That pacing not only makes each character’s story feel disjointed from everything else, including your protagonist, it means the levels you play before meeting them are devoid of context. Cutscenes primarily play right before a boss to quickly introduce the person for that world and a problem they are facing – be it a boy trying to build a flying machine or a scuba diving girl whose dolphin friend maimed her and left her to die – but a second cutscene right after the boss then immediately resolves it (don’t worry, she and the dolphin are cool now). They’re full of life and energy, and can even tell a few genuinely entertaining bite-sized stories about each world’s subject. I’ve enjoyed plenty of games with incomprehensible stories, but Balan Wonderworld’s inanity is particularly disappointing when its animated cutscenes are so well made. Your choice means very little, though, because either way you are quickly abducted by a magical tophat man named Balan and dropped into a dream land full of weird birds and crystals or something? It’s unclear, but that’s all the setup you’ll get before it starts parading you through 12 different worlds (each with just two levels, a boss, and an extra level once you beat the story) that are each structured around another sad person, all of whom seem completely unrelated to anything that’s going on. You play as either a boy who goes from happily breakdancing to being super bummed out in record time, or a girl whose housemaids whisper about her behind her back for no apparent reason. This is usually the part where I’d break down Balan Wonderworld’s story for you, but there’s not much to tell about the unexplained nonsense it calls a plot.
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