Junior Member
Despite the fact that this level is themed around an angel, I don’t really feel comforted at all, actually. Quite the opposite. The foghorn at the beginning sounds really foreboding – more like a warhorn than the trumpets angels praise God with.
Speaking of which, the song is driven by these distorted snares that are really disquieting and contrast heavily against the subtly hostile expanse of void that is the backdrop. As the song progresses, the snares only get louder and more ear-piercing, and the decoration increases in complexity and just becomes more intimidating. The break parts in this level feel rather comforting rather than the rest of a level being a bleak featureless landscape, almost acting like a lull leading up to its climax.
seraph is not really that on the nose with its symbolism, opting for more celestial decoration than theological decoration, which only makes the encounter with the seraph more intense. I do find it strange, though, that the seraphim disappears for a while, but the level still maintains its intensity.
Still, an excellent level all around, and is very much up to standard for He Who Shall Not Be Named
Maybe one of the most important levels
Inside is nearly completely stripped down to Geometry Dash's basic decoration, only really a half-mile run away from being comparable to a coloured layout. Yet Inside never feels barebones or lackluster, as it really does eliminate any shred of banality it could possibly have while only using the most fundemental decoration the game has to offer. Feels like I'm watching a gym instructional video produced in 1997 without the static from the CRT, as this level is also extremely clean, while not overly so to the point that it looks watered down. Inside really shows that what truly matters for a level to be good is intent; i.e. what's on the Inside~~ on the Insiiiiii--iii-i-iiiiiiiide
When it comes to Viprin megacollabs, Kyrie Eleison is definitely the major dark horse of the list, especially when compared against its spiritual predecessor Ouroboros. While Ouroboros is by far the more popular level, I feel that despite it being themed around hell, Kyrie Eleison is far more intense, far more daring, and cuts straight to the point. The aesthetic payoff deriving from these decisions is unbelievable; you can feel every last bit of this level's tenacity, with the added bonus of a kick-ass metal guitar as the soundtrack. Thanks, Jesus!
This level is obviously not the most polished, with certain transitions being wonky, incorrect and strange hitboxes being present and the pacing being slightly mismatched, especially in the beginning. However, the minor whiplash you get from all of these is well worth the trade, with genuinely stunning, ahead-of-the-curve designs and the high-octane, frenzied gameplay accompanied by the imagery of heaven slightly falling apart albeit ever resisting the chaos that has intruded heaven being one that is difficult to forget.
I don't think any Viprin collab, past or future, will ever come close to this level of splendour again. Also, I vehemently disagree with Viprin's opinion. Kyrie Eleison is a way cooler name than Abbadon.
Despite this being one of my favourite NCS songs (not a high bar), it feels like one of the weakest aspects about this level. The song is simply not avant-garde or complex enough to really match the raw beauty of kiriia's style. Yet, the creativity and insanity of these design ideas all amalgamate together into this wonderful viewing experience. While the gameplay feels very fun to play, it does feel that there were some compromises that were made in order to get this out in the nick of time. When kiriia has the time to fully flesh out another level with his current expertise, it is safe to say that I'm giving whatever that will be a 10.
A near-perfect layout. Eclectic, adrenaline-pumping and insanely creative in its song rep to the point that it feels nearly inhuman.
cool level but this is why i dont play puzzle levels my brain is fried
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sorry about this gang