Repella Fella

I have a soft spot for games that could only exist because one stubborn person refused to stop. Repella Fella is that game. Developer Misadventurous spent six years completing it, and that obsessive investment is visible in every frame. The animation style sits somewhere between a 2000s Flash series and a late-night adult cartoon, and it earns that comparison without leaning on nostalgia as a crutch. The visual handcraft here is genuine: character models that feel specific and lived-in, backgrounds dense with dark jokes, and the kind of comedic timing in the violence that you simply cannot fake. The structure gives you three protagonists whose stories weave together: the unnamed exterminator who wakes from a 15-year stint in a time-distorted bunker to find a post-apocalyptic Australia he no longer recognises, Anya the Russian MSS Private, and Matilda, a Russian-Australian agent with her own agenda. You alternate between them across a branching narrative built around over 120 choice points. The decisions carry real weight at the stat level, too. Early on you specialise the exterminator in either strength or intelligence, and that fork quietly closes certain doors for the rest of the run. Missable scenes pile up fast. The game actively asks you to replay it, and the replayability is structured enough that a second or third run feels like discovery rather than homework. The sound design deserves its own paragraph. Over 2,500 sound effects punctuate every action, which sounds excessive until you realise how much comedy work that audio is doing. Voice acting draws on over 90 performers, largely native speakers, and the designer voices the lead himself with an understated, wry delivery that carries the bulk of the game's dialogue. The soundtrack weaves in an original recording of Waltzing Matilda as a tonal anchor, grounding all the post-apocalyptic chaos in something distinctly, stubbornly Australian. Here is the honest friction: Repella Fella is cinematic-first and interactive-second. If you come in expecting a deep puzzle game or a branching RPG with mechanical heft, you will bounce off it. The hotspot system is accessible to the point of feeling simple at times, the hacking mini-game is the one piece of design that genuinely frustrates rather than entertains, and the subtitle system handles foreign language dialogue inconsistently enough that some players found it immersion-breaking. There is also only a single save slot, and some players noted the story ends mid-arc rather than with a full resolution. If that reads like an episode one cliffhanger, that is roughly accurate. Come in knowing that and the pacing reads differently. For the right player, none of that dims the experience much. This is a comedy game, unambiguously, and it lands its jokes with a consistency that most studio productions cannot manage. The crude edge is intentional and unapologetic, and it coexists with a genuine emotional core built around a protagonist just trying to find his place in a world that moved on without him. That combination of raw humour and quiet sincerity is the thing you cannot manufacture with a bigger team. It only comes from one person with something to say, six years to say it, and no one in the room to water it down.

Kai · Scout Team

Indie & narrative

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