The difference between you and me is that i have a wine bar in my closet

I entered this game having played its two prequels, eager for another abstract RPG. Gingiva, the second in the trilogy, unexpectedly became one of my favorite RPGs of all time. I expected this game to be comparable hidden gem, only to slog through a broken, incomprehensible fever dream.

One of this game's omnipotent flaws is the controls. WTCTR boasts the most unconventional, uncomfortable and convoluted set of controls I've ever experienced. Even after remapping everything to a controller, I still fumbled through my playing experience.
"Point-&-Click Adventure" elements are shoved in through additional mouse controls, adding further complication. While the game expects you to discover secrets through clicking on suspicious areas, the interaction hitboxes on those areas are miniscule and disjointed from the object. This leads to the entire concept devolving into blindly clicking on every notable piece of scenery trying to stumble into a secret.
The menus themselves can be difficult to navigate due to the lack of proper labels outside of the game's manual. You'll find yourself navigating through a labyrinth of submenus within submenus, most of which serving seemingly little to no purpose.

WTCTR attempts to make itself stand out from its turn-based contemporaries by attempting to be a real-time open world action game. This is quite possibly the decision that singlehandedly ruins the game for me. Combat never evolves from button mashing, whether it be with your normal attack, your skills or your items.
Most weapons are hardly distinguishable from the others. A good majority of the special attacks seem to be broken and unusable. A good majority of the game's items are completely useless. Skills are acquired at what feels like random, with only a handful being useful.
The game attempts to introduce an elemental weakness system, summarized by enemies being weak to attacks of the color they appear as. However, nowhere in the game can you learn which elemental damage types your various attacks deal, making the entire system essentially irrelevant.
Enemies are HP sponges with multiple seconds of invincibility frames after each hit. They deal damage mostly through contact damage, occasionally using indiscernible skills at random. NPCs are capable of defeating you without warning, whether it be through bypassing your invincibility frames, inflicting lethal status effects, or just by you interacting with them in the wrong way.
The constant risk of death during any interaction is cemented by each Game Over sending you back to the title screen, forcing you to reload a previous save file. This results in having to save the game after every encounter to minimize the potential of lost progress. The game attempts an Afterlife area similar to Hylics. yet doesn't allow the player to retain their progress. This is despite the entire narrative revolving around the protagonist being denied entry to said afterlife due to unfulfilled potential.

The plot itself is hardly comprehensible and is never developed. Every cutscene is nothing but a numbing monologue trying to hammer in the feeling of pessimism and nihilism. Every NPC serves no purpose but to regurgitate a philisophical word salad that further enforces these nihilistic ideals. Nothing feels like it has any significance to the world around it.
As a successor to Middens and Gingiva, WTCTR feels completely disconnected. The few locations that are connected to the previous games are optional and do nothing to expand on those predecessors. There are no returning characters aside from one hamfisted in at the very end. The few callbacks to this game's prequels are few, far between and minute.

Even if you want an unconventional game with abstract visuals, do NOT buy WTCTR. There are many alternatives that are more fun, well written and completely free. Middens is a simplistic RPG with unique environments to explore and Gingiva is an interpretive narrative filled with memorable characters and dialogue.
I bought this game out of love for the previous two titles, only to be let down by this disaster of a game. I couldn't even finish it due to a crash occurring every time a specific endgame NPC appeared on-screen. That alone should tell you not to spend money on this game.

WTCTR is quite possibly the worst game I've ever played. Every minute of the 10 hours I spent playing it felt like a chore I was wading through just for the sake of it. I wasn't playing because it was fun or even out of curiosity. I endured this mess just to be able to lay it to rest. There's nothing here worth your time. Your playing experience won't improve at any point. Do not play this game.

That was amazing! This game is truly unique and it challenges the player in many ways. This is like nothing I will ever play again, I'm sure of it. Although it was very abstract and experimental, it worked, and this game became very addicting. The artwork, animation, music and atmosphere are sublime and the NPC character sprites are excellent. Creativity simply oozes out of this game. I feel I've developed a nostalgia for this game, already, even though I've just completed it. I'm certain I will come back and replay it in the near future. 10/10 game.

TL:DR WTCtR features spelling/grammar errors, underdeveloped gameplay, and basic scripting errors that will genuinely break your game. It's not only a pile of half-realized ideas built over an rpgmaker engine, but even with a team on this project (contrasted to Clowder working alone on his previous games), there are basic errors where I can accidentally sequence break the entire game due to coincidentally going back to a previous point.

If you like atmospheric games with a flair for stressed angles, shuddering walls, and surrealist mish-mashes of old pop-art collages, you may like this game, but you'd likely prefer Middens instead. It's free, more functional, and less railroaded. When I say functional, I don't just mean the 'gameplay', which usually takes a backseat in walking sims or 'art games', but not Where They Cremate the Roadkill.
This game is tightly bound to vague schizo-conspiratorial-core plot: of cycles of characters being groomed into serving demons, or lesser gods, or aliens. These cycles occur in the past, present, and future; where creativity and mental connection is a Neo-platonic projection given off by psychic, self-shaping beings.
This can sound cool, but it goes by quick and without explanation or development. It flies by in a David Cage-ish (specifically Omikron) sense, where it doesn't mean much beyond some cool imagery and call-outs to the Illuminati worms living inside every pill.
This could all be fine if a player had some breathing room. One could non-narratively or disjunctively explore a series of themes, but this implies there's a world to explore through these themes. There isn't. You are told there's a world and real cemeteries that fill with everyone you kill, but don't mistake this for an open-world game, or a game with decent pacing (between combat, exploration, and reprieve in towns). It isn't. The combat is smashing two keys and cycling between obtusely named items while getting hit until you pull out a middle finger and win. The plot and world are grandiose-seeming, but hollow. You are given aesthetic devices (a tamagotchi and smartphone used to explain objectives and act as a manual) with awful UI that sequence breaks your game. You're given 'cool' explanations of an elemental system that namedrops astrology and eastern esoterica, with enemy colors aligning with Saturn's rectal-spot. It's all gish-gallop.

(This section is written with one of Clowder's other games - Middens - in context)
It seems the further Clowder games stray from the origin of Middens, the more nonsensical and less functional his games become in terms of gameplay, writing, and atmosphere. Middens was a maze taking place at a junction between broken worlds. It had a habit of inconsistent pathways that eased off the moment I lost patience. It was clever and euphoric. The take-turn combat allowed one enough time to push through its name-swapped elemental system (the combat tic-tac-toe all rpgs follow). You were a man with a talking gun. You could kill others or not, and aside from a few confrontations on your actions, the story was unobtrusive.
WTCtR is the opposite.

I don't understand a single s**t of what's happening but I love it

8 Minutes in and it is the most amazing thing I've ever witnessed. I'm crying, but my tears aren't salty. Little bit of pre-♥♥♥ too.

This has already been mentioned previously, but this is the third game in a series. The first game is Middens, and the prequel, Gingiva, comes after.

Watching the art style of the games shift over time has been a big treat. I was enraptured by Middens and it remains my favorite game out of this series, but this one is a close second. Once I got accustomed to the controls and menu I greatly enjoyed the experience this offered, and every time I play one of these games I feel like I learn something new to love about each.

To the creator, I hope you make more games along this plotline, I can't wait to see what you put out next!

Before you buy this game, it's important to know that it has two other non-steam games that are "prequels" to this one. The games are Middens and Gingiva and are available for free on GameJolt. Although they are not necessary to play this game, a lot of the greater plot will be confusing without it. Another reason to play these games is they can act as a litmus test on whether or not you should get this game.

If I could give this game a mixed review I would. Like its predecessors, it is largely exploratory in nature and is the second most linear game of the three. The ending conditions have you kill specific npcs scattered throughout the world and trigger certain events with an item during the final encounter. It takes a much different approach to combat from the other two games by having it be in real time rather than turn-based.

This game has some of the unique art I've seen in any game and a decent soundtrack. The world it takes place in is very interesting and was built up well with environmental story-telling. The combat is better than the other games, but it has its own problems that I'll tackle later. The story revolves around themes of absurdism, existentialism, and nihilism at times. Essentially the world is failing, and finding meaning in living is either pointless or selfish.

On the technical side, this game pushes rpgmaker to levels I didn't think were possible at times. A lot of the combat is fairly unique and interesting (if it worked half the time).

Like the creator's other games, the best word I can use to describe the story at times is "pretentious". While it was somewhat acceptable in Middens and done fairly well in Gingiva, this game takes it to an extreme by trying to have the best of both exploratory and linear aspects of the prior games. It feels like you're being force-fed garbage half the time that has almost no relation to the plot being put forward. I wouldn't have taken issue with this if the game was not longer than BOTH games combined. A good 3 or 4 hours could have been cut out and it would have been a much better game without it. A classic case of trying to have your cake and eating it too.

On the technical side, this game has HUGE problems. Several areas were prone to massive frame drops and crashing was a genuine issue throughout the game. I highly recommend saving constantly as there are seriously points where you can get several crashes in a row. The combat while interesting, is ruined by terrible, and unchangeable, keybinds. Because of the performance issues inputs felt slow to respond and caused many deaths. Overall, everything in the game can be cheesed quite easily with proper use of items and abilities, allowing you to avoid further frustration.

I only gave this a recommendation for people who like these types of games. If you're reading this, you'll more than likely have played games similar to it. Outside of that, play Middens and Gingiva first for a feel. If you don't like them, I strongly recommend that you do not get this game.

One of the most trippy and badshit crazy games I've played on Steam, there are very little games quite like Where They Cremate The Roadkill, being the game where you play as a revenant going across what is basically an open world to find and kill all the people who done you wrong, all while listening to the weird ♥♥♥♥ npcs tell you and did I forget to mention this is a RPG game somehow???

Ничего не понял, но очень интересно