The end is nahual: If I may say so

Un juegazo, 10/10.

Great game.

Este juego es increíblemente entretenido, y la creatividad en la escritura de los diálogos no deja de sorprenderme. El arte visual y musical es excelente, y las cinemáticas están muy bien logradas, mostrando claramente la dedicación puesta en ellas. Especialmente al terminar el tutorial, sentí como si estuviera viviendo un viaje psicodélico. Me encantó que casi todo se pueda jugar solo con el mouse, y estaré compartiendo mis opiniones completas sobre el juego una vez que lo termine.

Un juego de nicho pero si estás siquiera remotamente interesado en él, no vas a quedar desepcionado. La música y la dirección de arte son símplemente excelentes. Dale una oportunidad.

Point and click adventures live and die from the quality of their art, the quality of their puzzles and how entertaining is the text. The art is great! Very unique. The use and absolute abuse of shaders and colors help with the trippy vibe. The puzzles tend to go to meta-wordplay and hinge on you paying attention to the text. Some are obtuse, some are more of a mini-game than a puzzle. Eh! They fit the general irreverent feel of the narrative. The narrative. Not going to spoil anything about the story. I've not finished it at the time of the review! The Spanglish is heavy, and is not the cutesy-pie "Oh, hello, my sweet ~señorita~" stuff you'd find on a comic book. The text is unapologetic, honest, earnest prose in a second language. It reads unnatural, maybe clumsy at points; it's a big part of the charm, the feel, the vibe! Just go with the flow. And be Happy. P.S. Quesadillas sin queso es una blasfemia! It's in the freaking name! --- Played on the Steam deck. Performance-wise is mostly ok, but met some random slowdowns here and there. Lowering the resolution seems to help.

It is a visually and conceptually impressive journey. It has a very particular sense of humor, and it focuses on delivering a very unique interactive experience. Highly recommended if you are looking for something strange in the best possible way.

The world is broken. The gods have vanished without explanation, powerful nahual beings have left destruction behind them, and somehow, in the middle of all that chaos, life still finds strange ways to move forward. Some people seek purpose. Others seek revenge. Some simply wish they had started the day with a decent breakfast. The end is nahual: If I may say so presents itself as an adventure filled with absurd humor, existential questions, strange encounters, and moments that intentionally blur the line between comedy and deeper reflection. At first glance, it appears chaotic and almost nonsensical. The game openly jokes about being “about nothing,” but beneath that intentionally playful presentation lies something far stranger. It builds a world where emptiness itself becomes part of the conversation. The experience constantly challenges players to think about existence in unusual ways. Space, absence, meaning, and identity become recurring ideas woven directly into both the story and the humor. The game plays with philosophical concepts while refusing to treat them too seriously. It asks uncomfortable questions before immediately undermining itself with absurd comedy. It invites reflection before suddenly pivoting into a joke about salsa, empty space, or the possibility that reality itself is somehow improvising. The narrative follows unusual figures trying to survive within a fractured world shaped by supernatural conflict and uncertainty. Among them is a witch whose failed attempt to eliminate the Nahual Queen sets larger events into motion. Failure becomes an oddly important theme throughout the experience. Mistakes matter. Regret matters. The strange people navigating this collapsing world carry their own motivations, fears, and desires forward even when circumstances seem hopeless. One central figure is Sammael, a Nahual princess who abandoned her original identity in search of security and self-preservation. She exists somewhere between vulnerability and destruction. Part of her seeks safety. Another part moves toward something far more dangerous. Humanity itself becomes a complicated target of frustration and judgment, creating tension that extends beyond simple conflict. Alongside her stands Jacob, another presence moving through this surreal narrative landscape where absurdity and seriousness constantly collide. The game positions players less as traditional heroes and more as participants enabling these stories to unfold. Characters speak directly, ask questions, challenge expectations, and occasionally seem almost aware of the player existing beyond the screen. Conversations can feel personal while simultaneously maintaining an intentionally detached sense of humor. Relationships develop not through grand cinematic moments but through strange interactions that feel unpredictable and strangely human. Gameplay itself embraces variety rather than restricting players to a single formula. Puzzle sections introduce challenges designed around unconventional thinking and wordplay. Logic frequently operates according to the game’s own rules rather than traditional expectations. Players may encounter strange mathematical concepts, unusual problem-solving scenarios, and puzzles built around humor as much as reasoning. Creativity matters as much as intelligence. The action-focused segments shift pacing considerably. Players dodge incoming attacks, evade dangerous situations, react quickly to threats, and occasionally discover that taking damage may not always represent failure. Counterattacks and movement become important tools, creating gameplay moments that contrast sharply against slower narrative sections. The game embraces unpredictability here as well, making encounters feel intentionally strange rather than mechanically repetitive. Visual novel elements serve as another major pillar supporting the experience. Dialogue carries enormous importance throughout progression. Characters reveal personality through conversation, humor, and philosophical discussions that range from insightful to completely ridiculous without warning. Some moments encourage careful reading and reflection while others embrace complete nonsense with absolute confidence. The humor remains one of the defining characteristics throughout everything. Strange enemies appear. Trash bags become threats. Evil spirits emerge. Unexpected absurdity constantly interrupts seriousness before things become too heavy. The game demonstrates unusual confidence in allowing ridiculous ideas to coexist naturally alongside larger themes surrounding fear, existence, identity, and emptiness. What makes The end is nahual: If I may say so particularly memorable is how fully it commits to its identity. It does not chase conventional storytelling structure. It does not simplify strange ideas for accessibility. Instead, it embraces unpredictability and trusts players willing to follow its strange path wherever it leads. The result becomes something difficult to categorize cleanly. Part philosophical reflection. Part surreal comedy. Part puzzle adventure. Part action game. Part visual novel. Entirely strange. For players interested in unusual storytelling, existential themes wrapped in absurd humor, experimental design, and experiences willing to ask strange questions without pretending to have simple answers, The end is nahual: If I may say so offers a journey unlike most conventional adventures. It may claim to be about nothing, but by the time the experience ends, players may discover that nothing can sometimes leave behind quite a lot to think about. Rating: 7/10

tough as

jjajajaa los chistes están cagados

The game is unlike anything I’ve played before. The developer uses the medium in a truly unique narrative way, fully understanding the power of video games to tell a compelling story. It’s funny, visually stunning, and deeply rooted in Mexican culture, with slang that gives it an authentic feel.