![]() I hope Stray Gods kicks off a whole new genre, and more from Summerfall Studios in the future. That being said, I found myself with the main theme stuck in my head long after I finished playing, and this feels like a fresh way to tell stories. Playing Stray Gods, it did feel at times as though there were too many book numbers required to keep the plot going. There’s a line in the Buffy episode where one of the characters worries that a song they had just sung was not a breakaway pop hit but “more of a book number”. ![]() Sometimes it works well, but other times it falls jarringly flat. It is, forgive the pun, a Heraclean task to be able to write musical songs in a way in which the lines can vary depending on the user input. Overall, the character journeys felt short. But while the gods do feel like lived-in characters with a rich past spanning thousands of years, I still found myself wanting more from them. Rent’s Anthony Rapp steals the show momentarily, his appearance late in the game coming as a nice surprise. I loved the decision to make Eros a buff leather daddy, Hermes a non-binary teen, and the Oracle a computer nerd, and enjoyed the lighter comedic parts of the game, such as Rahul Kohli as a bumbling minotaur in love. The slick comic-style design is beautiful, and perfect for this interactive storytelling format. You can see the heavy inspiration taken from Buffy the Vampire Slayer’s musical episode, Once More, with Feeling – particularly around the character of Pan, who, in his dry, curious style, sounds extremely similar to the villain who brought singing to Sunnydale. The game’s musical numbers are composed by Grammy-nominated composer Austin Wintory, the Australian band Tripod (musicians Scott Edgar, Steven Gates, and Simon Hall) and former Australian Eurovision contestant Montaigne.
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