So, imagine you wake up from a long slumber, stretch your arms and legs, clear your eyes of Mr. Sandman’s sprinkles, and find out you’re a slave. No thoughts, no willpower, just a mindless repeating of combat for a cruel, sadistic overseer. That is exactly the feeling I got from The Witch and the Hundred Knight, in narrative and reality.
Right off the bat the loading times stuck out like a sore thumb. There is nothing hardware-intensive in the game on the scale of Mass Effect visuals or COD multiplayer. Combat looks like it came out of Dragon Age, with the real-time battles and navigation of areas, just with a NIS flair. So with NIS-level visuals and basic combat from over three years ago, waiting over a minute per loading screen is unneeded tedium.
After the lackluster voice acting abound in The Guided Fate Paradox, which I also reviewed, it was a big relief that the triple-A quality voices are back. The company’s traditional humor has also been infused back into the game but it is very adult in nature. The BDSM theme of the titular Witch character will either bring a breath of fresh, comedic air to the player, or turn said player completely away depending on if they are easily offended, as the humor gets dark very, very quickly.
Combat is not like a NIS game at all, as turn-based combat is their bread and butter. The real-time combat is fun, and the combo system of linking five different weapons together is unique. Sadly, it is hampered by a leveling system that makes the slave nature of the game infiltrate reality. The main character, Hundred Knight, only levels when leaving the stage, which makes grinding overly tedious if you are severely outmatched at the start of a new chapter or act. In the stages are pillars that, when opened, allows the Hundred Knight to boost his powers temporarily with temp XP, as I term in, that is only good for the stage and then disappears. This constant see-sawing of leveling gets boring really quickly, not to mention dragging out the game.