Guilty Hell: White Goddess and the City of Zombies is a lewd 3D side-scroller action-RPG about Aria, a supposed goddess, and how her mission to save her fairy friends turns into a quest to save the world from certain doom.
(FxF, FxM) Sexual content.
Hours of Gameplay?
Ten to twelve hours.
No, not necessary.
I payed nearly thirty-dollars for this game, and another seven-fifty for the mostly cosmetic DLC. That’s a lot of money for an adult-game, and well within the double “A” price range. Top of the line adult-RPGs are typically less than thirty USD, and triple “A” games forty and up. Going into this game, I fully expected to be wowed. . . spoiler alert, I wasn’t.
But I still had a lot of fun playing this game!
Fight through baddies as you follow the main story in a maze-like map while avoiding death-rape. At your disposal are a handful of unlockable spells and few basic attacks; later in the game, you can unlock another sword, but it sucks pretty hard. You can unlock upgrades via “Gold”, which is dropped by most bosses, enemies, and breakable objects that are generously strewn about. Though there is a vast map to explore, the game is actually quite linear (and it’s unlikely that you will stray from the beaten path.) Be on the look-out for hidden items and treasure; these items may pave the way to victory. All bosses and enemies have one or more “grapple” attacks, in which they will rape the protagonist causing damage over-time. It’s possible for multiple enemies to latch onto her at the same time, so be ready to mash those movement keys back and forth in a jiffy!
After reaching the “Old City” area, you can obtain a new costume from a hidden location called the “Mansion of Ordeal”. Obtaining it requires defeating three waves of enemies with only a single point of health. The costume provides a special attack which fires a single, massive projectile with heavy knock-back wherever you’re facing. It massively outranges the other, non-DLC special attacks and doesn’t risk placing you in harm’s way by allowing you to remain stationary. Whether or not that’s worth ten USD is up to you.
In a nutshell. . .
The world is under siege by an evil necromancer called “Vivi”. She and her zombie thralls have brought the world to her knees, and all the good that remains are a handful of humans and fairies. They have long shared animosity towards each other, but they’ll have to learn how to be friends once again if they are to defeat Vivi. The fairies summon the White Goddess to further their cause, and with the humans’ help they do ultimately repulse Vivi’s wicked plans. . . however, the war doesn’t end with Vivi; she is but a playing piece for greater beings, and she’ll ultimately be forced to help mankind to defeat her mistresses.
. . . out of the shell (with spoilers!)
There exists a world hidden from view, in which magic beings called fairies inhabit. Their home, the Fairy Forest has been invaded by a powerful necromancer, Vivi, and her army of battle thralls. Using an engineered plague, she transformed the world’s weak-willed into zombies, obedient slaves to her command. With witches and zombies by her side, she crushes the fairies’ military and abducts as many fairies as she and her witches can carry. The fairy chieftain, Cherry Blossom gathers a few of the remaining fairies to summon the White Goddess to their aid.
Legend has it, fairy-kind were once protected by the so called “Goddess” (but she disappeared for reasons.)
Joining Cherry’s summoning circle are fairies Midea and Lamia; with their combined might, they bring the Goddess of White into their world. Meanwhile, the fairy Libre pursues Vivi with a band of troopers. The White Goddess, or “Airi” is instructed to pursue Vivi through the Graveyard of the Slaves. The cavernous crypt spits her into the Underground Waterway, where she encounters Libre. She knows where to find Vivi, but a powerful magic barrier prevents anyone from following her. She suggests that the Goddess go get help from the Old City at the end of Waterway.
The Goddess finds two survivors; the first refuses to let her inside his home, and the second asks for her help.
Her father has been infected by the zombies, and she begs for Airi to use her magic to cure his illness. She (sneaky) locks Airi inside her basement with a zombified daddy, hoping that he’d eat her alive. When this plan fails, she asks that Airi forgive her in exchange for the whereabouts of Vivi. She leads her to yet another trap, and reveals that she was one of Vivi’s witch the whole time! All hope is lost when her zombie ambush party hold the Goddess down, and begin gouging out her tummy.
Thankfully, the real survivor comes to her rescue and frees her from the zombies’ grasp, allowing her to defeat the witch.
Unsure of where exactly Vivi is, he figures that Vivi would have business (as a necromancer) in the Catacomb. Once inside the Catacomb Airi reunites with Libre, only to be separated once again from another one of Vivi’s barriers. Libre continues without the Goddess, and Airi investigates how to disable the magic walls. She defeats a warrior who (I presume) tells her where the secret switch to the barrier is. When Airi catches up with Libre, she finds only a few bits of their clothes and wings; she and her companions were annihilated by Vivi and her baddest zombie. Vivi escapes, and the Goddess is forced to beat her zombie before continueing. At the end of the Catacomb is the Closed Area, which leads to the Sewage Management Area.
And at the end of the sewer is Vivi and her laboratory — some HQ Vivi.
As Vivi launches a wave of deadly spells, Airi manages to hold a brief conversation with Libre, who was bound to a machine to extract her fairy magic. She offers the last of her magic to Airi, protecting her from Vivi’s enormous damage output. The Goddess subdues Vivi, and her own creations turn on her (and her laboratory starts exploding for uh, dramatic effect). Vivi’s fairy slaves are rescued, and they are returned to the Fairy Forest. Airi encounters a nearly-dead human knight, and the Goddess takes him to the fairies. He reveals himself to be Yuri, and he states that Vivi is still alive. His comrades are being slaughtered as they speak, and he requests that Airi join them at the Swamp to help them defeat the dreaded Devil Tree.
At this point I was just glad the game (that I payed nearly thirty dollars for) wasn’t already over (seeing how Vivi survived).
To join the fight, Airi must climb Mount Heidal; she jumps atop the mountain with a boost from the roof of the Spider Ruins, nearby the Old City. She stumbles upon Quinn Village, where she is confronted by Grise. Midea teleports to the Goddess’ location to vouch for her good intentions, convincing Grise to allow her entry. Grise is then joined by Noir, a fellow protector of Quinn. She suggests that the Goddess speak with their Blanc for directions to the Swamp. As Airi explains her mission to Blanc, Vivi pays Quinn a visit.
. . . and that’s when she summons the baddest ass of the asses, the Destroyer.
The Destroyer rectally destroys Griss and Noir. Airi kicks does what they couldn’t, and sends him back from whence he came. She returns to the Fairy Forest to ask for medicine to treat her new friends’ wounds. As they recover from their wounds, Vivi attempts to summon a monster to distract Airi as she recovers her magic. Disappointed by Vivi’s performance thus far, a powerful being called “Eleanore” takes matters into her own hands. She hijacks Vivi’s spell to summon Melusine, a succubus whom Vivi has no control over.
Melusine lunges at Vivi, and kisses her to complete and utter exhaustion.
After Airi drives away Melusine, the Quinn women take Vivi in as a prisoner. Noir decides that it would be best to reunite with Quinn’s chieftain, who guards a shelter hidden from Vivi’s view. The Goddess stays behind, guarding Quinn as Grise and Noir make their way to the Evacuation Shelter. As she sleeps, Melusine assumes Airi’s appearance to hide her succubus features, and frolic with the citizens of the Shelter. The next day, Airi unites with her Quinn pals. They meet the Cheiftain, and discusses the magic barrier which protects the Shelter from Vivi’s machinations. During Airi’s stay, she mentions Yuri’s name to Grise.
Grise explains that he’s an Excorcist Knight, the best fighters humans have to offer.
Airi obtains explosives to punch a hole underneath the shelter, granting access outside the Cheiftain’s barrier. She enters the Swamp and defeats the Devil Tree, allowing the Exorcist Knights to recover from within the Shelter. When Airi returns to the Shelter, she finds her friends confronting the Melusine, still in disguise. Vivi casts a spell from within her prison cell to disrupt Melusine’s disguise, revealing her true identity. She escapes, and Goddess’ party decide they’d best consult the Chieftain on what to do next.
He. . . spouts exposition. Bear with me here.
A certain Nana Astaea is responsible for all of the events that have transpired, and she is leagues beyond Vivi’s power — it’s later revealed that Nana commands Eleanore, and that Eleanore is but one of her very own Millennium Rakshasi, a band of legendarily powerful monsters in the world. As powerful as Vivi is, she is but a pawn to Eleanore; Nana is a being of god-like power, and she’s one pulling the strings. She’s also the true ruler of the Quinn Kingdom, but she was banished for being too heavy-handed with her people.
She also never shows up in the game and can be forgotten now.
Vivi escapes from her cell, and Grise attempts to recapture her. Disappointed in Vivi once again, Eleanore sends the Destroyer to pay her asshole a visit. Airi intervenes, defeating him and saving Vivi from having the Destroyer’s babies. Eleanore appears to capture and taunt the Goddess, and she imbues Vivi with a taste of her magic power. For some reason, she doesn’t kill Airi, instead leaving her and Grise severely injured. Airi quickly recovers, but Grise is forced to stay behind. The Goddess rendezvous with Blanc for information about Eleanore’s whereabouts.
She suggests that Vivi may hold the key to defeating her, and she will need to form an alliance with her.
Airi finds Vivi waiting at Observatory Mountain, a mountain peak which the guards of the Shelter use as a military look-out. Understanding that Airi saved her life, Vivi agrees to help her defeat Eleanore, provided (A) she lets her go scot-free and (B) she allows her to take Eleanore as a slave. Vivi also explains that it was Eleanore that forced her to capture fairies, in order to harvest their magic essence to summon Eleanore’s Rakshashi friends (and ultimately, Nana herself). They devise a plan; Vivi will summon her mistress, and she will capture her following her defeat by Airi’s hands.
Airi does defeat Eleanore, but Vivi’s magic ends up being absolutely worthless.
Eleanore teleports away, leaving Airi and friends to their own devices. Vivi offers them an antidote to her plague, allowing the zombies of Quinn and the Shelter to be returned to their human forms. She teleports away before Grise can apprehend her, and Aria honors their deal for her freedom. Melusine is revealed to be a good-natured succubus, as all she desires is sex, and not fire and war (as Eleanore desires). She helps administer the antidote, using her magic to seduce to Quinn’s zombies as she crams it into their mouths. When all is back to normal, Airi disappears, her whereabouts unknown.
. . . and then that’s how the game ends! A cliffhanger!
The titlescreen is nicely formatted, but the scenic range didn’t make sense to me; do they represent the in-game Mount Heidal? If so, they don’t play a significant place in the story other than being the last few hours of content. From “Options”, you can adjust audio, display, gameplay and language preferences. The user-interface is generally serviceable, but the English and text are deeply unrefined. Characters speak strangely, descriptions are haphazardly written, and there are typos galore. Though there is no gallery, a form of gallery can be accessed from a hidden pathway (accessible after completing the Graveyard of Slaves questline) or after beating the game. It’s possible to summon enemies at will, allowing you to enjoy animations at will.
Now a word about the sprites!
I couldn’t put my finger on it, but I felt like I recognized the in-game assets from somewhere. It was clear that pre-made assets were used, as the style of 3D models between characters differed dramatically (and in some cases they just look plain silly.) Just take a look at the opening sequence; the faries are rendered with highly stylized, chibi-bodies, while humans and humanoid monsters are rendered with realistic proportions. When I got a closer look at some of the animations, it dawned on me that Guilty Hell utilizes animations and sprites based on 3D models from Daz Studio or Poser. I am really impressed by the scope at which these models are used in-game, and it’s fair to say the animations must have taken ages to complete.
Seriously, mad props to the poor souls that rendered each and every sprite and animation for Guilty Hell.
There are more sexual animations than I care to count, but if I had to guess there’s probably over fifty base, in-game animations (between the player character and enemies), and certainly well over a hundred if you include the animations that occur when multiple enemies molest the player. There are also a handful of secret endings, each with their own suite of animations. The animations are alright, and most of them come with multiple variants for change in position, progression and orgasm. Many of the animations come with one or more static (or rare cases, animated), portrait-style CGs to showcase the. . . details.
At no point in the game, from start to finish did I fail to see new sexual content — that’s impressive.
The vast majority of the sexual content revolves around the rape and violation of the protagonist by animals and grotesque monsters. There are very few consensual sex scenes, and they tend to be linked to magic-induced lust or trickery. There are a handful of human sex-scenes, but human enemies are few and far between; they tend to be reserved for bosses or main characters. To my infinite disappointment, there are no sex-scenes whatsoever involving fairies, arguably the most important characters in the game. Unfortunately, the animations are extremely blurry when zoomed upon (and compounding their blurriness are mosaics covering the important bits.)
Dog. . . gone it. Feckin’ censorship strikes again!
I do recommend this game, but absolutely not at full price — I think Guilty Hell would be appropriately priced at fifteen dollars, even with the vastness of sexual content. My issues with the game stem from the general lack of refinement of the story, visuals, and gameplay mechanics. The story wasn’t particularly engaging, and the poor English made it difficult to follow at times. The eventual cliffhanger was absolutely awful and made me die inside. I did not enjoy the stylistic variation of the character models, or the low quality textures and pixilation. Gameplay was monotonous and unbalanced, and there was little incentive to use anything but a few items and moves for the entire playthrough. Regardless, I had fun playing this game, and if you can catch it on a really solid sale, I think you’d get a kick out of this game too.