometimes are not so responsive, especially during the platform session, which can be a little clumsy. However the game was released only few days ago and the developers look really responsive, so the majority of these issues could be solved in future patches.

Demoniaca is an interesting dark metroidvania, with nice characters and enemies, together with a deep combat system inspired by fighting games. If you can overcome the challenge, Demoniaca can be a really rewarding experience.

The review was based on a free STEAM key provided by the developers.