Damon’s hook is pretty neat and the instrumental isn’t half bad, but the song just feels…incomplete? Like, it’s not as hastily edited as something like Carnival or clunky and overly cheesy as We Got the Power, but it’s probably the most “there” song on the record. For a song with such a provocative title, I often forget it’s even on the album.
I’ve heard it’s leagues better live tho so I’ll need to listen to it there.
The Epic Mickey 2 graphic novel is essentially just the story harnessing its inner Emperor’s New Groove and it’s fuckin’ hilarious.
This subreddit doesn’t allow videos for some reason so have a screenshot even though it doesn’t show the problem off as well.
Instead of several parts of the machine coming into place, now the clown’s mouth is moving using ai generated animation and absolutely nothing else. There’s barely any movement and it’s a disgrace to the original version of the cover and the former animated counterpart. Literally zero reason for this change and is right after adding an actual animation for Demon Days’ page.
Only reason The Fall isn’t at the end is because
A. The Fall is a bit divisive so it probably wouldn’t fit as well
B. DoYaThing is one of the greatest standalone singles of all time and arguably the band’s best song so I felt it had to be somewhere in this video
Seeing how it’s been half a decade since the game’s release, I thought it’d be fun to see what the general opinion on the game is.
Personally, it’s probably my least favorite of the trilogy. The atmosphere not being quite as strong nor the map being as aesthetically cohesive as the first two games drags it down for me, but there is two aspects of the map I actually do like.
First, the return of many inanimate objects from the previous houses making their way in this one. With the first house being Granny’s, and the second being Grandpa’s, it makes sense that a variety of mementos from both appear in this games house, since they own it together. It brings about a real sense of unity and finality that’s subtle but definitely there. The basement puzzle with each Grandparent’s respective vase’s especially emphasizes this.
The second is continuing a trend from Chapter Two—taking what were once easter eggs, and turning them into gameplay mechanics. Bringing back Teddy and having him be the key to getting rid of Slendrina is a really cool way of not only calling back to the original secret, but evolving it into a useful mechanic. The room that references the first games starting room is neat as well. It’s not super in your face, and has items useful to either escape hidden in it, so it’s not just there for the sake of “oMg GrANNy 1!!!”.
The actual map aesthetic is unfortunately really boring and is lacking the same immersion as previous maps (the train station is just jarring, cool as it is), as I’ve mentioned, and both its size and not having as many item’s that can be used for multiple escapes can make the game feels like it drags on.
That aside, the game’s great weapon balance, meaningful change to the gameplay formula (Grandpa standing out more as his own beast), and still rock solid foundation still make it a worthy conclusion to the trilogy—albeit slightly inferior to its direct predecessors.
In other words, I Like it.
Closest equivalent Chapter Two has would probably be the Helicopter photos and even then two of them are usually not far from the security room anyway.
It’s especially weird in the case of Chapter Two, because isn’t the whole point of Grandpa announcing that he sees you is that it’s a counter to Granny? Granny can be lured by all sorts of items being dropped, but doesn’t let you know when she’s coming after you. Grandpa will make it clear that he sees you, but save for a select few instances, cannot be lured with sound. Adding chase music kind of lessens that dynamic a bit and I never understood why it isn’t at least optional.