I really really loved my time with Stray Gods and I definitely intend to return to check out some of the other paths the story could have played out (Although I suspect they won't be that different). It's a lovely visual novel with a moderate integration of player choice that really shines in the musical segments of the game! While your choices there don't feel like they change the course of the story all too often, they do heavily impact the style and tone of what's sung, which is a delightful thing to witness. The OST is really good and catchy, the voice performances are stellar and the visual style manages to tie each element together well enough. On the story side of things it's a bit messy sometimes, but always intriguing - Let's see what I can dig up in subsequent playthroughs! The entire experience left me wanting more and I think that's a good sign that they were onto something here. With a little more polish (the game crashed on me quite often), some more budget for animations and a tighter narrative and theming, this would've been even better, but I'm really glad the game's out there as it is.

Ultimately a pretty middling experience for me, though I am down for supporting any kind of effort to make a video game musical, because I want to see a really good one of these made someday. How much you like this game is going to depend a lot on how much you like TellTale-likes, there's a lot of choices that won't effect where the overall story goes but will effect the tone of how it goes. A lot of the songs are pretty forgettable, and there were a few where I got that "this really could just be spoken but we're doing this I guess" feeling. Also, I would never have guessed this game would prompt this sentence out of me, but one of the more memorable songs in this game has a weirdly optimistic view of the nuclear bomb???

Obvious thing is obvious but, a lot of this game could be improved by increased production value. When I saw the game announced on Fig I was assuming that the near animationless characters were placeholder concept art that would be animated in the full release, but I was wrong! Also the audio balancing was all over the place. There was a pretty important character reveal in the third act in which the character was barely audible and I had to rely on the subtitles to know what was being said.

I think this is worth checking out if you're in the very small niche of people who want an experimental musical TellTale-like, but it's probably not going to be your cup of tea if you're not in that camp.

Mesmo sendo uma pessoa que sempre odiou qualquer coisa relacionada a teatro e musicais, decidi encarar Stray Gods com uma sensação de liberdade e positivismo, afinal a ideia é interessante e em uma comunidade estagnada no meio de um sistema dominado por roguelikes, soulslike e mundo aberto, qual mal faria gastar algumas horas em algo diferente?

Ao iniciar a campanha, os belos visuais apresentados chamam muito a atenção por não terem aquela poluição característica ou o clichê suficiente para afirmar que já vimos tal coisa em algum lugar. Contudo, o tema central com deuses gregos não torna a experiência tão fora do padrão e isso pode causar uma certa sensação apática nos primeiros 30 minutos.

Por não possuir jogabilidade focada em combate, Stray tenta destacar as escolhas dos jogadores e logo de início somos obrigados a escolher um caminho que, na teoria, causaria grandes mudanças na forma de jogar, porém os diálogos principais não possuem restrição, tornando a escolha inútil. Por um lado, isso é bastante positivo para pessoas como eu que curtem explorar ao máximo as opções, porém pelo outro o fator rejogabilidade acaba sofrendo com a falta de variedade e possibilidades.

Enquanto o enredo principal é simplista, os personagens de fundo e suas tramas não são, cada um possui motivações e interesses, o que torna a narrativa bem mais divertida, porém não são todos que se salvam e pelo menos metade (principalmente os homens) falham miseravelmente em serem diferentes, não fugindo dos repetitivos sistemas de personalidades.

Em relação a parte essencial, ou seja, as músicas eu não tenho reclamações, cada uma foi bem desenvolvida o suficiente para transmitir o essencial da cena e alguns momentos divertirem ou emocionarem em suas entonações, como disse no início, não tenho conhecimento nenhum em relação ao tema, então isso é tudo vindo de alguém que só deseja se divertir.

O mais legal da ideia do musical é que mesmo personagens secundários receberam o cuidado e conseguiram músicas tão memoráveis que superaram as principais. Sim, estou falando de você ‘Look into Me’.

Infelizmente o jogo não passou por uma boa otimização, então muitos diálogos possuem níveis diferentes e isso fica obrigando o jogador a ficar aumentando ou diminuindo o áudio. Além disso, problemas de legenda, velocidade entre diálogos e o sistema de salvamento foram encontrados.

Um outro ponto extremamente negativo, mas que não tem relação exata com o desenvolvimento foi a precificação, não sei ao certo o que a Humble possui na cabeça, mas R$100,00 em um jogo de 6 horas com poucas variações é realmente necessário?

Mesmo com a diversão garantida para um dia que só queremos relaxar, Stray Gods possui barreiras que justificam não recomendar em lançamento, talvez com uma promoção e otimização é justo, mas quem sabe quando isso vai mudar.

this could've been complete and utter garbage and i still would've had a good time tbh. the main draw for me was always laura in the lead role singing and honestly the rest is just icing on the cake. the music itself wasn't groundbreaking and the romances were touted pretty heavily despite not being all that prominent (at least in the one playthrough i've done so far) but given that baldur's gate also just came out, the fact that any other game grabbed my attention at all is astounding. the art style is gorgeous and it's australian which will always get bonus points for me. overall it makes me super excited about the future of australian games tbh.

you're telling me there's a freaking musical choice based game with the story about greek gods and such and expect me NOT to play it? jokes on you, i played it over two times (two and a half, because i realized the third romance i decided to pursue wasn't as interesting to me and it wasn't adding anything to the story whatsoever) and then found myself singing along to a bunch of songs from it, especially the one apollo sang about calliope when we were asking him to help us, troy baker has such a nice singing voice and so many of his parts just kept getting stuck in my head, and then my favorite one of the bunch, which was the one with medusa, "look into me" part was so damn catchy

it wasn't perfect and it has some sound mixing issues, the story is predictable, and it's not worth to play over two times in my opinion. like, only if you want to experiment with the songs and how can they be altered, that would probably be the best reason to want to replay it then, but if you want to explore all the romance choices, i don't think it's really worth it, which is unfortunate because that's the thing i was excited about but got so disappointed, i still had a lot of fun though!

Someone should tell the producers of this game that the name should be changed from Stray Gods: The Role-playing Musical to Stray Gods: The Interactive Visual Novel Where Characters Sing Their Lines Sometimes

Because this game is not a musical.

See, I'd like to think of myself as a musical enthusiast and by enthusiast I mean listening to the OBC recordings and watching slime tutorials on YouTube (iykyk). I know my fair share of musicals, both the standard live ones and the original movie musicals. The worst offense I could thing this alleged musical could do was to put songs at the wrongest times possible which is a common offense in movie musicals and Riverdale musical episodes.

Oh no, it was worst than that.

The moment the first song played, I sat there for a moment and questioned my perception of reality.

No, seriously, just what the hell are these lyrics?

Like a boat, lost at sea
With no sails, not a breeze

That is not a song. You cannot convince me that is a song. It's like if Hamilton opened with

Can someone please take a chance on me?
I'm here to make a legacy

And every single song I've heard is like that. There's no rhyme or reason. Even musicals that have conversation pieces within their songs have purpose and musicality. The aforementioned Lin Manuel Miranda is honestly so good at this (despite being annoyingly cringe).

I have to wonder has David Gaider ever seen a musical? Have any of the writers, producers and designers broke down ANY musical and studied it's composition? It truly does feel like Gaider and team thought that musicals = people singing lines. On that note, did no one on the team thought to hire a musical director or composer to assist with the game? Austin Wintory scored this game and while his work on Journey is beautiful and breathtaking, he has no musical credits and the score proves that he's wrong for this job.

That I think is the main problem with this game. The team behind it is so focused on hiring named talent that they didn't hire proper talent for the job. The studio is based on Australia which I know has a huge musical scene. They could lose a Troy Baker or an Ashley Johnson to hire local musical directors and composers to help with this project. No one held them at gunpoint and said to hire all of these known voice actors.

I'm seriously wondering if the musical component to this is a joke. Like did the dev team sat around a table and thought "Hahaha a game musical would be funny am I right?". It's an insult to RPG games and musicals everywhere.

Musical enthusiast, don't listen to the gamers saying you should play this game. They're lying. They don't know musicals like we do. Skip this game and listen to EPIC: The Musical instead if you haven't. At least the cast in there could actually sing.

New Release Review:
Stray Gods is an enjoyable visual novel/RPG, however, it will take some effort to ‌be engaged. One must go through the slow pacing of the beginning, but in doing so, it will reward them with a much more enjoyable experience in the second half. Songs in the second half are memorable and even allow the voice actors to show off their incredible singing on top of their phenomenal acting. The game has endless replayability thanks to the branching gameplay that allows for different story beats and music. The game is very simple and is an open experience for everyone to play. Technical issues such as bad audio mixing and input lag are largely present, however, waiting a few patches should resolve these problems. As a former theater student, this game was a nice little trip back to the musical world, however it will not be for everyone. If you love musicals and the stacked voice cast, you must play this game. If you are skeptical about the game, I would recommend waiting for a sale. Stray Gods: The Roleplaying Musical may have some faults, but it has more strengths that help it stick out in its genre and I would be interested in a sequel. I give Stray Gods: The Roleplaying Musical a 7/10!

Stray Gods is a choice-based visual novel-esque adventure with a twist: in-game musicals! And they're good. Like, really good.

So, to start, let's go over the negatives, because there are a lot fewer of those than there are positives. To start, I think the story is a bit basic. I mean, it's definitely good, and compelling enough to have kept me going, but it was definitely one of the weaker elements of the game, which felt a bit weird for this type of game. I didn't think the mystery was particularly mysterious, and I think it might have been foreshadowed a bit too heavily. There's also some weird issues with the audio balancing, some lines are really quiet and others are really loud, seemingly unintentionally. It was never uncomfortable, but it was notable, and I was thankful for subtitles. And, of course, my absolute biggest criticism: I can't replay the songs. This one hurt! Even if it was only the versions I had actually chosen, that'd be fine! I want to hear them again, they're so freaking good!

Beyond that, the game's a little buggy. There were a few scenes where Grace's character art just kind of vanished for a few moments? It was a bit odd. The frame rate was also really wonky, occasionally running at my native refresh rate and sometimes locking at 30, but it wasn't really a big deal for this type of game. There was also one time where a line of dialogue got skipped over somehow. But that's about it for the issues.

Now for the positives... The art is great. Every character looked fantastic, almost every scene was incredibly pleasing to look at. The color shifts were done so well based on your choices during musicals, really emphasizing the type of music that Grace went for. The musicals are incredible. I was really shocked at how adaptive they felt, I expected minor changes at most based on your choices, but they actually seem to change a ton. It was a really nice surprise and makes me want to play through the game again almost immediately! It helps, of course, that almost all of them were just so damn good. It's really tough to pick a favorite!

Speaking of those characters - the characters are really well done in this game. I stepped away surprisingly happy with... All of their characterizations? It was incredible that there just simply wasn't a character I disliked. I couldn't even say that for some of my favorite games of all time! I loved the relationships that could form. And for what criticism I gave the story, it does really have its moments, in large part thanks to how good the characters were. My eyes welled up several times near the end; the emotional highs felt incredibly powerful.

I was initially debating between 4 and 4.5 for this, but the desire to immediately replay it and the strength of the emotional highs really made me inclined to go higher. It doesn't feel like a game for everyone, but damn if I didn't feel like they almost made the game with me in mind.

Perhaps the purest form of art imitating other forms of art. This is a video game that is in love with musical theater and seeks to emulate musical theater. At the same time, Stray Gods can only ever exist as a video game, as the core idea of an interactive musical can't work in a non-interactive medium. There is no way that a stage adaptation could fully incorporate the idea of a "player" whose choices directly impact the sound, lyrics, emotional texture, and in some cases genre of song while the song is being performed. Similarly, because almost every song is necessarily framed around a clash between two or more characters, there is purposefully very little room for other staples of the medium, like character songs, ensemble showstoppers, entr'actes, and the like.

It is an imperfect game representing an imperfect musical and it is through those imperfections that its beauty shines. This is a project that clearly had a lot of love going into it from everyone working on it, from the writers, to the musicians, to the vocal talent, to the artists, that love and passion is clearly on display in every moment of this game.

It is not without flaws. There is a bug that has been known to wipe saves that they haven't managed to get a handle on, some of the sound leveling could have been more finely tuned, and perhaps most importantly, there is one scene whose premise and execution is....very very very on the 'tasteless' side (Aphrodite's Party), but overall this is a unique experience that anyone with more than a passing interest in musical theater should not miss.

Also don't ask me to explain how but Anthony Rapp as Orpheus is typecasting.

I still have some branches I want to explore, but after finishing four playthroughs, I can say that I'm pleased to add another game based on Greek mythology to my list of favourites!

Stray Gods is a charming murder mystery with a cast of lovely characters that resolve their conflicts through music. The cast is phenomenal, and many of the tracks have been on repeat since I heard them for the first time - queen among them, "You and I"!

There are some audio issues and a few mandatory story developments that feel odd depending on some choices you make, but all in all, this is a fantastic experience.

J'ai hésité entre 3.5 et 4 étoiles, et je me suis dit que j'allais être sympa et mettre 4 parce que Pan existe. Le jeu est bon, j'ai beaucoup apprécié le côté comédie musicale (que j'ai trouvé bien amené !), visuellement c'est beau, le scénario est bien, mais ce n'est bien évidemment pas parfait. Le scénario est parfois un peu.. simple, mais les personnages ont tous un très bon design et sont bien écrits (Pan!! Perséphone!!). Le gros problème du jeu, c'est le mixage (gros problème surtout quand on est un jeu basé sur la musique...). Les persos crient sans raison ou chuchotent, ce qui n'est pas très très agréable. Aussi, les "ruptures" dans les musiques sont parfois brutales lorsqu'on change trop de personnalité/couleur en faisant nos choix, ce qui donne parfois un résultat un peu spécial. Sinon, c'est un jeu qui vaut le détour, et que j'ai beaucoup apprécié malgré ses défauts. Apollon est un loser.

Finally, a game to merge all of my interests:
-RPGs
-Musical theater
-Mythology
-Angering formenlehre theorists

The idea of a roleplaying musical is so good that I was willing to forgive a lot here. The songs themselves are mostly forgettable and the roleplaying aspects are underdeveloped, but strictly as a choose-your-own-adventure story very much in the style of The Wolf Among Us I found this a pretty cool and breezy few hours.

Pan— styled here as a classic noir hustler— was my fave side character by several country miles, though your well-dressed bestie Freddie is fun too. Apollo and Persephone both a total snooze by comparison.

I understand replay value but I want to just play a game once and achieve my perfect ending where everyone lives/gets a happy ending. Idealistic? Perhaps. But I'm a control freak and will not rest until I craft my perfect story in a choices-matter game and it's impossible to do everything in one run of this game.

TL;DR choice paralysis a la roadwarden

EDIT: ok I did some more thinking on why I dropped this game so early on and I think it's because the fates of several major characters are dependent on ONE choice you make at the very beginning of the game (i.e. what personality Grace has) and THAT felt like such a monumental decision that my control freak ass could not cope with. How am I supposed to know who I want to save if I haven't even met these people yet? I know the answer is just "play the game, stop looking shit up!!!" but quite frankly, it feels way too punishing of a consequence for a decision you make 10 minutes in. I just sat there thinking to myself "damn, what if I really like x character when I meet them but I can't save them bc I fucking picked red grace??"

A pesar de sus fallos, me gana el high concept. O sea, una mezcla de visual novel y aventura conversacional rolerilla en un contexto musical detectivesco con dioses es algo que me gana fuerte. También es que hay unos nombres especiales, que si guión del pavo de Dragon Age, música del mozo de Journey (hay temazos), reparto de voces entre quienes están Laura Bailey y Troy Baker, etc.

Eso sí, técnicamente no me voy a quejar que básicamente sea un cómic interactivo, pero toca un poco las narices que el volumen de los diálogos no esté bien ecualizado o que a veces los subs vayan descoordinados o no se hayan traducido. Son fallitos menores pero molestan una mijita.

A really cool idea that is woefully oversold by its marketing blurbs. This game really needed more time in development, feels like some executive told them to wrap it up and they had to shove it out as is.

To be honest, I forgot to log this sooner and didn't take notes but a month on and I can hardly remember anything about this which doesn't instil confidence that there is much substance worth fishing for in subsequent playthroughs.

Some of the voice acting is pretty good with established talent probably costing most of the budget. The artwork is pretty static and feels kind of unfinished in places. It's not up to the standard of modern visual novels that's for sure.

The character designs range from good to painfully 2015 western comic industry levels of shite. Stock tumblr-era characters like annoyingly punchable friend with fedora who only talks about food, angry black girl who everyone has to tiptoe around, punchably smug fat chick in a wheelchair... Was there one with vitiligo? It was probably in there somewhere let's be fucking honest. Tired and outdated stuff like an issue of Squirrel Girl or something.

On the other hand, the main character is pretty cool - I like her design, you have some control so you can avoid having her say the cringe dialogue choices... Can't fucking remember her name though. Pan was also a pretty cool character, but is let down by the writing. He's set up as a mysterious trickster but it doesn't go fucking anywhere. I completed his romance tree as he was the only one with charisma but even then it was a bit stilted and didn't really add much to the narrative.
Uhh... Troy Baker was there? Wet blanket character IIRC.

The plot itself is like a murder mystery sort of thing where the culprit is obvious from the first five minutes of the game.
Greek gods in modern day, it's been done before and it's largely a bit shit here. Similar sort of gimmick to The Wolf Among Us, but with less thought put into the lore and more into diversity checklists.
There didn't seem to be too many branching paths although I have seen there are different endings in the trophy list. I can't imagine that they change a whole lot. I think there was some sequel bait in there so have to keep the variables in control for that.

In terms of the actual roleplaying in this so-called Roleplaying Musical - it's really basic and not what I would call roleplaying personally. There are a few character traits that you can pick between and they unlock different dialogue options but it's all swings and roundabouts and didn't seem like it made her so much of a different character to make a difference.

This leads to the songs which generally seem to have a couple of outcomes and you can twist things to your advantage by choosing different lyrics. The marketing acted like this was hugely in-depth but again it didn't seem that different. I replayed the first couple after accidentally deleting my save (unclear menuing - mark that down as a negative) and you might hear a few different verses. I will give it the benefit of the doubt and play it again at some point just to see, but if it involves sucking off the annoying characters to go down the branching paths I think I enjoyed this the most I ever will on the first runthrough.

The songs themselves... erm, can't remember any of them sorry lol. I guess none of them really had an impact. There was an absolutely hideous one with a fat minotaur who can't sing which might be the joke but it most resolutely fucking ain't when you're eight minutes deep and want to rip your ears off.

I mean, I like the idea of some of them. Convincing Troy Baker to spill his guts by picking weasel lyrics, teaming up with Pan to tell Fedora to fuck off... Taking selfies with Medusa to beat her with her reflection was a cool moment to be fair. You can probably cut the one where you have to convince the suicidal bitch not to kill herself or else you'll be stuck with the smug cunt replacement for the rest of the game hahaha.

It said that the game was inspired by Once More, With Feeling, the musical episode of Buffy the Vampire Slayer. That much is clear, but it's nowhere fucking close to as good as Buffy. In your dreams mate.

Buffy nails every lyric being perfect dialogue for each of the characters and each song furthering the narrative of the episode as well as being a culmination for a lot of ongoing plot-threads and character arcs throughout the season. Each song is memorable and emblematic of the characters and their dynamics. The humour, subtext and drama is expertly woven into the songs in a way that makes the episode really well-written regardless of the musical gimmick. In my opinion, it is probably a contender for best musical ever made due to how much care went into making every aspect of it relevant instead of just banging out a couple of cheap cover songs like the fucking Flash musical. Remember there was a Flash musical? Of course ya fucking don't.

As for Stray Gods, ya know, I guess they thought of trying to go for it. It's more effort than Flash but the music just ain't so good. For a musical I want way fucking better, let's just say that.

It got a bit glitchy with some scenes playing out of order as well. There's a map where you can choose where to go and it has a calendar system like Persona, except it doesn't work almost like the game is unfinished and shockingly short as well.

I want it to be good more than it is because it's a cool fucking idea. At the end of the day, it's a cheapo visual novel, a really fucking short one with not much substance. With Telltale dialogue choices passed off for roleplaying.

These are just thoughts and notes I wrote down as I played/in between play sessions. They're not the be all end all of my opinions, just the raw, unfiltered version of them

First and foremost, I have to say that I’m not a music snob. I took Music Theory and that’s about it. I like a lot of different genres of music, and I love spoken word music. That being said, I think Stray Gods isn’t great, the music especially isn’t my favorite.

-Audio Mixing can be pretty bad at times. I don’t know what went wrong there. It could just be something I noticed because I have higher-end headphones, but regardless, the issues were present and were quite noticeable. There were also some visual bugs here and there, duplicate characters, screen flickering, and the Minotaur just wasn’t in half of his song. It’s clear he was supposed to be there but I guess the Sprite wasn’t loaded.
-The voice actors feel like they weren’t given great direction 100% of the time. I know the voice actors for this game, and they are good names (mainly Laura Bailey and Troy Baker), but they don’t really seem to put the talent to proper use, at least not always. That being said, Grace and Apollo are good, there are no problems with them. But some people like Eros, Hermes, Persephone, etc. often felt like they just got the first take and rolled with it.
-It is also very clear when someone is not a talented voice actor. Minor characters very obviously do not have VA to the caliber of the rest of the cast.
-Everyone feels like they’re afraid to yell, there’s a lack of emotion behind a lot of dialogue. It’s very clear when Hecate is met, especially with the weird little voice filter.
-The voices often clash too much and don’t harmonize very well, making the music harto listen to at times. They went for voice actors instead of musical actors, which I feel is very, VERY clear here, and it certainly wouldn’t have been my choice given it’s supposed to be a musical. There’s a lack of OOMPH behind lyrics that are obviously supposed to have an impact because the actors don’t seem like they have proper vocal training. There are moments in a song where they really SHINE, usually just a line or two at a time, but it’s still there and I have to give credit where it’s due. Hecate and Orpheus have the best voices I think, but they don’t let them fully doesn’t play to their strengths. Orpheus especially very clearly has an actual musical background.
-The rhythm is super off. There’s a lot of talk-singing that just doesn’t sound like it goes with the flow, off-kilter deliveries. There are a lot of artists I listen to that go against the rhythm and have very talky-singy moments (Everybody’s Worried about Owen, and especially The Narcissist Cookbook), but they usually go with the rhythm, and if not it is very clearly intentional listening to the lyrics, it’s meant to bring forth attention to what words the singer is saying. Stray Gods does not utilize it like that. It uses it as if it’s a sort of “style”, not as a deliberate choice to call attention to specific moments. It’s done because that’s the only way they can get the lyrics to work with the music, and it still doesn’t work with the music. The first Persephone song is most guilty of this. At least, it’s the one I noticed the most.
-The people who made the music have a super mega hard-on for two people singing over each other. And to be fair, I tend to like that in music, it adds some extra oomph to the track when used properly. To reiterate, when it is used properly. But once again, the voices clash far too much. Sometimes it’s the point, I’ll give it that, but it’s most definitely not always the point.
-The music overall isn’t memorable, but when it is, it’s not a compliment. The instrumentals usually are pretty good tho.
-The writing is mondo garbage 70% of the time. A lot of sigh-inducing moments where they were obviously trying to be funny/clever, the line-to-line dialogue is wack too, there are just random shifts sometimes that come out of nowhere. Everything feels so stilted/forced In terms of dialogue, rarely do things feel natural.
-The choices feel weird. I’d often feel that there was not a piece of dialogue I wanted to choose. I felt like I was just settling on a choice, especially in the songs, so I opted to mostly go with the Blue Options. And even then, I felt the dialogue choice didn’t do a great job of reflecting what Grace says, quite often I found myself going “Hold on, that’s not what I wanted her to say.”. The choices also felt like they lacked impact but in two completely separate ways. First and foremost, the most literal sense. Too many choices felt meaningless. And second, I felt like I was making more or less uninformed decisions. Sometimes it made sense, Grace didn’t know any better than I did, and that’s okay, like with Freddie and Pan. But not every time was like that.
-Because of the choice-based nature of the story, there are jarring transitions between dialogue, and I found it very noticeable.
-The story is okay? The way people flip on a dime after a song or a choice feels super jarring (Persephone, Apollo, etc.). Sometimes the flow is proper, but that reeeaaallllyyyy felt like it was the outlier. The story felt pretty obvious. I wanted to like a lot of the characters but felt they didn’t get fleshed out enough, and/or flipped too much on a dime because I sang a song.
-A lot of the character's character felt like it relied a little too much on the fact that they are known Gods. However they don’t do enough to make their own takes on these well-known Gods unique, distinct, or interesting in any meaningful way despite their circumstances. It’s like they chose a God, and assigned them a single trait. Either one they’re known for or one that goes against the grain, one that’s unusual or extreme for them. The characters feel kind of backloaded. There are no real secrets to the characters. They beg the question just to tell you the answer instantly, barring the main mystery of course, and Persephone’s connection to Calliope. There’s no real inherent intrigue to the characters. Apollo on the whole is a bit of an exception, he’s interesting and feels more like a meaningful unique take, but I can’t really say I loved his character.
-The Grace part of the Aphrodite song was actually really good. Then it falls generally off again. Probably the best song, it’s overall like a 6/10
-The Minotaur song was supposed to be played for laughs but that’s just how all of the songs sound lol
-The Orpheus song starts off great when he sings, when the others sing it bogs it down lol. And then the flow takes a nosedive.
-Confronting Athena actually has a good track, probably the best one? It has a really strong start to it, and they do a good job not just making the music exposition that is sung to you, like most of the songs.