Bastion oozes personality. Whether it be with its witty narrator, its eye-catching art style or its sublime soundtrack. All these elements have aged gracefully. Though the plot didn’t pull me in like I was hoping it would, the puzzle solving was very simple and the combat a bit stiff. However, the constant introduction of new gameplay features along with the games meaningful upgrade trees and layered combat systems kept me engaged throughout its duration to the point where I stuck around after completing the campaign to try high score challenges and upgrade my weapons. This game’s attention to detail has helped it stand the test of time surprisingly well, and while it has its flaws, its easy to see why it is considered amongst the crowning jewels of the first wave of indies which came out in the early 2010s.
2011 Ranked
Indie Recommendations
2011 Ranked
Indie Recommendations
Probably the best fucking game ive played and that one sequence for choosing a different option is SO good 10/10
The story is intriguing, if not engrossing. The presentation is interesting, if not stunning. The combat is fine, if not airtight. Bastion really needed just one more unique angle to make it stand out from other games like it.
Unfortunately, what the developers thought that angle should be was some of the most wildly inappropriate voiceover narration I’ve ever heard in my life. Guys, did we play the same game? The narrator is easily the worst part about it for me. It baffles me that someone thought it would be a good idea to create a lush fantasy world with a plucky young knight and pair it with someone who sounds like Marv from Sin City fucked a Ford commercial.
Not a bad game per se, but absolutely one I regret buying.
Unfortunately, what the developers thought that angle should be was some of the most wildly inappropriate voiceover narration I’ve ever heard in my life. Guys, did we play the same game? The narrator is easily the worst part about it for me. It baffles me that someone thought it would be a good idea to create a lush fantasy world with a plucky young knight and pair it with someone who sounds like Marv from Sin City fucked a Ford commercial.
Not a bad game per se, but absolutely one I regret buying.
Looks beautiful, amazingly narrated and good conceptually, but the gameplay just couldn’t mesh with me much. It isn’t bad, I don’t want to propagate that, but I feel you’re handed so much with too little time to mesh with it, and the shrine bonuses really don’t have the draw to them I’d like. It’s just, fine. The story is interesting, and I like the dichotomy of the ending and what it represents, but I don’t necessarily vibe with a “our people did bad, don’t hate us though we’re the ones fixing it” type narrative. That may just be me though. Nevertheless, a lot of what became hallmarks of Supergiant, from game to visual to sound design is here. I think for a first game, it’s admirable and a good framework. I personally just didn’t mesh with everything as I’d have liked to.
Intrinsic motivation is a hard trait to judge in gaming because it’s one of the most subjective things out there: what one person finds inherently fun may differ from their compatriot, and vice-versa. Thus, in constructing a reward system, it should come as no surprise that developers often opt for extrinsically-prescient tangibles to supplement their product’s activities, whether it be gold, power-ups, or any myriad of collectibles.
And yet, in creating Bastion, Supergiant made the interesting decision to go with the former: that is, to back the majority of their utilities under the incentive of personal enjoyment over physicality, a choice that, in turn, makes this a very hard title to review. While we, as gamers, will always have differing opinions on how the story and lore should’ve gone, giving justifiable reasons for conducting an activity tends to coalesce around a central axiom- you know, do this quest to get that item, finish B excursion to unlock C skill, partake in the latest chain to earn more money, etc….
Bastion operates slightly differently -- you’re charged with rebuilding this citadel in a post-apocalyptic world via gathering magic crystals from various provinces, each locale boasting its own unique weapon in addition to the aforementioned crystal. As you can imagine, these tools require their own upgrades, but what’s interesting is how unnecessary the lion’s share of them are. While a diversity of armaments have been crafted to fit many playstyles, it soon becomes clear which ones hold the least amount of drawback, meaning the vast majority of upgrades are ultimately rendered pointless and not worth pursuing.
With a story about 6 hours long, Bastion of course throws in side content to encourage extended participation, but again, none of it has any purpose. First you’ve got proving grounds wherein you have to complete miscellaneous trials using a specific weapon- sounds fine till you discover the awards are literally useless trinkets; next up is the Memorial, boasting its own challenges in exchange for cash….something you’ll never need in light of the aforestated point about upgrade prioritization (and, you know, cash being easily generated from smashing everything around you). And finally there are god effigies, perhaps the dumbest things ever conceived in gaming, wherein you can make the combat harder for…..reasons?. All cards on the table, I didn’t buy most of the totems, so it’s very well possible some had benefits like spawning more money or experience, in which case they’d either way fall prey to the usual suspects: money can be acquired through simpler means and you’ll get sufficient exp from the story missions. In fact, I easily beat Bastion at only level 5, and while there is a NG+ mode, I sincerely doubt it offers a significant struggle that can’t be overcome through old tactics.
Of all the gameplay components, potions are left as the sole objects with merit given their numerous special effects (increased speed, auto-retaliation, spontaneous resuscitation, etc…), but because they’re unfortunately tied to your level, you’re unable to experiment much unless you waste time grinding away to increase slots (which, as I made clear, is unnecessary due to the game being a cakewalk).
What all this fundamentally means is that, if you want to enjoy Bastion, you need to come into it with a congenital mindset: you should be capable of concocting inner fantasies that instantly justify your actions and pathways. Cause without that, you’ll find Bastion a relatively-forgettable affair, a facet not helped by its lackluster plot. I noted before how it’s a dystopian tale set after a great calamity; however, despite this interesting premise, you’re never really left invested in the world at hand. Part of that has to do with 90% storytelling being relegated to a single narrator, and though Logan Cunningham gives a fantastic performance, you can only go so far with a solitary director: there’s no optional material to read, no cutscenes to speak of, very basic environmental storytelling. Cunningham’s words are often intersected with the goings-ons of your unnamed protagonist, their movements and encounters perfectly elocuted by the gruff drawl, and it’s unfortunate that such tight narrative direction couldn’t be complemented with extra support. While the idea of rebuilding a broken world remains a great concept, Bastion fails to do well by it.
Credit where credit is due, the writers do do a solid job divulging the extensive backstory of their city, and I feel a strong part of that success derives from Cunningham’s acting. Depending on how Hades goes, this man may very well end up in my Top 10 most talented VAs list as his range is extraordinary, with Bastion serving him an opportunity to indulge in that classic Clint Eastwood-type hoarseness that made The Man With No Name so iconic. From his enunciation to controlled speed of speech, he more-than-manages to envelope you in the history of Caelondia.
To be clear, his voice isn’t a pure imitation; in fact, I detected a note of Latin America in his accent, a trait that extends to the score by Darren Korb. Flamingo guitars, electric frets, thinned violas; stringed instruments galore dominate his compositions, transporting you into a society dominated by half-spaghetti western/half-Americana beats. As you get into the later sections of the game, you even get a few beautifully-sung tracks exhibiting some underrated talent in the music industry. That said, the OST was unfortunately brought down by a few recurring tracks heavy on high-strung notes that, for me, were more grating than pleasant -- if they were one-offs, it’d be one thing, but I’m confident one of them was a recurring habitual battle theme.
On that note, let’s flesh out the gameplay as Bastion is an experience based solely around battles. Your goal is to enter each area, clear out any enemies in your way, and retrieve the gemstone at the end. Honestly, there’s not much more I can say other than this is a solid framework- you got two weapons with unlimited ammo, a dodge button, and even an unbreakable shield, meaning no cheap deaths. The biggest issue, rather, comes from the lack of enemy variety: everyone is either CQC or a ranged annoyance, and the limited number of unique designs prevents any from standing out. Heck, some feel outright rehashed from popular games of the past, such as the urchins from Super Mario World, Mets from Mega Man, and the Lemon Drops of Yoshi’s Island.
That diminished visual flare sadly applies to the graphics as well. Bastion has been praised by countless publications for its storybook aesthetic, and while I do agree it’s a gorgeous game, there was something structurally unmemorable about the whole scheme that I just couldn’t pinpoint. The stages you travel to are composed of erratically-forming blocks that bring to mind the round tiles of HeroScape (anyone remember that baby?); however, not only does this gimmick get old fast (it’s haphazardly used in most video games for a reason), but the slabs themselves are incapable of sprouting a distinctive visage to the point where, even when fully-assembled, I rarely felt like I was being transported to an unfamiliar plane. It’s not that no work was done to change-up the environmental composition, but more-so the developers were unable to get much mileage out of the geometric slates they opted to use as building elements. Combine this with an isometric camera and minimal lighting work and you have a world that’s technically beautiful, yet artistically inadequate ... .the exception being the dream dimensions. These are optional zones the Kid can venture into, and they were absolutely stunning to fight in, their success largely deriving from the flamboyant colors flashing amidst the ground.
In the end, though, it’s not the graphics that have to keep you hooked onto Bastion, but your own personal spirit. If you’re someone (like myself) who prefers to be driven by the prospect of a payoff, you’re going to be disappointed here as this isn’t that kind of game. Bastion wants you to progress in the world because you’re inspired by the handcrafted mythology on-display: make your purchasing decision purely on that basis.
NOTES
-Didn’t speak about SFX in the review because it’s a pretty basic set-up with a singular tone/per weapon. I don’t even think enemies had programmed cries.
-I can’t be the only person who thinks the text at the bottom of the loading screens resembles the Elven runes from Artemis Fowl?
-Two female actresses, Ashley Barrett and Kristin Wilson, are credited with doing all the female vocals in the game, and they’re definitely good no matter their small screen time.
-Noticed some aspects that were carried over into Supergiant’s follow-up game Transistor: the proving grounds (the training dimensions), the effigies (the Limiters), the reliance on intrinsic fillips to try out the different combat options. While all are marginally-improved there, it's a shame the overall storytelling fell down the drain.
And yet, in creating Bastion, Supergiant made the interesting decision to go with the former: that is, to back the majority of their utilities under the incentive of personal enjoyment over physicality, a choice that, in turn, makes this a very hard title to review. While we, as gamers, will always have differing opinions on how the story and lore should’ve gone, giving justifiable reasons for conducting an activity tends to coalesce around a central axiom- you know, do this quest to get that item, finish B excursion to unlock C skill, partake in the latest chain to earn more money, etc….
Bastion operates slightly differently -- you’re charged with rebuilding this citadel in a post-apocalyptic world via gathering magic crystals from various provinces, each locale boasting its own unique weapon in addition to the aforementioned crystal. As you can imagine, these tools require their own upgrades, but what’s interesting is how unnecessary the lion’s share of them are. While a diversity of armaments have been crafted to fit many playstyles, it soon becomes clear which ones hold the least amount of drawback, meaning the vast majority of upgrades are ultimately rendered pointless and not worth pursuing.
With a story about 6 hours long, Bastion of course throws in side content to encourage extended participation, but again, none of it has any purpose. First you’ve got proving grounds wherein you have to complete miscellaneous trials using a specific weapon- sounds fine till you discover the awards are literally useless trinkets; next up is the Memorial, boasting its own challenges in exchange for cash….something you’ll never need in light of the aforestated point about upgrade prioritization (and, you know, cash being easily generated from smashing everything around you). And finally there are god effigies, perhaps the dumbest things ever conceived in gaming, wherein you can make the combat harder for…..reasons?. All cards on the table, I didn’t buy most of the totems, so it’s very well possible some had benefits like spawning more money or experience, in which case they’d either way fall prey to the usual suspects: money can be acquired through simpler means and you’ll get sufficient exp from the story missions. In fact, I easily beat Bastion at only level 5, and while there is a NG+ mode, I sincerely doubt it offers a significant struggle that can’t be overcome through old tactics.
Of all the gameplay components, potions are left as the sole objects with merit given their numerous special effects (increased speed, auto-retaliation, spontaneous resuscitation, etc…), but because they’re unfortunately tied to your level, you’re unable to experiment much unless you waste time grinding away to increase slots (which, as I made clear, is unnecessary due to the game being a cakewalk).
What all this fundamentally means is that, if you want to enjoy Bastion, you need to come into it with a congenital mindset: you should be capable of concocting inner fantasies that instantly justify your actions and pathways. Cause without that, you’ll find Bastion a relatively-forgettable affair, a facet not helped by its lackluster plot. I noted before how it’s a dystopian tale set after a great calamity; however, despite this interesting premise, you’re never really left invested in the world at hand. Part of that has to do with 90% storytelling being relegated to a single narrator, and though Logan Cunningham gives a fantastic performance, you can only go so far with a solitary director: there’s no optional material to read, no cutscenes to speak of, very basic environmental storytelling. Cunningham’s words are often intersected with the goings-ons of your unnamed protagonist, their movements and encounters perfectly elocuted by the gruff drawl, and it’s unfortunate that such tight narrative direction couldn’t be complemented with extra support. While the idea of rebuilding a broken world remains a great concept, Bastion fails to do well by it.
Credit where credit is due, the writers do do a solid job divulging the extensive backstory of their city, and I feel a strong part of that success derives from Cunningham’s acting. Depending on how Hades goes, this man may very well end up in my Top 10 most talented VAs list as his range is extraordinary, with Bastion serving him an opportunity to indulge in that classic Clint Eastwood-type hoarseness that made The Man With No Name so iconic. From his enunciation to controlled speed of speech, he more-than-manages to envelope you in the history of Caelondia.
To be clear, his voice isn’t a pure imitation; in fact, I detected a note of Latin America in his accent, a trait that extends to the score by Darren Korb. Flamingo guitars, electric frets, thinned violas; stringed instruments galore dominate his compositions, transporting you into a society dominated by half-spaghetti western/half-Americana beats. As you get into the later sections of the game, you even get a few beautifully-sung tracks exhibiting some underrated talent in the music industry. That said, the OST was unfortunately brought down by a few recurring tracks heavy on high-strung notes that, for me, were more grating than pleasant -- if they were one-offs, it’d be one thing, but I’m confident one of them was a recurring habitual battle theme.
On that note, let’s flesh out the gameplay as Bastion is an experience based solely around battles. Your goal is to enter each area, clear out any enemies in your way, and retrieve the gemstone at the end. Honestly, there’s not much more I can say other than this is a solid framework- you got two weapons with unlimited ammo, a dodge button, and even an unbreakable shield, meaning no cheap deaths. The biggest issue, rather, comes from the lack of enemy variety: everyone is either CQC or a ranged annoyance, and the limited number of unique designs prevents any from standing out. Heck, some feel outright rehashed from popular games of the past, such as the urchins from Super Mario World, Mets from Mega Man, and the Lemon Drops of Yoshi’s Island.
That diminished visual flare sadly applies to the graphics as well. Bastion has been praised by countless publications for its storybook aesthetic, and while I do agree it’s a gorgeous game, there was something structurally unmemorable about the whole scheme that I just couldn’t pinpoint. The stages you travel to are composed of erratically-forming blocks that bring to mind the round tiles of HeroScape (anyone remember that baby?); however, not only does this gimmick get old fast (it’s haphazardly used in most video games for a reason), but the slabs themselves are incapable of sprouting a distinctive visage to the point where, even when fully-assembled, I rarely felt like I was being transported to an unfamiliar plane. It’s not that no work was done to change-up the environmental composition, but more-so the developers were unable to get much mileage out of the geometric slates they opted to use as building elements. Combine this with an isometric camera and minimal lighting work and you have a world that’s technically beautiful, yet artistically inadequate ... .the exception being the dream dimensions. These are optional zones the Kid can venture into, and they were absolutely stunning to fight in, their success largely deriving from the flamboyant colors flashing amidst the ground.
In the end, though, it’s not the graphics that have to keep you hooked onto Bastion, but your own personal spirit. If you’re someone (like myself) who prefers to be driven by the prospect of a payoff, you’re going to be disappointed here as this isn’t that kind of game. Bastion wants you to progress in the world because you’re inspired by the handcrafted mythology on-display: make your purchasing decision purely on that basis.
NOTES
-Didn’t speak about SFX in the review because it’s a pretty basic set-up with a singular tone/per weapon. I don’t even think enemies had programmed cries.
-I can’t be the only person who thinks the text at the bottom of the loading screens resembles the Elven runes from Artemis Fowl?
-Two female actresses, Ashley Barrett and Kristin Wilson, are credited with doing all the female vocals in the game, and they’re definitely good no matter their small screen time.
-Noticed some aspects that were carried over into Supergiant’s follow-up game Transistor: the proving grounds (the training dimensions), the effigies (the Limiters), the reliance on intrinsic fillips to try out the different combat options. While all are marginally-improved there, it's a shame the overall storytelling fell down the drain.
The first project from Supergiant game and the last of their classic titles I personally played.
And I gotta be honest: maybe it's because I didn't play it at the time it came out, or maybe because of the quality of the other projects made by these developers, but... Bastion didn't hooked me as much as many other that tried it.
Don't get me wrong, I totally get the hype around it: especially for the time, Bastion has a timeless charm that it's hard to find even in other similar titles. It features an incredible soundtrack, a fantastic artstyle that literally lets you see the worlds being built around you, and a writing that is able to be melancholic, hopeful, sad, but also quirky and spicy, thanks to a sarcastic narrator that follows the adventure of the Kid.
The combats and puzzles I feel aged quite well, and while simple, can lead to a lot of customization and replayablity thanks to te ability to pick different weapons, buffs, entire styles of gameplay, and things that remind of the Pact of Punishment from Hades (which is a more than good thing). The attention oto details and overall cure for this projects are felt to this day.
I gotta be honest though and say that I didn't really grew attached to the overall story and characters. Not to mention that I felt the overall experience may feel a bit too short, especially considering the SUpergiant gems that came out in later years.
Despite my criticism, which can be considered harsh for one of the first big indie games, I cannot deny that Bastion is a timeless experience, and the people that consider it a cult classic and one of the pillars of the world of indie games are more than justified to think that.
Give it a try if you can. It's a great time!
And I gotta be honest: maybe it's because I didn't play it at the time it came out, or maybe because of the quality of the other projects made by these developers, but... Bastion didn't hooked me as much as many other that tried it.
Don't get me wrong, I totally get the hype around it: especially for the time, Bastion has a timeless charm that it's hard to find even in other similar titles. It features an incredible soundtrack, a fantastic artstyle that literally lets you see the worlds being built around you, and a writing that is able to be melancholic, hopeful, sad, but also quirky and spicy, thanks to a sarcastic narrator that follows the adventure of the Kid.
The combats and puzzles I feel aged quite well, and while simple, can lead to a lot of customization and replayablity thanks to te ability to pick different weapons, buffs, entire styles of gameplay, and things that remind of the Pact of Punishment from Hades (which is a more than good thing). The attention oto details and overall cure for this projects are felt to this day.
I gotta be honest though and say that I didn't really grew attached to the overall story and characters. Not to mention that I felt the overall experience may feel a bit too short, especially considering the SUpergiant gems that came out in later years.
Despite my criticism, which can be considered harsh for one of the first big indie games, I cannot deny that Bastion is a timeless experience, and the people that consider it a cult classic and one of the pillars of the world of indie games are more than justified to think that.
Give it a try if you can. It's a great time!
Where do I even begin with Bastion. Bastion is my favorite game of all time. It's a game I played through countless times while growing up. It's a game I don't want to talk too much about because I honestly have so much to say. But to give the cliff notes: The music in this game is amazing. The vocal tracks from Darren Korb and Ashley Barrett are unparalleled. 'Mother, I'm here' means so much to me. It's a song that is so deeply nostalgic to me, and the scene in which is plays still makes me tear up. This game narratively is phenomenal and I think the best of the 3 SG games I've played (all but Pyre). The reactive narrator adds so much to the game where we have a silent protagonist, and Logan Cunningham does a phenomenal job with the voice acting. The gameplay is a tad dated but I honestly still enjoyed it on a recent playthrough. This game is one of the games that really got me into PC gaming and it will forever hold a spot in my heart for it. It may not be the best gameplay wise or most technical or complicated, but it means a lot to me. I truly recommend this game for anyone. Please play it. :)
joguinho bom, ja dava pra ver o potencial da supergiant e ele serviu de base para o hades, recomendo pra quem quiser um jogo curto, barato e principalmente bom
A very fun game with great aesthetics, interesting story, and wonderful music that really set the bar high for Supergiant that they've yet to fall below. Some fantastic mechanics that influenced a ton of top-down brawlers in a way that's pretty irrefutable
So this is a game I've owned forever and wanted to get too. My first Super Giant game I've ever tried was Hades, and I was unfortunately quite disappointed with that and ended up dropping it. This is number two now, and while I like this more, I'm certainly not in love with it, and I feel that Super Giant as a whole might just not be for me.
Postiives first of all, I adore the presentation here, and the narration gimmick, it's fantastically done and certainly a highlight of this video game. What tiny character work we do get here with the couple characters are good as well.
Unfortunately there's just not enough of that. The game combat loop is relatively the same throughout, only different weapons really providing you any sort of change up in what you're doing, the story itself while solid, definitely could have used some more building out of it, and the characters really could have used some more depth to work with here.
The soundtrack is quite good, another highlight, and I don't regret playing this game, but I do certainly think it is a bit overrated from some of the hype of this game I've heard going in.
Postiives first of all, I adore the presentation here, and the narration gimmick, it's fantastically done and certainly a highlight of this video game. What tiny character work we do get here with the couple characters are good as well.
Unfortunately there's just not enough of that. The game combat loop is relatively the same throughout, only different weapons really providing you any sort of change up in what you're doing, the story itself while solid, definitely could have used some more building out of it, and the characters really could have used some more depth to work with here.
The soundtrack is quite good, another highlight, and I don't regret playing this game, but I do certainly think it is a bit overrated from some of the hype of this game I've heard going in.
A very good game which my PC doesn't allow me to play anymore.
I used to watch the game spot reviews for Greg Kasavin and his work here is incredible. I played the steam version first in 2018 but now in January 2024 I played the switch version and it's awesome. Could never get used to using W A S D. The switch controls may this a comfortable experience on normal. The visual art style, varied weapons and excellent story make this an easy recommendation.
A cute game and certainly echoes of what would eventually become Hades. The story is intriguing but not as deeply examined as I hoped it would be.
There are some mechanics that were pretty frustrating for me. Aiming is a pain. Most of the long distance attacks don't have any sort of lock on mechanics or crosshair, so you have to guess. It's also difficult to figure out where the edges are sometimes. And, my other big critique is that the game itself gest a bit repetitive as things go on. But, it's a 5-6 hour game, so it's not like you're doing anything for that long.
In the end, I liked the game overall and I could see myself playing it again in the future to explore alternate endings and paths. And, if nothing else, this is a pretty cool piece of internet history to what would become one of the best Game Devs in the business.
There are some mechanics that were pretty frustrating for me. Aiming is a pain. Most of the long distance attacks don't have any sort of lock on mechanics or crosshair, so you have to guess. It's also difficult to figure out where the edges are sometimes. And, my other big critique is that the game itself gest a bit repetitive as things go on. But, it's a 5-6 hour game, so it's not like you're doing anything for that long.
In the end, I liked the game overall and I could see myself playing it again in the future to explore alternate endings and paths. And, if nothing else, this is a pretty cool piece of internet history to what would become one of the best Game Devs in the business.
ele andou para que hades pudesse correr, , ,
A classic from the Xbox Live Arcade era.
The music and narration are the stars of this game. The narration is infamous. It gives the game so much charm. And omg, the music. I was so surprised by how good it was. It took a decent experience and elevated it.
There is far more story than I ever expected. This game was always described as "the game with the amazing narrator". But it is far more than that. I cannot believe the plot was never spoiled for me. Great story accompanied by some well timed songs.
Gameplay is fun. I played on the easiest mode. I feel like the game is super punishing. Building the bastion up is neat. The weapons are neat but once you find one you like, there is no need to change. There is a great variety in gameplay.
Combat is good but also basic. It's also a bit button mashy. Sometimes enemies are too tanky or too elusive.
The game looks great. Has a great art direction. Destructible environments are neat. Sometimes it's a bit too busy. But you do get a lot of variety. The camera angle can make stuff misleading at times but it's not that big of an issue.
The coolest thing about this game is that you can really see the influence on Hades. It really feels and looks like Hades. Just a much more basic Hades. If you like Hades, this is a great way to see it's humble beginnings.
The music and narration are the stars of this game. The narration is infamous. It gives the game so much charm. And omg, the music. I was so surprised by how good it was. It took a decent experience and elevated it.
There is far more story than I ever expected. This game was always described as "the game with the amazing narrator". But it is far more than that. I cannot believe the plot was never spoiled for me. Great story accompanied by some well timed songs.
Gameplay is fun. I played on the easiest mode. I feel like the game is super punishing. Building the bastion up is neat. The weapons are neat but once you find one you like, there is no need to change. There is a great variety in gameplay.
Combat is good but also basic. It's also a bit button mashy. Sometimes enemies are too tanky or too elusive.
The game looks great. Has a great art direction. Destructible environments are neat. Sometimes it's a bit too busy. But you do get a lot of variety. The camera angle can make stuff misleading at times but it's not that big of an issue.
The coolest thing about this game is that you can really see the influence on Hades. It really feels and looks like Hades. Just a much more basic Hades. If you like Hades, this is a great way to see it's humble beginnings.
Bastion (2011) is cool. i like it! it's got tight controls, it looks gorgeous, and the SOUNDTRACK goes sooo hard. seriously. there are some bangers. we need more sounds of hammers hitting anvils in songs, because that is the soundbite of my dreaaams.
by far the best part of the game is the soundscape: Darren Korb's sweet sweet bangers and Logan Cunningham's sweet sweet narration. the world of this game feels so full of life and yet so utterly ruined thanks to these two facets. the narration feels so natural and is so adaptive that it is almost as though it is completely tailored to your specific experience playing the game. if you fall off a ledge, the narrator will make a little joke about your journey ending there. there's unique voice lines for every combination of weapons you leave the arsenal with. in one area, the narrator even reminded me diegetically that i could use my specific special ability if the swarms of enemies were too much. it felt insanely organic, and as though it had to be planned that i would have that specific equipment in my loadout, but no! i could've had literally anything in that slot. the narration is so frequent that you may think it'd blend into the background, but i found it to be engaging the whole playthrough and it made me feel like the lore of this world was being transmitted into my brain via osmosis.
there's a pretty great sense of progression as you both build the bastion and build up your arsenal. there's always something to check up on, upgrade, or swap out every time you finish a level, which feels nice. there's a good number of weapons, and i'm partial to a good number of them. they're not all great, but i imagine there's some i don't care for that others swear by, so your mileage may vary. however, the final portion of the game where it forces you to use a different weapon was dreadfully boring and anticlimactic. it spits on all of that building up that i just gushed over and instead gives you the most clunky, unfun piece of equipment in the entire game.
the story and gameplay aren't all that crazy, but the narration and vibes are fantastic, and i would recommend this game based on those two factors alone.
by far the best part of the game is the soundscape: Darren Korb's sweet sweet bangers and Logan Cunningham's sweet sweet narration. the world of this game feels so full of life and yet so utterly ruined thanks to these two facets. the narration feels so natural and is so adaptive that it is almost as though it is completely tailored to your specific experience playing the game. if you fall off a ledge, the narrator will make a little joke about your journey ending there. there's unique voice lines for every combination of weapons you leave the arsenal with. in one area, the narrator even reminded me diegetically that i could use my specific special ability if the swarms of enemies were too much. it felt insanely organic, and as though it had to be planned that i would have that specific equipment in my loadout, but no! i could've had literally anything in that slot. the narration is so frequent that you may think it'd blend into the background, but i found it to be engaging the whole playthrough and it made me feel like the lore of this world was being transmitted into my brain via osmosis.
there's a pretty great sense of progression as you both build the bastion and build up your arsenal. there's always something to check up on, upgrade, or swap out every time you finish a level, which feels nice. there's a good number of weapons, and i'm partial to a good number of them. they're not all great, but i imagine there's some i don't care for that others swear by, so your mileage may vary. however, the final portion of the game where it forces you to use a different weapon was dreadfully boring and anticlimactic. it spits on all of that building up that i just gushed over and instead gives you the most clunky, unfun piece of equipment in the entire game.
the story and gameplay aren't all that crazy, but the narration and vibes are fantastic, and i would recommend this game based on those two factors alone.
Sights & Sounds
- Being that this is my first playthrough of the game (over a decade after release), I'm really appreciative of the artistic choices made in the game. The visuals look nice and timeless in a way that some other games of the era don't
- The soundtrack is amazing. Sometimes, lyrical tracks in games come off as cheesy or cringey, but all the music here is fantastic. Western vibes with occasional riffing
- The narration is also great. I swore I was listening to Sam Elliot until I looked it up
Story & Vibes
- I love that the world comes together as the story unfolds. Nice little thematic unity there
- Other than that, the plot is a little thin. I won't spoil anything, but it wouldn't really matter if I did
Playability & Replayability
- The controls are excellent. It actually feels "fair" when you get hit
- The weapon diversity and upgrade system are are a similar high quality. Because of this, I kinda want to try different builds and maybe do an NG+ someday
- I didn't get into the challenge idol system, but it's there for people who want the challenge/achievements
Overall Impressions & Performance
- Overall, the game ran well. Also, it doesn't NEED a 4k update, but I'd be really happy if it did
- It's been fun to play through some of the older titles that I just missed out on due to being young and having no money when they were released. Bastion was one that I really wanted to try back then, and I'm happy to have finally experienced it
Final Verdict
- 8.5/10. For me, the only thing this was missing was a deep enough story. The combat is excellent, the gear system is nice, and I always appreciate a game that gives you a reason to replay it
- Being that this is my first playthrough of the game (over a decade after release), I'm really appreciative of the artistic choices made in the game. The visuals look nice and timeless in a way that some other games of the era don't
- The soundtrack is amazing. Sometimes, lyrical tracks in games come off as cheesy or cringey, but all the music here is fantastic. Western vibes with occasional riffing
- The narration is also great. I swore I was listening to Sam Elliot until I looked it up
Story & Vibes
- I love that the world comes together as the story unfolds. Nice little thematic unity there
- Other than that, the plot is a little thin. I won't spoil anything, but it wouldn't really matter if I did
Playability & Replayability
- The controls are excellent. It actually feels "fair" when you get hit
- The weapon diversity and upgrade system are are a similar high quality. Because of this, I kinda want to try different builds and maybe do an NG+ someday
- I didn't get into the challenge idol system, but it's there for people who want the challenge/achievements
Overall Impressions & Performance
- Overall, the game ran well. Also, it doesn't NEED a 4k update, but I'd be really happy if it did
- It's been fun to play through some of the older titles that I just missed out on due to being young and having no money when they were released. Bastion was one that I really wanted to try back then, and I'm happy to have finally experienced it
Final Verdict
- 8.5/10. For me, the only thing this was missing was a deep enough story. The combat is excellent, the gear system is nice, and I always appreciate a game that gives you a reason to replay it
I decided that I want to play through all of Supergiant Games' catalog this year. Hades is one of my favorite games ever and I wanted to see how this studio evolved their craft, starting from their first game onwards, which will hopefully lead up to the release of Hades II.
Bastion released in 2011 and I think when analyzing this game it's important to remember that. It came out during a time when there just weren't as many indie games for a multidate of reasons. In 2011, indie games were risk-heavier from a business standpoint, weren't as accessible as they are now, and were, quite frankly, really hard to make. Considering all of those challenges, I think Bastion is quite an achievement. I can absolutely see why this game is as well regarded as it is. I feel like if I had played in 2011 it would've been an all-time classic for me...
...but unfortunately, I think I played this game too late. It's 2024, and as much as I so desperately want to enjoy this game like 16-year-old me would have, I just couldn't. The primary contributor to my displeasure was the gameplay, which I don't think aged very well. It was just a less evolved, more boring version of Hades. There were too many unlocks and it the progression system was too convoluted for how short the game was. The visuals were also just OK. There wasn't too many visual concepts I haven't seen before and it was even a little fuzzy, like I was playing on an old TV but not in a charming way.
However, there were some things in this game that I do think aged well. For starters, the soundtrack is absolutely incredible from the scores to the lyrical pieces. Some of these tracks are going in my all-timers playlist. I also found myself getting invested in the characters, the world, and the story, which were all carried by the narrator. His voice was just so mesmerizing; listening to him talk and deliver sick one-liners is the main reason why I was able to keep going through the dull gameplay.
Overall, I am very happy I played this! It's so cool seeing how Supergiant started, and I can definitely feel the influence this game has had on the indie industry as a whole. I do wish I played it a dozen years ago, but I can't help that now. Next up: Transistor!
61/100
Bastion released in 2011 and I think when analyzing this game it's important to remember that. It came out during a time when there just weren't as many indie games for a multidate of reasons. In 2011, indie games were risk-heavier from a business standpoint, weren't as accessible as they are now, and were, quite frankly, really hard to make. Considering all of those challenges, I think Bastion is quite an achievement. I can absolutely see why this game is as well regarded as it is. I feel like if I had played in 2011 it would've been an all-time classic for me...
...but unfortunately, I think I played this game too late. It's 2024, and as much as I so desperately want to enjoy this game like 16-year-old me would have, I just couldn't. The primary contributor to my displeasure was the gameplay, which I don't think aged very well. It was just a less evolved, more boring version of Hades. There were too many unlocks and it the progression system was too convoluted for how short the game was. The visuals were also just OK. There wasn't too many visual concepts I haven't seen before and it was even a little fuzzy, like I was playing on an old TV but not in a charming way.
However, there were some things in this game that I do think aged well. For starters, the soundtrack is absolutely incredible from the scores to the lyrical pieces. Some of these tracks are going in my all-timers playlist. I also found myself getting invested in the characters, the world, and the story, which were all carried by the narrator. His voice was just so mesmerizing; listening to him talk and deliver sick one-liners is the main reason why I was able to keep going through the dull gameplay.
Overall, I am very happy I played this! It's so cool seeing how Supergiant started, and I can definitely feel the influence this game has had on the indie industry as a whole. I do wish I played it a dozen years ago, but I can't help that now. Next up: Transistor!
61/100
Existe uma estranha sensação de conforto nesse jogo.
Apesar de seu mundo ser um caos apocalíptico repleto de morte, melancolia e desespero, esse jogo cria uma camada de conforto pela sua estética em game design, escrita e arte que é formidável.
Afinal, um combate e progressão competente, com um level design bem amarradinho são suficientes por si só para te fazer jogar de forma confortável, ter uma variação boa e divertidas de armas e uma jogabilidade meio beat'em up isométrico deixa o loop principal bem temperado. Mas o que me fisgou mesmo foi tudo que adorna esse design.
Esse jogo parece uma fantasia açucarada, cheira e tem sabor de um doce de coco, mas é recheado de um chocolate muito amargo. Superficialmente o sabor te tranquiliza, te traz frescor e calmaria, mas dentro vem um punch. Acontece que quando se chega ao núcleo, o jogo te obriga a tomar uma decisão: aceitar ou refazer.
Só que o jogo nos deixa preparados para tomar essa decisão.
Afinal, aos poucos o sabor se torna morno. Não necessariamente a melhor experiência que já vivemos, mas significativa o suficiente para não esquecermos e, portanto, para não apagarmos.
Encontrar o conforto no desespero é o que Bastion nos faz conquistar sem percebermos, e na tomada de decisão, ter herdado sua coragem de permanecer no caos foi o que me fez não esquecer desse jogo.
Apesar de seu mundo ser um caos apocalíptico repleto de morte, melancolia e desespero, esse jogo cria uma camada de conforto pela sua estética em game design, escrita e arte que é formidável.
Afinal, um combate e progressão competente, com um level design bem amarradinho são suficientes por si só para te fazer jogar de forma confortável, ter uma variação boa e divertidas de armas e uma jogabilidade meio beat'em up isométrico deixa o loop principal bem temperado. Mas o que me fisgou mesmo foi tudo que adorna esse design.
Esse jogo parece uma fantasia açucarada, cheira e tem sabor de um doce de coco, mas é recheado de um chocolate muito amargo. Superficialmente o sabor te tranquiliza, te traz frescor e calmaria, mas dentro vem um punch. Acontece que quando se chega ao núcleo, o jogo te obriga a tomar uma decisão: aceitar ou refazer.
Só que o jogo nos deixa preparados para tomar essa decisão.
Afinal, aos poucos o sabor se torna morno. Não necessariamente a melhor experiência que já vivemos, mas significativa o suficiente para não esquecermos e, portanto, para não apagarmos.
Encontrar o conforto no desespero é o que Bastion nos faz conquistar sem percebermos, e na tomada de decisão, ter herdado sua coragem de permanecer no caos foi o que me fez não esquecer desse jogo.
I feel like Bastion really represents Supergiants quirks as a developer, as their contributions to an otherwise fairly traditional genre helps compare and contrast where their innovation lies. My favorite staple is their challenge modifiers, I hope they do that forever.
Bastion me foi um grande ganho durante uma fase em que eu lidava com uma grande perda
Um período muito especial para qualquer estudante é sem dúvidas as férias de fim de ano. Em 2018, ano de minha despedida do ensino fundamental 2, eu pensava em pouquíssimas coisas além do como eu iria aproveitar aquele período o qual não teria muito com o que se preocupar além de jogar video games. Lembro vividamente de ajudar as minhas professoras e colegas de classe a deixar tudo em ordem após o nosso último evento cultural, poucos dias antes da formatura. Foi necessário ficar até mais tarde arrumando as salas, o que não foi ruim, pois eu aproveitei bastante aquela atmosfera de bom humor, conversando e zoando com aqueles que faziam parte de minha rotina, era o meu último dia afinal.
Ao chegar em casa, apenas dormi.
Dormi até ser subitamente acordado pelo meu celular que tocava e vibrava embaixo do meu travesseiro. Atendendo, ouvi minha tia com uma voz de quem segurava o choro me avisando que meu pai havia falecido. Não tive reações, quase como se a informação ainda não tivesse sido processada, eu apenas recusei ir ao enterro, desliguei e voltei a dormir.
O meu processo de luto foi estranho, era insuportável sobretudo por não sair da minha cabeça o fato de que nunca mais veria o meu pai, mas, ainda assim, eu não demonstrava tristeza com quem estava à minha volta. Não chorava e nem conversava sobre a perda com a família por parte de pai, eu apenas procurava uma forma de se distrair, mas não conseguia me entreter com nada, absolutamente nada.
Foi quando resolvi começar Bastion, o primeiro jogo da Supergiant, crente de que eu o largaria em poucos minutos…
~
Bastion nos convida a acompanhar a história do protagonista chamado pelo narrador de “Kid” que tenta entender a razão pela qual o mundo se encontra em um estado tão lamentável de calamidade enquanto resgata cristais que recuperam e fortificam o bastião, o forte onde habita o próprio Kid e outros poucos sobreviventes que encontramos no caminho. Uma história que expõe em primeiro lugar as consequências de antigos conflitos e todo o processo de reestruturação e recuperação de perdas.
Tudo isso se sustenta por si, mas só é tão bom de acompanhar graças à imersão e dinamismo que a narração em tempo real nos entrega. A principal característica de Bastion é ser um jogo inteiro narrado em terceira pessoa quase que em tempo real, uma escolha de design que está presente no projeto desde seu princípio e por consequência é muito bem aplicada em game. A voz grave de Logan Cunningham te acompanha tecendo desde comentários dramáticos sobre a história do jogo até o que está acontecendo em tela (com direito a piadinhas zoando o jogador por ter cometido um deslize, por exemplo). O que poderia se tornar com o tempo cansativo, na verdade brilha mais e mais sobretudo devido ao cuidado nas escolhas das palavras, que são curtas, com frases breves, evocativas e com uma linguagem que aproxima o jogador do narrador. Um cuidado exemplar.
A escolha de entregar detalhes da história enquanto o jogo acontece confere à obra um ritmo agradável que dá espaço para o combate se fazer mais presente, o que não é ruim, visto que o mesmo é variado e muito bem polido. Bastion faz algo que valorizo muito: Te entrega um vasto arsenal que se diferencia significativamente entre si e que é balanceado ao ponto de todos serem bons à sua maneira. Você vai sim ter sua combinação de equipamentos favoritos, mas em qualquer momento você pode experimentar, se adaptar e tirar um bom proveito dos outros.
No fim do dia, cedo ou tarde Bastion te encanta, se não pela já citada história, narração e combate, com certeza pelo caprichado visual desenhado a mão e a excelente trilha sonora produzida pelo hoje bem conhecido Darren Korb, que se fez presente na desenvolvedora desde o começo do projeto, que buscou aqui nos envolver numa trilha descrita pelo mesmo como um “acoustic frontier trip hop”, um trip hop acustico de fronteira que trás aquela sensação de velho oeste em sinergia com a viagem que o trip hop proporciona, com direito a bateria eletrônica pesada dando um contraste único. Sem contar com as músicas cantadas, o próprio Darren Korb e a Ashley Barrett chegaram a me emocionar nestas faixas específicas.
~
Quando eu menos esperava, Bastion tomou minha atenção durante sua curta e perfeita duração. Me arrancou da realidade (que vinha sendo desagradável) e me imergiu a uma experiência que, como poucas, me fez recomeçar a jornada através do new game plus instantaneamente.
É um jogo que guardo com carinho, que me abraçou em um momento específico, e serviu para mergulhar em outra coisa além dos desconfortáveis pensamentos que as fases do luto nos proporciona.
Um período muito especial para qualquer estudante é sem dúvidas as férias de fim de ano. Em 2018, ano de minha despedida do ensino fundamental 2, eu pensava em pouquíssimas coisas além do como eu iria aproveitar aquele período o qual não teria muito com o que se preocupar além de jogar video games. Lembro vividamente de ajudar as minhas professoras e colegas de classe a deixar tudo em ordem após o nosso último evento cultural, poucos dias antes da formatura. Foi necessário ficar até mais tarde arrumando as salas, o que não foi ruim, pois eu aproveitei bastante aquela atmosfera de bom humor, conversando e zoando com aqueles que faziam parte de minha rotina, era o meu último dia afinal.
Ao chegar em casa, apenas dormi.
Dormi até ser subitamente acordado pelo meu celular que tocava e vibrava embaixo do meu travesseiro. Atendendo, ouvi minha tia com uma voz de quem segurava o choro me avisando que meu pai havia falecido. Não tive reações, quase como se a informação ainda não tivesse sido processada, eu apenas recusei ir ao enterro, desliguei e voltei a dormir.
O meu processo de luto foi estranho, era insuportável sobretudo por não sair da minha cabeça o fato de que nunca mais veria o meu pai, mas, ainda assim, eu não demonstrava tristeza com quem estava à minha volta. Não chorava e nem conversava sobre a perda com a família por parte de pai, eu apenas procurava uma forma de se distrair, mas não conseguia me entreter com nada, absolutamente nada.
Foi quando resolvi começar Bastion, o primeiro jogo da Supergiant, crente de que eu o largaria em poucos minutos…
~
Bastion nos convida a acompanhar a história do protagonista chamado pelo narrador de “Kid” que tenta entender a razão pela qual o mundo se encontra em um estado tão lamentável de calamidade enquanto resgata cristais que recuperam e fortificam o bastião, o forte onde habita o próprio Kid e outros poucos sobreviventes que encontramos no caminho. Uma história que expõe em primeiro lugar as consequências de antigos conflitos e todo o processo de reestruturação e recuperação de perdas.
Tudo isso se sustenta por si, mas só é tão bom de acompanhar graças à imersão e dinamismo que a narração em tempo real nos entrega. A principal característica de Bastion é ser um jogo inteiro narrado em terceira pessoa quase que em tempo real, uma escolha de design que está presente no projeto desde seu princípio e por consequência é muito bem aplicada em game. A voz grave de Logan Cunningham te acompanha tecendo desde comentários dramáticos sobre a história do jogo até o que está acontecendo em tela (com direito a piadinhas zoando o jogador por ter cometido um deslize, por exemplo). O que poderia se tornar com o tempo cansativo, na verdade brilha mais e mais sobretudo devido ao cuidado nas escolhas das palavras, que são curtas, com frases breves, evocativas e com uma linguagem que aproxima o jogador do narrador. Um cuidado exemplar.
A escolha de entregar detalhes da história enquanto o jogo acontece confere à obra um ritmo agradável que dá espaço para o combate se fazer mais presente, o que não é ruim, visto que o mesmo é variado e muito bem polido. Bastion faz algo que valorizo muito: Te entrega um vasto arsenal que se diferencia significativamente entre si e que é balanceado ao ponto de todos serem bons à sua maneira. Você vai sim ter sua combinação de equipamentos favoritos, mas em qualquer momento você pode experimentar, se adaptar e tirar um bom proveito dos outros.
No fim do dia, cedo ou tarde Bastion te encanta, se não pela já citada história, narração e combate, com certeza pelo caprichado visual desenhado a mão e a excelente trilha sonora produzida pelo hoje bem conhecido Darren Korb, que se fez presente na desenvolvedora desde o começo do projeto, que buscou aqui nos envolver numa trilha descrita pelo mesmo como um “acoustic frontier trip hop”, um trip hop acustico de fronteira que trás aquela sensação de velho oeste em sinergia com a viagem que o trip hop proporciona, com direito a bateria eletrônica pesada dando um contraste único. Sem contar com as músicas cantadas, o próprio Darren Korb e a Ashley Barrett chegaram a me emocionar nestas faixas específicas.
~
Quando eu menos esperava, Bastion tomou minha atenção durante sua curta e perfeita duração. Me arrancou da realidade (que vinha sendo desagradável) e me imergiu a uma experiência que, como poucas, me fez recomeçar a jornada através do new game plus instantaneamente.
É um jogo que guardo com carinho, que me abraçou em um momento específico, e serviu para mergulhar em outra coisa além dos desconfortáveis pensamentos que as fases do luto nos proporciona.
wat a wonderful lil game, i loved da narrator's voice acting and story telling so much!!!!!!!!
Review EN/PTBR
Wow
I didn't expect that I would like this game so much
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Uau
Eu não esperava que eu ia gostar tanto desse jogo
Wow
I didn't expect that I would like this game so much
-----------------------------------------------------------------------------------------------
Uau
Eu não esperava que eu ia gostar tanto desse jogo
I love this game. The music, the art, the story; this game is woefully underrated. Isometric games are underrated in general though. I hope SuperGiant make a sequel one day. Also, the gods are crazy tough.
This game is really awesome! It blows most indie games out o the water with it's creative atmosphere. There is no reading for dialog and no voices as it is all monologued by the first man you meet in the game and it's done beautifully.
The RPG elements revolve around the bar you first build where as you go up in levels you gain slots to put in different potions that give your characters different passive/conditional boosts like 15% damage resistance, +10% max health and many others. Also you are able to upgrade your weapons from the items you pick up, each one giving your weapon a different boost like faster reload time, increased damage and you have to choose between the two, but once it's bought you can alter the upgrades to change for whatever situation you think you'll run into like increasing the spread of a blunderbuss or instead going for improved damage.
You also get a chance to go to what's known as "Who-knows-where" to fight waves of enemies to grind out xp and "cash".
The RPG elements revolve around the bar you first build where as you go up in levels you gain slots to put in different potions that give your characters different passive/conditional boosts like 15% damage resistance, +10% max health and many others. Also you are able to upgrade your weapons from the items you pick up, each one giving your weapon a different boost like faster reload time, increased damage and you have to choose between the two, but once it's bought you can alter the upgrades to change for whatever situation you think you'll run into like increasing the spread of a blunderbuss or instead going for improved damage.
You also get a chance to go to what's known as "Who-knows-where" to fight waves of enemies to grind out xp and "cash".
This review contains spoilers
I was shocked to see how much DNA this game shares with Supergiant's other games and how much stuff mechanically ended up carrying over to Hades later down the line. Honestly, this game feels like such a relic from the time it came out, being pretty early on the wave of games like this, low to mid budget nice looking 'indie' games from tiny studios on XBLA.
The writing in general is good for sure, but it's not really anything super exciting. I think there are some really good touches, the attention to detail on the narration and the pure quality of voice acting as well, is really an achievement. When it comes to environment design, I can't help but feel as though it's beautiful simply to be beautiful but not really much else. It's not really something that feels super well thought out beyond looking pretty. I mean, it sell an aesthetic but I'm not sure to what end. I also don't really find the main character's model to be particularly aesthetically pleasing.
I was also really shocked to see how existential and high concept it ended up getting by the end. It was certainly interesting conceptually, but Dark Souls has done a similar thing narratively to a greater effect. I didn't find it really all that satisfying in general, but I think the music helped to bolster it tonally at the end. I think there are some really interesting pivotal moments, but I think honestly the details are the most interesting parts of the design in the game, the singer only speaking at the very end of the game, things like that were really inspired choices.
When it comes to gameplay it was certainly viscerally fun and didn't overstay its welcome, but nothing really more than that, I think the foundation is really excellent, with the upgrades, god challenges, weapon challenges, etc, and I'm SO happy they decided to iterate on it later down the line.
I also forgot to mention the soundtrack and the general soundscape of the game. I think it's overall competent and Darren Korb's work is stellar as always, I think a lot of the sound is weighed down by stock effects that I see used a lot in other stuff. It's really distracting to me, especially due to how often you hear them. I think some of the music has this problem too, I think it's the combat track iirc. The soundtrack has some really stellar songs, especially at the end, that final track is just mindblowingly great. It's made me so happy to be able to see this studio grow.
But overall, I think bastion is a lot more interesting as a piece of history to me than a game. I'm feeling positively about it, but not sure I'd really recommend it to anyone.
The writing in general is good for sure, but it's not really anything super exciting. I think there are some really good touches, the attention to detail on the narration and the pure quality of voice acting as well, is really an achievement. When it comes to environment design, I can't help but feel as though it's beautiful simply to be beautiful but not really much else. It's not really something that feels super well thought out beyond looking pretty. I mean, it sell an aesthetic but I'm not sure to what end. I also don't really find the main character's model to be particularly aesthetically pleasing.
I was also really shocked to see how existential and high concept it ended up getting by the end. It was certainly interesting conceptually, but Dark Souls has done a similar thing narratively to a greater effect. I didn't find it really all that satisfying in general, but I think the music helped to bolster it tonally at the end. I think there are some really interesting pivotal moments, but I think honestly the details are the most interesting parts of the design in the game, the singer only speaking at the very end of the game, things like that were really inspired choices.
When it comes to gameplay it was certainly viscerally fun and didn't overstay its welcome, but nothing really more than that, I think the foundation is really excellent, with the upgrades, god challenges, weapon challenges, etc, and I'm SO happy they decided to iterate on it later down the line.
I also forgot to mention the soundtrack and the general soundscape of the game. I think it's overall competent and Darren Korb's work is stellar as always, I think a lot of the sound is weighed down by stock effects that I see used a lot in other stuff. It's really distracting to me, especially due to how often you hear them. I think some of the music has this problem too, I think it's the combat track iirc. The soundtrack has some really stellar songs, especially at the end, that final track is just mindblowingly great. It's made me so happy to be able to see this studio grow.
But overall, I think bastion is a lot more interesting as a piece of history to me than a game. I'm feeling positively about it, but not sure I'd really recommend it to anyone.
This game was really cool for what it was when it released, but it is really lackluster compared to what the indie scene has to offer nowadays
I think Bastion hasn't aged poorly, but it also hasn't aged gracefully. But man, the story and voice acting and gameplay absolutely killed it back in the day.
While it’s simple and a little aged, I think Bastion is able to tell a good story in a unique way. It’s pretty crazy to see how far Supergiant Games has come when comparing this to Hades.
This game and its development story makes me a game developer today.