ayyyy I'm just a little guy its my birthday come onnnnn you're not gonna eat a lil birthday boy right?...
Enjoyment - 7/10
Difficulty - 4/10
An unnerving adventure through a horrifying world as a little person decked with an awesome yellow raincoat. Run away from big ugly baddies before they get you. This game is the childhood fear of the dark, especially when you go downstairs for a midnight snack.
🏆
Difficulty - 4/10
An unnerving adventure through a horrifying world as a little person decked with an awesome yellow raincoat. Run away from big ugly baddies before they get you. This game is the childhood fear of the dark, especially when you go downstairs for a midnight snack.
🏆
i did not beat this on my birthday .
There’s a misconception that “innovation is actually in the indie scene”, this is not without some merit of course, as the triple A landscape is following what seems like the same 12 templates of what they think “good game design” is. But indie games are just as derivative and trend chasing. This doesn’t have to be a negative either, as every once in a while a game comes along that uses current trends well, in Little Nightmare's case, that amounts to a great experience.
Little Nightmares is clearly chasing the 2010s fad of indie horror games having a heavy emphasis on hiding. I personally don’t care for that kind of game play, but given this is presented as a 25.d platformer with (mostly) fixed camera angles, it peaked my interest and I enjoyed my time with it.
The game does a good job of helping you get your bearings. After a brief ten second introductory cut scene that sets up the main antagonist, our MC Six wakes up in a boiler room with leeway to explore every single mechanic. If you see a dark area, you press B to use your lighter to illuminate it, then you’ll see cans and boxes strewn about, which you can pick up with the right trigger and throw, then big boxes and pipes to climb, hide in, and jump on, and finally a long narrow hallway you can use to practice sprinting, this tutorial ends after this room and the game expects you to have memorized all of these basics. In an era where games (aimed at adults especially) have over bearing and over explanatory tutorials that tell you everything, it was refreshing to play a relatively modern game that just let you figure stuff out on your own.
But tutorials often don’t just end with the player figuring out functions, they also have the need to show what the player should expect from the game for the entire experience, or at least give them a good generalized idea. Which is why I want to highlight the first sprinting section.
The game at first makes you think you only need two quick bursts to get past three rooms, but the reality is that the second sprint is one long, continuous one, but it is highly unlikely you will get this on your first attempt. As the room you dash through is a child's bedroom riddled with tons of objects to climb, and other points of interest highlighted in the shadows, which will make you stop and try going somewhere else instead of just the (correct) straight line. This is a brilliant way of communicating to the player to be observant and on edge, which requires them to not act with out thinking, but instead to over think a little while acting, which is great for a horror game. If a developer has a player on auto pilot when playing a horror game for the first time, the level design has failed, good level design in horror games forces the player to over think, and fear making a mistake.
I am not someone who foolishly believes there are games out there with out any kind of pathing, games have always given the player some indication of where to go or what to do next. And Little Nightmares is very good at this aspect. If a surface has juts and grooves, it’s probably climbable, if an object is framed prominently, it’s most likely of some importance, if an area is subtly lit up, you should probably focus on it. None of these are gaudily presented either with some stupid detective vision mechanic or streaks of paint on already bright or lightly colored objects, the game expects you to come to these obvious logical conclusions yourself and that is (sadly) so refreshing.
It’s not all sunshine and rainbows though when it comes to navigation, there was more than a few times where I got stuck on a lip in floor or a jut on a wall that the fixed angles didn’t do the best job of indicating where there, as the game is more obviously focused on the giants you have to avoid and has to frame them prominently. Some clipping through these lips and juts would have been appreciated, as it would make some set pieces a little less annoying.
When not hiding from the aforementioned giants, you’ll be solving puzzles to progress, these puzzles aren’t mind benders by any means, but they do require some thought to solve and never feel too easy. What makes them fun to figure out is that they play into what ever setting you are in at the moment, you will need to push a suitcase to pull a lever to drop a hide away bed down, or place chunks of meat into a grinder to make a rope of sausages, or close a stove door to make the chef giant panic and clear a path, to list a few examples. This helps the setting of the Maw feel like a character itself that six is exploiting to escape, and makes what could have been banal and mundane in another setting feel much more impactful.
And avoiding each of the giants is mostly a competent affair. Aside from some leeches you’ll run past in chapter 1, the only enemies you will encounter in the game are the giants, and they are designed mostly well enough to enjoy studying how to get past them.
The Janitor clearly had the most effort put into his sections and sets a good impression by being the first one you’ll encounter, with his long, lanky arms, he can catch you quickly and from (mostly) any distance in the room, so you’ll need to have memorized what kind of surfaces you can climb, what boxes and furniture to hide in, and how fast you should be going, given that he is blind and can hear you the second you sprint or push an object over. If you have been paying attention to the contents of the rooms he patrols, you’ll notice he has taken many toys from his victims as trophies. When you do encounter him later, you’ll naturally pick up on the need to throw cymbal monkeys that make noise that he will run over to play with, or turn on a TV with a nursery rhyme that he hyper focuses on. This then culminates into a solid boss encounter where you have to study the movements of his arms until they form a diamond, which indicates you can dash forward and pull two bars from under a door to cut them off. It feels incredibly cathartic to have a brief encounter after spending hours getting stalked and harassed, with said harassers most prominent features being destroyed incredibly fitting penance for his over persistence.
I wish I could lob the same praise to the other three giants, but the game streamlines them heavily in favor of keeping the pacing tight. Not a bad compromise of course, horror games should be short as over familiarity will breed indifference, but I would have liked the Chef encounters to use the kitchen a little more than just closing a stove door as mentioned above, then avoiding broken plates, and finally riding a meat hook while being chased at the end of the chapter (compounded by the final area having the aforementioned annoying lips and juts that you will probably get caught on a few times and end up dying because of it). The majority of the chapter aside from the final section is just hiding from the chefs under furniture or throwing something generic to distract them, and while the great pathing and aesthetics of the kitchen make this fun enough to do, the lack of using the area’s character is disappointing.
And while the next chapter in the restaurant does use the area’s character to some effect, it’s not enough to make up for the annoyances of the guests hit boxes being a little too long which led me to dying a handful of times and essentially had me rolling my eyes and sensibly chuckling at basically having to know exactly where to sprint across the tables speed run style. This could have had the potential of being a good change of pace to being an almost pure reflex section if the chef’s chapter was better, but instead it just compounds how the game trims a little too much fat.
And the last chapter really exemplifies that trimming, you simply push over a vase to get a key, do a brief and easy chase sequence, and then an incredibly bland final boss fight where you hold a mirror in a direction a handful of times, with the end of each sequence causing six to fall down briefly and forcing you wait a bit. It’s a very half assed climax to an otherwise well made game.
I saved talking about this until now cause I really don’t need to go into much detail as to how annoying these kind of sections are in games. At several points through out the game, Six will be struck with hunger, which will trigger a slow walking section. These are meant to make the player feel powerless, but the game proper already does that, Six can not fight back, she only engages in combat twice through out the entire game in the boss fights mentioned above. All these sections do is serve to annoy you and pad out the play time.
The game has a rather hands off approach to story telling and I greatly appreciated it.
The maw its self seems to be a metaphor for cyclical over consumption and the livestock industry, as the corpulent guests that seem to be an analogy for the mega rich can’t help engorging themselves on the bodies of dead humans, and even have no issue being fed the corpses of their own kind to keep themselves sustained, you also have the two chefs who are rather emotionless and indifferent in feeding into this dangerous and horrifically evil hedonism and addiction, and the janitor who works rather well as an allegory for workers who openly abuse livestock due to their perceived low value of life. While the presentation of these themes will be overly blunt for some, the execution is still good when combined with the games excellent art direction and atmosphere, combine this with the fact that the game has no voice acting or dialogue, and it makes this execution all the more effective in getting the player to think about what they experienced.
Visually Little nightmares is fantastic, and it was one of the main reasons I enjoyed it more than I probably would have if it had any other setting.
The first thing that strikes you about the maw is the scale, six is the size of a mouse in comparison to most objects and creatures around her and it makes almost every room feel oppressive and weighty in atmosphere. The lighting is incredible, with points of interest naturally hidden in shadow making you want to investigate to move forward, or moments of darkness having things be outlined just well enough to make you feel even more uneasy, and even when the rooms are brightly lit, there is still several disturbing elements and decorations, macabre paintings of murder and other monsters you never see are almost everywhere, bloody tools are displayed prominently on work benches, kitchen tables are covered in the filth from severed limbs, and so on.
The textures are quite detailed, you’ll have things like patches of rust on filing cabinets, gashes from tools on tables with fine wood, fuzzy rugs where you can count each individual strand of fabric, and lovely wet sheens coating the pipework during the transitional hallways you’ll be running through between chapters.
Then you also have the brilliance of six wearing a bright yellow coat with a distinct and unique diamond shaped hood so that the player never loses track of her when navigating the rooms. It’s clear Tariser studios wanted the visuals to enhance and compliment the game play, and they do a fantastic job at doing so.
Several paragraphs ago I mentioned that the level design its self, from a functional standpoint, is fine, and in most games it would just be ok. The point I am making here though is that even the most simple level design can be made much more enjoyable to solve when developers integrate the aesthetics of the world or tropes of the genre into them. During the janitor chase sequences for example, the fastest way to avoid him is to go through the lowest shelf, but you risk tipping over more objects he has laid there for alarms, meanwhile the safe but long way is to climb up the nearby stack of books to highest shelf. They’re simple solutions yes, but given this is a horror game, where quick pacing but slight over thinking is paramount, having two easy to execute, while still having varying levels of risk, choices to make in the moment, is brilliant. Nowadays many people assume good level design just means “execution of multiple button functions for one problem”, when it’s a broad skill that can implement many approaches.
Lastly on this, it is so refreshing to play a relatively modern game that has influences that aren’t just other video games. One of the many things I dislike about modern video games is that they have seemingly forgot that there are other forms of entertainment out there.
It seems every FPS now is inspired only by Bioshock, halo, or classic doom. It seems like every 3d platformer now is obsessed with having the player just press buttons in the air mario 64 speed run style and only make worlds based on other platformer templates. I could (and will in other reviews) go on about this, but I was so relieved that Little Nightmares’s aesthetic (and story to a small degree) influences were films like Spirited away (there’s homages everywhere, like the scene where Chihiro climbs the stairs or the guests entering the resort, and the Janitor is definitely based on Kamaji) and western horror films like Nightmare on Elm street and session 9 (you will never escape the chair), As someone who counts Spirited Away and Session 9 among his favorite films, this was great for me and fans of all three that I have mentioned will get a lot out of this game because of it. If you are tired of modern games being far too cannibalistic in terms of inspiration, this will be a breath of fresh air for you.
Musically the game is passable. You have your forgettable ambient music that most 2010s video games are so found of that thankfully isn’t intrusive due to the game being so puzzle focused, which is fine as that could be very annoying to players that are stuck. And then there’s the darker ambient tracks that will ramp up in pace when being stalked by one of the giants. If you’ve played an indie horror game in the last 12 years, you’ve heard this all before, really the only impressive thing is your controllers rumble pulsing to the beat when getting chased. Other than that, you certainly won’t be compelled enough to seek out the tracks on their own.
Little Nightmares is a good of example of less being more and taking into account just how much richer and more fulfilling video games used to be, and still can be, when they take influence from non gaming sources. In the hands of other studios, you could assume the game would just be taking cues from nothing but the resident evil remakes and outlast. But that thankfully isn’t the case. It’s a well crafted 5 hour experience that wears its film influences on its sleeves with pride and integrates the character of its world aesthetics and the tropes and needs of its genre into its level design to the full benefit of the medium it’s in. Poor music, the awful slow walking sections, and the over truncation of the last two chapters aside, it’s one of the better modern games I have played in a very long time.
8/10.
Little Nightmares is clearly chasing the 2010s fad of indie horror games having a heavy emphasis on hiding. I personally don’t care for that kind of game play, but given this is presented as a 25.d platformer with (mostly) fixed camera angles, it peaked my interest and I enjoyed my time with it.
The game does a good job of helping you get your bearings. After a brief ten second introductory cut scene that sets up the main antagonist, our MC Six wakes up in a boiler room with leeway to explore every single mechanic. If you see a dark area, you press B to use your lighter to illuminate it, then you’ll see cans and boxes strewn about, which you can pick up with the right trigger and throw, then big boxes and pipes to climb, hide in, and jump on, and finally a long narrow hallway you can use to practice sprinting, this tutorial ends after this room and the game expects you to have memorized all of these basics. In an era where games (aimed at adults especially) have over bearing and over explanatory tutorials that tell you everything, it was refreshing to play a relatively modern game that just let you figure stuff out on your own.
But tutorials often don’t just end with the player figuring out functions, they also have the need to show what the player should expect from the game for the entire experience, or at least give them a good generalized idea. Which is why I want to highlight the first sprinting section.
The game at first makes you think you only need two quick bursts to get past three rooms, but the reality is that the second sprint is one long, continuous one, but it is highly unlikely you will get this on your first attempt. As the room you dash through is a child's bedroom riddled with tons of objects to climb, and other points of interest highlighted in the shadows, which will make you stop and try going somewhere else instead of just the (correct) straight line. This is a brilliant way of communicating to the player to be observant and on edge, which requires them to not act with out thinking, but instead to over think a little while acting, which is great for a horror game. If a developer has a player on auto pilot when playing a horror game for the first time, the level design has failed, good level design in horror games forces the player to over think, and fear making a mistake.
I am not someone who foolishly believes there are games out there with out any kind of pathing, games have always given the player some indication of where to go or what to do next. And Little Nightmares is very good at this aspect. If a surface has juts and grooves, it’s probably climbable, if an object is framed prominently, it’s most likely of some importance, if an area is subtly lit up, you should probably focus on it. None of these are gaudily presented either with some stupid detective vision mechanic or streaks of paint on already bright or lightly colored objects, the game expects you to come to these obvious logical conclusions yourself and that is (sadly) so refreshing.
It’s not all sunshine and rainbows though when it comes to navigation, there was more than a few times where I got stuck on a lip in floor or a jut on a wall that the fixed angles didn’t do the best job of indicating where there, as the game is more obviously focused on the giants you have to avoid and has to frame them prominently. Some clipping through these lips and juts would have been appreciated, as it would make some set pieces a little less annoying.
When not hiding from the aforementioned giants, you’ll be solving puzzles to progress, these puzzles aren’t mind benders by any means, but they do require some thought to solve and never feel too easy. What makes them fun to figure out is that they play into what ever setting you are in at the moment, you will need to push a suitcase to pull a lever to drop a hide away bed down, or place chunks of meat into a grinder to make a rope of sausages, or close a stove door to make the chef giant panic and clear a path, to list a few examples. This helps the setting of the Maw feel like a character itself that six is exploiting to escape, and makes what could have been banal and mundane in another setting feel much more impactful.
And avoiding each of the giants is mostly a competent affair. Aside from some leeches you’ll run past in chapter 1, the only enemies you will encounter in the game are the giants, and they are designed mostly well enough to enjoy studying how to get past them.
The Janitor clearly had the most effort put into his sections and sets a good impression by being the first one you’ll encounter, with his long, lanky arms, he can catch you quickly and from (mostly) any distance in the room, so you’ll need to have memorized what kind of surfaces you can climb, what boxes and furniture to hide in, and how fast you should be going, given that he is blind and can hear you the second you sprint or push an object over. If you have been paying attention to the contents of the rooms he patrols, you’ll notice he has taken many toys from his victims as trophies. When you do encounter him later, you’ll naturally pick up on the need to throw cymbal monkeys that make noise that he will run over to play with, or turn on a TV with a nursery rhyme that he hyper focuses on. This then culminates into a solid boss encounter where you have to study the movements of his arms until they form a diamond, which indicates you can dash forward and pull two bars from under a door to cut them off. It feels incredibly cathartic to have a brief encounter after spending hours getting stalked and harassed, with said harassers most prominent features being destroyed incredibly fitting penance for his over persistence.
I wish I could lob the same praise to the other three giants, but the game streamlines them heavily in favor of keeping the pacing tight. Not a bad compromise of course, horror games should be short as over familiarity will breed indifference, but I would have liked the Chef encounters to use the kitchen a little more than just closing a stove door as mentioned above, then avoiding broken plates, and finally riding a meat hook while being chased at the end of the chapter (compounded by the final area having the aforementioned annoying lips and juts that you will probably get caught on a few times and end up dying because of it). The majority of the chapter aside from the final section is just hiding from the chefs under furniture or throwing something generic to distract them, and while the great pathing and aesthetics of the kitchen make this fun enough to do, the lack of using the area’s character is disappointing.
And while the next chapter in the restaurant does use the area’s character to some effect, it’s not enough to make up for the annoyances of the guests hit boxes being a little too long which led me to dying a handful of times and essentially had me rolling my eyes and sensibly chuckling at basically having to know exactly where to sprint across the tables speed run style. This could have had the potential of being a good change of pace to being an almost pure reflex section if the chef’s chapter was better, but instead it just compounds how the game trims a little too much fat.
And the last chapter really exemplifies that trimming, you simply push over a vase to get a key, do a brief and easy chase sequence, and then an incredibly bland final boss fight where you hold a mirror in a direction a handful of times, with the end of each sequence causing six to fall down briefly and forcing you wait a bit. It’s a very half assed climax to an otherwise well made game.
I saved talking about this until now cause I really don’t need to go into much detail as to how annoying these kind of sections are in games. At several points through out the game, Six will be struck with hunger, which will trigger a slow walking section. These are meant to make the player feel powerless, but the game proper already does that, Six can not fight back, she only engages in combat twice through out the entire game in the boss fights mentioned above. All these sections do is serve to annoy you and pad out the play time.
The game has a rather hands off approach to story telling and I greatly appreciated it.
The maw its self seems to be a metaphor for cyclical over consumption and the livestock industry, as the corpulent guests that seem to be an analogy for the mega rich can’t help engorging themselves on the bodies of dead humans, and even have no issue being fed the corpses of their own kind to keep themselves sustained, you also have the two chefs who are rather emotionless and indifferent in feeding into this dangerous and horrifically evil hedonism and addiction, and the janitor who works rather well as an allegory for workers who openly abuse livestock due to their perceived low value of life. While the presentation of these themes will be overly blunt for some, the execution is still good when combined with the games excellent art direction and atmosphere, combine this with the fact that the game has no voice acting or dialogue, and it makes this execution all the more effective in getting the player to think about what they experienced.
Visually Little nightmares is fantastic, and it was one of the main reasons I enjoyed it more than I probably would have if it had any other setting.
The first thing that strikes you about the maw is the scale, six is the size of a mouse in comparison to most objects and creatures around her and it makes almost every room feel oppressive and weighty in atmosphere. The lighting is incredible, with points of interest naturally hidden in shadow making you want to investigate to move forward, or moments of darkness having things be outlined just well enough to make you feel even more uneasy, and even when the rooms are brightly lit, there is still several disturbing elements and decorations, macabre paintings of murder and other monsters you never see are almost everywhere, bloody tools are displayed prominently on work benches, kitchen tables are covered in the filth from severed limbs, and so on.
The textures are quite detailed, you’ll have things like patches of rust on filing cabinets, gashes from tools on tables with fine wood, fuzzy rugs where you can count each individual strand of fabric, and lovely wet sheens coating the pipework during the transitional hallways you’ll be running through between chapters.
Then you also have the brilliance of six wearing a bright yellow coat with a distinct and unique diamond shaped hood so that the player never loses track of her when navigating the rooms. It’s clear Tariser studios wanted the visuals to enhance and compliment the game play, and they do a fantastic job at doing so.
Several paragraphs ago I mentioned that the level design its self, from a functional standpoint, is fine, and in most games it would just be ok. The point I am making here though is that even the most simple level design can be made much more enjoyable to solve when developers integrate the aesthetics of the world or tropes of the genre into them. During the janitor chase sequences for example, the fastest way to avoid him is to go through the lowest shelf, but you risk tipping over more objects he has laid there for alarms, meanwhile the safe but long way is to climb up the nearby stack of books to highest shelf. They’re simple solutions yes, but given this is a horror game, where quick pacing but slight over thinking is paramount, having two easy to execute, while still having varying levels of risk, choices to make in the moment, is brilliant. Nowadays many people assume good level design just means “execution of multiple button functions for one problem”, when it’s a broad skill that can implement many approaches.
Lastly on this, it is so refreshing to play a relatively modern game that has influences that aren’t just other video games. One of the many things I dislike about modern video games is that they have seemingly forgot that there are other forms of entertainment out there.
It seems every FPS now is inspired only by Bioshock, halo, or classic doom. It seems like every 3d platformer now is obsessed with having the player just press buttons in the air mario 64 speed run style and only make worlds based on other platformer templates. I could (and will in other reviews) go on about this, but I was so relieved that Little Nightmares’s aesthetic (and story to a small degree) influences were films like Spirited away (there’s homages everywhere, like the scene where Chihiro climbs the stairs or the guests entering the resort, and the Janitor is definitely based on Kamaji) and western horror films like Nightmare on Elm street and session 9 (you will never escape the chair), As someone who counts Spirited Away and Session 9 among his favorite films, this was great for me and fans of all three that I have mentioned will get a lot out of this game because of it. If you are tired of modern games being far too cannibalistic in terms of inspiration, this will be a breath of fresh air for you.
Musically the game is passable. You have your forgettable ambient music that most 2010s video games are so found of that thankfully isn’t intrusive due to the game being so puzzle focused, which is fine as that could be very annoying to players that are stuck. And then there’s the darker ambient tracks that will ramp up in pace when being stalked by one of the giants. If you’ve played an indie horror game in the last 12 years, you’ve heard this all before, really the only impressive thing is your controllers rumble pulsing to the beat when getting chased. Other than that, you certainly won’t be compelled enough to seek out the tracks on their own.
Little Nightmares is a good of example of less being more and taking into account just how much richer and more fulfilling video games used to be, and still can be, when they take influence from non gaming sources. In the hands of other studios, you could assume the game would just be taking cues from nothing but the resident evil remakes and outlast. But that thankfully isn’t the case. It’s a well crafted 5 hour experience that wears its film influences on its sleeves with pride and integrates the character of its world aesthetics and the tropes and needs of its genre into its level design to the full benefit of the medium it’s in. Poor music, the awful slow walking sections, and the over truncation of the last two chapters aside, it’s one of the better modern games I have played in a very long time.
8/10.
Que jogo bonito da porra, eu sou apaixonado no design dos inimigos; o jeito como as boss fights funcionam é bem divertido também, da uma tensão fudida em vários momentos. Os cenários são LINDOS; eu gosto muito disso de cenários imensos enquanto a personagem é minúscula; a câmera ajuda muito nesse fator, sabe mostrar muito bem o cenário os controles são meio estranhos mas é só isso que achei ruim.
So after being totally depressed with dropping BG3 after 20 hours, and swearing off long games for exactly three hours, I decided to give this game a spin. My buddy Parrott suggested it and thought this might help bounce me back a little.
Style over substance here for the most part and I can dig it. The game is very moody, got some nice creep to it. It reminds me a lot of Limbo, which really, that style of game isn't my favorite, but I at least enjoyed the vibe of this one a lot more.
It's a nice short and sweet game with some puzzles. I wish the boss "fights" were a little more creative and they did more with that. But overall a solid time, and I can't complain about the price (free through PS Plus!)
Style over substance here for the most part and I can dig it. The game is very moody, got some nice creep to it. It reminds me a lot of Limbo, which really, that style of game isn't my favorite, but I at least enjoyed the vibe of this one a lot more.
It's a nice short and sweet game with some puzzles. I wish the boss "fights" were a little more creative and they did more with that. But overall a solid time, and I can't complain about the price (free through PS Plus!)
os gordĂŁo querendo me comer quase me fez enfiar o mouse no meu prĂłprio cu
Il gioco è intrigante, piacevole e allo stesso tempo emozionante e spaventoso. La presenza di un certo livello di sfida in ogni livello rende l'esperienza di gioco molto coinvolgente. Piacevolmente grottesco nella maggior parte dei livelli. Bella esperienza videoludica.
why am i so smol
Gosto muito dos gráficos desse jogo, me lembra filmes stop motion
nĂŁo entendi nada da histĂłria mas o jogo Ă© bem divertido e bizarro.
sdds 2017
sdds 2017
sound + character design & atmosphere are absolutely stunning. i was captivated while exploring and taking in my surroundings. frustrating at times, but still enjoyable!
these nightmares ain't so little
The base game is very short, but incredibly well done. A playable Tim Burton movie.
Unique, creative, intriguing, terrifying, almost a masterpiece, the only flaw is that it doesn't last long enough.
WIKTOBER WIKTOBER
I've been putting off playing this game for like 6 years now, knowing that I'd like it but just not feeling like playing it.
Not many know this, but I invented the genre of small child in 2d space with platforming and puzzle solving and horrific atmosphere. My name is Jonh Limbo Wiktober .
I love the Nomes and I actually felt tangible warmth each time I hugged them.
I hope they're ok.
I will be playing the sequel to little big nightmares soon.
I've been putting off playing this game for like 6 years now, knowing that I'd like it but just not feeling like playing it.
Not many know this, but I invented the genre of small child in 2d space with platforming and puzzle solving and horrific atmosphere. My name is Jonh Limbo Wiktober .
I love the Nomes and I actually felt tangible warmth each time I hugged them.
I hope they're ok.
I will be playing the sequel to little big nightmares soon.
all the involving weight of a great cinematic platformer thrown into horror stealth mostly pervaded by total disempowerment but still allows satisfying flashes of the kind of empowerment u can get from video game stealth (having all the information that the enemy doesnt). too constantly aesthetically compelling and coherent to ignore, with a tightly controlled crescendo that basically never puts a foot wrong...a wonderfully stimulating set of revelations. if perhaps inherently fatphobic DHJSFHFJFHSJ pays off rly memorably with that ending tho !!
I liked it, gives me LittleBigPlanet world 5 vibes, and I don't know if the game was supposed to make me feel scared, if so it failed (but it's ok). I actually enjoyed the big scary dudes after me, I think it played safe in the platforming sequences.
Hope Little Nightmares II gives me more of a kick to the franchise.
Hope Little Nightmares II gives me more of a kick to the franchise.
The game surprises both visually and with the atmosphere of nightmares that it conveys, like a dream of the character we are playing for. Everything in the game is perfect, the only sad thing is that it is short.
Tim Burton the Video Game (but like, a fair bit better than Tim Burton)
Little nightmare es un juego super creativo, por la jugabilidad simple que tiene, lo encuentro novedoso y llamativo.
Me recordo un monton a Inside pero visto desde una perspectiva mas profunda sobre todo por los graficos y ambientacion, tiene una historia super interesante, no es un juego de terror ni menos de asustarse, experimentaras momentos en donde estaras tenso, por como se presentan las situaciones, es un juego que se basa en superar diferentes zonas sin ser detectado, donde tu estrategia e ingenio seran lo principal, podria decirse que es un juego plataformero o de aventuras, lo recomiendo mucho sobre todo si buscas un juego al estilo puzzle con una historia buena
Me recordo un monton a Inside pero visto desde una perspectiva mas profunda sobre todo por los graficos y ambientacion, tiene una historia super interesante, no es un juego de terror ni menos de asustarse, experimentaras momentos en donde estaras tenso, por como se presentan las situaciones, es un juego que se basa en superar diferentes zonas sin ser detectado, donde tu estrategia e ingenio seran lo principal, podria decirse que es un juego plataformero o de aventuras, lo recomiendo mucho sobre todo si buscas un juego al estilo puzzle con una historia buena
Disgustingly beautiful game. The stealth gameplay, avoiding the monstrous people of this property and seeing all of the details and feeling the hairs raised on your neck make this such a great game.
Difficult not to compare to the works of Playdead but find its own grooves with a unique style with a dripping gross rot of Tim Burton, Henry Sellick and Phil Tippett mix of art and ghoulish atmosphere to soak up in its short runtime of 2ish hours it took breeze through. Decent October recommendation.
gosto da atmosfera bizarra e os monstros esquisitos
as animações são muito boas também
um jogo muito bom e marcante
as animações são muito boas também
um jogo muito bom e marcante
Basicamente um rato simulator! kkkkkk. Zoeiras a parte, esse é aquele tipo de jogo que vai te deixar incomodado e desconfortavel em varios momentos. Sua atmosfera e cenarios são muito bem construidos para esse fim, fazendo também com que voce tente interpretar do que se trata esse universo bizarro no final das contas.
A gameplay segue aquela linha de resolver puzzles para prosseguir. Porém, com excessão da parte final nós não conseguimos combater os inimigos. Então entre as sequencias de puzzles ocorre aquele famoso gato e rato no maior estilo Outlast. Aumentando bastante o desespero e urgencia do player em diversos segmentos da campanha.
Sobre a campanha em si ela é realmente curta, com a conclusão principalmente sendo bem apressada. Mas pegando numa promo por 20 ou 30 reais vale a pena, pois o game faz bom uso dessas poucas horas e entrega várias coisas que te prendem!
Enfrentei alguns bugs, um em especifico na ultima jogatina que me fez reiniciar o checkpoint. Mas apesar disso o game é bem solido, entrega um excelente visual sem pesar absurdamente no PC. Unico ponto negativo pra mim fica em relação as animações do personagem! As vezes ele tem um delay muito chato para executar um determinado comando, e isso pode acabar sendo um saco nos momentos de fuga ou que exijam mais agilidade.
Recomendo para pessoas que curtiram experiencias como Limbo ou Inside. Ou até mesmo para outros players que curtem um terrorzinho e coisas bizarras em tela! kkkkk
A gameplay segue aquela linha de resolver puzzles para prosseguir. Porém, com excessão da parte final nós não conseguimos combater os inimigos. Então entre as sequencias de puzzles ocorre aquele famoso gato e rato no maior estilo Outlast. Aumentando bastante o desespero e urgencia do player em diversos segmentos da campanha.
Sobre a campanha em si ela é realmente curta, com a conclusão principalmente sendo bem apressada. Mas pegando numa promo por 20 ou 30 reais vale a pena, pois o game faz bom uso dessas poucas horas e entrega várias coisas que te prendem!
Enfrentei alguns bugs, um em especifico na ultima jogatina que me fez reiniciar o checkpoint. Mas apesar disso o game é bem solido, entrega um excelente visual sem pesar absurdamente no PC. Unico ponto negativo pra mim fica em relação as animações do personagem! As vezes ele tem um delay muito chato para executar um determinado comando, e isso pode acabar sendo um saco nos momentos de fuga ou que exijam mais agilidade.
Recomendo para pessoas que curtiram experiencias como Limbo ou Inside. Ou até mesmo para outros players que curtem um terrorzinho e coisas bizarras em tela! kkkkk
This review contains spoilers
Maneirinho. Eu também mataria todos os fdp que tentaram me comer se eu obtivesse poderes inimagináveis de uma mulher morta
Assustador e misterioso, com uma jogabilidade responsiva em seus momentos de tensão, entre puzzles e fugas de figuras distorcidas e monstruosas. Arte única e belos gráficos, dignos de um 'pesadelo infantil'.
Legalzinho, bom pra passar o tempo mas nĂŁo gosto do estilo de sem histĂłria, mas ainda assim um belo jogo.
Eu adoro esse conceito de contar uma histĂłria aberta a interpretações sem praticamente nenhum dialĂłgo. Assim como em Limbo e Inside, outros dois jogos incrĂveis, a ambientação de Little Nightmares Ă© fenomenal, construindo uma atmosfera misteriosa e macabra e criando Ăłtimos momentos de tensĂŁo. Simplesmente perfeito.
um dos pouco 2.5D que eu joguei e é bem legal, dá um medinho bom e os puzzles são ok. Só é chato que algumas vezes a coisa certa a se fazer é só correr, e, pra mim, isso tira um pouco da ideia de ser um jogo de puzzle