Thanks to a generous life and checkpoint system, I only outright failed a level once in my first run of the campaign, but I also rarely got everything possible on that first attempt. Most stages in Sackboy are relatively easy to get to the end of, but can be tricker to 100% – that includes finding all the cosmetic items, completing it without dying, getting enough points for a gold medal, and collecting all of the Dreamer Orbs hidden throughout (which are used to lightly gate off new levels as you progress). The latter reminded me of similar stages in Rayman Legends, having you jump and fight to the beat of songs like Mark Ronson’s Uptown Funk – although, while they are undoubtedly a blast, these levels not being on rails like Rayman’s makes their use of those songs a little more repetitive if you’re taking your time to collect everything. That includes its original score, clever remixes and reworkings of recognizable classics (you might find yourself unexpectedly noticing the melody of Madonna’s Material Girl in the middle of an otherwise orchestral track), as well as its handful of explicitly music-centered levels. World themes range from yeti-filled temples to futuristic rocket labs that have you walking around on giant, interactive touchscreens, but they all share enough stylistic elements to gel into an eclectic but cohesive whole.Ī huge part of their charm comes from Sackboy’s incredible music. It’s all just so dang charming, and it was only the occasional frustration of a missed jump caused by an odd camera angle or unexpected landing behavior that stopped me from smiling the whole time.
The story is a cute if generic tale, but Sackboy’s sense of style and presentation is intoxicating – a nonstop slew of fun, feel-good stages made out of cardboard cutouts and other household objects.
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