Skullgirls is a great game. Like, a REALLY great game. I’d honestly say one of the best games I’ve ever played. But, that’s not an objectiveSkullgirls is a great game. Like, a REALLY great game. I’d honestly say one of the best games I’ve ever played. But, that’s not an objective fact. That’s how I view it. Sure, it’s got some problems, but otherwise, it was a very enjoyable experience.
First off is the music. When you begin the game, you get haunting opera. Then, there’s an electronic guitar riff with game footage in the background. Then once you’re on the main menu, you get a snazzy jazz number. And as you play the game, you have a unique song for each map that matches the general aesthetic. But one of the best pieces is “The Lives We Tried to Reclaim”, the song used for more emotional scenes. And then, during the credits, you get another jazz number, but this one is more chippy and happy. This one is called “In a Moment’s Time”, and is my favorite song in the soundtrack. The soundtrack was made mainly by Michiru Yamane, the woman who composed for the Castlevania games, before leaving Konami to work on Skullgirls. If you like her music, it’s safe to say you’ll like her work in Skullgirls. The rest of the soundtrack was composed by Vincent Diamante.
What is personally my favorite part of the game are the wonderful character designs. All the characters are unique, creative, and very expressive. But it’s funny, because the lead animator of Frozen, a movie with a budget of millions backed by Disney, said that animating women is so hard that apparently they had to revise the entire movie’s storyline while this indie game had an entire cast of women, all with amazing character designs. But, what makes them so good? Well, for one, they allow for expression. They are very stylized, and the range of emotions the characters can convey is very wide. Second, is that they’re just cool to look at. Although not everyone might agree, a good chunk of these characters are rather cute.
As for the backgrounds, they are also excellent. You can just imagine the day-to-day goings-on in some of them, and a lot of them already have things like conversing students at school, a preacher at the church when it’s full, people just hanging out at Little Innsmouth (which I might add is just one big reference to Lovecraft), and burning buildings in a mid-battle city. Although you might not be looking at the backgrounds as you’re in the middle of a fight, they’re still simply wonderful.
Another great part is the dialogue. It’s nothing award-worthy, but it’s certainly something. Each of the characters has not only their own personality, which is a standard among good characters, but they even have their own speaking quirks. Squigly, an opera singer, is very polite and graceful. Peacock, a girl obsessed with cartoons, has a very 1920’s way of speech. Cerebella, a circus performer working for a mafia, throws off circus sayings and lines showing loyalty to the mob boss, Vitali. You can also hear them speak during fights, which is a relief from the usual collection of grunts and groans a good lot of fighting games have. While many games don’t pay much attention to dialogue, saving it for cutscenes, Skullgirls certainly put a bit of work into it.
However, a problem is that it’s a bit fanservicey. That might be kind of alienating for female customers, and some males, and that’s totally fine. If you don’t want to play a game because it’s content makes you feel uncomfortable in any way, even if the entire gaming community says it’s the bee’s knees, you don’t have to. But if you like the fanservice, then that’s fine too.
Changing the topic, it is rather easy to get used to if you’re a long-time fan of fighting games. With its 6-button layout, similar to that of Marvel vs Capcom, allows more die-hard players to get into the game almost right away, without much of a hassle.
But what truly makes Skullgirls stand out is its animation. Literally every frame is individually hand-drawn. The characters all move very smoothly, and it’s beautiful. Just beautiful. Heck, it even got into the Guinness World Records for most frames per character.
Whereas most fighting games don’t pay much to story, Skullgirls doesn’t either, but got the most bang for its buck. You can clearly see the relationships between characters in the different storylines, and the backstories for all of the characters are all tragic, save for that of Double, who’s background is more unknown. But the genius of the backstories is that they aren’t revealed straight away. After you’ve played the character for a bit, and got attached to them because of their actual character, then you get the sad, tear-jerking backstory. If we got the backstories immediately then we wouldn’t care because we don’t like them yet. That is talked about in this video, albeit on a different subject.
But one of the problems I have with the game is it’s odd difficulty curve. When you play on story mode, it goes quite smoothly, but then you get to the final boss and WOAH. Suddenly it’s Dark Souls: Fighting Game Edition. I actua… Expand