Game: Metaphor Re:Fantazio
Developer: Atlus, Studio Zero
Genre: JRPG
Release Date: October 11th, 2024
Completed: December 2024 on the PS4

Overall Impression
This was a phenomenal game and experience. Though development was first announced in 2016, my longing for Metaphor began when I saw the detailed gameplay and other elements last April. For the sake of this review, I will be considering Metaphor as a part of the larger Shin Megami Tensei (SMT) franchise, as they are inextricable in my brain. Metaphor presents an extremely calculated system and story that echoes some of my favourite elements of SMT games while introducing new gameplay elements and a gripping story.
Briefly, Metaphor is a game set in a mythical-medieval setting, that follows a non-silent (!!!) protagonist (canonically called Will) who sets out on a journey to protect the kingdom of Euchronia, the world that the story takes place in. He makes many allies and friends along the way, while advancing his skills. The game’s story reflects themes of discrimination, anxiety, power and classism. Largely, a theme of the story is the quest for utopia. The story regards what may be possible to dream of versus what is actually realistic. The themes of this game are handled very poetically in a thoughtfully fabricated world, and are very relevant in our world too.
Note: This review was written late. All games I review except this one (unless otherwise noted), I am writing annotations and actively trying to note things I’d like to discuss. This game was too awesome not to write about, so some things may be a bit out of order than my normal writing. This review also includes a much more detailed recap of the story as a means to reflect on it and remind myself of the experience.
Gameplay Mechanics & Performance
Metaphor’s gameplay follows its story like any other JRPG. Mirroring the Persona franchise, there is more neighbourly gameplay in the overworld and towns. Subsequently there is combat and dungeon crawling in more dangerous spaces like caverns, forests and towers that all operates on a calendar system. Town activities include strengthening relationships with “Followers” as in your peers, advancing your “Royal Virtues” which broadly put as your MC’s social skills or stats, taking on quests from the local residences, shopping, other activities, some which are specific to certain places.
The social system in the game, while obviously taking elements from Persona’s social link system, also reminds me of Devil Survivor 2’s fate system. In Metaphor, every follower rank up brings new skills, primarily for combat. Each character has a unique and intricate story to share with Will, and while some I found quite enticing, some seemed a bit long winded for my taste, as someone who hones in on the combat in class system in JRPGs. I’m sure these stories did swimmingly with other styles of players, but I often found myself skipping through text to get to the next dungeon or quest, but still digesting a bit of (especially the party members’ [sad]) backstories.
Daily life in the world of Euchronia, felt active, but not rushed. Deadline allocation for quests and main story was well spaced out, and didn’t feel overwhelming. Only about roughly 3-ish quests become available per main location in hand with the story’s progression. This allows for ample time to complete the dungeon, side quests while also advancing relationships and the MC’s stats. I really liked the pace of the calendar in this game. I was able to complete every side quest, max every follower’s relationships and all 5 “Royal Virtue” rankings.
The map of Euchronia is just large enough to feel mystical but not too big to feel overwhelming. Starting off in the Grand Trad, the player slowly builds the map of the kingdom they are set off to improve, and later save. Travelling across Euchronia is intertwined with the calendar system, side quest and of course the overall pace of the story. 5 major cities become available to fast-travel to on the map, with each of them having a handful of surrounding towns, dungeons, campsites and more that the MC can engage with. Travel in this game takes up any number of days in the calendar system, really emulating the feeling of the hero’s journey and medieval travel.
To traverse Euchronia, Will and his allies quickly unite with GOAT character Neuras, a mechanical genius who was previously an engineer for the royal family. Neuras leads the group across the land in his gauntlet runner which kind of resembles Howl’s Moving Castle. Players can do many different activities on the gauntlet runner during travel (only 1 activity per travel) such as fish, laundry, cook, read and more. New activities also become available as story and gameplay elements advance. The gauntlet runner is a cool (not entirely unique but still feels like home) base for the MC and his allies to meet and plan. It is one of, if not the only space in the game that feels like home to the MC, as he is of an unfavorable tribe (more to come in the story section) and can’t seem to remember certain parts of his life.
Ultimately, the journey advances by dungeon crawling with an entirely new class system and glorious turn-based combat. To begin, dungeon crawling in the main dungeons is fairly standard. As most SMT games, especially on a first-time-file, the game feels fairly difficult at the beginning with a weak party and a lesser familiarity with the combat’s balance and system. The mainline dungeons are rendered each with a uniqueness and sense of individuality, some with distinct gimmicks and impasses.
Naturally, some dungeons I liked more than others. I found the Sandworm’s belly very exciting and eclectic, with the party having to exit through the Sandworm’s butthole. Other dungeons felt a bit stretched out like the Dragon Temple which had the safe rooms spread too far apart, giving me some gaming-fatigue. I also found the Charadius house a little boring, mostly because I hate sneak-missions and it was clearly just a means to advance the plot, rather than an explorative expedition of a newly discovered mystical location. I did like most of the mainline dungeons, and found that the Skybound Avatar and Tyrant's Star amazing and grand enough to bring the game to a close. I accidentally fought the hidden final boss (Louis has 8+ turns in the final phase), because I rushed the final dungeon not knowing that MP items were available to replenish my thirsty party. I was a bit angered by this but I guess I should have trusted my dear Atlus that they would (and did) account for this. The secret boss was excruciatingly difficult but you KNOW I powered through. I will be replaying this game so it will all be okay.
The side quest dungeons reuse the same 3 landscapes, but I wasn’t bothered or bored by this since the layouts, monsters, chests and difficulties all scaled differently. The side quests in this game have a good variation of task diversity and after-effect to the gameplay at large. Many side quests were inextricable from main story elements. For example, Neuras’ social link can only be advanced by acquiring relics hidden across Euchronia, most of which are hidden in side quest dungeons. This was a good motivation (not that I needed it hehe) to complete most, if not all side quests. As well, the side quests helped complete the map the player is given to traverse and expand enhancing the journey.
Moreover, the introduction of an entirely new class system in this game was thrilling. Although I am deeply entranced by demon summoning and fusion in most other SMT games, the archetype system brought new challenges and ideas to my gameplay experience. Players can spend MAG, a currency gained from battle, quests and follower relationships to acquire new archetypes and skills. The archetype system is presented to players on a hexagonal plane, which kind of reminds me of Final Fantasy X’s sphere grid, but with less customization and depth. The Archetype system is more of a singular class progression where multiple classes can be studied and inherited, rather than a one large interconnect system of progression.
The archetype system pushes players to try different archetypes as learned skills can become inherited by other classes with up to 4 skill-inheritance slots becoming available over time. While players are encouraged to try different archetypes, it's fairly obvious that certain party members are meant to equip certain archetypes within reason. At the beginning of the game, the MAG resource is finite, and players are confined to certain archetypes. If players max a certain archetype, they can continue to gain experience, and instead are given a Hero’s Leaf of Light (gives selected Archetype experience points) item upon leveling up an archetype, as no more skills can be acquired. This was a cool addition, because by the end game, as this item has a very quick turn around, making it easier for players not only to try and level other archetypes quickly, but work towards the unlockable “Royal Archetypes” which is a master/elite version of each lineage.
While I did enjoy sampling most archetypes, they were kind of rendered useless when I was able to acquire the Royal Archetypes, especially for the MC. While many archetypes felt natural to advance to the royal grade, I was astounded to see that Heismay’s Royal Archetype required 3 different predecessors, one of which was the Dragoon lineage which I found fairly weak and not very useful.
I did make a note to try and unlock all archetypes, but Basilio’s late addition to your party made his skill tree a bit difficult to max, especially for me, given how my final dungeon run was rushed. I am hopeful that next playthrough I will be able to be more concise, and plan my archetype system, now that the playthrough will no longer be blind. As I undercovered the system, I saw the grand potential for mixing archetypes through the inheritance system.
Finally, during dungeon crawling there is a hybrid of real-time and turn-based combat. When I saw the aforementioned direct presentation, which was the first time I saw actual gameplay for Metaphor, I was under the impression there would be more in-depth overworld real-time combat. While it still exists in the game, it is not as complex as something like Kingdom Hearts. Players can seek a combat advantage by attempting to get something that operates like a first-strike system. A first-strike grants an advantage (Stun) when the team enters the more robust turn-based combat. The stun lasts 2 turn phases, but enemies can be “woken up” from the stun prematurely. This overworld combat, while simple, is decently satisfying. I love how each archetype system the MC has makes for different overworld combat for each archetype, mostly varying in weapon, attack style (i.e. sword fighting, ranged attacks) and also the way the party helps or doesn’t help.
After a good 10+ hours of gameplay, the player’s party maxes at 4 active members on the field, which is fairly standard for most SMT games (except Digital Devil Saga, my beloved). Metaphor utilizes a variation of SMT’s celebrated Press Turn system for combat. Briefly, striking weaknesses can afford a turn to a given team, but attacks that are blocked/repelled can remove turns with each team starting with the same number of turns as active participants in battle. Similar to Persona, the weather in the game affects battle. Players are unable to utilize the Press Turn system during inclement weather. This proved especially challenging in early game, but became less difficult as my party evolved. I did find this system a little dissatisfying at times, because it feels like there are more times where the press turn system is unavailable, than when it is. While I thoroughly enjoy the combat, I didn’t have as many “flow state” moments as I do in other SMT games because of the unchanging unavailability of the press turn system.
Each party member is equipped with an archetype, starting off in one lineage and then leaving the player to decide how to shape each member as the game progresses. Archetypes cannot be changed in battle, but only in the main menu, adding weight to party composition choices. Synthesis skills, reminiscent of Digital Devil Saga, are available for certain party compositions. Often using a number of turns, they are meant to be strong and unique skills, encouraging players to try a variety of archetypes and party configurations. I didn’t find a good groove to the synthesis skills on this playthrough, often feeling stingy with my turns. Later, I did find use for them, especially Junah/Masked Dancer’s skill “Hellfire Dance”, inflicting one-time weaknesses to boss to do more damage or to strike a weakness to add a turn when available. I overlooked the infliction of one-time weaknesses early, but they proved extremely useful on the 3 tower Dragons as well as Elegy of the Soul.
Speaking of bosses, I thought many bosses were creatively rendered (particularly the baby in Matira and all of the humans), but only felt challenges with the aforementioned Dragon Tower Bosses, Elegy of the Soul, some of the teeth (weirdly) in the final dungeon and of course Louis phase three considering I got the secret boss by accident. I would have enjoyed a bit more variation or some more side challenge bosses, but overall thought most bosses were fun, albeit easy for me at times.
The nucleus of gameplay in any JRPG is the menu. The menu took clear influence from the Persona menus, with a similar layout and UI. I appreciated this familiar format, but found some quality of life issues with the menu. In particular, there was no good way to optimize party equipment. Long slogs of tabbing in and out left me a bit confused and depleted. I never really found a good rhythm with the menu in this game.
Overall, I thought the gameplay had an exceptional balance of traversing, exploration, civic activity, relationship building and of course, dungeon crawling and combat. No game is perfect, but this game comes pretty damn close for me in its attempt to balance so many different kinds of gameplay into one some 100 hour game.
Story (recap as aforementioned) and Characters
*This is only a discussion of the true ending.

This game had one of the strongest narratives I’ve seen in years. It started out like any other Atlus game, where the player/protagonist is tasked with a special life-dependent cause only they can fulfill. The king of Euchronia is murdered at the hands of Louis Guiabern, appearing to be one of the antagonists of the story, who is dazzling and luxuriant (why did they make him look like that, he slays too hard). The only heir to the throne, The Prince, is in a deep slumber at the hands of a seemingly incurable curse. As a member of the resistance, the protagonist is tasked to lift the curse alongside his fairy navigator Gallica (who is a great and not very annoying guide for once) who later recruits noble and resident handsome man Strohl followed by others later.
The player learns that to lift the curse, the caster must be killed. Thinking that Louis is the caster, the team plan to murder him at the King’s funeral but fall short when the King’s spirit appears, announcing that before he died, he cast Royal Magic to create the Royal Tournament, whereby anyone can enter the running to become the next king. Moreover, those in the running will be granted royal protection magic by the means of their popularity among the masses. While extremely annoying and beautiful, Louis holds the captivation of the public eye, and cannot be harmed.
At the funeral, Louis presents the corpse Human, which in this universe appear to be twisted, malicious and demonic creatures who are feared and loathed by all. Louis' tactful prop shows how he “can protect” everyone, having allegedly slain such a horrible creature. A less beautiful but still arguably slaying underling of Louis, Zorba, reanimates the Human with magic in an attempt to scare everyone, which inevitably follows with Will and the team taking down the resurrected beast.
Another antagonist of the story, Sanctifex Forden, who is the leader of the long-governing Sanctist Church which is the state religion of Euchronia, then organizes the tournament for the throne which of course is rigged in his favour. Who would have ever thought the church could do wrong? The party enters the tournament, with Will as their candidate, but is already at a disadvantage because of his lack of popularity and more predominantly, he is of the Elda tribe. In the kingdom of Euchronia, there are 9 tribes with a variety of physical identifiers (like horns, wings, etc.) The Elda tribe is extremely prejudiced and very small in numbers. At this point, it’s not really clear why everyone is disgusted by the protagonist simply existing as an Elda. I am personally partial to the Parpius tribe because of the ears and tails, but I don’t like their hedonistic lifestyle.
The team set out on their quest to gain the masses approval through Forden’s tournament. They traverse to the larger cities and towns, accompanied by knight-errand Hulkenberg, retrieving relics and completing other quests. Heismay, a Eugief tribe member (like a flightless bat-rat tribe, very cute, but very not cute backstory and voice actor) joins the team, and confides in them about the tragic loss of his son. Later, renowned songstress diva Junah joins as well, revealing she too is part of the resistance and was sent to spy on Louis.
The team, accompanied by waggish adoptive brothers Basilio and Fidelio the right-hand-men of Louis, quest to retrieve a divine relic, Drakadios, deep in an ancient structure that predates Euchronia from “The World Before”. They realize the relic can bypass the royal magic and attempt to kill Louis with the relic but fail once more. Louis takes the relic, and kills Forden, who he frames for the prince’s curse. Fidelio is murdered trying to protect the party during this heated moment. This is what I consider the first “twist” or extreme moment in the plot. This GOT me. The bond between Fidelio and Basilio is so pure, and speaks to themes of found family. The built trust and loyalty Fidelio and Basilio shared really reminds me of my trusted circles. Fidelio's selflessness and bravery were inspiring which motivated Basilio to carry his legacy, later joining the cause and party as well.
With Forden gone, the Sanctist nominate Junah’s adoptive sister, Rella, to replace Forden in the tournament. A second twist happens here, as Rella admits she was the caster of the curse and summons a fierce dragon the party fights and defeats. She then confesses that Forden blackmailed her to kill the Prince, threatening Junah’s life as collateral. This was a cool twist, I spent the first third of the game deciding if Louis or Forden was the caster, but also kind of tacitly knowing it was neither of them. This is a really strong way to tie Junah more deeply to the story, as she is already a highly passionate character with a very strong sense of justice.
Before Rella takes her own life, she reveals the prince is still alive. In response to the curse being lifted, Louis challenges the protagonist to a duel, in which he uses crazy spooky dark magic to turn Will into a vile human. The MC is able to resist the magic and revert, but then Louis reveals a fraction of a truth, that Eldeans are humans. The crowd believes this as fact and immediately turns on the protagonist and his party, causing the party to flee as the masses won’t listen to reason. Sound familiar at all? This disinformed fear mongering tactic hits extremely close to home right now. Various marginalized groups or individuals are targeted by those in a position of power (for seemingly no reason other than hate or xenophobia), where the masses blindly follow, resulting in the perpetuation of biased and uneducated hate.
The story then proceeds to go crazy-mode. A million cut scenes and serious narrative building moments happen in succession supported by an amazing soundtrack. The party flees to the sanctum, where the Prince’s body is, only to discover he died shortly after the curse was lifted. In the sanctum, The Prince’s mother contacts Will, revealing he holds the Prince’s Archetype, bearing the Prince’s soul, beliefs and legacy within him. As well, the party learns that the Elda tribe is descendant of the original humans, from the “World Before” of which the party caught a glimpse of in retrieving the Divine Relic.
The “World Before” was destroyed from humans being overly exposed to magic and mutated by the means of its once uncontrollable force. The party concludes that Louis, like the protagonist, is human as well, and seeks to turn the entire population of Euchronia into humans, to end the cycle of diversity, enacting some sort of twisted survival-of-the-fittest situation. After an identity crisis, the protagonist accepts his true identity, merging what is within him, and becomes the prince. The party set off to achieve his birthright and destroy Louis even though he is beautiful (this is a joke).
This plot heavy sequence of the game is really what made me fall in love with its narrative. While the themes of discrimination and the pursuit of utopia felt relevant, despite it all taking place in a fictional world, this section of the story felt real. Trying to rewrite, subvert or control the narrative of various histories is something we unfortunately still grapple with today. Truth is deposed at the hands of those with power, enabling them to re-write a history or even future that they decide, often of their own singular vision. Marginalized groups become targeted for their difference, and the humanity of all life seems to dissolve. In real life, it's not as easy to have one brave protagonist be able to change the narrative of history, but this game, especially this section of the story, presents strong feelings of hope, of which I found inspiring.
One of the last plot points before the inevitable battle against Louis, shows the party in a precarious position of being surrounded by monsters, where it appears that the protagonist may have died. Instead, he is transported to Akademia, the place where he studies Archetypes as mentioned in the gameplay section above. Akademia’s attendant, More, the most nonbinary looking and named character, that this Japanese game unfortunately yet obviously gives a binary gender to, brings Will to an illusion version of what looks like Shibuya. The render looks a LOT like Persona 5 even featuring an easter egg of the Metaverse App logo on some signage. More explains to the protagonist that he can leave this world behind, and it's pointless to fight for justice, offering him a place in this new “reality” that More has now shown him. Will declines and then More reveals he is a reincarnation of the King, helping guide the MC on his journey. This kind of felt on the nose for me, but it was fine.
Finally the team fights Louis one (long) and last time, where he uses evil magic to transform himself into a creature resembling long time beloved and renowned SMT superboss, Lucifer. The party succeeds, the protagonist is crowned as king, and the team sets off on a journey to discover and solve other problems in the kingdom of Euchronia. We did it!
I felt very moved by the relationships in this game. Each character had a very distinct personality and (often sad) backstory, and although I did skip some side-follower dialogue, I felt a distinctness to each character, and their relationship to not only the protagonist, but each other. For example, I love the way Basilio and Heismay lightly torment each other, as they have very different approaches to life, but still have a base level of respect for each other. The relationships within the party, coupled with their diverse backgrounds coming from all different tribes, is a beautiful analogy to how diversity and harmony are inextricable. It is the diversity in life that allows for growth and deep relationships. Of course, this is easy for the party as their bond is rooted in the same cause and pursuit of a singular goal of justice.
I know a lot of this story was a bit “on the nose” or obvious at times, and I know some people thought it was “too obvious”. However, for me, I enjoyed the “obviousness” of the story. As a seasoned JRPG enjoyer, many plot points were predictable, primarily the big twist of the MC being the Prince. Just because things were obvious at times, does not mean it isn’t a moving story. I think with strong narrative games like this, players feel entitled to something entirely new, shiny and deep, and are disappointed when games don’t make something from nothing. To me though, this game was new, shiny and deep. It would be foolish to play a JRPG and not expect overlap to other JRPG story archetypes (lol). So while parts of the story were elementary, there is still plenty to enjoy.
Graphics and Sound
She is beauty, she is grace, she is Metaphor Re:Fantazio. One thing I continue to adore about Atlus games is the evolution of care in their treatment and level of detail in the visual art of their games. Lead character designer, Shigenori Shoejima, gives an obvious level of thought to his work. Shoejima ensures each character not only has a unique feel in line with their personality but too manages to make everyone lowkey beautiful too. I really liked the diversity of visual fantasy elements and accessories (e.g. horns, wings, tails) given to characters as per their specific tribe. There was a bit more racial diversity in this game than in previous Atlus games, but I still think they are very behind in terms of racial and body diversity representation. Weirdly enough, this game has a more pluralistic approach to gender expression. Many characters dress and act more flamboyantly, which partly seems like a reference to Victorian era aesthetics but also perhaps making an association of fantasy with the flamboyant. Many characters (mostly outside of the main party), feature more genderfluid expressions, like the aforementioned character More, who to me is very obviously outside of the gender binary. Of course, given where the game was conceived, players like myself can only make fan theories about appendaging identities of characters in a completed game.
Fantasy and magic elements are represented well in the dramatics of the art style of this game. The rendering of weaponry interaction in overworld and turn-based combat have some wild animations, sometimes too wild, that I would skip them in favour of getting into a combat flow state. Mainline dungeons had some awesome and intricate renderings, particularly the Grand Trad Cathedral and the Opera House. The level of detail in medieval/Victorian architecture really impresses me. Some more dramatic areas (like extra dangerous dungeon points) could have done a bit better with some lighting variations, but it’s not a deal-breaker.
The rendering of an entirely new roster of enemies also excites me. I don’t know why I assumed this game would have the usual SMT demon contenders before I even played this game. The enemies were a particular kind of weird that added to the charm of the game. Most notably, was the inclusion of direct references to the work of Hieronymus Bosch. Bosch’s fantastical work encapsulates depictions of religion, fantasy, the macabre and more. One of my favourite things about the SMT franchise in particular, is its inclusion of real life lore and expansive representation of religious and cultural histories through the demon compendiums. Players are able to learn about actual and diverse histories of so many different cultures and I find that thrilling. While the demons were set aside in favour of Bosch-inspired “humans”, I still very much appreciated the nod to canonical and very much real pieces of art history. That being said, adding a few extra enemies in this game would have gone a long way. Grinding mid-late game kind of hit a slog and lacked diversity and options for leveling coupled with low spawn rates.
Switching gears to sound, composed by the iconic Shoji Meguro, Metaphor had an overall engaging soundtrack. Meguro’s impressive resume includes most of the Persona series, as well as many mainline SMT games like Nocturne, Digital Devil Saga, Strange Journey and more. If I’m not mistaken, this is the first game he composed for a more traditional fantasy-medieval setting in which Meguro continues to show an invincible mastery of music composition.
Most notable in discussion about the game’s soundtrack is Meguro’s inclusion of a buddhist monk’s chanting in Esperanto. This is a symbolic and narrative choice as Esperanto is the world’s most widely spoken international auxiliary language, meaning it's a language meant to bridge communication between nations that do not share a mutual language. The symbolism of this choice aligns with the game’s narrative quest for equality and global understanding. The chanting really adds a sense of severity, pressure and hustle to the gameplay in its timing and strategic placement.
As most heavy narrative Atlus games, the soundtrack must encompass a wide variety of emotion, to capture respite and reward, the journey and its tolls, the triumph over evil and evil itself. I think the soundtrack covered the variety needed to accompany the narrative, but would have included a few more “bangers”, particularly in late stages of each mainline dungeon. This was the only thing I felt to be particularly missing, but was satisfied otherwise.
Unfortunately, I think some of the reception of the game’s soundtrack online is mishandled. The Meguro legacy, especially on the urban and stylish soundtrack of Persona, has left fans expecting the most from each game he works on. This game isn’t meant to have the same feeling as the Persona soundtrack and as saying goes, comparison is the thief of joy. It’s belittling to Metaphor to expect it to have a Persona style soundtrack. I think Meguro does an excellent job tackling this new setting and produced a fitting soundtrack.
Comparisons, Final Thoughts, Conclusions
I eagerly awaited this game for a long time, and it proves itself worthy of the suspenseful longing. Most areas of Metaphor, gameplay, story, characters, and artistic choices are very polished. Of course, no game is perfect, so I’d say my biggest gripes overall were the menu needing some kind of quality of life upgrade and my personal loss of not discovering the MP replenishing items in the final dungeon. I enjoy the variety of gameplay Metaphor offers while still putting most emphasis on the mainline dungeons and story. In terms of narrative, Fidelio’s death and the climax of the story are what I found the most moving, having perhaps I even shed a tear or two (you’ll never know…). I will definitely do a NG+ run, having learned of a dragon boss only available in a second playthrough.
A final note outside of the review I’d like to make as an Atlus fan is people need to chill about comparing completely new JRPGs to other games (mostly about story and artstyle, gameplay aside for this), but specifically Persona 5. It is important in game review to compare but y’all need to relax a bit. Look, I LOVE Persona 5 but it is so completely different from Metaphor. I see a lot of folks online disappointed because Metaphor didn’t have the pizzazz (especially in soundtrack) of Persona 5 because it's a medieval setting. There isn’t going to be the urban swag or the relatable draw of contemporary life of mainline Persona games that for arguments sake, take place in modern Japan. Part of the draw to Metaphor is its entirely fabricated and fantastical world, and if you remind yourself that might make it easier to respect the deep craft and work of art that this game is. Of course, each to their own, you don’t have to like it, just be chill. :P
Overall Arbitrary Rating:
9/10 spoopies (wow!)
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