Most people will tell you to play this game so you can play Muv-Luv Alternative, but I'm going to tell you that this game is just as worth playing as Alternative is.

I wish more people played this game to enjoy Extra and Unlimited. So many people don't care about the first two parts to this Muv-Luv trilogy and I think that's a damn shame. I really enjoyed both Extra and Unlimited, and just because Alternative is one of the best VNs out there, doesn't mean you should feel like you need to rush through this one to play it.

Extra was dumb enough for me to realise I don't need to take it too seriously and it worked as very nice light reading whenever I felt up to it.

Unlimited was such a great experience. It's a great subversion of expectations if you don't know what you're getting into. Granted, most people will likely know what Muv-Luv is about, but I didn't!!!!! ....until others ruined it for me but whatever.

"This... is the truth of our world. Memories melt in the morning light and then, a new day begins.

Roads stretch out before us. So many paths. Which do you choose? That's up to you.

Sometimes, you might run astray. You'll stop. Maybe cry out in frustration. But you know what? That's alright. For the roads... they go on without end.

So look up, face forwards, towards your chosen horizon... and just...

walk on."

I’m sorry, Spiritfarer. I never really gave you enough of a fighting chance, and you came back right when I needed you again. Consider this review my apology.

After playing through That Dragon, Cancer this summer, I realized that I wasn’t being fair to this genre of “games for impact.” We don’t all play games for the same reason. Sure, plenty of games market themselves as straight entertainment, played for pleasure and excitement. But there are games that aim to not necessarily be fun, but rather be compelling. Games that seek to provoke a wide range of emotions and questions rather than just provide means to an end.

Spiritfarer was one such title that I admit I originally approached with the wrong mindset. It did not do me any favors to rush through in order to complete the game on my limited PC Game Pass, or to try and move onto the next title on my growing backlog, because this is a game both about taking your time while making the most of every moment possible. I also found myself stymied by the supposedly “shallow” gameplay loop while also complaining about its excessive runtime. That’s why upon my second playthrough of Spiritfarer, finally buying my own copy on Steam, I found myself constantly surprised and overwhelmed that all of these preconceptions turned out to be wrong. It all starts by properly contextualizing Spiritfarer’s appeal and purpose.

Just like That Dragon, Cancer, Spiritfarer grapples with the omnipresence of death differently. Death may be a game mechanic, but it is not a punishment; rather, it is the final destination. Heavily inspired by Spirited Away’s hotel for spirits, Spiritfarer tackles one important question; what if we didn’t fear death as much? As part of the Death Positivity movement, the game encourages its players to think of death as more than just a mechanism or taboo subject, and to have healthy and open conversations as to speak more freely regarding all the consequences and feelings surrounding it. To better handle its subject matter, Thunder Lotus focuses the gameplay loop on preparing you to care for souls at the end of their lives as well as the various processes associated with the cycle of grief.

As the newly dubbed Spiritfarer, the player character as Stella must find lone spirits scattered across the vast seas, and handle their final requests. These requests can range from a variety of fetch quests, to constructing little homes and decorations for them, to feeding them their favorite meals and handling their last regrets and affairs with other characters. As a backbone for this request structure, Stella must construct other various facilities and travel to other locales to gather resources and both upgrade the ship and gain new abilities to access new events. Once these last requests have been fulfilled, the spirit will ask to be taken away to the Everdoor, and pass on to the afterlife.

One particular complaint kept popping up in the back of my mind as I fulfilled my duties. A year ago, a close friend and I had a discussion regarding Spiritfarer, when he complained that Spiritfarer didn’t feel cozy at all. If anything, he felt pressured and constantly anxious that there was always something more to do. There were new crops to tend to, or more ore to smelt, or more fish to find and more dishes to cook, and so on so forth. I certainly related to his dilemma; in fact, during quiescent nights where I had the option to go to sleep to start a new day, I often found myself cleaning up my remaining tasks and frantically checking my stockpiles to see if anything else had to be worked on. I simply could not afford to lose time; if daytime was the only acceptable time to travel in order to explore new islands, then even my nighttime had to be optimized to fulfill my obligations and stay “on schedule.”

It was then that I realized, that there was a method to Spiritfarer’s madness. This constant state of scrambling and juggling tasks to keep everyone happy that had made me feel so uncomfortable… was the same exact state experienced by those in palliative care. Moreover, those were the same feelings that my family went through when taking care of my grandmother and grandfather on my mother’s side during their last years. They were often fickle with exactly what had to be done; sometimes, I didn’t know if they even knew what they really wanted. We often left my grandma’s apartment with this sense of restlessness that kept us up at night, unsure if there was even anything left we could do to ease their final moments. It was this delicate but never-ending push and pull that we had become so accustomed to, that I had almost forgotten the sensation after my grandma left us in March 2020. I can sincerely say that no other video game I have ever played has forced me to reconfront my feelings and memories from back then… and I can’t help but respect Thunder Lotus for the audacity to not only address it, but also impart those feelings so effectively through gameplay as an compelling example of player perspective.

To Spiritfarer’s credit, I later came to understand that this sense of coziness is not lost at all, because there are plenty of surrounding elements that alleviate this heaviness. The art style, as well as the color palette, are key factors; the graphics are heavily influenced by the Japanese woodblock painter Hiroshi Yoshida, which the lead artist stated as “bringing [her] serenity.” That tranquility and desire to explore the landscape was a key motivation behind the lush and vibrant environments of Spiritfarer, combined with the use of soft pastels and a lack of the color “black;” darkness is instead communicated through softer alternatives such as dark reds, blues, and greys. It’s not without its use of contrast either (see: Bruce and Mickey’s “McMansion” of clashing red and white), which both allows the game to express more clearly express character personalities while providing the opportunity to allow for the player to experience “negative feelings” such as sadness in a softer environment. Finally, Spiritfarer’s fluid hand-drawn animation also breathes life into its many characters while promoting mobility through Spiritfarer’s expressive gameplay.

Spiritfarer also shows further care in establishing mood and ambience as to gently tuck players into an emotional experience outside of the art style. Firstly, Max LL’s accompanying soundtrack appropriately imparts moods without the need for excessive flair and gusto. Simple piano, string, and flute melodies provide ambient backdrops in tunes such as At Sea or At Night. More exotic instruments play important parts in tracks such as Furogawa to convey curiosity, or more upbeat pieces such as Hummingberg excite players into romping around the island to soak in the sights. Then, you’ve got your frenetic tunes such as Freeing the Dragon and Pulsar Pursuit to spur the player into action and snag as many timed collectibles as possible to assuage the spirits’ wants and fears. Finally, epics such as Last Voyage convey emotional upwellings through volume swells while establishing a sensation of finality to bring journeys to a close. Honestly, I couldn’t have asked for a more fitting soundtrack to instill a sense of adventure for Spiritfarer while appropriately illustrating more thoughtful moods along the way.

Secondly, while many post-death games are often filled with hostile and frightening creatures, Spiritfarer instead chooses to surround the player with friendly and welcoming personalities. Of course, there’s the spirits themselves; while some spirits can initially come off as aloof or even acerbic and uncompromising at times, you soon get to learn more about their backstories and interests that allow you to warm up and celebrate with them. Around the vast expanses of Spiritfarer are also many sea creatures and island inhabitants that are sincerely interested in you, with many going out of their way to help you in your role of caring for your friends. There’s also a lot of silly “dumb” jokes and melancholy humor across many of these characters to poke light fun at the world they live in and the situations that Stella finds herself in, all while providing a welcome distraction when juxtaposed with the emotional subject matter of the game itself.

Further adding to this coziness is the lack of a permanent “fail-state” within Spiritfarer. There’s no way to reach a “game-over” screen or enter a state where the player is directly punished for errors. For example, mining requires a specific timing of holding down and releasing the X button, but holding for too long doesn’t lead to negative consequences such as losing resources or health. Rather, you receive a cutely animated sequence where Stella accidentally drops her pickaxe and glances back at what happens, before she picks up the pickaxe again with a smile on her face. It’s like the game is gently encouraging you to try again; sure, you didn’t play optimally and messed up your timing, but it’s okay, for you can always give it another go. Vice versa, you’re also rewarded for playing well due to the ability to save time from optional animations and the potential to gain additional resources (i.e. cutting planks strictly by the lines gets you double the amount of planks you would have gained otherwise), but failure in these cases is not so much a permanent setback, but rather a delayed success.

Similarly, this “feeling” of failure translates to the spirits themselves. If the spirits aren’t fed properly, they will complain to Stella and have lowered mood. Again, this isn’t a permanent setback, because this mood can be risen by feeding them their favorite dishes and hugging them. Of course, there are visible consequences here to playing “well;” happy and ecstatic characters will often aid Stella by playing music to make other characters happier as well, or participate in the ship’s tasks by giving you valuable resources (raw ingredients, ingots, dishes, luxury sellables, etc). Most importantly though, these characters feel alive, both because of their written design/stories (often heavily based off the development team’s friends and families, resulting in a lot of personal investment) and because the gameplay loop of performing their last rites and caring for them creates attachment; you get to learn their histories a bit better based off the stories they tell you as they request specific chores that reflect upon their quirks and personalities.

As a result, I found Spiritfarer’s gameplay loop engaging due to its great emotional investment; not only does it give you just enough time to grow attached to spirits before sending them off, it also emulates aspects of grieving extremely well in a video game setting. For example, as characters finally depart for the Everdoor, all other characters on the ship will gather around the departing rowboat to say their farewells, similar to how friends and family surround loved ones on their deathbeds. Another example of this occurs during scripted resource gathering events scattered across the map; you would typically need to speak to a specific spirit to begin the event, but once that character has departed, Stella must instead start the event from the departed spirit’s door. This connection, as well as the inability to remove the deceased spirit’s former house (now analogous to that of a tombstone), constantly reminds the player of the experiences and memories of those who have moved on, and emulates the process of revisiting final resting places or old ramblings of deceased loved ones. Thus, Spiritfarer thoughtfully embeds traces of former spirits to instill both metaphorical meaning and surface meaning that their lives will forever remain with you. By constantly exposing the player to so many different spirits and their transitory stays, Thunder Lotus is able to properly guide players to express these healthy mechanisms that come with loss.

As a related aside, Spiritfarer, similarly to That Dragon, Cancer, utilizes the medium’s ability to capture specific instances to allow players to properly adjust for events in-game. We’ve already talked about the game’s leniency with regards to its fail-states, since every “negative” externality can be quickly superseded with the proper actions; as a result, there are no lasting consequences to playing at your own pace and no real “wrong” choices to be made. However, Spiritfarer also creates opportunities to let the player soak in emotionally-heavy moments without the passage of time interfering, such as the Everdoor scenes. Here, the player can reflect in this frozen moment in ludic space and take all the time they need to absorb the reality of the situation. But as with That Dragon, Cancer, the player must eventually progress and move on, just like real life.

My prior emphasis upon this emotional attachment to characters through the busying gameplay loop might imply that the game itself is mechanically lacking… but I honestly don’t believe that's true. Spiritfarer controls extremely well, especially for a game where the emphasis isn’t necessarily precision platforming. By the end of the game, you’ve got expanded abilities to double jump, mid-air dash, float, and cling to ziplines to quickly zoom up and down and build up momentum. These movement options are further aided by the everchanging landscape of the ship itself, which naturally evolves over time, both from a want to create more aesthetically pleasing or simple to navigate structures, and from a need to construct additional facilities for resource gathering/housing spirits. Furthermore, this structure serves an important purpose, not just as a playground where Stella can bounce and run around, but also as the main stage where resource gather events at sea take place, and Stella must quickly move around the ship to snatch as many collectibles as possible before time runs out. Finally, traversing the expanding ship can be aided by constructing optional devices such as bouncy umbrellas or air-draft machines, should raw jumping on top of houses not suffice enough for clean movement. As such, these movement mechanics and design opportunities provide welcome outlets for creative expression and player agency, which contrasts nicely with the lack of control that often comes attached to games about death.

Finally, there’s a real sense of progression to be found in Spiritfarer, when compared to other “artistic” and emotional indie titles such as Sea of Solitude. As mentioned prior, the ability to unlock new movement options by visiting shrines help keep the player advancing to the next stage, whether it be a signified by an out-of-reach chest or a traversable element such as an air current that you don’t have the movement tech to exploit. Moreover, these upgrades require obols (which are usually given to the player when new spirits come aboard), just as the ship upgrades that allow you to travel to new areas require Spirit Flowers that are left behind from a spirit’s passing. As a result, the personal investment from meeting and saying good-bye to spirits is matched by the extrinsic investment gained from interacting with the spirits, resulting in a powerful marrying of storytelling and gameplay mechanics. By progressing the story, the player is in turn rewarded with new areas, abilities, and accessories to create further opportunities of discovery and novelty.

That said, there are a few other nitpicks regarding certain aspects of Spiritfarer’s design, such as moments of less focused dialogue writing. Spirits will often run out of things to say, and that might limit interaction on the ships outside of jobs to scant bumps where they tell you they’re hungry, especially when you’re super busy micromanaging other tasks. This honestly doesn’t bother me as much as before (since we as humans will inevitably run out of interesting things to say); however, it is a bit more annoying speaking with non-spirit NPCs and either getting “trapped” in several lines where I had to mash X to move on, or being confronted with terse and meaningless scripts where the NPC would continually parrot some variation of “Hello. Leave me alone now.” This wouldn’t be as problematic if I didn’t feel the need to speak with every generic NPC to try and fulfill the requirement, since the “correct” NPC is not marked.

While I did find the gameplay loop much more palatable upon my second playthrough, I do agree that it’s easy to feel as if there’s a bit of padding near the end of the game as well. By this time, most of the spirits have departed your ship, and it’ll probably be down to Stella and a few remaining hardy spirits to pick up the pieces. It can definitely feel a bit lonely and out of place having to finish the remainder of Stella’s backstory with little spirit interaction in the last few hours. To its credit, Spiritfarer remedies this somewhat by finally allowing you to travel at night to quickly sweep up the story if you so desire, and with most bus stations unlocked and most speed upgrades having been fulfilled at this point, it’s not too arduous of a task. I do wish that there was a way to speed up time in Spiritfarer’s endgame though, since the backstory can only really be accomplished at night. As mentioned prior, you can fall asleep to skip nighttime and proceed with daytime events, so it is a little ironic that Spiritfarer’s endgame suffers from the exact opposite problem of running out of things to do in the day and lacking an analogous mechanism to get right back to the story at night.

I’m willing to look past these minor issues and more though, because ultimately those shortcomings end up making the game feel more human somehow. I tend to be a completionist at heart, wanting to 100% every experience and see everything there is to see. But I had to throw away that mentality and go against all my previous instincts, because Spiritfarer is a game about brevity.

While in the video game space, the developers have provided enough opportunities to artificially extent deadlines when so desired, it is Spiritfarer’s impermanence that makes its experiences so fruitful. I didn’t have enough time to learn every single detail about all the spirits, nor am I sure that the spirits were necessarily prepared to spill their entire life story in a single sitting to someone whom they had just met. Similarly, this experience’s meaning would be greatly diminished if you just let it stretch on to infinity and beyond. You most likely won’t have the time to finish every single task or close every loop… and that’s okay too.

Ultimately, while it can feel off-putting to some that characters can seem inscrutable to some degree (which may urge players to seek additional details on a wiki or in the Spiritfarer Artbook), I found myself content with what I knew. The condensed experiences that I had with these characters more than moved me upon my journey, and in fact put me in a headspace where I constantly found myself translating these experiences to my real life. Atul made me wonder if I really got to know my deceased relatives and friends well enough. Gustav left me contemplative regarding humanity’s eternal struggle with meaning. Stanley left my heart broken that innocence, while powerful, was just as fleeting as life itself. And Alice’s story left me speechless and frightened, because I saw signs of my grandmother within her.

That was, until Christmas night, when my dad received the call that my grandma on my father’s side had suffered a stroke. How bitterly ironic that the exact moment as I finished my second playthrough, my grandmother was left in a coma and I’d be forced to recontextualize my experiences once again. I knew that playing Spiritfarer would prepare me for this… but I wasn’t prepared for it to be this soon.

Had these lessons imparted upon me not meant anything? Sure, Spiritfarer is a game about dying… but it is also a game about living with death. Honor those who have moved on, so that you make the most of every moment with those who are still here. I hadn’t gotten the chance to see my grandma since a family vacation right before the 2020 outbreak, and I was hoping that someday, I’d get the chance to make it up to her. Now, I might not even get that chance. What could I even do at this point? Was my best not good enough anymore? Was my time spent all for naught?

I don’t really know. I spent a couple of days agonizing over my inability, my words feeling empty and my actions feeling directionless. I’m still waiting, because at this point, that’s all I have left.

But I’d like to think that my time wasn’t wasted. I don’t wish to make the same mistakes again… even if it might be too late this time. I think a game that’s willing to be as boldly emotionally vulnerable as Spiritfarer, despite all its potential pacing and mechanical issues, is something that has to be shared and treasured regardless of consequences. We can’t let trivial issues stop us from discussing that which is feared to be discussed, because we don’t have all the time in the world to pretend that everything’s okay. We wouldn’t improve if we never erred, and even if some missteps can’t be taken back… at least we can try to stop others from following our paths by connecting and sharing stories, right?

I can’t deny that Spiritfarer might not have hit me as hard the second time had these unfortunate events not occurred almost immediately after finishing. But I also can’t deny that Spiritfarer’s narrative power is the reason why I will always associate this game with everything that’s happened, nor can I think of any game that would have better prepared me for this moment and left such an impact upon me than Spiritfarer. Regardless of any gripes I may have had, this game is now a part of me, and I’m honestly not sure if I would change anything that I had experienced, lest I somehow forget about everything I strove to become moving forward.

So, let me leave you with these final thoughts of what I learned from Spiritfarer.

Grief is not a wave; it is an ocean. Every time you glance at it from a distance, you think you’ll be ready, but then it hits you, and you’re still swept away. As it washes over you, you start to wonder what it’s like to drown. Just to linger in that space a little longer, to try and lose yourself again in that gap in time where there was, before there wasn’t.

But there is nothing deep about drowning. Ultimately, we must carry on, for just as life has no meaning without death, those who pass on have no meaning without those who remain. Your ship will keep getting rocked by tide after tide, storm after storm, and you still might not be ready by the 2nd, 3rd, 4th, or however many waves hit you over and over. Nevertheless, you learn to navigate the waters a little better each time. There’s nothing wrong with getting seasick, but that doesn’t mean you have to drown.

Love is watching someone die. But love is so much more than that too. Love is a balancing act between letting others in and watching them leave. Love is living every day like it’s your last, but realizing it’s okay to forget about life too. Love is learning to accept everything about us: the pleasures, the turmoil, the fallacies, all of it. Love is preparing for the inevitable while savoring the ephemeral.

Love… is letting go.






Sources referenced:

Representation of Death in Independent Videogames: Providing a Space for Meaningful Death Reflection
Spiritfarer And Death Positivity
Corporate Intervention In Video Games
(also please see Fudj's separate review of Spiritfarer on this site, as I find that it effectively communicates many of its strengths and provided motivation to write this up)
Spiritfarer Explained: Letting Go Is Everything
Mindful Games: Spiritfarer
Spiritfarer Documentary: A Game About Dying
Healing Together on Discord: The Spiritfarer Community
Zero Punctuation: Spiritfarer
Spiritfarer's Art Book: Can be found here or purchased as part of Farewell Editions or separately on GOG/Steam.

I think Spiritfarer's greatest strength is being able to wield the specificity of its characters' lives and the real life stories of grief that they take inspiration from whilst also remaining quite universal. Though, in a rather morbid way, I think one's mileage with Spiritfarer will vary mostly by one's life experiences with the subject matter. That's not to say that the storylines are hollow without being able to relate to them, some of my favourite characters in Spiritfarer are meant to serve as catharsis for a particular type of grief I'm simply not familiar with on that level.

This is all to say, one story in particular has had a more profound impact on me in a way that I think would simply not work quite as well if I hadn't lost a loved one in the way that I did.

I am going to put a spoiler warning here, though first of all, I obviously recommend the game if that wasn't clear; and second of all, go and read Drax's Excellent piece on the game, which is genuinely my favourite write-up about spiritfarer on the site, and maybe even the entire web.

I want to talk about Atul. A few days ago a friend of mine @MrCanilla finished his playthrough and wrote a thoughtful piece on it which I enjoyed (and the shoutout was nice too, lol). I then reflected on my original piece on the game and I wasn't very happy with it. So I replayed Spiritfarer and quickly dispelled the idea in my head that there was no way the emotional impact would be as effective on a second go. But the main reason Im writing this is because I never talked about Atul, and that surprises me, because it sat on my mind for a while when I originally played Spiritfarer in 2021.

Atul is a jolly Frog spirit you pick up as one of the first spirits you can ferry to the afterlife. He's the world's least picky eater, he's a handyman who runs the sawmill and breaks out into song, one of my favourites : thunder harvest. He asks you to go on a pretty long and arduous quest to feed him various foods which remind him of memories of his family, which he misses. As you get to know him you realize that behind his jolly facade is a real void, a void that he may be filling with food, judging by his appetite.

The real turn comes when his quest advances to organizing a big dinner for everyone on board, another set of food quests to make a big feast. Then as you go back to the ship and go to sleep, you realize the next morning that Atul is simply not there anymore. And I may be misremembering, because originally I played a much earlier version of the game, but I think originally that was it, you went to his room and found the spiritflower, the symbol left behind by the spirits in their quarters after they are ferried to the everdoor. On replay though, it seems there is a bit more clarification, with characters confirming quite plainly that Atul simply left. I am rather conflicted on this "QOL?" decision for reasons I will explain at the end.

You see, up until that point in the game (and they made damn sure that Atul's quest cannot be finished before sending at least 3 or 4 spirits I think to the everdoor) the game had established a sort of routine. Relating to the main thrust of the game being essentially the experiences of a palliative care nurse who would take care of patients in what little time they had left, all of the spirits follow the pattern of seeing off a dying relative, the spirits gathering around when taking their fellow to the everdoor analogous to gathering around a deathbed, as Drax pointed out. It doesn't get easier but it does follow a pattern; you take the spirit to the everdoor, they have some parting words somewhat concluding their storyline and then you cry and they leave forever.

Atul, however, simply leaves, utterly subverting the established pattern brilliantly. My reaction and many others was that of utter confusion : "What? What the hell? Where did he go? I didn't even get to say goodbye! That's not how it was supposed to go?" to anger "how could he leave without saying goodbye! How could he do this to me?". I simply couldn't believe it. In the case of Atul, there is some implication given his character arc that he simply didnt want to make Stella sad and went to the Everdoor himself, characteristic of his personality, but there is also an implication in my mind that this may well be Stella and by extension the audience trying to make sense of that which has none. And sometimes our loved ones will leave us without the chance to make peace or say one final goodbye, and we kind of just have to live with it and make what time with them count.

The reason this was all so devastating is that with a simple upending of established mechanics, spiritfarer pulled me back to 2018 and the exact emotional reaction I felt when my father unexpectedly past away. Without getting into needless details, it was simply an accident, one of tragically countless which happen every day. I was studying abroad at the time and got a call from my mother on an evening that was until then utterly mundane, I think I was planning on playing skyrim and procrastinating on work as I always did back then. Unbeknownst to me my Father had already passed when I received the call, but I was just told he was in the ICU and to get home ASAP. I hurried to the airport as fast as I could to take a late night flight back home. Looking back I am almost thankful for the eventful trip which took my mind off it all, getting lost and without battery in central london until some helpful people pointed me in the right direction, talking to a tourist on the plane, etc.

But of course when I landed I got the news. It was quite surreal, in a way. Now, I don't think anyone is fully prepared to lose a loved one ever, but when someone young and healthy leaves in such a fashion it makes you question a lot of things. And my Dad was not all that similar to Atul, personality wise, but much like the sawmill he used reminds you of Atul even when he's gone and you miss his supply of planks and all the other helpful activities he would do like most spirits in the game, I realized a few weeks later when I started to cycle again, that I was going to finally have to learn how to change tyres by myself. A sad reminder of who I lost but also an important lesson to move on and to let life's hardships as well as its good times serve as lessons. Its been 5 years now, and though this replay may have resurfaced a few bits, I am doing well, And I can confidently say that Spiritfarer is still a great game which accomplishes with its mechanics what couldnt be accomplished in a different medium. Its personally inspiring to me genuinely.

I must say, playing Spiritfarer in 2023 makes me think we should mandate Minecraft's version history system into every single game, because I think Spiritfarer 2020 was a great game which was a little padded and could have ended a bit earlier than it did, and lo and behold that's even more so the case now. In principle, I understand why they clarified a bit more on Atul, even if it robs it of the full impact of the utter confusion and shock it was originally intended to convey. However, if you are one of the people who complained enough about it that they added the option to turn off the Bus stop music, we cannot be friends; and I will see you in hell. And I have the sneaking suspicion that the new spirits were always supposed to be there in the original version but were cut due to time constraints and later added in, in which case I can see why they were chosen to be cut out of all of them, I'm sorry. They're not awful, but y'know.

Anyways, I don't know If I have much of conclusion beyond the obvious plea to love those closest to you and live a life you won't regret, so let's idk share our favourite spiritfarer tracks in the comments. Have a good one