Bad End Theater attempts to deconstruct common fantasy archetypes by introducing a personality modifier system that influences timelines. The game fails to achieve its deconstruction meta-commentary by not allowing its characters enough time to flesh out their ideologies and motivations.

Part of what makes a bad ending so tragic is your investment in a story's characters. Games such as 999 or Higurashi are able to have impactful Bad End scenes because they did the due diligence of establishing character interactions and relationships. Without the time to come to grow and love the characters in a story, it's difficult to be invested in bad things happening to them.

Bad End Theater shines in its relationship between the Overlord and the Maiden, being a metaphor for frowned upon queer relationships. I would've loved to see their dynamic expanded upon, but only spending about 5-8 hours with several different characters made it difficult to be invested in any character interactions.

Furthermore, the game attempts to have a 4th wall breaking discussion with the player on the futility of seeing so much tragedy occurring to characters that they've spent time playing, This message could've been conveyed more powerfully if the authors spent more time creating interesting and varied routes. Many of the endings in the game are slight variations of the same basic premise, just shown from a different perspective.

Sadly, not all characters are treated with the same level of thoughtfulness and intrigue as the Overlord and Maiden, causing the Underling and Hero to mostly feel like plot vehicles to move the story forward.

Overall, I wouldn't recommend purchasing this game. It tries to market itself as a self aware meta commentary on established tropes, yet fails to create interesting, fleshed out character dynamics.

Bad End Theater attempts to deconstruct common fantasy archetypes by introducing a personality modifier system that influences timelines. The game fails to achieve its deconstruction meta-commentary by not allowing its characters enough time to flesh out their ideologies and motivations. Part of what makes a bad ending so tragic is your investment in a story's characters. Games such as 999 or Higurashi are able to have impactful Bad End scenes because they did the due diligence of establishing character interactions and relationships. Without the time to come to grow and love the characters in a story, it's difficult to be invested in bad things happening to them. Bad End Theater shines in its relationship between the Overlord and the Maiden, being a metaphor for frowned upon queer relationships. I would've loved to see their dynamic expanded upon, but only spending about 5-8 hours with several different characters made it difficult to be invested in any character interactions. Furthermore, the game attempts to have a 4th wall breaking discussion with the player on the futility of seeing so much tragedy occurring to characters that they've spent time playing, This message could've been conveyed more powerfully if the authors spent more time creating interesting and varied routes. Many of the endings in the game are slight variations of the same basic premise, just shown from a different perspective. Sadly, not all characters are treated with the same level of thoughtfulness and intrigue as the Overlord and Maiden, causing the Underling and Hero to mostly feel like plot vehicles to move the story forward. Overall, I wouldn't recommend purchasing this game. It tries to market itself as a self aware meta commentary on established tropes, yet fails to create interesting, fleshed out character dynamics.