Then there’s the voice acting which, while not making use of proper language, handles inflections and tonality in such a way that they emphasize the often outrageous situations excellently. The tracks that play at all times are quite varied and upbeat, with funk, electro, jazz and even slight tribal elements making themselves heard. Moments later, you may find yourself in a spooky graveyard, with vampires and zombies roaming around. One moment you’re moving your pooping wagon across green lands, only to be met with a portion of the world that’s made of ice cream. You can put an afro on a ghost or have a cyclops throw revolvers at enemies the wackiness is turned up to eleven. Visually, Pit People is a cartoony delight a deluge of color that keeps things lively and elevates the chaotic nature of the fights, without making things hard to distinguish between, for the most part. It’s the fourth genre The Behemoth have approached since their debut title, Alien Hominid, while remaining consistent in terms of humor and art style. An introductory fight sequence later and Horatio is free to roam through Pit People’s colorful world, fight turn-based battles and even capture the various creatures he encounters, in an attempt to get his son back from said space bear. During a storm of green bear blood, the narrator decides that Horatio, blueberry farmer and suddenly protagonist, has to die because he’s committed the unforgivable crime of being boring. At the start of Pit People, a giant space bear hits a planet where ghosts, kobolds, robots and sentient cupcakes co-exist more or less peacefully.
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