A slick, GBA-style yo-yo adventure that flips nostalgia on its head with charm, chaos, and some unexpectedly sharp social commentary.
Games really shine when they use a cool idea for gameplay in a way that is more than just a novelty. Pipistrello and the Cursed YoYo does just that. This action-adventure game was developed by Pocket Trap, the Brazilian studio behind Dodgeball Academia.
It draws inspiration from the GBA’s golden age while remaining modern and well-designed. It was a surprise hit at Gamescom Latam because it was creative, funny, and featured a yo-yo combat system that works much better in real life than it does in theory.
You play as Pippit, a cocky but likable slacker who thinks he’s the best at yo-yo. He comes to town to borrow money from his rich Aunt Madame, who is also the only person who can give Pippit the power to his Yo-yo. When she is shocked by the local gang, her soul is sucked into Pippit’s yo-yo, and her essence is split into four super batteries that are now owned by different companies.
Things quickly go wrong. Pippit then goes on a crazy and colorful mission to get the batteries back, save his aunt, and maybe even grow up a bit along the way. The story of the Pipistrello and the Cursed Yoyo is sharper than it seems. Even though it’s only shown for short periods, it’s full of subtle criticisms of capitalism and personal ambition.
Pippit isn’t your typical hero; he’s lazy but knows himself, and Aunt Madame is the epitome of corporate greed because she only helps when it’s good for her. Their constant arguing, which makes me think of Ezlo and Link from Minish Cap, is both funny and helpful as the story goes on. Some bosses could have used more attention in later parts of the story, but the overall journey is still tight and has a point.
Pipistrello and the Cursed Yoyo clearly get ideas from Zelda games from the GBA era. You explore a huge city from an isometric point of view, full of dungeons, heart-shaped collectibles, and strange NPCs with side quests. You can go anywhere, talk to anyone in the town, and find extra items or story bits right from the start.
You can get new skills, increase your HP and BP, buy upgrades for your stats, and make choices about the story by taking out funny contract loans from Pippit’s cousin. An in-depth map makes sure you never get lost, and some stages let you choose the order of the bosses. The yo-yo is your main tool and only real weapon. At first, it lets you hit enemies, bounce off walls, and grab things far away.
As the story goes on, you learn new ways to get around, such as riding it, wall-riding, removing its string, and using it to cross gaps. These moves are linked to quick shortcuts, and it becomes second nature to chain them together when the game gets harder or the puzzles get more complicated.
The physics of the yo-yo is used for both combat and puzzle-solving in Pipistrello. It can hit walls, interact with the environment, and be used in a certain order to flip switches or hurt enemies. Pipistrello and the Cursed Yoyo do a good job of using these features in both dungeons and the main game world. You need to be good at yo-yo tricks in order to solve many puzzles, not just have the right item or skill.
The enemies are mean, and Pippit can only take a few hits before he is knocked out. You can buy coins to revive and try the current room again if you die. The fights get tougher as you go, especially in the last dungeon, which is like a gauntlet where all of your skills are put to the test. Combat never gets boring because your skills change over time, and you can unlock new yo-yo attacks like overhead swings and parries. However, you can only use one at a time.
Combat in Pipistrello and the Cursed Yoyo is easy to learn and hard to master. The system is always changing because you can bounce the yo-yo, make it ricochet, and chain movements with attacks. It never gets bloated, though. One problem is that some skills, like wall-riding, feel too strong in backtracking parts, which makes harder puzzles seem easy.
You can add a little RPG flair with the badge system, which lets you equip changes like fire damage or more frames of invincibility. Still, the upgrades mostly lower the cost of BP without making combat more powerful, which feels a bit unfinished. Boss fights are fun, but they could have used more story weight.
However, the various types of enemies and interactive puzzles in the combat sections keep things interesting and challenging. The right amount of fast-paced action and slow, methodical yo-yo setups is used. Pipistrello and the Cursed Yoyo doesn’t grind XP like most games do; instead, it uses money as its main upgrade resource. Discovery, battle, and quests are all ways to earn coins.
You can use these to revive, unlock locked paths, improve badges, or make funny deals that trade debuffs for buffs. The contract system sounds better than it is—most of the benefits don’t outweigh the costs, like giving up two health to have a slightly better attack. I ultimately stopped using the system, but the idea behind it is amusing and aligns with the game’s tone.
Moving forward feels natural. I didn’t have to grind; I just looked around a lot. Late-game areas can be easier to handle if you have optional gear and HP boosts, but you can still make progress even without them. You can also revisit areas you’ve already cleaned up, which I’ve saved for New Game Plus. No matter how you look at it, the game is a love letter to the GBA era. The graphics stand out with bright colors, strong lines, and lively settings that are full of life and motion.
The city in Pipistrello and the Cursed Yoyo feels alive because it’s full of interesting NPCs and lots of little details. The graphics for each dungeon and zone are unique, and the animations are quick and expressive. Every dialogue box is fun to look at because of Pippit’s smug looks and Madame’s over-the-top style. It evokes a sense of nostalgia without feeling recycled.
There is no other word for it: the music slaps. The music fits every scene perfectly, from calm exploration tunes to lively dungeon themes. The tempo of the music makes the game flow better, and the overworld themes don’t get old after hours of play. Sound effects add to the tactile fun of yo-yo attacks by making each throw pop and bounce satisfyingly. Voice lines are mostly used for reactions, but the sounds assigned to each character help bring the unusual cast to life.
From the beginning to the end, Pipistrello and the Cursed Yoyo is a joy. It combines old and new ideas with fast gameplay, smart puzzles, and a story with numerous unexpected layers. It has the energy of games like Minish Cap and makes fun of capitalism and laziness with its own characters.
Some parts of the game, like badge upgrades and contracts, feel like they could use more work, but the charm and creativity keep you interested. There is a lot to love, whether you’re here to explore, learn how to master the yo-yo, or just laugh at a dysfunctional family while they save the city. We hope this isn’t the last time we see Pippit, since yo-yos are back in style.
