The Anatomy of a Bossfight

The Anatomy of a Bossfight


Bosses. They’re the ultimate test of your skills,
the climax of a narrative arc, and some of everyone’s most memorable gaming experiences. But what seperates a run of the mill battle
from a truly great one? Allow me to explain to you… the anatomy
of a bossfight *funky music* I want you to think of some of your favourite
bosses. What makes them so memorable? I’m talking about the likes of GLADOS, Psycho
mantis, aaaaand well, just about any boss in FURI- which this video will contain extensive
spoilers for, you have been warned. I reckon, that there’s three factors that
every good boss needs. Solid mechanics, a palpable sense of threat
and kickass theming. Let’s start as we mean to go on by taking
a look at the skeleton of our anatomical breakdown, the core mechanics of your bossfight. Now, of course, your boss isn’t going to
be any good if the rest of your game is terrible, but what I’m talking about is the way the
boss interacts with you, its weakpoints, its attacks and all that good stuff. These crucial ingredients need to be tightly
designed and more importantly easily understandable in order for a player to really get engaged
in the fight. This is a bit hard to explain so let me show
you an example of a boss that is just awful at this stuff. The second boss in Deus Ex: human revolution. Really I could’ve used any boss from this
game because they are all totally disconnected from the rest of the game and how it expects
you to play. For those not familiar with deus ex, its a
game where you play a perpetually grumpy man in a trenchcoat who likes to snoop around
in private property and occasionally strangle people. It’s an immerisve sim, which means that
you’ve got a lot of ways to approach problems, enemies in particular can often be dealt with
lethally, nonlethally or sometimes avoided entierly. Not so with… oh come on! Yelena… fedora? You have to fight her, and you have to kill
her. Not only that, if you’re going for a pascifist
playthrough, it’s really hard, because she doesn’t behave like any other enemy in the
game. You can’t hide from her, and her bullshit
charge move and she’ll kill you in one hit if you try and use a takedown, the only way
to beat her if you haven’t got any guns is to run around this server room and pick
up all of the assault weapons they just happened to have lying around, then you’ve got to
try and make her slam into a wall at which point you can pump her full of lead. Alternatively you can cheese her by spamming
the OP typhoon upgrade but even that takes forever. The complete mechanical disconnect from the
rest of this game renders this bossfight confusing and frustrating before you’ve even gotten
halfway through. It could have the best writing (it doesn’t)
and the perfect difficult curve (doesn’t have this either) and this boss would still
suck because it’s impossible to engage with. Compare that to our case study game, Furi,
all the interactions you have with any of the bosses can be boiled down into four main
actions. Shoot, sword, parry, and dodge. This means that even if you’re up against
a totally new boss, you can rely on a level mechanical playing field whilst you get used
to the ins and outs of the fight When a boss does this little white flash,
you know you’ve got to parry, but the rhythm and patterns are unique to every boss, giving
you this awesome feeling of individual mastery of the bosses whilst also improving your overall
skill at the game. Without knowing how parries work, the hand’s
final last last ditch mega combo would be just unfair, but because Furi makes sure to
have solid, simple mechanics, it’s an awesome climax to one of the best fights that really
tests your knowledge. Same with these circles that are all about
testing your ability to time your dodges to skip across projectiles, they appear all over
the place but each boss uses them slightly differently. Which brings me onto the meat, the muscles
of any good bossfight. A good sense of threat. Note how I didn’t say difficulty, that’s
because great bossfights aren’t always really difficult. The real factor in deciding what makes the
difficulty, or lack thereof compelling, is how it is used to create a narrative. Take most bosses in Dark Souls, they are really,
really tough, as you might’ve guessed, and on your first attempt against most of them
you’re going to get creamed. This has the effect of making you feel weak
and scared in the face of these titaning one hit ko machines. However, as you slowly but surely master their
usually well defined mechanics (you can find out how you do that in this video here) you
gradually get a shot at beating them until finally you do. Dark souls has made its name not on hard bosses,
but the payoff you get from beating them, the huge adrenaline rush high of laying the
smackdown on a boss who’s been giving you real trouble is awesome, and it wouldn’t
be possible if the bosses weren’t just the right kind of difficult: intimidating but
surmountable. Games with bosses that feel cheap or unfair,
no matter how challenging they might be don’t elicit the same response, to take another
example from dark souls, the bed of chaos. As anyone who’s played this far will know,
it’s essentially random whether the boss will kill you in one hit or not, it’s a
terribly designed fight. Now, compared against every other boss in
the game, it’s probably one of the hardest encounters in the game, but once you beat
it, there’s no feeling of release, no triumphant rush because neither you nor the boss earned
it. It’s just kind of a well thank god that’s
over. On the flipside, the first boss in metal gear
rising revengance… errr… some metal gear lore nerd will know the answer but this big
robot thing seems really threatening, but is actually kind of a pushover. Your victory over what appeared to be a challenging
fight is an awesome power trip that’s only amplified once the boss comes back a little
bit later, only for your to you to beat the tar out of it again. Coming out of taking down robowuss for good
you feel unstoppable, like you can take whatever this game has to throw at you, including these
dumb, easy mooks towards the end of the level… and then Jetstream Sam shows up. Any other game would have Sam beat you up
in a cutscene, but not here. Platinum know that their bossfights have a
reputation for being bombastic power trips, and Jetstream Sam’s first appearance turns
this on its head. You have access to the exact same moveset
you had fighting the robot, but the fight is much, much harder. Sam will dodge all of your attacks, predict
your parries and just generally whoop your butt. The emotional whiplash from feeling unstoppable
to getting totally stomped into the dirt is AWESOME. This tutorial capstone brilliantly sets up
the final fight with Sam as a demonstration of how far you’ve come. Both the metal gear (I think? Is it a metal gear? I dunno) fight and jetstream sam’s first
appearance are technically very easy fights to get through, but are used in different
ways to convey extremes of emotion to the player. Let’s take these lessons back to Furi, and
to the maybe final boss depending on your choices. Obviously she’s set up as the biggest challenge
to stop you getting out and finally escaping your imprisonment. The fact that she’s not only quite easy, but
that she stops fighting back and throws your actions in your face makes your victory a
hollow, melancholy one, a tone that’s only built upon during the credits immediately
after where it’s revealed why you were locked up in the first place. Just as difficulty communicates with the player,
so can the visual design and theming of any good boss. A game that’s literally just come out that
does this brilliantly is iconoclasts. Just take a look at this boss room, look at
how there’s a near perfect line of symmetry drawn right down the middle. When, shock surprise, you’re separated from
your teammate and have to fight the boss tag team style, this symmetry informs your decision
making. First of all, we know that gears move things,
as we learned in the previous zone and there’s two in this room, so we can guess from there
they’ll move the boss along this track from one side of the room to another. Then there’s this bolt to spin and this
power… thing to whack. But hang on, you might be asking, Robin can’t
get over there to whack the power thing or spin the other gear. All we’ve got on the right side of the room
is Nina, a character we’ve not had the chance to play as yet. It’s reasonable to assume that she can interact
with this stuff somehow, but how could iconoclast teach us that in the middle of a bossfight? Spoilers, it already has, the answer is symmetry. All of nina’s moves, from her gun to her
melee attack, have the exact same effect and controls as Robins, right down to the ability
to spin these gears. By letting the theme of the bossfight inform
your play, Iconoclasts eliminates the need for a boring tutorial section. That’s quite a convoluted example, but this
stuff is all over the place if you know where to look: This cowardly goon hiding under a
platform is teaching you how to avoid this helicopter’s attack. Your companions ducking and moving teach you
how to dodge this ninja’s attacks and this spinny drill robot not only reminds you to
spin your wrench to ride these wires, but also offers a cool in-universe explanation
as to why you’re fighting it in an otherwise very contrived arena. It’s not just visual theming that can communicate
with players, sound design and music are just as important. Platinum games, unsurprisingly, are fantastic
at this, the best example is in bayonetta. Most of the boss themes are your classic darksoulsian
chanting and orchestras, which slowly adds it more pianos once you’ve got the boss
on the ropes then, once you’ve dealt the killing blow, it makes a sudden left turn
into this awesome poppy remix of bayonetta’s theme to show not only that you’ve won,
but also that it’s time to stop worrying about dodging attacks and actually thinking about
what you’re doing and to instead enjoy a classic platinum over the top button mashy
climax. Woooo! Furi does the exact opposite, once you’ve
got a boss down to their last life, the music will slowly fade out and then back in with
a darker more intense mix signalling their last ditch attempt to kill you before you
inevitably take them down. There’s nothing fun about these songs, so
buckle up for some bullet hell until you can finally dish out the pain. Of course, there’s no discounting the appeal
of just making a boss you just really want to kill. GLADOS, the malevolent AI in portal spends
the whole game taunting you and that makes finally taking her down just so so satisfying. So there you have it, three fundamental factors
that make up a good bossfight…. What’s that? There’s still [INSERT TIME HERE] left in
the video? Well that’s because there’s actually a
fourth one I didn’t tell you about, a twist! The brain of our bossfight. Now when I say twist, I’m not always talking
about stuff like a secret hidden final form, I’m speaking more broadly about bosses that
have a conscious awareness of the player in their design. The best possible example of this is in the
best boss in Dark Souls: Orville and Smudge. Every boss in dark souls sees you fighting
one guy (or sometimes a few copies of the same guy). In tiis one however, you’re introduced to
your classic weird looking darksouls boss, yeah yeah- wait what? Who’s this guy? And then it sinks in that you’ve got to
fight two very different bosses, with completely different movesets, at the same time. Laurel and Hardy represent the halfway point
of the game and are a test and a twist on everything you’ve learned up until now. Getting to grips with two different movesets
is tough enough, but the twists keep coming. Upon getting to grips with the fight, a player
can take comfort in the idea that beating one will make the fight much easier… Nooope. It turns the other one into a supercharged
version, juxtaposing the player’s expectations once again. It’s in moments like these that the influence
the designer has on the player becomes most evident. In divinity original sin 2, there’s this
big sarcophagus at the end of a big room-spanning puzzle that may as well have a “fat loot
here” sign. However, when you go to open it, you summon
a boss, who’s now got you surrounded, in a chokepoint and is on the high ground. This fight is super easy once you can actually
reach the boss, the challenge comes from the fact that you’re all but guaranteed to be
in a terrible fighting position when you activate it.The game has used your instinct against
you and shows that its still got a few more cards left to play, and you can’t get complacent
quite yet.. Surprise surprise, Furi functions the same
way, this guy, the edge is all about swordfighting. To start off with he uses the same attacks
you’ve seen before, this circular aoe, a couple of sword flurries, easy stuff. THEN he jumps over here, pulls out a paddle
and the final two phases are done in 2D.Which is just…. It threw me for a loop. By shaking things up and surprising the player,
Furi revitalised its momentum riiight when I thought it was starting to run out of steam. So summarise, let’s look at one more boss
from Furi, the strap and see how this all stacks up. First: The structure. She’s got a varied moveset but it’s got
an overall theme of teaching you the specifics of dodging. She’s got these big lasers, these ranged
blasts and a few combos to keep you on your toes. This is a great challenge to teach you how
Furi works once you’re out of the tutorial fight. Check. Second: The Threat. The game does a great job of hyping her up
with this big long monologue from your rabbit buddy, her arena come prison is this dark
technological nightmarescape, she’s painted as insane and enraged, in stark contrast to
the bosses before and after her and her genuinely unsettling noises and animation really sell
the strap as being a truly dangerous opponent which is reflected in her difficulty, she’s
a big step up from the chain who’s the first boss. All that makes you feel even more dangerous
when you manage to take her down, check. Third: Theme. As I mentioned before, the strap is really,
really unsettling, but even then the Furi team managed to telegraph her attacks really
well. The biggest example is this big spotlight
thing she’s got on her face, it’s a focal point for a lot of her attacks and the colour
it glows is a great way of telegraphing what attack she’s going to use blue for a big
lazer, orange for destructible bullets and purple for a homing scattershot. Finally, a twist. And this is where little miss wheely lazerface
really comes into her own. As she gets more and more pissed off, she
destroys more and more of her bindings, shaking up her attack patterns until she eventually
transitions into crawling around like the girl from the ring. It’s a great introduction to the concept
of an evolving bossfight and the amazingly weird transitions between forms really keep
the you guessing. Checkaroo. Furi is a game with… honestly, quite a few
problems, the real final boss is mostly just a test of endurance and patience more so than
it actually is a test of skill, the dodge is hard to gauge and leads to you jumping
into projectiles a lot and the charged up versions of your attacks are… they’re
pretty worthless. But in spite of that, it’s the game’s
relentless focus on bossfights that makes it a game I beat in… like two sittings. Bosses are have always been at the forefront
of game design for a good reason, they’re a place where mechanical, aesthetic and metatextual
design exist in a single place to create some of the most memorable experiences in games. And that’s why Furi and its collection of
weird, offbeat, genius bosses has stuck with me for so long.

100 Replies to “The Anatomy of a Bossfight”

  1. Spider Mastermind, Doom 2016. Tough, threatening, kickass soundtrack, satisfying death. I love the way it starts using different attacks the more you damage it. Starts creating pillars you have to stand on to avoid electrical attacks on the ground, but then swaps and makes you jump back down as it electrocutes the pillars instead. It becomes like a dance of destruction.

  2. Dark souls isn't difficult, it just is a real test of your reactions and ability to adjust. Like the nameless king, if you are bad at timing and using the tells to dodge his attacks, he gets to attack more. I've been 1 combo-ed because I wasn't paying enough attention.

  3. One of my favorite fights is the final boss of Hyper Light Drifter. I have never been fucked over by a boss so quickly. The audiovisual feedback in that fight has some serious thump to it too, making it all the more threatening. Beating it the first time feels great, but when you get to where you can plow through it with ease, the feeling of mechanical mastery over this monstrosity that has haunted you the whole game is extraordinary.

  4. You should do a boss analysis on Undertale. (Sounds cliche, I know, but it has really good bosses that I want to hear this guy talking about)

  5. I wish you would've compared bosses from Human Revolution to bosses from original Deus Ex. In DX1, you were able to run away from bosses, set a mine so they blow themselves up, or even find their 'killphrase' through meticulous exploration and simply press their verbal self-destruct button (after all they're cyborgs). This all is IN ADDITION to being able to take them on in a short, hard, satisfying guns-blazing fight.

  6. DJ Octavio is one of my favourite bosses he poses a clear threat to you not only being challenging but also narratively with him taking the great zap fish which powers all of inkopolis and through the game being built up as the leader of the octolings the enemy of the inklings. His mechanics are also really easy to understand and uses most of the mechanics that you've encountered in the other levels and has a amazing progression in difficulty starting off pretty easy and every phase requiring you to multitask all his attacks and full mastery of the bosses mechanics. As for his theming I don't really know about that the fight adds so much so soon that it's hard to find a real theme in design at least for me who is believe it or not a certified non game designer so I don't know but anyway great video

  7. Personally, I find that one of the elements of a satisfying boss is that a boss should have more than one weapon, with at least one of them being one that can shoot projectiles.

  8. My worst bosses were those on some of the less inspired Assassin's Creed games. Some weren't even real bosses.
    My best bosses were those in Batman Arkham City and Arkham Origins. So sad that Arkham Knight lacks good bosses as those games before…

  9. If you want to talk about boss fight you should definitely mention Shadow of the Colossus. Literally every encounter is a boss fight and they are all awesome.

    Especially that last Colossus which took me as long to beat as every other Colossus combined.

  10. I love good mechanics in game and cool boos fights. Furi had me very…frustrated to its mechanics. All the time I spent playing it I couldn't but despise the lag on your inputs. It literally had no reason to be there and felt very undeliberate to the game. Especially considering that you can have (the default controls have it) 2 buttons for the dash, one of which could have easily been chargable and the other standard with default lenght. It would have been as strategically complex and would have felt so much better connected to your inputs.

  11. A fight against two giants robots that go down easily, building up a a feeling of being unstoppable. Only for that to Be subverted when you fight a smaller enemy that kicks the crap out of you, In gameplay, motivating you to get back at him once you have become stronger. Hmmmmmm~ were have I seen cough*megamanX*cough that before?

  12. whew, calling furi boss 2 the best boss shows how different opinions on the game can be. I easily thought she was the low point of the entire game.

  13. Nightmare King Grimm in Hollow Knight was the perfect boss to me. I genuinely thought he was unbeatable, but bit by bit I could get the flow of the fight. When I finally won, I felt so glad but immediately wanted to fight him again, because it was such a pure joy.

    Radiance was also great as the true final boss. Dramatic pattern and music, tremendous threat, and the 2nd phase ascension was thematically perfect.

    Generally, all of the bosses in Hollow Knight were great.

    Artorias of Abyss is another boss I like, but I personally think the beauty of Dark Souls comes mostly from the brilliant level design, than from boss fights.

  14. I cant believe this I beat furi and I didn't know about the white light parry thing I played for hours on end memorizing each bosses combos and attack rhythms, I feel so dumb

  15. one of my personal all time favorite boss fights is hands down the fight with The Wolf Knight, Artorias The Abyss Walker, in game he was one of the 4 knights of gwyn lord of sunlight with a will stronger than steel, but when you encounter him, he has fallen to the corruption that he long fought against, so it falls to you the chosen undead to grant him a mercy killing and let history remember the man but not the monster

  16. 5:25 thanks for giving me flashbacks to "i dropped my contact lenses". Fuck me every time I get to lost izalith I want to headbutt a wall, this fight can sometimes be a breeze and other times take way too many attempts because broom hands sweeps me into a pit. There is a reason I have set up some boards in the backyard for punching (other than my roof not being able to support a punching bag)

  17. Music is critical. Every amazing boss fight that I can think of, had an equally amazing track going on in the background.

    And then besides that, all that is really needed is great character growth up to that point, and a story arc that you care about. Mechanics and flash don't matter to me that much.

    But I am mainly a traditional RPG player. I don't tend to remember boss fights in non-traditional rpgs that well, usually because they are less story driven, and I really need an investment in the universe of the game, to feel the weight of a boss fight, as anything more than a generic achievement unlocked feeling.

  18. This reminded me how bad the boss fights are in Killzon 2. Especially the last one, that absolute shit of a fight made me drop the franchise.

  19. I haven't played MG Revengance but sending a player from unstoppable to completely impotent is a terrible idea, it's known as a difficulty spike and justs makes the player frustrated and want to stop playing. I wasn't sure from the video, but MGR might do this deliberately as a plot device, like at the start of Mega Man X, that's the only case where that's ok.

  20. my favorite boss was in nino kuni 2 it was the lvl 50 thunder dragon (Ok not technically a boss but still) i killed it at lvl 23 it took 3 hours and was THE best time i had in that game

  21. My favorite boss fights are the ones where you don't directly fight the boss, but rather use mechanics and the arena itself to damage the boss

  22. MGR sweat here to tell ya that the first jetstream Sam fight is unbeatable, obviously but beyond that his mechanics are slightly tweaked and a little dodgy and you dont have half your moves so some attacks are undodgeable and ah fuck who cares why am I leaving huge comments at 7am after no sleep again stop yourself
    Basically Sam first time, not easy, can hold your own for a while but something will cheese you

  23. Another great video!
    One factor commonly effecting my enjoyment of boss-fights is the "kill" itself and how it is justified narratively (something you touch upon with Dark Souls).

    Playing Nier Automata recently the first few boss fights end with the boss dying to either a chance encounter (another character comes to save the day) or an overpowered attack that your character was hiding (releasing a large killing laser or the like). Such a twist in how you actually kill the boss really sours the experience for me as even if the boss fight was satisfying in the four ways you have mentioned it is resolved (narratively) as being completely out of the players control. Ultimately, this makes me feel like all my energies and mastery of a fight were of zero importance (even when that is obviously not true).

    By removing the player from the narrative "kill" all the emphatic energy is simply sapped from the glorious "Victory Achieved" sentiment epitomised in Dark Souls.

  24. When it comes to music and aesthetics of a boss fight Touhou Project titles (especially seventh game – Perfect Cherry Blossom) do a great job.

  25. Dark Messiah of Might and Magic has some wonderful bosses, and I'll never forget the thrill of finding outside-the-box ways of kicking their asses. ^_^

  26. Me: I wonder if i should watch this, since i'm finally playing deus ex: human revolution.
    Me: Eh, w/e, i doubt it'll show up in here.
    Me, 5 seconds later: God Damn It.

  27. Maybe Okami too. I mean (to possibly spoil some of the surreal experience of the first time playing through the game, stop reading if you still plan on playing it), you got bosses that pretty much always got unique and fair mechanics, and you are actually getting "tutorialed" by having regular enemies doing some of the similar stuffs to bosses so that you can try and remember what works best to a set pattern, and you ultimately have to fight the same boss multiple times, with later times usually being less hand-holding, yet you get better stats and more importantly, remember the way you beat the boss last time, to make you feel more powerful. And there are twists, not only to the story, but to mechanics as well, suddenly giving you a mechanic that you thought only you can use, and suddenly ripping some of your ability off so that you have to do things not in the way you are comfortable with.

  28. Orphan of kos, beautiful setting, extremely difficult but not unfair and not even close to impossible, threatening but still vulnerable, fun to fight, extremely rewarding to beat, great lore, and an amazing conclusion to one of the best DLCS ever made in history

  29. Me before the video: "Oh Furi spoilers? Never heard of it I don't mind"
    Me after the video: "Why the fuck did I spoil that amazing game for myself???"

  30. 0:42 Think about some of your favorite bosses
    Ok, The Partiot bass from Big Ol' Bass 2
    Uhhh-
    0:43
    *Have never played Portal
    0:45
    *Have never played metal gear solid

  31. furi is a masterpiece. if you didn't notice that the weak girl can't hurt you in melee, maybe you also missed that upping the difficulty to furier after you finish the game gives all the bosses completely new movesets.

  32. For future reference, if it's in a Metal Gear game, walks on 2 legs, and is mechanical, it's a Metal Gear. The Shagohod is an exception, since it doesn't have legs, but for the most part, that's what defines a Metal Gear

  33. I know I’m really late, but for the second boss in Deus Ex: Human Revolution, there was a door you could hack through during the fight which led you up a staircase and into a much more open arena with access to a security computer that you could hack to have turrets kill her. Alternatively there were gas tanks in the room that could release poisonous clouds of gas that damaged her a ton. I leveled Adam in almost completely hacking and stealth and went non lethal but still won this fight pretty easily on the Give me Deus Ex difficulty level. Most of the boss fights allowed for approaches like this to accommodate the different play styles and make progression through the game possible. You just had to get crafty with how you looked at every arena.

    Edit: I only played the directors cut edition and dint realize that this wasn’t true with the original.

  34. I don't know who is playing that dark souls footage, but godDAMN that is a fotrolling ass if i've ever seen one XD

  35. “Furi has amazing bosses”
    Agreed
    “The Edge has a great twist”
    Uh-huh
    “The Strap is probably the best boss in the game”
    What

  36. This video actually has some helpful advice at designing a boss fight in other mediums, too, even without interactivity.

    A climactic fight with good theming, where the enemy feels threatening, where the way the hero wins is set up properly (and often subtly), and a twist on the scene to make it more interesting.

  37. One of my favorite bosses I’ve fought is the mantis lords from hollow knight. They aren’t very difficult but the perfect synchronization and rhythm game of their attacks is just so much fun to fight against

  38. I actually feel like Artorias is the best boss in Dark Souls. The hype train to fight him begins really early in the game in Darkroot garden when you get the first of the 4 rings. After that you just get more and more snippets of this legendary knight of Gwyn and even fight one of the other knights later in game. Then Sif happens and crushes your heart so you can get the covenant to face off with the four kings themselves. After all that, Artorias’s legend, to me, made me feel really intimidated when I walked into his arena and I saw his name. His boss mechanics are enjoyable to dodge, his relentless aggression feels like you aren’t facing another mindless boss, but an actually experience player and his epic yet mournful theme all culminate into my favorite boss. He has the perfect balance of mechanics, design and H Y P E. What makes the fight even better is when you realize Artorias is fucking left handed and is kicking your ass with his offhand and without his shield. Finally beating him felt so fucking good, and taking his armor, making his sword, and kicking Manus’s ass felt even better. The DLC of dark souls was packed full of fun and memorable bosses, and Artorias stands at the top as the best.

    Also Sif’s alternative cutscene made me literally quit the game like wtf fromsoft, the first fight already stomped my heart don’t do this.

  39. Let’s all say it together now

    Bosses where you have to dodge attacks for a couple minutes then have 15 seconds where its down and can be damaged aren’t real bosses!

  40. In my opinion, the best boss with a twist is Giygas from Earthbound or mother 2, you spend the entire game beating up and knocking out enemies and gaining exp to be more powerful to make the player assume they’ll need all this power to fight giygas, just so you can beat giygas by praying

  41. Nice video, but it's really funny you could analyze all of this, but couldn't realize when and how to use the charged shots in Furi lol.

  42. I like Lord-Mantis/sisters of Battle from Hollow Knight. I'm expecting nice boss fights like that one in Silksong. Especially that one white bug that calls Hornet "little spider", was Lace her name? idk, but she is fast, like Hornet herself is, so it's pretty cool to have a boss where you almost "dance" with it around the screen.

  43. I absolutely love Furi. For as much rage induced pain it caused me, especially in the New Game+ of Furi, it was such a good experience and made me feel like I grew as a person. 10/10 video, gonna play Furi again now.

  44. My absolute favorite boss fight of all time is Great Tiger from Mike Tyson's Punch-Out!! He's super unique and entertaining to fight

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