Rating Curve

(Disclaimer: I have not beaten Idols yet, so take everything I say about that level in here with a grain of salt. I have, however, beaten Project Reunion as my 500th demon. This is also my 2nd favorite level of all time.)

I'll start by saying Project Reunion feels like a much more authentic love letter to 1.9 than Idols was. I felt Idols was way too flashy of an experience and went too far in on having good effects and cinematic moments that it felt as authentic to 1.9 as Esencia was to 1.0. Project Reunion fixes this problem by having the level made entirely with what was only available in the 1.9 update. Idols also constantly directly references some of the most famous levels of the 1.9 update, and in that regard it feels a lot more like its song where its a flashy, mashup-remix of the past instead of a true love letter to the past. Project Reunion has 100 parts, and none of them are as up-front and direct with their references like Idols is. Sure, while some parts may appear as too-well made and intricate for anyone in 2015 to make themselves, there are a lot of parts that have the perfect amount of intricacy as seen in levels actually from 2015, and it feels more like creating your own music that is a love letter to music from a bygone era as opposed to just taking what was already made and repackaging it in a nice way.

I also felt the song choices separating the two letters marks this distinction well, too - Idols is a mashup of many EDM songs that came before it while Overtime is an original EDM song from the same time period. This could be my early-mid 2010s Roblox nostalgia taking control, but I feel Overtime was genuinely the perfect song Project Reunion could have chosen. It's not just that the song is amazing - it has an amazing progression throughout that makes Project Reunion a more standout level for me than Idols was. Idols (the song) does have moments which are faster or slower compared to other parts of the song, but it never feels like those moments are given the weight they should to be impactful as they are in Overtime/Project Reunion. Project Reunion has a short first drop pretty quickly before pulling back for a bit and entering into a second longer drop of similar intensity, nothing too special. But the song and the level just go a true bridge/break time segment at the halfway point as they both slow down tremendously. After a beautiful sunset art piece, the song and the level build back up in intensity slowly, then all at once, and then you're hit with the Proximity logo and the big text "Keep Going!" as you're sent into the final, most euphoric part of both the song and the drop. It's such a great soaring high that still reminds of the past while feeling like its own unique, special moment and Idols doesn't have anything that hit me as hard as this.

The way Project Reunion ends is also more satisfying than Idols. Idols (the song) winds down incrementally as it ends, and the song tries to replicate that but doesn't feel as satisfying as it tries to do a credits roll while still awkwardly interjecting with gameplay. On the other hand, Project Reunion ends with a long end screen. Normally, I am not someone who likes long end screens in levels, but in cases like Project Reunion, where there is a long fadeout in the song, the long end screen can be very satisfying (commatose is a good example of this too).

One final thing I kept putting off writing about is the gameplay. I've been comparing Project Reunion and Idols a lot throughout this review, and I kinda shot myself in the foot since while I have watched Idols a whole lot, I haven't actually played the level myself to really have a definite opinion on how it plays. I can say, however, that I really enjoyed the gameplay in Project Reunion. For having 100 parts, I didn't feel there was any particularly gnarly chokepoints, and the level was well-balanced throughout. The duals are a bit inconsistent and learny, but they're short and other than those two parts I have no complaints. There are no transitions which suck a whole lot either, which seems like a miracle for a megacollab with this many parts.

I don't know how to wrap up this review, so maybe I'll just link here: https://genius.com/Cash-cash-overtime-lyrics

This is another one of those levels I wish I could love, but I just can't.

Before I start this review, I need to preface this by disclosing my bias: I do not like the song in this level. I feel commatose is an incohesive mess of a song with a lot of ideas that could work well on their own, but just don't work in this song. I also hate the vocal performance here as it oscillates between sleepy-sounding shoegaze and migraine-inducing screamo vocals and I don't like how either of them sound. I've heard snippets of sounds from other glass beach songs and I haven't liked them either.

Now that that's out of the way, let me say something I do like about the level: the visuals are amazing. The level is always able to match the energy of its current part of the song well and all of the colors go great with each other. I really get the impression that there are a lot of references to glass beach in this level, and as someone who isn't too familiar with the band they do fly over my head, but a friend of mine who is into the band does get them and loves the level more as a result. I also really love the atmosphere in commatose. Stretches of non-auto levels where there is no gameplay can be hit-or-miss, but in commatose they're a hit. The cutscene halfway through that divides the two halves is a creative way of representing the song and the extremely long outro as the song just fades into drones is also sick as hell and super satisfying after completing a legit run.

The main dealbreaker for me, and why I can't love this level, is the gameplay. I just found so many problems with this level when doing practice runs that can't be found when just watching the level on YouTube. You really feel the beginning segment drag on when you need to go through it every time you die. I died a lot at the 25% UFO in legit runs, it constantly alternates between having jump indicators and sometimes not and I end up getting thrown off, as well as not being able to judge the hitboxes of some of the spikes well. 41-56% has to be my least favorite stretch of the level, the shader usage and camera movements are the most intrusive here and I could not see what I was doing during some parts since the level goes into having to look at these really inaccurate outlines for some reason, and when the camera gets super shakey it is quite nauseating and I have jumped on accident here. I also really don't like the last orb combo sequence at the end, I never ended up getting the dash orbs consistent since it felt like if I entered one slightly the wrong way, I was fucked and that was just another 8 minutes down the drain. It's all silhouettes so you kinda just need to eyeball it while also being able to quickly shift gears between those calculated dash orbs and almost spam-like click patterns in the rest of the part.

If you have beaten this level and you still love it, I am genuinely happy you were able to enjoy this level as much as you did and I wish I could share the same sentiment as you. On the contrary, if you think this is one of the best levels ever made and you haven't taken a serious attempt at even just playing it in a practice run, then please shut the fuck up and give the level you're glazing a shot before coming to an opinion. I do not care what your skill level is, you can place as many checkpoints you like in a practice run.

This is one hell of a level, to say the least.

I found out about CICADA3302 shortly after I beat Eon when I took to the AREDL server and asked about any other good XXL extreme demons, and CICADA3302 was one of the names I heard. Two months later, in November 2024, I remembered the level and gave it a practice run.

To put it lightly, I was completely and utterly floored. I knew I wanted to do this as my next extreme demon immediately. I have been playing on-and-off since November, and since then I don't remember how many attempts I've had exactly, it is in the thousands, but I've had 20 72%+ fails with my personal best being 99% (3/20/25). (UPDATE: I have now beaten CICADA3302 as my 2nd extreme demon on 3/31/25)

I have never seen a level that looks and feels like CICADA3302 before. Yes, there are many effect levels centered around 1.0 blocks, but none of those levels are made with the length, style, and execution CICADA3302 brings to the table. The attention to detail seen throughout this entire level is on a whole other level. CICADA3302 is very eclectic design-wise, but it all somehow feels like it fits. There are all these scenes with intricate structuring and block designs that are almost all made up of standard blocks paired with complex, futuristic tech backgrounds and yet they all feel like they are meant to go together. There are these glitchy backgrounds and effects that felt so natural and authentic I still don't understand how they were made in 2.1. There are references to the CICADA3301 mystery, including the first 4chan post, the world map with the poster locations, and the really long timer. There is even a story in this level where you are travelling deeper into a Matrix-like place while you are accompanied by a speaker radioing to you from the outside. This story has just the right amount of interpretiveness that you can theorize on your own while the story itself doesn't seem too incomplete. Not following along with the story doesn't take away too much from the experience, so if you don't want to follow along you don't have to. All of this comes together to make this super gritty, intimidating atmosphere where you, the player traversing through the level, feel like you aren't welcome and this level wasn't made for players to come out the other end alive.

CICADA3302 also has one of the best progressions I've seen in any XXL level, too. The first half of the level takes you through these moderately high highs and moderately low lows that are all still great on their own, but it all serves as a setup for the second half the level. There is a zen segment halfway that is the first time you can really catch your breath, though it is not for too long. It's a calmer segment, but it's by no means an easier segment. From there, the level starts building up intensity again like it has a few times before, but then you're shot right into this part where time rapidly accelerates and the level reaches a soaring high more intense than anything seen before it. You're in a fast, asymmetrical dual with two rainbow afterimage trails while the song is going completely apeshit. The level does other effects, but still retains this soaring high up until 90%, where the level shifts into a falling apart, corrupted version of the first beat drop experienced at the beginning of the level. Even if you aren't playing from 0, 72-100% still feels absolutely divine to play legit. It's the hardest and most learny part of the level, but once you have it down, it's truly rewarding.

A dealbreaker for this level for a lot of people is the gameplay. A lot of people feel the gameplay is buggy in a lot of parts, and they would be right. You can find them all over the level. Despite that, this hasn't gotten in the way of me enjoying the level. I have died to some of these bugs legit (most notably dying at 92% because I didn't buffer), but a lot of them I have been able to been able to figure out why I was dying and have been able to work around the bug. The only one I haven't been able to work around and where dying has felt unfair is in the ship/cube blue pad corridor parts where you sometimes just get ejected in the wrong gravity and die because you weren't anticipating it. But other than that, I have still been able to enjoy the level plenty. A lot of people also just don't like the gameplay itself, which is understandable too. It's very unconventional, especially for a level of this length. I still have been able to enjoy the gameplay as well, when you have taken the time to learn the level thoroughly getting legit runs can be very satisfying.

It's with all these variables in mind that I feel comfortable giving CICADA3302 my reward of the best song representation in all of GD. This was Darwin's goal, and I think he did it. Everything just works so well with each other, the gameplay is all synced, the visuals are all synced, and the theme and the progression are all spot on with the song. All-around a complete and absolute masterclass, it's a shame this level went unrated for as long as it did.

This is my favorite level ever, and it's not even close.

Before Eon, I thought I understood what I liked in GD well - I wasn't a fan of longer levels. My longest was Biru and while it was great, it was an exception. I did not enjoy most travel levels and I especially did not like True Values of Life. I found out about Eon because of Renn's showcase on YouTube in March and I thought "I'm probably going to hate this but I'll still see what it has to offer."

I immediately fell in love with the level, Just from watching it, I knew this would be an absolute gem. My main gripes with TVOL were that there was no progression, it was poorly optimized, and all the parts had way too much detail and still ended up ugly. Eon was the opposite of all of these things - one of the strongest progressions out of any GD level, and super simplistic yet charming and effective designs. I knew immediately I wanted to beat this as my first extreme demon.

I kinda struggled with it some, doing some practice runs but not really getting a whole lot of substantial progress. One day in April, however, I got 18% in the morning, which had me pretty excited, and then I fluked all the way to 60% later that night, which had me really hyped. Then progress came to a halt for a few more months. Occasionally I would play the level, get 60% again or some other death moderately far into the level, but not really any momentum playing the level. Throughout this time, however, I was intensely practicing the last 10% as I knew that was by far the most difficult part of the level and I wanted to make sure I had it to a tee.

In September, I knew I finally wanted to finish the level off. I did some more normal mode runs and quickly got 74%. I was now laser focused on getting this level done. The next day, not long after getting home from school, on September 6th, 2024, I fluked the level from fucking 74% and beat Eon as my first extreme demon. That was one hell of an afternoon. By far the most nervous I had ever gotten playing GD in my over 10 years of playing, and I'll talk more about how I felt at the last 10% later.

Even if Eon was not 55 minutes long, I would still enjoy it just because of its intense simplicity. Aside from the shader backgrounds, the level never gets too intricate with block designs, gameplay, or structuring, it just sticks to focusing on the gameplay the entire time and representing the song. Some people say Eon does not have great song representation, but I disagree. For how little is going on in the level design-wise, it's still has a lot of elements that go hand-in-hand with something that is going on with the song. Whether it be the background changing color to a synth or blocks pulsing to drums, there is always things going on with the song that don't get intrusive with the gameplay. Eon is very dynamic with its speeds and pacing and there are a lot of fast moments and slow moments that go with the song. Some of the more vibrant and lively sections are borderless and fast-paced, while the ambient, slower segments are darker and bordered. TVOL is what I would consider a complete failure of song representation just because of how little the song and the level go together, and it feels more like TVOL uses Snowy Roads just because it's long enough. Eon doesn't feel like that. Every part of the level acknowledges The Angel in some way, even if it is just with simple gestures.

There is still a lot of creativity to be found in Eon within its various backgrounds. It's a great example of an early 2.2 level, as it feels like Renn was using all of the different soundscapes The Angel has to offer to try out all of the cool new shader options that released in 2.2. Something that appears a lot throughout Eon but I find cool every time is how super intense chromatic glitch shaders are used to make static. It's these great, dynamic backgrounds that work really well with the more droney parts of the song while being super easy to set up. Eon also has moments where the split screen shader is used in more quiet parts to make the parts feel open, large, and atmospheric. If I had to pick one specific background to be my favorite, it would be the one at 97-98% for how it reuses almost every element seen so far to create something super intense for The Angel's climactic finale. This review is already going to be very long, and I only have 24 hours in my day so I'm not going to dissect each and every one but I encourage looking around in the editor, you will find a lot of cool stuff.

Eon's last 10%, man... this has to be one of the best level endings ever seen in GD. For the entire first 90% the dread of the ending is quietly looming in the back of the player's mind, and this dread really picks up at the organ segment right before. After the final organ chord, the level and the song undergo their harshest tone shifts. It's the hardest part of the level and the fastest part of the level, both in general speed and CPS. The Angel goes into a sort of final boss theme, with a super menacing bass and some DnB drums. At 96% the song and the level shift into an almost victory-like sound as you've passed the hardest part and you have one final part which is basically a nerve check. I went through about 9 different mind stages in just this last 10%. In order: "Holy shit, I'm here, let's do this." "Ok, I didn't die immediately, good." "I'm coming up on the hardest part, uh oh." "LET'S FUCKING BALL." "OH MY GOD, I PASSED THAT PART." "AM I GOING TO BEAT IT THIS ATTEMPT?" "I AM BECOMING GOD." "PLEASE DON'T DIE, PLEASE." (insert my reaction here). I don't think I am able to properly convey how it felt through text, even though I tried, I think it's just something you have to be there in the moment to describe. Point is, it's a fucking trip.

Beating Eon has changed my outlook completely for XXL levels and has turned them from being something I would avoid whenever I could to something I now actively seek out. It's not much of an increase in endurance, moreso it is a change in mindset. You need to mentally prepare yourself for the possibility of dying very far, you have to accept that attempts will be super long, you need to understand the hardest stretches of the level best and really hone in on practicing what is truly necessary. The fact that a level may be longer creates a sort of illusion that it will take far more time than a shorter level to beat, when in reality that is not the case. When a level of extreme length is compared to something that is supposedly the same difficulty but just standard length, they are suggesting beating those two levels are completions of equal achievement, and they both have similar amounts of difficulty just stretched over different amounts of time. Same ideology can be applied with how much time is spent playing these levels. A level as long as Eon will take you just as much time as any other extreme demon, from the very first attempt to the attempt you beat it. It's just how that time is spent which sets those two apart. For more traditional extremes, you will spend much more time practicing the level and getting runs that aren't from 0, while in Eon you will spend much more of your total time playing the level in runs from 0. At the end, the time spent on both levels should be roughly equal, regardless of what skill you are.

Another way Eon has changed me for the better was that it introduced me to one of, if not my favorite album of all time, Cacola - The Angel, The Demon,. When I watched Eon for the first time I also thought "Holy shit, this song is amazing, what?" and I was just completely floored by a song of such high caliber and emotion that manages to be interesting and progress in interesting ways for 55 minutes straight. I immediately fell in love with the song too, and then in June I got around to buying TATD on Bandcamp and listening to the album for the first time. TATD is one of only two times where an album has immediately reached through the sound dimension and touched my soul. It had felt like I had known the album for 9 years since I first saw Lit Fuse by Krazyman50 in 2016, and the album knew me for all that time, too. I ended up relistening to the album more and more, and I am willing to bet I have listened to TATD in full over 20 times since I first heard it. It is an album that has gotten me through so many of my worst days ever, an album I knew I could listen to at the end of the day when I can finally rest for a bit. I even got in on the first CD press for the album, bought the CD as soon as it was purchasable, while I was still in school that day, and it's my proudest CD in my collection. I couldn't be more grateful that Eon introduced me to album which helped me through so much.

I really need to wrap this review up but in case you want to go for Eon (which I will always recommend), my only piece of advice is this: practice the ever living hell out of 90-100%. Trying to get any other runs within in the level is a waste of your time since if you're paying attention the whole time, you can sufficiently learn the rest of the level in about 4 practice runs. 90-100% is the hardest part of the level and your nerves will be through the roof so you want to die there in normal mode as little as possible. I consider myself extraordinarily lucky for fluking the level, although I practiced 90-100% so damn hard I could get that individual run almost every other attempt. There is no such thing as overpracticing that part, all practice is good practice.

Safe travels.

I like this level, but I wish I could love it.

I had enjoyed DJ Sabrina the Teenage DJ's album "Charmed" for a bit up until I found this level, so I was a bit dismayed that the way I learned about this level's existence was in the trivia tab of either the Hypnotic Travel or TLWH GD Fan Wiki pages, don't remember which. An almost 15-minute long DJ Sabrina level was what I didn't know I always wanted, how did this fly under the radar for me?

I did a practice run and ended up beating the level on only my 2nd attempt in normal mode. I saw why this level wasn't as hugely talked about and why it probably only got a feature - the gameplay. While it does occasionally change up with ship parts or robot parts, Charmed Life spends most of its runtime entirely in the cube gamemode, doing basic jumps over spikes and hitting orbs, sometimes also pads. I understand how unfriendly the GD editor can get the longer you try to build your level, as well as that the editor ends at roughly the point the level ends, but I still feel like more could've been done to make the gameplay more enticing, even just some usage of gamemodes other than cube, ship, or robot. In this regard, Charmed Life is more meant to be watched instead of played since there just isn't much meat to the gameplay, and playing the level in-game isn't too different of an experience from watching a YouTube upload of the level.

The design of the level and the song representation is much more where this level shines, and it really does shine. Charmed Life is the longest and the 2nd to last track on Charmed, an over 3-hour behemoth of an album that is a rewarding and euphoric listen. This is a sense of finality to the song, and it is still energetic while sounding peaceful and even a bit retrospective. Charmed Life (the level) does its song great justice. The runtime of the level is spent traversing through colorful landscapes that include, nature, urbanism, outer space, and the places in-between. Under normal circumstances, I would be one to criticize the level for a lack of cohesion like I do with travel levels but I feel that's not the case here as all of the different sceneries go hand-in-hand with the song, they transition into each other very nicely (although sometimes they don't), and they also all just look nice in general. It's great that this level is able to have consistently great designs throughout. Sometimes, the lack of intuitive gameplay and the slow speed throughout (which is probably more caused from technical limitations) even helps the design and progression shine because, even while playing, you are able to comfortably take in all the environments.

The last few minutes of the level have me split, however. The song is building up for its final high and every sample we have heard up until this point reappears for the finale. In some regards, the level replicates this well too as every landscape we have seen thus far reappears for some time in sync with the music. All of the parts transition into each other with a white flash, and while this happens constantly, the level retains readability and clarity because the next bit of gameplay right after what you just did/are currently doing lines up with what comes next. What I am not a fan of in this part is the execution of the concept, as I feel it could have been done much better. Charmed Life doesn't just reuse the designs of a previous part of the level, it straight up just moves those parts of the levels directly to where they need to be for this part of the level. While I understand why this was done, to save objects, the gameplay in each individual segment is unchanged and the result of so many parts loading and unloading in quick succession is a lot of lag. For a level of almost 15 minutes in length, 222k objects is great, but this method of saving objects causes lots of lag anyways and I think (and I could be wrong about this) it may have just been less laggy and more interesting to create new parts of the level and gameplay for these parts.

Despite these criticisms, I still wish this level would get more attention, as it does a lot right. The modernistic, lively designs and the brilliant song representation deserve more recognition. I still have faith this level can be recognized more in the future.

This is a level both so far ahead of its time and completely right with its time. I am not going to delve too far into the gameplay or visuals since it is quite standard for the most part. However, it's what this level does with the individual parts that make it into something truly extraordinary, even for modern times.

"Let's go back in time!" Larga Espera is a level with a story that doesn't need narration for the most part. It is a level that progresses through the history of the game, each section of the level represents a specific update or a part of an update. 1.0-early 1.9 have no text outside of the language selection at the beginning of the level.

It's impossible to talk about why this level is excellent without talking about the "song." Aurora Theory is a 2013 studio album composed by Erik McClure during his time in college. The "song" Larga Espera uses is not any particular song off the album, but rather a teaser for the album posted to Newgrounds which contains a roughly 1-minute long excerpt of each song. There is a progression to the album, but there isn't a story. Larga Espera utilizes the "song" for its progression AND builds a story around it. From 1.0-early 1.9, the level reflects the first 10 songs' upbeat, trance-EDM sound, and as the last few songs are less upbeat, late 1.9-2.1 reflects that as well with its worry about the future of GD and the slower pace of updates.

"The 1.9 remained..." The last 30% of the song marks a tone shift as time moves slower. The rest of the level has text narration as it takes a concerned approach for the game's future and community. There are some moments where the tracks seem more upbeat, like when 2.0 first releases and when Meltdown drops, but the level with its narration is able to keep the somewhat downtrodden mood going throughout these parts.

"?" The 2.1 part is the only time a completely empty layout has ever given me goosebumps. It's easily the most sad part of the level with its gray background and ambient section from the final song of the album "Next Year" (this is a surprisingly fitting song name in the context of waiting for the next update). For being the most simple part of the level, it is the most emotional and conveys the feeling of disappointment really well. The end of the level is entirely just jumps on the ground over spikes in the robot and cube gamemodes with text that gives the player one final takeaway as they leave the level: be patient, be hopeful, be creative with what we have in the current update.

And now, to address the elephant in the room, yes, the time gap between 2.1's release and 2.2's release ended being 2,019 days longer than the time gap between 2.0's release and 2.1's release. Not only does that wait blast the long wait depicted in Larga Espera out of the water, the community was also able to hold up better and mature during that wait and seeing as how the gap between 2.2's release and 2.3's release is already shaping up to be longer than the Long Wait of Larga Espera, but there is far less people complaining about where 2.3 is currently. While this perspective does make it impossible to view Larga Espera without a tinge of irony, I think it's unfair to look at the level that way. How was Nacho supposed to know what the next 7 years would look like? Looking at the level as a perspective from its time period in 2016 is a lot more fair of a way to read it. This is also helped by the level's broken English translations (the other translations may be broken too but I don't know as English is my only language) that add a charm to the level that could only have been done then and seemed normal.

One final thing I want to bring up but don't have space to anywhere else in this review is the fact that this level is entirely at normal speed. Surprisingly, this doesn't make the level feel poorly paced at all because the story the level tells is so well-paced. Admittedly it does feel a bit weird going through the 1.7 part entirely in normal speed, but I feel like going through the level entirely in normal speed is a deliberate choice by Nacho. Time always moves at the same speed - 1 second is always 1 second long. No matter how long the wait is between two updates, we always progress through the time in-between at the same rate, no matter how long it is, no matter how fast the time flies when you're having fun and enjoying the game, no matter how slow the long wait can feel.

As I said earlier, this level was so far ahead of its time while also not misplaced in time at all. No one was making retrospective levels with this much depth and clarity in 2016, no one was authentically recreating older styles like this, and absolutely no one was building levels of this length in 2016, and it still managed to claim the throne of the longest non-minigame rated level 6 years after it released when it randomly got rated in 2022. Legendary level all-around.

I don't know why this level is so well-liked, I don't know what I am missing, I have to be mistaken, they have to be talking about a different level, I just don't get it.

This is the most bored I have ever felt while playing GD. Almost every serious session of the level I was accompanied with coffee or some other caffeinated beverage. I felt so bored because of these reasons:

1. Design. Like most travel levels, they feel incohesive and themeless. The level constantly shifts through different designs and artsy backgrounds. None of these backgrounds looked too good at the time, and they certainly don't hold up well. If you really look at them, you can find all sorts of visual problems - fucked layering, misalignments, and colors that just don't work with each other in nearly every background. None of them are good enough to be memorable on their own, I just pass through all of them for some reason to get to the next one to progress through the level.

2. Pacing. Hypnotic Travel is set almost entirely in the slowest speed, and this combined with the complete lack of progression because of nothing tying the various backgrounds together makes a senseless, dull slog. It all feels the same for 9 minutes straight. The song, which is admittedly very good, is full of beautiful soundscapes and a really strong progression, and this level just does nothing with it. While the song is building up for a climax 8 minutes, the level is just doing the same thing it has always done so getting thrown into an extremely clunky, free-form 4x speed part, it's off-putting and uneasy. Then the level just returns to doing what it does and ends.

3. Gameplay. The gameplay just isn't fun. Outside of a few cool ideas like the ship part where you dodge the portals, there just isn't much interesting going on with the gameplay. It's just standard easy-medium demon slow speed gameplay for almost 9 minutes. There are some chokepoints mixed in, namely some of the earlier dual sections and UFO parts, so dying there and getting sent back is particularly demotivating. There are a lot of things that suck to play through that you can't just pick up on from watching a video, most notably the duals from 9%-12% and 26%-29% being uncomfortable, the slopes in the ship/UFO part from 34-36% being noncollidable while appearing just like structures that are actually collidable, and as I suggested earlier, the 4x free fly speed part from 82%-89% is awfully executed with the end result feeling slightly nauseous.

If you still find enough things in this level redeemable, give it a shot as you wish. Otherwise, if you just want to have this level under your belt for one reason or another (or lack thereof), this level isn't worth your time.