![]() Naturally, this means you lose all that progress when you die. Much like Returnal, you build up your resources and skills as you progress. Where this causes problems is how boss fights are incorporated into the rogue-like formula. As you encounter later bosses, their patterns naturally grow more complicated. To boot, enemy attacks include their own choreography that adequately identifies itself most of the time. There is no confusion where attacks come from and what they look like. While generally monochrome, the game uses colors to enunciate attacks and differentiate them from each other perfectly. Inputs respond perfectly, and each input delivers something flashy, truly evoking a sense of power with each action you take. On that note, combat itself is well designed and engaging, especially the boss fights. It just misses the mark in the execution of its intentions due to the representations it uses and how the game uses them. I see the intention in this game as a means of depicting Death as a heartless CEO but in a stylized and humorous way. ![]() ![]() In most cases, businesses try to sweep work-induced injuries or self-harm under the rug or they avoid as much cost as possible when dealing with natural disasters. Arguments can be made about interpretations of these, and I personally don’t think there is any intentional malice behind these choices. Another is Catherine Imamura, a geisha embodied by swirling water. ![]() Good examples are a boss named Will Hung that you encountered who has hanged himself. ![]()
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