-
Ever wanted an RSS feed of all your favorite gaming news sites? Go check out our new Gaming Headlines feed! Read more about it here.
Cuphead for Nintendo Switch |OT| Thanks to our friends at MDHR & Microsoft
- Thread starter Meelow
- Start date
Get the extra heart. I had so much trouble with the robot and the extra heart did the trick, as per a suggestion here.
Don't lose your cool during the final phase. Just hold down fire (gun, not bomb) and focus on dodging the blasts, not hitting him, you'll hit him as you dodge.
I'm making my way through the Expert levels, having already unlocked the 2-Strip and B&W filter.
Is there any reward for completing the game on Expert other than the achievement?
Is there any reward for completing the game on Expert other than the achievement?
Finished my first run on Normal today with 98%, missing 3 of the coins outside the run-and-gun stages, one last shop item (Coffee), and one phase on King Dice that I simply never rolled (I think it was #7).
What an experience—what a joy. I'm still digesting it, hours later. I knew I was likely to love this game (hello, I'm the curmudgeon who complains incessantly about how one of the greatest limitations on video games as an art form is that the bulk of the industry behaves as though its cultural memory doesn't go back any further than Star Wars, and I always dreamed of what video games might have been like had the medium come of age at the zenith of American cinema and popular song, roughly from the thirties to the fifties)—and it still surpassed my expectations in so many ways.
*
Death statistics: 50 in World 1, 241 in World 2, 254 in World 3, 62 in Inkwell Hell for a total of 607. I cleared everything once and haven't gone back over the game for ranks. As far as loadout goes, I cleared all of Worlds 1 and 2 with the Peashooter alone, but added the Spread in World 3 and used it heavily. I had trouble with the parry timing early on, so I picked P. Sugar as my first charm a few levels in and stuck with it for the rest of the game, even though it wasn't too long before I had to learn the parry timing anyway for the fights where it was essential to gain height. I'm usually the sort of player to S-rank everything in a world before moving on, and thought I'd put off experimenting with my loadout until I went for ranks, but I was so eager to see all the gorgeously animated bosses that I blew my way through to the end. So mechanically, I've only seen a fraction of what the game has to offer.
Controls: after the first few stages I swapped the dash to ZR and never looked back; that's what Hollow Knight does to you. This also joins the short list of side-scrollers where I wound up preferring the stick over the D-pad, as rapid directional adjustment was more useful here than perfect precision. (The collision boxes are all so chunky anyway, and after some initial trouble with estimating jump heights and distances, it was a minor revelation to use the side-dash while pulling back in the opposite direction for a midair adjustment.)
If I have one mechanical complaint about the game—only one—it's that I wish I could remap dropping through a platform to something other than down-B (down-jump). I know that's standard for the genre, but I don't think it's very compatible with the eight-way directional aiming, and the whole time I was dying to have that on a separate button like ZL. A nontrivial number of my deaths to Grim Matchstick and Rumor Honeybottoms (the hardest fights for many others here, I now realize) came from unintentionally dropping down in the tongue phase and the final phase, respectively. Yes, that's part of the skill set and difficulty tuning in the game, and addressable by changing up the weapon loadout, but the controls really do seem to clash. The issue is that if you are locking your position and using the eight-way aiming to shoot either down or down-diagonal, you can't jump out of that like you can when pointing in the other five directions; there's a delay where you have to fully let go and return your direction to neutral, which is particularly noticeable if you're playing with the stick. Quite often, I released the stick but hit jump just a moment too soon. Going from downward aiming into a jump is literally the only input sequence in the game that feels sluggish, and it sticks out like a sore thumb when everything else is so crisp.
Switch performance: playing undocked, I encountered one consistent hiccup—the giant phase at the end of Rugged Ridge—but that was before the patch that just came in, and I haven't checked if it has been fixed.
*
I'm probably taking a break from Cuphead to play some other games before I come back for ranks and Expert mode, but from my experience on Normal, I can't praise the difficulty design enough.
Playing Celeste last year was a clarifying experience. It's an excellent game and I love it in its own way, but I found it revealing, and not the least bit concerning, that a certain segment of players held it up as an emblem of what they thought was the "right" kind of difficulty—high peaks, razor-thin error margins, massive death counts, but with instant restarts and a checkpoint every screen. There seems to be a growing sentiment that gruelling stamina/consistency checks, which reward you for learning through repetition and refinement, are a kind of "artificial" difficulty that doesn't respect time-poor players, who apparently think the catch-all solution for everything is more checkpoints. (I espy a bit of this sentiment in this very thread.) And I couldn't possibly disagree more, though this is something I've grumbled about before and I won't repeat it all here.
Cuphead is a game that gets it. It asks you to learn to observe patterns and cues, but it's not one of those games where the error margins are so tight that you are forced into discovering a single right answer, a single correct response; you actually have considerable freedom as the player to create your own solution—to recover from mistakes, make narrow escapes, lead enemy projectiles, strategically time your specials, and pick targeting orders that best suit your play style (like picking off the parts of Dr. Kahl's Robot based on which threat combinations give you the most trouble). You memorize high-level cues, not precise input sequences, and in fact the non-determinism of some of the patterns is there to mix things up and keep you on your toes. You have to react and improvise, and the fights won't go the same way twice. (Yes, sometimes the RNG creates situations where certain draws seem much easier than others—I found myself actively hoping for certain minion orders in Baroness Von Bon Bon—but I think it ultimately works to the game's advantage.) It's a perfect synergy of mechanics and aesthetics: as the player, you have to approach the fights with the same exuberant dynamism that is all over the animation and the music.
The progress bar is ingenious. In some ways, the bosses in Cuphead are the closest single-player condensation of the experience of raid progression in WoW (without all the downtime where you impatiently wait for other players to get on the ball, that is). You're always tantalizingly close to activating the next phase, and it keeps you going.
(Some other day, I want to dig further into the pacing and difficulty curves of the individual fights; I find it highly interesting that in most cases, the spectacular "final forms" tend to be very brief—one final hurdle to keep you on your toes, but solvable blind, if you're careful—while the more complicated elements are actually front-loaded in the first or second phase, so as to create an incremental challenge for the player: a subgoal to get out of the early phases with as little damage as possible. Cracking this was almost always the key to cracking the whole fight. This structure is particularly conspicuous in the final boss.)
I'm trying to think of comparable side-scroller bosses that strike this balance of intricate, escalating patterns with a dynamic mechanical range that lets the player take the initiative, and along with some of the fights in Hollow Knight, I think I would have to go all the way back to Viewtiful Joe.
*
The music. The music! I have to exercise some self-control here, or I'll wind up writing a track-by-track commentary on the score like an alternative set of liner notes, and never stop.
I am completely over the moon with the score. As with the animation, if you're not really steeped in the period and style that Cuphead invokes, you could be forgiven for regarding the whole affair as ambiguously nostalgic and old-timey; but if you are steeped in the period and style, the commitment to authenticity is so exacting in its detail that none of this comes off as the past, but as the living present. It's no secret that for most audiences, ragtime and jazz are throwaway signifiers rather than intimately lived experiences, and it's all too easy to get away with something "good enough" to the consternation of those most devoted to the art form. But Kristofer Maddigan's music for Cuphead is so thorough in every which way that, for all the praise and attention it has garnered, I don't think most players or listeners realize just how good it really is. It isn't just a vague throwback to 1930s cartoons or even earlier silent cinema; it covers a huge spread of musical style (I hear everything from the 1910s to 1940s) with pinpoint precision, a few deliberate and well chosen ventures into anachronism (well in the spirit of what Duke Ellington did throughout his own career, borrowing forms that came after him and folding them back into his own compositional idiom), just the right amount of pastiche and quotation in the manner of Carl Stalling.
I'm eager to dig into a few specific examples—perhaps in a separate thread or an off-site piece, if it should come to that—but before I do anything like that, I mean to take the time to go over the whole soundtrack with my full attention on it (rather than mostly on clearing the fights). One thing I'll say is that the execution is superb: I was impressed but, on reflection, unsurprised to recognize several prominent luminaries of the Toronto jazz scene in the musician credits, some of Canada's finest on their respective instruments. All the stops were pulled to make this work, from production to performance. Not a whiff of cheap imitation about it. A landmark accompaniment to a landmark game.
What an experience—what a joy. I'm still digesting it, hours later. I knew I was likely to love this game (hello, I'm the curmudgeon who complains incessantly about how one of the greatest limitations on video games as an art form is that the bulk of the industry behaves as though its cultural memory doesn't go back any further than Star Wars, and I always dreamed of what video games might have been like had the medium come of age at the zenith of American cinema and popular song, roughly from the thirties to the fifties)—and it still surpassed my expectations in so many ways.
*
Death statistics: 50 in World 1, 241 in World 2, 254 in World 3, 62 in Inkwell Hell for a total of 607. I cleared everything once and haven't gone back over the game for ranks. As far as loadout goes, I cleared all of Worlds 1 and 2 with the Peashooter alone, but added the Spread in World 3 and used it heavily. I had trouble with the parry timing early on, so I picked P. Sugar as my first charm a few levels in and stuck with it for the rest of the game, even though it wasn't too long before I had to learn the parry timing anyway for the fights where it was essential to gain height. I'm usually the sort of player to S-rank everything in a world before moving on, and thought I'd put off experimenting with my loadout until I went for ranks, but I was so eager to see all the gorgeously animated bosses that I blew my way through to the end. So mechanically, I've only seen a fraction of what the game has to offer.
For King Dice, I quickly settled on 2-5-8 as my preferred path, as they were the least prone to error. (For a while I tried to master 4 and 9, but they had just enough moving parts that for such simple patterns, it was too easy for me to make unforced mistakes; you'll notice that the thing 2/5/8 have in common is that they let you stand still.) I confess that on later attempts, I got into the habit of rerolling the fight at the start until at least one of these three stages provided a heart, as I was having enough trouble with the final phase that a one-heart buffer made all the difference.
Controls: after the first few stages I swapped the dash to ZR and never looked back; that's what Hollow Knight does to you. This also joins the short list of side-scrollers where I wound up preferring the stick over the D-pad, as rapid directional adjustment was more useful here than perfect precision. (The collision boxes are all so chunky anyway, and after some initial trouble with estimating jump heights and distances, it was a minor revelation to use the side-dash while pulling back in the opposite direction for a midair adjustment.)
If I have one mechanical complaint about the game—only one—it's that I wish I could remap dropping through a platform to something other than down-B (down-jump). I know that's standard for the genre, but I don't think it's very compatible with the eight-way directional aiming, and the whole time I was dying to have that on a separate button like ZL. A nontrivial number of my deaths to Grim Matchstick and Rumor Honeybottoms (the hardest fights for many others here, I now realize) came from unintentionally dropping down in the tongue phase and the final phase, respectively. Yes, that's part of the skill set and difficulty tuning in the game, and addressable by changing up the weapon loadout, but the controls really do seem to clash. The issue is that if you are locking your position and using the eight-way aiming to shoot either down or down-diagonal, you can't jump out of that like you can when pointing in the other five directions; there's a delay where you have to fully let go and return your direction to neutral, which is particularly noticeable if you're playing with the stick. Quite often, I released the stick but hit jump just a moment too soon. Going from downward aiming into a jump is literally the only input sequence in the game that feels sluggish, and it sticks out like a sore thumb when everything else is so crisp.
Switch performance: playing undocked, I encountered one consistent hiccup—the giant phase at the end of Rugged Ridge—but that was before the patch that just came in, and I haven't checked if it has been fixed.
*
I'm probably taking a break from Cuphead to play some other games before I come back for ranks and Expert mode, but from my experience on Normal, I can't praise the difficulty design enough.
Playing Celeste last year was a clarifying experience. It's an excellent game and I love it in its own way, but I found it revealing, and not the least bit concerning, that a certain segment of players held it up as an emblem of what they thought was the "right" kind of difficulty—high peaks, razor-thin error margins, massive death counts, but with instant restarts and a checkpoint every screen. There seems to be a growing sentiment that gruelling stamina/consistency checks, which reward you for learning through repetition and refinement, are a kind of "artificial" difficulty that doesn't respect time-poor players, who apparently think the catch-all solution for everything is more checkpoints. (I espy a bit of this sentiment in this very thread.) And I couldn't possibly disagree more, though this is something I've grumbled about before and I won't repeat it all here.
Cuphead is a game that gets it. It asks you to learn to observe patterns and cues, but it's not one of those games where the error margins are so tight that you are forced into discovering a single right answer, a single correct response; you actually have considerable freedom as the player to create your own solution—to recover from mistakes, make narrow escapes, lead enemy projectiles, strategically time your specials, and pick targeting orders that best suit your play style (like picking off the parts of Dr. Kahl's Robot based on which threat combinations give you the most trouble). You memorize high-level cues, not precise input sequences, and in fact the non-determinism of some of the patterns is there to mix things up and keep you on your toes. You have to react and improvise, and the fights won't go the same way twice. (Yes, sometimes the RNG creates situations where certain draws seem much easier than others—I found myself actively hoping for certain minion orders in Baroness Von Bon Bon—but I think it ultimately works to the game's advantage.) It's a perfect synergy of mechanics and aesthetics: as the player, you have to approach the fights with the same exuberant dynamism that is all over the animation and the music.
The progress bar is ingenious. In some ways, the bosses in Cuphead are the closest single-player condensation of the experience of raid progression in WoW (without all the downtime where you impatiently wait for other players to get on the ball, that is). You're always tantalizingly close to activating the next phase, and it keeps you going.
(Some other day, I want to dig further into the pacing and difficulty curves of the individual fights; I find it highly interesting that in most cases, the spectacular "final forms" tend to be very brief—one final hurdle to keep you on your toes, but solvable blind, if you're careful—while the more complicated elements are actually front-loaded in the first or second phase, so as to create an incremental challenge for the player: a subgoal to get out of the early phases with as little damage as possible. Cracking this was almost always the key to cracking the whole fight. This structure is particularly conspicuous in the final boss.)
I'm trying to think of comparable side-scroller bosses that strike this balance of intricate, escalating patterns with a dynamic mechanical range that lets the player take the initiative, and along with some of the fights in Hollow Knight, I think I would have to go all the way back to Viewtiful Joe.
*
The music. The music! I have to exercise some self-control here, or I'll wind up writing a track-by-track commentary on the score like an alternative set of liner notes, and never stop.
I am completely over the moon with the score. As with the animation, if you're not really steeped in the period and style that Cuphead invokes, you could be forgiven for regarding the whole affair as ambiguously nostalgic and old-timey; but if you are steeped in the period and style, the commitment to authenticity is so exacting in its detail that none of this comes off as the past, but as the living present. It's no secret that for most audiences, ragtime and jazz are throwaway signifiers rather than intimately lived experiences, and it's all too easy to get away with something "good enough" to the consternation of those most devoted to the art form. But Kristofer Maddigan's music for Cuphead is so thorough in every which way that, for all the praise and attention it has garnered, I don't think most players or listeners realize just how good it really is. It isn't just a vague throwback to 1930s cartoons or even earlier silent cinema; it covers a huge spread of musical style (I hear everything from the 1910s to 1940s) with pinpoint precision, a few deliberate and well chosen ventures into anachronism (well in the spirit of what Duke Ellington did throughout his own career, borrowing forms that came after him and folding them back into his own compositional idiom), just the right amount of pastiche and quotation in the manner of Carl Stalling.
I'm eager to dig into a few specific examples—perhaps in a separate thread or an off-site piece, if it should come to that—but before I do anything like that, I mean to take the time to go over the whole soundtrack with my full attention on it (rather than mostly on clearing the fights). One thing I'll say is that the execution is superb: I was impressed but, on reflection, unsurprised to recognize several prominent luminaries of the Toronto jazz scene in the musician credits, some of Canada's finest on their respective instruments. All the stops were pulled to make this work, from production to performance. Not a whiff of cheap imitation about it. A landmark accompaniment to a landmark game.
Last edited:
I'm not sure how that works, sorry. I know you can find coins on the map in a couple of spots though.
Beat it late last night, I kept saying I'd go to bed but I'd keep saying "one more try" on the devil. Beat it at 4:30 AM. The trick with King Dice's casino was 1) figuring out how to get the dice to roll in your favor (jump when the number before the one you want appears, then parry as you go up, not down), 2) not fighting that stupid monkey boss, 3) being brave enough to run towards one of his hands as it drops and get behind it. I actually got the best grade of any level in the game thanks to all the supers and parrying (and I still had 2 HP left).
The devil wasn't too bad (I would still say the robot is the hardest boss in the game), although I kept dying on the last phase because I'd get there with 1 HP and the coin always got me. This time I unleashed a Super on the previous phase and I only needed a few seconds on the last one. Managed to KO him before the coin fell.
It's a solid game, but I dunno if I see myself replaying it much. Curious what the DLC will be like.
Considering the crazy success of this game, what are the odds of a physical release for Cuphead coming to Switch, Xbox, etc?
Pretty sure that's been confirmed to happen after the DLC releases.
Good write-up, and not meaning to just call this part out, but it's what grabbed my attention. They're very different games, and I find it to be counterproductive to compare them to one another (precision platformer vs. run & gun/boss rush). Both games demand the utmost from the player though. I found that when I was going for perfect ranks in Cuphead, my approach was very rigid. Straying from that meant getting hit or not getting all the parries/specials, going against my muscle memory, etc. The same was true with Celeste. I could skip the strawberries or B/C sides, sure, but I wanted them all, so my approach was rigid there as well. I think I died 500-1000 times on certain stages, and yet I didn't get tired of it. Cuphead though, based on how long some levels can be, I had to take long breaks from it... and I'm still working on it.
I love both games probably equally, but for very different reasons. Anyway, again, great write-up.
Thank you so much for telling me this! I've been on the fence on finally grabbing it for my switch, but I'll gladly wait until then and pay an extra $10 if needbe to have a physical copy. It's not even so much having a preference for physical, it's that I don't want to add on more data to my switch than needbe. Switch cartridges are so tiny anyway it's not a big deal to swap them out.
Keep in mind that Teeth confirmed that the physical version will definitely not come in 2019. It's going to be a long wait.
Just finished this game. 256 total deaths. Very, very good game. Final boss was surprisingly easy though. Well, comparatively speaking. Most of the bosses leading up to it were far more difficult. By the way I LOVE the setup of King Dice. That was really cool reminded me of that stage in Gunstar Heroes.
Thanks for that heads-up, also. Well, I've been waiting to be able to play Cuphead, I can wait a little longer. More time to put towards Mario Maker 2 perhaps?
Ooof, I hit my first major wall in the form of the genie boss in world two. I got the hang of all the other bosses fairly quickly but this guy is handing me my ass big time - I think I'm on fifty tries now but I can't get past the third phase. I've come to the point where I just restart when he does the jewellery thing in the first phase - it's terrible.
In general I seem to have a lot more difficulty with the flying levels. The dash thing is really hard to control - I keep flying into stuff.
In general I seem to have a lot more difficulty with the flying levels. The dash thing is really hard to control - I keep flying into stuff.
Transform to the small plane when there's a lot of projectiles, don't focus on shooting.
Never had a single issue with input reading. Try cleaning your controllers or see if you any sort of interference.
Maybe i need to check that because damn....im on the dragon in world two and i swear to God the second phase where those little flame fucks pop up at you....i jump and the game seems to wait until im heading in a direction before one of them jump and its always in a direction so they hit me as soon as i land in an unavoidable hit. Nothing in this game has given me too much trouble until now. Just seems incredibly unfair like the game reads my jumps before launching the little fire fuckers at me
I'm not playing this on Switch but I did just start this game. Is anyone else trying to play with an arcade stick?
After mapping everything on mine the only issue is I haven't found a good position for 8-way... so I just haven't used it. I'm most of the way through island 3 now at probably around 500 deaths.
After mapping everything on mine the only issue is I haven't found a good position for 8-way... so I just haven't used it. I'm most of the way through island 3 now at probably around 500 deaths.
Grim's second phase is deeply random and unfair, yeah.
The Chaser and Lobber are a godsend in that phase. Stay as high as possible, and keep an eye on the flames. If they have big toothy grins then they have a chance of jumping.
The flames will always jump to your current position, no matter where you are. You need to pay attention to the little sound they make before jumping.
Stay at the top clouds, and use the Lobber to shot the dragon. You will hear the little flames make a sound... Once the sound finishes, jump straight up to avoid the flame. It's easy. You just need to pay attention to the sound.
Not only have I had the flames do random jumps, but sometimes they don't do the little windup sound effect.
Yes this exactly!!!! Every boss has been hard but doable....but this fkr is cheap as hell, especially that 2nd phase!!!
What weapons are you using? First and third phases are doable, but the second is a mess without the Chaser and Lobber guns.
Here. I just recorded this video a couple of minutes ago. It's in Expert difficulty. The flames always make the sound (sometimes the sound gets masked with the soundtrack, but it's always there). The jumps are not random at all. They will always jump to your current position. If you jump very soon/early, the flames will jump to your current jumping position (intercept you) and will hit you. That's why you need to wait until the sound finishes, so they will jump to your current standing position.
Last edited:
I promise you im not losing my mind lol....i have absolutely, 100% have had them not make the noise sometimes when they jump.
I don't know what to tell you. When I fought Grim Matchstick on phase two the flames would frequently jump without making a sound. Maybe it's a glitch on my end.
Sloppyjoe_Gamer Do you have the Roundabout? Between that, Chaser and Lobber you can do well against Grim.
There's no input reading. If you want to know what's going on - the jumping fire guys come out based on a look up table of delays. They reach a certain point along their path and then they crouch down and giggle. The moment they jump, the code creates an arched path that intercepts your player position at that instant. Then they jump. The velocity of their jump is based on how far away you are from them.
Using this knowledge, the best course of action is this:
- Staying far way from them will make them jump with higher velocity/height than being closer to them (as they need to overcome gravity with more force). So staying relatively near the mid point (height wise) will make it so that they generally jump softer.
- Don't move around while they are crouching/giggling, as you (as the human player) won't really have an idea where or how they are going to jump because you don't really know where you are when the game creates the intercept path.
- What you want to do when you see a flame guy break from the marching line is to just stop moving, then when he jumps, you just jump straight up. He'll pass underneath you 100% of the time. If you jump too early, the intercept point will be in the air and you will be further away from him, so he'll jump higher and faster at your (now) descending position. Jump when they jump, not before it.
- Know that the jumping flames never happen multiple times at once, and very rarely in quick succession. So your best bet is to jump to a right most platform, about mid-height, and fire to the left at the dragon while standing still, watching the bottom. Generally the amount of time to get a flame to jump is the amount of time it takes for a cloud to move all the way across the screen, so most likely, you'll get a jumper when you're about halfway across the screen. Wait til he jumps then jump straight up. Immediately move back to the right of the screen and repeat.
Once you get the hang of it, it's not too bad.
I beat the first boss, the Carrot, with my 4 year old daughter in co-op. There should be a freaking achievement for that! Playing each boss while keeping a second character alive is hellaofa tougher than Expert mode!
Figures lol....i dont have either of those. I think i have enough coins to get them though. I'll give those a try, thanks for the help and hearing my vent lol
Yeah definitely get the Lobber at least. In order of usefulness for that boss I'd rank it Lobber > Roundabout > Chaser.
I was using the Peashooter and Spreader for most of my attempts. Not particularly optimal.
Thank you for all of this!!! Are you a Cuphead Dev? If so, i really love the game and was just venting from frustration lol. Any plans for a sequel or DLC? :)
It's cool, happens to everyone! DLC is coming, another island of bosses, new weapons, new charms, and a new playable character (Ms Chalice), who has slightly altered moveset (like a double jump and some other tricks). It'll tie into the main game and you'll be able to use all the new stuff with the old stuff.
I think the lack of giggles thing is that there is....three(? i think) different giggle samples and one of them is less a giggle and more a "eeeeuuuugh!" which is quieter and can blend in the train noise from the Dragon. So it gets lost in the mix sometimes.
Finally beat the dragon earlier...getting the lob gun was definitely key to easily getting passed stage 2 of the battle, then i got stuck for a bit in stage 3 lol until i finally got through it!!!! Damn took at least 40+ tries overall to finally beat it but damn, love the feeling of victory finally
That makes sense. If it wasn't a glitch I figured it would be something like that.
I complain a lot about that fight but the rest of the game is genuinely as perfect as difficult video games get. Even something as relentlessly difficult as Dr. Kahl's Robot I never felt like my deaths were anything but a failure on my part.
Also I've wanted to ask: did you ever come up with backstories for the bosses? What were their deals with the Devil? I know story isn't the focus but I always love that kind of thing.
In my mind, the backstories for the bosses are the same as Cuphead and Mugman. A winning streak on the casino and then the devil offering the whole casino against their souls.
Not specifically, we like to keep a lot of that stuff vague to let people's imaginations fill in the gaps.
Looking forward to it! Big thanks for bringing Cuphead to Switch, let people like me play a great game.
I love the Switch and I love this game.
Having this game on Switch is almost magical. I own it on Xbox since launch week but like every other stationary consoles' game, it hasn't been played nearly as much as I would have hoped.
¡SOLDI MONEY DINERO!
"Mugman & The Unfair Search For Coins":
Only thing I'm kinda puzzled (and a tad frustrated) about is that the game should let you re-spec maybe for a price (or something more creative) because, at least until World 3 which is were I'm at, the coins are so few and fat between that wasting them can mean fucking with your playthrough. You don't really know what you're doing at the beginning because you aren't taught so and have likely "wasted" a bunch of gold for stuff that wouldn't have been a priority now that you know the game better. Had no idea the coins would be so scarce, I don't think the game makes a compelling argument/tutorial early on that coins are going to be a rare commodity that you should really, really hold on to until you encounter a roadblock where having the right weapons/charms is going to make a hell of a difference in how difficult or easy the fight is going to be.
I'm now stuck with less than ideal inventory simply cause I made the wrong purchase(s) for a lack of knowledge/judgement and now I'm being punished cause I didn't want to read a guide before playing. Maybe the game should let you re-spec once in a while, or for a cost or let you "rent" weapons for a cost to beat a boss... or find a more elegant and creative solution. Just do something... I'd love to see something being worked on this matter for the DLC.
Having this game on Switch is almost magical. I own it on Xbox since launch week but like every other stationary consoles' game, it hasn't been played nearly as much as I would have hoped.
¡SOLDI MONEY DINERO!
"Mugman & The Unfair Search For Coins":
Only thing I'm kinda puzzled (and a tad frustrated) about is that the game should let you re-spec maybe for a price (or something more creative) because, at least until World 3 which is were I'm at, the coins are so few and fat between that wasting them can mean fucking with your playthrough. You don't really know what you're doing at the beginning because you aren't taught so and have likely "wasted" a bunch of gold for stuff that wouldn't have been a priority now that you know the game better. Had no idea the coins would be so scarce, I don't think the game makes a compelling argument/tutorial early on that coins are going to be a rare commodity that you should really, really hold on to until you encounter a roadblock where having the right weapons/charms is going to make a hell of a difference in how difficult or easy the fight is going to be.
I'm now stuck with less than ideal inventory simply cause I made the wrong purchase(s) for a lack of knowledge/judgement and now I'm being punished cause I didn't want to read a guide before playing. Maybe the game should let you re-spec once in a while, or for a cost or let you "rent" weapons for a cost to beat a boss... or find a more elegant and creative solution. Just do something... I'd love to see something being worked on this matter for the DLC.
A quick tip, in case you didn't know:
There's a single coin hidden on the map on each of the 4 islands. You just need to press 'A' on the right thing while pressing up against the right thing on the map.
Additionally, you can get a coin from a couple of "side quests" from NPCs on the map - you can get one from the pink headed girl near the bird boss and one from the juggling NPC near the dragon boss.
There's guides all over the internet if you don't want to figure out the secrets.
That should get you at least 4 coins and hopefully get you that weapon or charm you're looking for.
Thanks for the reply :)
Yep I know about the hidden coins, already found 2 of them, but about the guides as I've said I prefer to work with what the game gives me or teach me... I'm def not the kind of player who likes to have a guide in front of him the whole time while playing game "X"; I prefer figuring out stuff myself unless it's something super obscure/crazy like some puzzle sequences in La~Mulana ;)
I've gotten pretty far at this point. One Isle 3 and got 5 contracts, but I have Dr. Kahl and the Phantom Express left. Any tips on Dr. Kahl because I hear he's actually the hardest boss in the entire game.