I've grown instinctively wary of games in the catalogue that are larger than a gigabyte, but the cohesion of the ideas and execution are quite thorough. Although I had prepared an Xbox controller for the occasions of its recommendation such as today, its right bumper has been in disrepair for a long time, which leaves me with no choice without rebinding. The responsiveness of attacks is somewhat delayed or perhaps strangely dependent on movement, but I'll deem it fair to ignore quirks like that without the proper implement. The number of available weapons has definitely enticed a return to find the rest, and the accompanying dialogue for them and the checkpoints was the perfect item for rounding out the game's overall pace.
The game is a wave based beater with a surprising focus on Land and Heart moods instead of the outwardly facing Nerve game. When enemies are as scarcely diverse as is necessary, they become means to an end of discovering the different weapons and the tonal characterizations. The stats of the weapons themselves become rather arbitrary with this anti-Nerve lens, and their durability and accessibility damper this mechanic further into the ambience of the Heart mood.
Fat Princess was ahead of its time in reactionary marketing, where the right kind of grifter could have excelled the game into the battle pass slop that huddles the incel masses. On the other hand, I do think that's completely antithetical to the developers' intention and politic, but the leniency of the game's style means that there's no way to be sure. Extend this idea toward the politics of chivalry and knightly fantasy, and a whole host of games appear to be rather naked and sinful.