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Pinocchio and Dark Souls? It’s not Bloodborne, but it’s close enough.
Lies of P is just that perfect game for a person like me, it checks off every mark in a list of necessities I never knew I needed for a game:
FromSoft gameplay elements in a steampunk / Victorian setting?
Level scaling that makes sense and doesn’t shy away from letting you respec?
Weapon customization and total control over your own playstyle?
Actually unique and exciting enemy types that won’t drive you insane?
Well, save for that last point, Lies of P has an excellent feel for when it comes to controlling itself.
If you’re a Soulslike fan, you already know the gameplay loop: kill enemies for “souls”, level into your weapon class, defeat increasingly harder bosses, and try not to die. Lies of P does most of that well enough, but misses the mark on some minor points.
For the base gameplay, Lies of P feels great and controls like butter. If you know, butter controlled like DS3. For a 2023 soulslike, the running, the hitstun, the weapon weight, it all feels incredibly natural, like a dance I've danced a thousand times. It feels like I played this all before, except last time, it was called Elden Ring. You are limited in that old Dark Souls movement, however. No jumping unless it’s out of a sprint, and no fancy footwork unless you’re light on your weight.
To separate itself from its counterparts, Lies of P introduces a few mechanics to keep the player on their toes. Firstly, the weapon's durability. Not anything you need to spend souls, or “ergo” to repair, but an in-combat procedure. Using your left arm prosthetic, you can grind the blade (or edge) of your weapon and keep yourself in the fight, dealing max damage where applicable. Over the course of battle, your weapon will wear down, and start dealing less and less damage, so you kind of need to be on top of this to make sure you’re doing the most. You can also use this method to apply burning, electricity, and acid damage, each with their own unique debuff to the enemy. Of course, there’s more to it, but I don’t want to spoil all the fun.
Then there’s arguably what sets Lies of P apart from most soulslikes: weapon combination. Like how one weapon swings, but want the punch of another? Disassemble the handle from the blade and get to splicing! There’s a surprisingly menial amount of weapons in the game, and even fewer special weapons (of which cannot be disassembled), but with combinations, there’s seemingly endless possibilities to how you can decide to play your game.
One major, major concern with the gameplay comes pretty fast out the gate however, and it’s a pretty crucial one: parrying / perfect parrying. Blocking an attack is one thing, taking small bits of damage to deflect a blow isn’t a coward's move, and most strength builds will utilize that ideology over dodging any day. But parrying is a large part of Lies of P, and if you’re running a Dex build like me, blocking isn’t as well-off an option compared to our tank-ier cousin class. Some bosses and enemy types require you parry to get that opening for most damage, and because the timing window is so infinitesimal, it can be really, really hard to get it right. There’s areas for practice in the main hub, but most enemies aren’t going to telegraph their attacks the same way, so like I said, it’s all a dance.
The only other concern I’ve heard is the base difficulty. Like any good single-player game, it’s a fixed difficulty, so no Bethesda sliders here. This can be good at times where you’re breezing through the city streets, slaying puppet after puppet, but this doesn’t last for long. You’ll come across mini-bosses, small compartmentalized areas, anything that might get in your way and you will get stuck. Whether it’s a boss or a damage type you can’t seem to master, there’s going to be stopping points that will make you put your controller down. For me, this was both the Chapel boss and the Bridge boss nearing the end of the game. If it ever seems unfair, recognize that it probably is, and move on. To be fair, soulslikes aren’t known for being walks in the park, but you should recognize that if a part is fairing to be more than you can handle, then maybe it’s better to come back to it after a bit of tinkering.
But enough about the gameplay, what of the world? The atmosphere is cold and uninviting, damp and unclean. From the very start you’re plummeting into the aftermath of a puppet uprising that’s slain the whole city, and it’s up to only you to find out what went awry and fix the wrongs of your world. The city streets of Krat are littered with the corpses of those killed, shops and apartments are torn apart, ravaged by the massacre. Just outside the city, the nearby workshops and slums aren’t so kind themselves. Puppets and infected are all out to get you, leaking pus and oil, screaming unintelligible roars of rage and confusion.
But there’s still hope in the reflection of what’s yet been lost. The Hotel Krat stands a proud haven for survivors, and encampments of those lucky enough to be far away from danger still stand a testament to humanity's survival. This is where the soundtrack of the game truly shines. If the battle themes and distance ambiences of the world weren’t enough ear candy, secret records found through side quests and all about the game can be played and heard for brief respite, and it’s here in these moments of music that pieces like “Feel” and “Why” really bring that moody feeling out of the dark and into the light.
Plus, we haven’t even mentioned the characters yet. An all-around voice cast plays the roles of familiar characters, like Gemini (your cricket of conscience), and Gepetto, your father. There’s other, newer roles to the classic Pinocchio story too, but they moreso serve as a means to an end in the long run of the story, such as your blacksmith or shopkeep. The voice acting is… well there’s more to be desired from some roles. Gepetto and Gemini, two of the most prominent characters, can unfortunately sound both too uninterested and too ecstatic respectively for what the game offers. Because this is a soulslike, dialogue is far and few between, so when you have those moments of conversation, you’d expect a little more of a performance from those closest to the main character.
And as far as the game is concerned, that’s all there is to say. Lies of P is nothing short of charmful, witty and well-spoken, with a story that’s genuinely encapsulating and gameplay that keeps me coming back to my second, maybe third and fourth playthroughs. If you’re considering buying this, I say wait until a sale or if you can get a better deal. For buying at the full price tag, however, I’d say it was worth every penny.
Lies of P is just that perfect game for a person like me, it checks off every mark in a list of necessities I never knew I needed for a game:
FromSoft gameplay elements in a steampunk / Victorian setting?
Level scaling that makes sense and doesn’t shy away from letting you respec?
Weapon customization and total control over your own playstyle?
Actually unique and exciting enemy types that won’t drive you insane?
Well, save for that last point, Lies of P has an excellent feel for when it comes to controlling itself.
If you’re a Soulslike fan, you already know the gameplay loop: kill enemies for “souls”, level into your weapon class, defeat increasingly harder bosses, and try not to die. Lies of P does most of that well enough, but misses the mark on some minor points.
For the base gameplay, Lies of P feels great and controls like butter. If you know, butter controlled like DS3. For a 2023 soulslike, the running, the hitstun, the weapon weight, it all feels incredibly natural, like a dance I've danced a thousand times. It feels like I played this all before, except last time, it was called Elden Ring. You are limited in that old Dark Souls movement, however. No jumping unless it’s out of a sprint, and no fancy footwork unless you’re light on your weight.
To separate itself from its counterparts, Lies of P introduces a few mechanics to keep the player on their toes. Firstly, the weapon's durability. Not anything you need to spend souls, or “ergo” to repair, but an in-combat procedure. Using your left arm prosthetic, you can grind the blade (or edge) of your weapon and keep yourself in the fight, dealing max damage where applicable. Over the course of battle, your weapon will wear down, and start dealing less and less damage, so you kind of need to be on top of this to make sure you’re doing the most. You can also use this method to apply burning, electricity, and acid damage, each with their own unique debuff to the enemy. Of course, there’s more to it, but I don’t want to spoil all the fun.
Then there’s arguably what sets Lies of P apart from most soulslikes: weapon combination. Like how one weapon swings, but want the punch of another? Disassemble the handle from the blade and get to splicing! There’s a surprisingly menial amount of weapons in the game, and even fewer special weapons (of which cannot be disassembled), but with combinations, there’s seemingly endless possibilities to how you can decide to play your game.
One major, major concern with the gameplay comes pretty fast out the gate however, and it’s a pretty crucial one: parrying / perfect parrying. Blocking an attack is one thing, taking small bits of damage to deflect a blow isn’t a coward's move, and most strength builds will utilize that ideology over dodging any day. But parrying is a large part of Lies of P, and if you’re running a Dex build like me, blocking isn’t as well-off an option compared to our tank-ier cousin class. Some bosses and enemy types require you parry to get that opening for most damage, and because the timing window is so infinitesimal, it can be really, really hard to get it right. There’s areas for practice in the main hub, but most enemies aren’t going to telegraph their attacks the same way, so like I said, it’s all a dance.
The only other concern I’ve heard is the base difficulty. Like any good single-player game, it’s a fixed difficulty, so no Bethesda sliders here. This can be good at times where you’re breezing through the city streets, slaying puppet after puppet, but this doesn’t last for long. You’ll come across mini-bosses, small compartmentalized areas, anything that might get in your way and you will get stuck. Whether it’s a boss or a damage type you can’t seem to master, there’s going to be stopping points that will make you put your controller down. For me, this was both the Chapel boss and the Bridge boss nearing the end of the game. If it ever seems unfair, recognize that it probably is, and move on. To be fair, soulslikes aren’t known for being walks in the park, but you should recognize that if a part is fairing to be more than you can handle, then maybe it’s better to come back to it after a bit of tinkering.
But enough about the gameplay, what of the world? The atmosphere is cold and uninviting, damp and unclean. From the very start you’re plummeting into the aftermath of a puppet uprising that’s slain the whole city, and it’s up to only you to find out what went awry and fix the wrongs of your world. The city streets of Krat are littered with the corpses of those killed, shops and apartments are torn apart, ravaged by the massacre. Just outside the city, the nearby workshops and slums aren’t so kind themselves. Puppets and infected are all out to get you, leaking pus and oil, screaming unintelligible roars of rage and confusion.
But there’s still hope in the reflection of what’s yet been lost. The Hotel Krat stands a proud haven for survivors, and encampments of those lucky enough to be far away from danger still stand a testament to humanity's survival. This is where the soundtrack of the game truly shines. If the battle themes and distance ambiences of the world weren’t enough ear candy, secret records found through side quests and all about the game can be played and heard for brief respite, and it’s here in these moments of music that pieces like “Feel” and “Why” really bring that moody feeling out of the dark and into the light.
Plus, we haven’t even mentioned the characters yet. An all-around voice cast plays the roles of familiar characters, like Gemini (your cricket of conscience), and Gepetto, your father. There’s other, newer roles to the classic Pinocchio story too, but they moreso serve as a means to an end in the long run of the story, such as your blacksmith or shopkeep. The voice acting is… well there’s more to be desired from some roles. Gepetto and Gemini, two of the most prominent characters, can unfortunately sound both too uninterested and too ecstatic respectively for what the game offers. Because this is a soulslike, dialogue is far and few between, so when you have those moments of conversation, you’d expect a little more of a performance from those closest to the main character.
And as far as the game is concerned, that’s all there is to say. Lies of P is nothing short of charmful, witty and well-spoken, with a story that’s genuinely encapsulating and gameplay that keeps me coming back to my second, maybe third and fourth playthroughs. If you’re considering buying this, I say wait until a sale or if you can get a better deal. For buying at the full price tag, however, I’d say it was worth every penny.
Carpal tunnel has never been so widely accessible! …Nor as addicting.
If I told you that you got what you paid for, I’d be lying. Cookie Clicker is, well, a game about clicking cookies (or just a singular cookie if you’re a purist). There’s upgrades to click for you, bake for you, farm for you, any and all the amenities a cookie tycoon like yourself would need. But the baking goes far beyond the left mouse button and a purchase here and there, there’s minigames, seasonal events, a stock market to manage, even a cookie-centric eldritch uprising.
But how is it? I mean, how does a game whose legacy as the grand-daddy of all clicker games come to hold up in the modern year? The answer is surprisingly well! Cookie Clicker looks great, sounds great, and has all that serotonin-inducing haptic feedback you’d get from a clicker-toy. There’s a few graphical errors down the line, but I’ve only come across them once or twice, and saving and restarting your game can be done in less than ten seconds, so it’s really a non-issue.
The essence of building up an empire and watching your numbers grow is just as cathartic as you’d hope it is, and thematically, it’s just as sweet. With a soundtrack by C418 and a price tag of only $4.99 USD, I’d hope my 417.4 hours would have been worth it. I won’t spoil too much about the actual substance, rather than sing the praises of the gameplay, or what gameplay you make of a clicker / idle game.
Cookie Clicker is one of those games whose mere existence is a testament to the dedication and love of indie development. Take games like Terraria or Stardew Valley whose fan bases have exponentially grown over the years because their respective developer(s) have continued to show love for not just their own game, but their community as well. Ortiel is that kind of developer.
I can’t entirely speak to the gameplay, for what little or what lot(?) you decide to play with, but the sheer dedication to continue supporting a game ten years after it’s conception on flash of all things, is bar none to most triple-a games. Cookie Clicker is an idol of a simpler time of in-browser gaming, and it’s here to stay.
If I told you that you got what you paid for, I’d be lying. Cookie Clicker is, well, a game about clicking cookies (or just a singular cookie if you’re a purist). There’s upgrades to click for you, bake for you, farm for you, any and all the amenities a cookie tycoon like yourself would need. But the baking goes far beyond the left mouse button and a purchase here and there, there’s minigames, seasonal events, a stock market to manage, even a cookie-centric eldritch uprising.
But how is it? I mean, how does a game whose legacy as the grand-daddy of all clicker games come to hold up in the modern year? The answer is surprisingly well! Cookie Clicker looks great, sounds great, and has all that serotonin-inducing haptic feedback you’d get from a clicker-toy. There’s a few graphical errors down the line, but I’ve only come across them once or twice, and saving and restarting your game can be done in less than ten seconds, so it’s really a non-issue.
The essence of building up an empire and watching your numbers grow is just as cathartic as you’d hope it is, and thematically, it’s just as sweet. With a soundtrack by C418 and a price tag of only $4.99 USD, I’d hope my 417.4 hours would have been worth it. I won’t spoil too much about the actual substance, rather than sing the praises of the gameplay, or what gameplay you make of a clicker / idle game.
Cookie Clicker is one of those games whose mere existence is a testament to the dedication and love of indie development. Take games like Terraria or Stardew Valley whose fan bases have exponentially grown over the years because their respective developer(s) have continued to show love for not just their own game, but their community as well. Ortiel is that kind of developer.
I can’t entirely speak to the gameplay, for what little or what lot(?) you decide to play with, but the sheer dedication to continue supporting a game ten years after it’s conception on flash of all things, is bar none to most triple-a games. Cookie Clicker is an idol of a simpler time of in-browser gaming, and it’s here to stay.