Tag Archives: Gaming

Review – Cuphead

If you’ve heard anything about Cuphead, you’ve probably heard that it’s hard. And this is very much true. It’s a couple of hours of content that took me ten hours to beat – and that was without obsessing over the end-of-level rankings, which slap an exam-style grade on your performance. (Mine were mostly B+, which I guess would constitute a pass.) There are two difficulty settings available from the start: “Simple” and “Regular”. The former doesn’t make the game any easier; it just removes bits from it. The latter is the intended experience, and seems designed to break people’s spirits and controllers. There’s certainly nothing regular about it, and you should keep that in mind. Cuphead might not be for you. In fact, it probably won’t be.

All of this is intentional. Cuphead is a fusion of archaic animation and archaic game design. It blends the grainy, rhythmic animation of the 1930s and the simple but exacting demands of 2D side-scrolling shooters. It’s supposed to be hard; as a game comprised almost entirely of boss fights, it wouldn’t be worth playing if it wasn’t. But – and this is crucial – it’s almost always fair. Aside from a couple of late-game encounters that are crippled by an unreasonable amount of randomness, this is an experience that promotes learning by ensuring that success is always just there, a little out of reach, but only one more attempt away. Rarely is that true, of course, but the belief is all you need to keep playing.

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Review – What Remains of Edith Finch

The Finch family home – a bizarre, sprawling estate that has housed several generations of the family which the media once declared America’s “most unfortunate” – is like a lot of video game spaces, in that it’s an interesting place to visit, but you’d never want to live there. The building is a warren of memorials; all its bedrooms, studies, basements and secret passages sealed to preserve the memory of their previous occupants. Its architect, Edie Finch, was playful, and possibly mad. The house loops around and back into itself, builds atop itself, and spirals down within itself. All its odd protrusions and extensions jut from the main building like spidery limbs; a teetering Jenga tower of memories and lives, abandoned and forgotten.

The Finches came to the Pacific Northwest from Norway in 1937, and since then almost all of them have died, most either in or close to the house. So plagued are they by unexpected bereavement that people – including their own kin – believe the family to be cursed. In 2016, Edith, a 17-year-old girl who has recently inherited the property, returns to it six years after its abandonment. Back then, Edith’s mother had believed the curse to be localised, confined to the house itself. She swept up her children and left. Whatever she left behind – the locks, the secrets, the family’s sad past – has been held in stasis ever since, waiting for an intrepid visitor to unravel the tragic mysteries of the Finch family and their clan’s surrealist homestead.

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Review – The Town of Light

The town is Volterra, a sun-dappled rustic swatch of Tuscany. The blue sky is streaked with cottony clouds, and the rolling hills, here the green of a snooker table’s felt, there the amber of a traffic light, they extend to the edge of sight, lost eventually in the shade of gnarled trees that reach and clench from the ground like arthritic hands. At the top of such a hill is Ospedale Psichiatrico di Volterra, a real-life, once understaffed and overcrowded asylum that has fallen into disuse and disrepair. Now it lies abandoned and unoccupied, rusted over and scrawled with graffiti. But it’s once again about to open its doors to a patient.

Her name is Renee. As a young girl she was committed to the asylum shortly before World War II; as an adult she has returned to revisit the now-empty rooms, hung heavy with misery and rot. Many games have been set in asylums, and we’ve been taught what to expect from them. But The Town of Light is not really that sort of game, and so we get something different from it. The beds are still fitted with thick leather straps, and the mangled wheelchairs and gurneys still screech in the quiet, but the ghosts here don’t float along the corridors – they’re suffused into every brick, and the memories of every patient who was committed to a system that, at best, profoundly misunderstood their problems.

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Completed #9 – Three Fourths Home

Three Fourths Home is an interactive visual novel, which to some people is a fancy way of saying “not a video game” or “pretentious indie nonsense”. And, I suppose, that’s kind of justified. It certainly has very little in the way of traditional gameplay, and what’s there consists of turning things on or off and selecting dialogue options. There’s no challenge, which is the curve on which a lot of people like to grade a game’s worth, and there’s no real depth or complexity, either – at least not in the mechanics. But the pretentious accusation, which I’ve seen bandied around a lot in relation to Three Fourths Home, seems a little unfair. On the contrary, it’s one of the most grounded stories I’ve ever seen in the medium. There’s nothing snooty or condescending about it. That isn’t to say it’s in any way exceptional, or even all that riveting on its own terms, but it’s an honest-to-God tale about people who talk and think like human beings. That’s more than I can say for a lot of games.

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Completed #8 – Cubot: The Complexity of Simplicity

I know it hardly matters, but how complex can simplicity really be? Cubot’s subtitle seems to suggest the whole game is an answer to that question, but aren’t we talking about two extremes of the same spectrum here? Aren’t they mutually exclusive? If something’s simple then by definition it can’t be complex, can it? I know, I know – who cares? But Cubot gives off a weirdly pretentious vibe, and that subtitle’s a part of it. Another is the game’s fascination with quotes: every few levels it presents another puzzle-oriented little titbit as though it’s unfurling the Dead Sea Scrolls; like the very act of playing the game is somehow solving the great existential mysteries of life. I’m not convinced. It hardly helps that a handful of the quotes are attributed to Ernő Rubik. Is Rubik’s Cube really still being held aloft as a beacon of ingenuity? They come with instructions. A toddler could solve one.

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Completed #7 – Beyond Eyes

If video games provide a way for players to live vicariously through digital marionettes – to become, for instance, a professional footballer or a heroic soldier – then you have to wonder why anyone would think to create a video game about a blind girl looking for her lost cat.

Not all games are power fantasies, but they’re all fantasies. Who fantasises about being blind?

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Completed #6 – Another World: 20th Anniversary Edition

Another World is an old video game; a stiff, arthritic puzzle-platformer that’s stuck in its ways. It means well, but like everything else that gets old, it’s faintly offensive. It demands pixel-perfect precision and an almost preternatural sense of what’s around each corner. There’s no margin for error. The only way to learn what it wants is to fail to it, again and again, until you’ve both got the message. You both shout at each other a lot. It’s the video game equivalent of your grandma letting the batteries on her hearing aids die.

The elderly smell, they’re ignorant of the last 40-or-so years, and they’re probably racist, but sometimes you have to defer to their wisdom. Another World is like that. This might be a game that includes a new-fangled checkpoint system which records your position on the screen but often not your progress in the game, so you still have to backtrack and repeat things even if you’ve accomplished them and moved on already, but it’s also a game that has a profound sense of visual storytelling. If I were to reach out and pluck a word to describe it, that word might be “cinematic”, which is a surprise considering that Another World – like most of these remasterings of classic games – allows you to switch between the old graphics and the new paint job. To look at those smudges of pixels, thumb-swipes of colour in the vague shapes of people, you’d assume that the cinematic label wouldn’t apply. The whole thing feels too far removed from contemporary game design; much more reminiscent of really old, exclusively goal-oriented titles than something interested in telling a story.

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