Peak game

It’s honestly hard to put into words just how much this games means to me. Undertale and Deltarune aren’t just “games” — they’ve been a huge part of my life for nearly a decade now. Time really flies, huh? I think of them as timeless masterpieces, not just in gaming but as pieces of media that somehow capture something rare and unforgettable.

But it’s not just about playing. Through these games, I’ve met some incredible people, seen jaw-dropping fan art and creative projects, and been part of one of the most welcoming, passionate fandoms out there. That sense of community—of shared love and weirdness—has been as meaningful as the games themselves.

Talking about Deltarune specifically, it stands shoulder to shoulder with Undertale as one of the best indie story-driven games out there. It’s bursting with quirky, charismatic characters and an absurd, meme-worthy sense of humor, but underneath all that silliness is a story that genuinely pulls you in and keeps you hooked.

And I have to say, chapters 3 and 4 feel even more polished and full of heart than the earlier ones. The passion behind the game really shines through, and it feels like the story is just getting deeper and richer with every new piece.

Finally got my hands on Transistor after playing some incredible games from Supergiant, like the Hades series. Now, Hades and Transistor aren’t really competitors — they’re very different beasts — but I still really enjoyed this short, roughly 10-hour dive into a unique, haunting story.

What grabbed me the most right away was the story. It’s got this cool mix of Matrix-style and cyberpunk vibes: a society where citizens vote on everything from bridge architecture to sky color. But beneath all that worldbuilding, the game kicks off with a tragedy — Red, the main character, survives an assassination attempt, but her lover doesn’t. His soul ends up trapped inside the Transistor, a mysterious weapon that can store people’s souls as “functions.” So you have this bittersweet duo: “a girl with a body but no voice, and a boy with a voice but no body” — if I remember that line correctly. It’s a haunting, almost poetic setup.

The voice acting here is spot-on. I especially loved The Unknown (Logan Cunningham) and Royce (Sunkrish Bala) — their performances added so much to the atmosphere. The game also sprinkles in lore through entries about each function (since they’re basically the souls of people), but honestly, most of these didn’t grab me that much — only a handful stood out. Still, the story and worldbuilding worked well together, creating a strong mood throughout.

Of course, the soundtrack is absolutely phenomenal — as expected from Supergiant. Red’s singing blew me away; I found myself just sitting and listening for like ten minutes straight at one point. It’s hauntingly beautiful and fits the game perfectly.

Now, the gameplay… I have to say I’m a bit conflicted. Early on, it’s a blast experimenting with different function combos to take down enemies. The difficulty scales nicely as you add more limiters, which felt rewarding. But eventually, it became clear that many functions are pretty underwhelming, and you can basically steamroll everything with one strong build. That said, the test chambers were a welcome break and added some nice variety.

NG+ was a bit disappointing — especially since you need it to fully complete the game. It gets repetitive quickly: no new limiters, no fresh functions (just duplicates so you can stack bonuses and build stronger combos), and only a few new test chambers. Basically, you’re replaying the same story with slightly tougher enemies.

So yeah, in some ways Transistor feels a bit like Hades: story-driven, an incredible soundtrack, and solid gameplay that eventually wears a bit thin.

In the end, it’s a unique, tightly focused experience lasting about 6–12 hours, with a compelling story and an ending that caught me completely off guard — in the best way.

A pretty good sequel, I must say—even though it’s a completely different kind of game from Crypt of the NecroDancer.

Gameplay & Mechanics
The core rhythm mechanics are really creative. Instead of traditional note tracks, enemies are the notes—each with their own unique movement and attack patterns. For example, green slimes require one hit per beat, yellow armadillos take three hits per beat, zombies move diagonally every beat, and harpies dash two tiles at a time instead of one. Even though it only uses three keys (rather than four like many rhythm games), it still manages to be quite challenging.

Music & Soundtrack
The soundtrack is fire. Danny Baranowsky, along with other featured artists, absolutely nailed it again. There’s a nice variety of music genres, all with well-designed charts that feel great to play.

Story Mode & Minigames
Story mode is decent—not mind-blowing, but it’s cool to see Crypt of the NecroDancer characters in this new setting. Plus, the rhythm minigames sprinkled throughout the campaign (inspired by Rhythm Heaven) help prevent gameplay burnout. Where else will you see the NecroDancer flipping burgers at a dead-end job?

Content & Replayability
There’s also a level editor with Steam Workshop support, and it already has a bunch of great custom songs. That said, the base game feels a bit light on content right now. Hopefully, the regular updates with new tracks will continue to expand it.

Achievements
If you thought the first game had tough achievements—this one continues the tradition. Completing all 32 “impossible” levels is no joke. Good luck if you're going for 100%!

Conclusion
Despite the genre shift, Rift of the NecroDancer is a refreshing and well-made sequel. It’s packed with charm, tight mechanics, and excellent music. Definitely worth checking out for fans of rhythm games—or those looking for something unique and fun.

8/10

Contrary to what some people say in their reviews, I genuinely think this sequel is a really good game—not just a failed DLC made into a separate title.

Atmosphere:
Yes, the atmosphere might feel weaker compared to the original. It’s not as terrifying or thalassophobic, and the map isn’t an endless ocean full of leviathans. However, this smaller map is much more concentrated, which I actually appreciate. The environment is beautiful and astonishing. Some creatures are pretty cute, like the monkeys and penguins, while others remain terrifying, like the Shadow Leviathan. That said, the shrimp creature feels like a downgrade compared to the Reaper Leviathan from the first game.

Story:
Personally, the story hooked me more than the original Subnautica. Instead of spending the entire game searching for a cure, the interactions and dialogues with Al-An really stood out. The main character is no longer a silent protagonist like Gordon Freeman, which adds more personality. The sister’s storyline feels a bit unfinished, though, which is a drawback.

Gameplay:
Gameplay-wise, it’s pretty similar to the original—plenty of resources to gather and craft. I especially liked exploring the new, tight biomes. The Seatruck felt better to me than the Seamoth, while the Prawn Suit is still as powerful and useful as in the original. The land areas are far more explorable than before, though exploring can get a bit boring after a while.

Conclusion:
Overall, this game is similar to the first one but with a less dark and horrifying atmosphere. It offers more beautiful landscapes and a more engaging story. I also really enjoyed the chilly, cold winter vibes that make the experience unique.