
Revenge of the Savage Planet (2025) Game Review – A fun but frustrating sequel
A fun but frustrating sequel
Revenge of the Savage Planet is a delightfully bonkers and satisfying sequel to the 2020 action adventure game, Journey to the Savage Planet. Developed by Typhoon Studios, Revenge takes the core elements of what made Journey so appealing and dials that up to eleven, complete with a changed third-person perspective, plenty of crude and satirical humour, and a simple but satisfying gameplay loop.
This is, by all accounts, a metroidvania at its heart and the game takes all the usual machinations of that genre, spreads it across four big worlds and encourages players to put on their adventuring hats and go exploring.
The hook works surprisingly well, playing out as a hybrid packaged blend of Journey to the Savage Planet's absurdity, Ori and the Will of the Wisps' visual flair and metroidvania structure, and No Man's Sky's freeform exploration.
The ensuing result is a game that's a fun little sandbox but also held back by some frustrating inclusions that constantly feel like roadblocks to the core experience. Combat is clunky, stamina (or a lack thereof) is a constant hindrance and busywork collectathon missions feel a bit dull in such a colourful world.
Whether you're familiar with the original game or not, Revenge of the Savage Planet is welcoming to newcomers and veteran players alike. Here, you take on the role of an explorer, set out on an interstellar exploration mission after being abandoned by the greedy Alta Global.
A corporate take-over has left you in the dark, or more specifically, the dark void of space. So naturally, it's time to take revenge on the company that have abandoned you and expose Alta's dirty secrets along the way.
There are themes of capitalism, globalisation and the sheer absurdity of extreme corporatism woven into the fabric of the story, mostly told with little cutscenes or voiced dialogue that chirps up on holograms or back at your Habitat base.
The story is basically a footnote though compared to the main bulk of the game, which centers almost exclusively on the gameplay. Your task here is to scan, kill, explore and navigate through beautiful worlds, topped with huge mountains to scale, mysterious caves to traverse and lush fields full of flora and fauna.
The world is beautifully realized, with a great use of colour throughout. Everything feels vibrant and alive, with the level design feeding directly into everything. You have the obligatory 'desert world' and 'ice world' but within those footnotes are secret locales and surprises that will catch you off-guard.
Whether it be a neon-lit, beautiful cave full of mushrooms deep underground, or a lush area full of rolling hills and a beautiful watering lake, the visuals in Revenge are easily the best parts of the game. You can tell a lot of thought has gone into the design of the worlds and that definitely shows as you play through this one.
As I mentioned before, there are four worlds in total and each have individual regions that have their own unique design quirks. In some Worlds, there's an emphasis on exploring vertically, up mountains or floating platforms. Other times, it's a case of moving through lush jungles and avoiding sticky tar lakes. There's a lot to see here, but the general gameplay loop is largely the same across the 15 or so hours you'll spend with this one (more if you intend to get all the achievements!)
The main mission involves collecting your gear, which has been scattered across the system. Along the way, you beef out your arsenal so you can progress to different areas, which in turn then allow you to obtain even more tools to aid you on your adventure.
This is essentially one big fetch quest, but the game does well to disguise this around the usual metroidvania blockades. Some areas will require backtracking, and there's a keen sense of progression that definitely makes you feel like you're gaining momentum as you play.
Alongside this are a number of different missions which all involve collecting items or capturing creatures. If you've ever played a Lego game, the concept feels very similar, but it's hard to shake the feeling that this is just busywork to pad out the run-time.
To be fair to Revenge of the Savage Planet, the collectibles aren't just mindless pick-ups and they do help give your character more power. Printer Slurrys found in crates can be used toward upgrading your gear. Orange Goo helps to improve your Health and Stamina, while capturing creatures out in the wild helps to give more options for Upgrades.
The weapons and tools you pick up make good use of the environment too, and whether it be a watering hose that extends bulbs into platforms to reach previously inaccessible areas, or a metal fork that doubles up as a tool to break into metallic doorways or extend out hidden platforms.
All of these Upgrades are handled over at the Habitat, which is your de-facto base for the duration of the game's play time. You'll be constantly heading back here throughout the adventure, via teleporters found out in the world (and yes there is a mission for finding all of these).
Given the amount of time you'll be spending at the Habitat, the game tries to mix things up by adding in a costume changer, a petting zoo and even a computer terminal with emails and the ability to add extra items to decorate your room using Alta Coupons (which are found in crates out in the world).
The game keeps up the same comedic wit throughout the adventure, usually broadcast by a little drone computer joining you as you explore the world. However, despite the option to turn down the amount of chatter, it can become grating after a while.
There are instances where it becomes completely overbearing, especially during key missions and explaining parts of the story, and the humour itself very much relies on silly slapstick and bathroom jokes. The end credits song, which is basically a satirical tune about using the toilet at work, only exemplifies the tone this one's gunning for.
These bathroom jokes extend out to parts of the gameplay too, including monkeys with butts as faces, farting mushroom creatures and more. Some will have a blast with this but others will lean much closer to the satirical corporate humour and for that, we get a good deal of advertisements on the monitors back at the Habitat and a bit of environmental storytelling. Still, it would have been nice to see more of this.
The one area that Revenge of the Savage Planet is really let down by though is in traversal and combat. I'm not sure who thought a stamina bar in this game was a good idea but given the vast lengths you'll be running across during your playtime, it constantly takes you out of the experience. You are basically forced into collecting as much Orange Goo as possible to make this bearable, but even then – and especially during the vast distances covered in the fourth world – you will run out of stamina and be forced to walk for a bit.
In a sandbox adventure like this, you really want to get the sense of freedom and embrace the wacky zaniness of it all… but you can't do that because you constantly need to stop to catch your breath.
The same can be said for combat too. Sure, you can upgrade your weapon to have better cooldown capabilities and more damage, but don't expect to just go in all guns blazing. Your weapon has an overheating mechanic, and you'll need to manage your shots carefully. In fact, early on the better option is just to melee the flying enemies and jump around, at least until you upgrade your weapon. Oh, and the pistol is your only gun in the game too.
I can't help but feel the developers missed a trick by not adding more weapons and guns to the game. Having a big rocket launcher to explode parts of the world, or a machine gun that sprays bullets at enemies would have helped make this part of the game shine. As it stands, it's easily the weakest part of the whole experience.
There's undoubtedly a lot of content squeezed into Revenge of the Savage Planet and for the most part, the game does a good job of keeping you entertained throughout
The extra addition of couch co-op is very welcome and performance wise, the game plays great. I didn't experience any technical issues while playing, and the sound design is generally quite good across the board. The voice acting, for all its comedic highs and lows, remains solid throughout.
Revenge of the Savage Planet is a worthy sequel — quirky, packed with content, and often a joy to explore. The colourful worlds and clever metroidvania level design are its biggest strengths, rewarding curiosity with satisfying upgrades and platforming challenges.
Unfortunately, a frustrating stamina system and underwhelming combat hold it back from reaching its full potential. If you can look past those flaws, there's plenty of fun to be had here — just don't expect a giant leap forward from the original.
All of our videogame reviews are also featured on OpenCritic
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Times
39 minutes ago
- Times
Brad Pitt's F1 gamble: does Hollywood's golden boy still impress us much?
T hroughout the Nineties and Noughties Brad Pitt was the go-to movie star — the surefire answer if there were ever a Family Fortunes question that asked 100 people to name a famous actor: 'Our survey says … Brad Pitt!' Behind him came George Clooney, Tom Cruise, Leonardo DiCaprio and Johnny Depp. This leading-man sex appeal was debuted in 1991 when Pitt appeared topless in a cowboy hat in Thelma & Louise — sparkling blue eyes, devilish grin, effortless cool. He went on to star in a string of varied Nineties hits, cementing his status as the apex celebrity. He was the only actor who could play Tyler Durden in Fight Club, the Übermensch that every man aspired to be. But times change. It has been six years since Pitt's last undeniably great film, Quentin Tarantino's Once Upon a Time… in Hollywood, and even that was an outlier amid a run of expensive war movies that few remember. At times in the past decade the 61-year-old Pitt has felt like a star who became a supernova — an impression not helped by a lengthy divorce from Angelina Jolie, whose lawyers accused the actor of assaulting her and two of their children. Pitt denies the allegations.


Daily Mail
an hour ago
- Daily Mail
BREAKING NEWS Legendary Mission: Impossible composer dies aged 93
The legendary composer, who wrote the Mission: Impossible score, has passed away at the age of 93. Lalo Schifrin died inside his Los Angeles home on Thursday from complications with pneumonia, his son, Ryan, confirmed. He was surrounded by his loved ones. Schifrin was a jazz pianist and classical conductor and had a remarkable career in music that included working with Dizzy Gillespie and recording with Count Basie and Sarah Vaughan. His biggest contribution was the instantly recognizable score to television's Mission: Impossible, which fueled the just-wrapped, decades-spanning feature film franchise led by Tom Cruise. Schifrin originally wrote a different piece of music for the theme song but series creator Bruce Geller liked another arrangement Schifrin had composed for an action sequence. 'The producer called me and told me: 'You're going to have to write something exciting, almost like a logo, something that will be a signature, and it's going to start with a fuse,'' Schifrin told the AP in 2006. 'So I did it and there was nothing on the screen. And maybe the fact that I was so free and I had no images to catch, maybe that's why this thing has become so successful - because I wrote something that came from inside me.' When director Brian De Palma was asked to take the series to the silver screen, he wanted to bring the theme along with him, leading to a creative conflict with composer John Williams, who wanted to work with a new theme of his own. Out went Williams and in came Danny Elfman, who agreed to retain Schifrin's music. Hans Zimmer took over scoring for the second film, and Michael Giacchino scored the next two. Giacchino told NPR he was hesitant to take it on, because Schifrin's music was one of his favorite themes of all time. 'I remember calling Lalo and asking if we could meet for lunch,' Giacchino told NPR. 'And I was very nervous - I felt like someone asking a father if I could marry their daughter or something. And he said, 'Just have fun with it.' And I did.' Mission: Impossible won Grammys for best instrumental theme and best original score from a motion picture or a TV show. In 2017, the theme was entered into the Grammy Hall of Fame. Schifrin has composed more than 100 arrangements for film and TV. The Argentine won four Grammys and was nominated for six Oscars, including five for original score for Cool Hand Luke, The Fox, Voyage of the Damned, The Amityville Horror and The Sting II. 'Every movie has its own personality. There are no rules to write music for movies,' Schifrin told The Associated Press in 2018. 'The movie dictates what the music will be.' He also wrote the grand finale musical performance for the World Cup championship in Italy in 1990, in which the Three Tenors - Plácido Domingo, Luciano Pavarotti and José Carreras - sang together for the first time. The work became one of the biggest sellers in the history of classical music. Schifrin was born Boris Claudio Schifrin to a Jewish family in Buenos Aires - where his father was the concertmaster of the philharmonic orchestra - Schifrin was classically trained in music, in addition to studying law. After studying at the Paris Conservatory - where he learned about harmony and composition from the legendary Olivier Messiaen - Schifrin returned to Argentina and formed a concert band. Gillespie heard Schifrin perform and asked him to become his pianist, arranger and composer. In 1958, Schifrin moved to the United States, playing in Gillespie's quintet in 1960-62 and composing the acclaimed Gillespiana. The long list of luminaries he performed and recorded with includes Ella Fitzgerald, Stan Getz, Dee Dee Bridgewater and George Benson. He also worked with such classical stars as Zubin Mehta, Mstislav Rostropovich, Daniel Barenboim and others. Schifrin moved easily between genres, winning a Grammy for 1965's Jazz Suite on the Mass Texts while also earning a nod that same year for the score of TV's The Man From U.N.C.L.E. In 2018, he was given an honorary Oscar statuette and, in 2017, the Latin Recording Academy bestowed on him one of its special trustee awards. Later film scores included Tango, Rush Hour and its two sequels, Bringing Down The House, The Bridge of San Luis Rey, After the Sunset, and the horror film Abominable. Writing the arrangements for Dirty Harry, Schifrin decided that the main character wasn't in fact Clint Eastwood's hero, Harry Callahan, but the villain, Scorpio. 'You would think the composer would pay more attention to the hero. But in this case, no, I did it to Scorpio, the bad guy, the evil guy,' he told the AP. 'I wrote a theme for Scorpio.' It was Eastwood who handed him his honorary Oscar. 'Receiving this honorary Oscar is the culmination of a dream,' Schifrin said at the time. 'It is mission accomplished.' Among Schifrin's conducting credits include the London Symphony Orchestra, the Vienna Symphony Orchestra, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra and the Atlanta Symphony Orchestra. He was appointed music director of Southern California's Glendale Symphony Orchestra and served in that capacity from 1989-1995. Schifrin also wrote and adapted the music for Christmas in Vienna in 1992, a concert featuring Diana Ross, Carreras and Domingo. He also combined tango, folk and classical genres when he recorded Letters from Argentina, nominated for a Latin Grammy for best tango album in 2006. Schifrin was also commissioned to write the overture for the 1987 Pan American Games, and composed and conducted the event's 1995 final performance in Argentina. And for perhaps one of the only operas performed in the ancient Indigenous language of Nahuatl, in 1988 Schifrin wrote and conducted the choral symphony 'Songs of the Aztecs.' The work premiered at Mexico's Teotihuacan pyramids with Domingo as part of a campaign to raise money to restore the site's Aztec temple. 'I found it to be a very sweet musical language, one in which the sounds of the words dictated interesting melodies,' Schifrin told The Associated Press at the time. 'But the real answer is that there's something magic about it. ... There's something magic in the art of music anyway.' He's survived by his sons, Ryan and William, daughter, Frances, and wife, Donna.


Daily Mail
an hour ago
- Daily Mail
Fox host Kat Timpf issues scathing response after fan urged her to STOP speaking about shock cancer battle
Fox host Kat Timpf has issued a scathing response after one fan urged her to stop speaking about her shock cancer battle. Timpf, who recently had a double mastectomy and announced that she had beat cancer after a year, took to her Instagram story on Friday to hit out at a recent comment. Set against a black backdrop, the TV personality shared a snapshot of the comment that read: 'Sorry Kat, but you are not all that and a bag of chip. 'I am REALLY HAPPY that you kicked cancer's butt and that you are a mom. However, using it all the time is getting very old. 'Other people have gone through the very same thing and are very humble. Don't be so egocentric.' And mom-of-one Kat, 36, was quick to share her own thoughts on the note. She wrote: 'PSA: I will likely talk about this for the rest of my life as that is how long it will affect me. Making jokes heals me and I won't stop doing it. 'If it offends you that badly, feel free to unfollow me.' Timpf, who recently had a double mastectomy and announced that she had beat cancer after a year, took to her Instagram story on Friday to hit out at a recent comment It comes after Timpf made a joke about her surgery on Gutfeld! earlier this month. She was on the air with Johnny Joey Jones - a former Marine who lost both of his legs in Afghanistan - who made a joke about his role at Fox. 'That's why there's a rub here because it's like [Timpf] knows that's the only reason I have this job to begin with,' Jones said. 'And she's going to get cancer and take the sympathy card right out from under me.' Timpf exercised her quick wittedness as she promptly replied, 'Well, yeah!' 'Now you're not the only double amputee on the show,' she said, referencing the fact that she had both breasts removed. She posted the moment on her social media accounts, captioning the video: 'Pretty sure this is my funniest joke ever of all time.' Despite some viewers clearly being unhappy, others agreed with her as one wrote: 'OMG this was the freaking hysterical.' 'Kat, you have an amazing attitude about your cancer,' another added. 'Was the funniest show ever! God Bless them both for such amazing attitudes. An inspiration!' someone else shared. In March, it was revealed that Kat had undergone a double mastectomy for breast cancer after receiving the shock diagnosis while pregnant. She was told she had stage zero breast cancer just one day before going into labor with her first child. At the time, Timpf shared a post-surgery update to let fans know she was doing well. She shared an image from a hospital bed of her legs covered by a gown with an animated 'censored' illustration over her feet. In the caption, she made a joke about how much her breast size had been reduced. 'Post-op! They're honestly not much smaller than they were before I got pregnant,' Timpf wrote said. She made her first reappearance on Gutfeld in mid-June - the first time she had been on the air since her maternity leave and her initial diagnosis. Eventually Timpf shared that she had a healthy baby boy (whose name she did not reveal) and that she was cancer - and boob - free.