Lo que a Boogie Loops le faltaba en palanca, este juego lo exprime hasta la extenuación. Un juego que imita la cadencia de un corto de Buster Keaton y que te incita a sudar como seguramente haría el cómico mudo.
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What Boogie Loops lacked in originality, this game squeezes the Playdate's lever to the point of exhaustion. A game that mimics the cadence of a Buster Keaton short film and encourages you to play as the silent comedian.
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What Boogie Loops lacked in originality, this game squeezes the Playdate's lever to the point of exhaustion. A game that mimics the cadence of a Buster Keaton short film and encourages you to play as the silent comedian.
2022
De todas las cosas a las que este juego me ha recordado, ha sido 8Bit Music Power de Columbus Circle. Ahora bien, no veo qué aporta jugar a esto en una Playdate.
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Of all the things this game reminded me of, it was Columbus Circle's 8bit Music Power. That being said, I don't see what playing this on a Playdate brings to the table.
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Of all the things this game reminded me of, it was Columbus Circle's 8bit Music Power. That being said, I don't see what playing this on a Playdate brings to the table.
2022
El primer juego "oficial" de la temporada es un juego de recolección al estilo de Pokémon, con un poco de "Snap" para darle algo de originalidad. Parece interesante, pero en la práctica se juega como una versión larga del minijuego del Cuckoo de Ocarina of Time. Más allá del carácter introductorio que ofrece, este juego parece un experimento a medio concluir, en el que la variedad de los pájaros no puede solventar la simpleza del resto del juego.
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The first "official" game of the Playdate season is a Pokémon-like collect-a-thon, with a bit of "Snap" added to it for originality purposes. It looks neat, but in practice it plays like a long version of the Cuckoo mini-game from Ocarina of Time. Aside from its introductory, it feels like this game is an half-baked experiment that doesn't justify the simplicity of its gameplay, despite having so many birds to collect and photograph.
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The first "official" game of the Playdate season is a Pokémon-like collect-a-thon, with a bit of "Snap" added to it for originality purposes. It looks neat, but in practice it plays like a long version of the Cuckoo mini-game from Ocarina of Time. Aside from its introductory, it feels like this game is an half-baked experiment that doesn't justify the simplicity of its gameplay, despite having so many birds to collect and photograph.
2022
En su día, conocí los videojuegos gracias a arcades como California Games, y en 2022 la juventud los sigue descubriendo a través de versiones actualizadas del mismo tipo de juego, como éste. Todo cambia para que todo siga igual, y me parece bien.
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Back in the day, I was introduced to video games through arcades like California Games, and in 2022, young people are discovering them through updated versions of the same kind of game. Everything changes so that everything stays the same, and that's fine with me.
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Back in the day, I was introduced to video games through arcades like California Games, and in 2022, young people are discovering them through updated versions of the same kind of game. Everything changes so that everything stays the same, and that's fine with me.
2017
Tras el trabajo que tuvo que suponer algo como Metamorphabet, Sandcastles se entiende como algo mucho más sencillo y básico en cuanto a concepto. Esencialmente, el eje de esta obra gira en torno a la experimentación con las formas, tanto en solitario como combinadas. Esa labor es lo que hace de Sandcastles algo interesante, pero poco complejo.
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After the work that something like Metamorphabet must have entailed, Sandcastles is something much simpler and basic, as a concept. Essentially, the essence of this work revolves around experimenting with shapes, both standing alone and when combined. That premise is what makes Sandcastles interesting, but not very complex.
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After the work that something like Metamorphabet must have entailed, Sandcastles is something much simpler and basic, as a concept. Essentially, the essence of this work revolves around experimenting with shapes, both standing alone and when combined. That premise is what makes Sandcastles interesting, but not very complex.
2015
Esto es lo que me hubiera gustado tener de niño, en vez de tanto Pipo y Mates Blaster.
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This is what I would have liked to have had as a kid instead of Pipo and Math Blaster.
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This is what I would have liked to have had as a kid instead of Pipo and Math Blaster.
2009
Es que con Vector Park nunca se puede fallar. Si quieres recomendarle a alguien la obra de Patrick Smith, ésta es posiblemente la más accesible. Aunque no llegue al nivel de absurdo delicioso que Feed the Head alcanza, la maravilla casi primaria que incita este juego te sumerge como un resumen bastante efectivo de lo que representa la relación entre máquina, interacción y persona que estos juegos representan.
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You can never go wrong with Vector Park. If you want to recommend Patrick Smith's work to someone, this is possibly the one to play first. While it may not reach the level of delightful absurdity that Feed the Head reaches, the almost primal wonder that this game incites immerses you as a pretty effective summary of the relationship between machine, interaction and person that these games tend to explore.
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You can never go wrong with Vector Park. If you want to recommend Patrick Smith's work to someone, this is possibly the one to play first. While it may not reach the level of delightful absurdity that Feed the Head reaches, the almost primal wonder that this game incites immerses you as a pretty effective summary of the relationship between machine, interaction and person that these games tend to explore.
2007
Que juego tan bonito, que bonitos son los juegos, que guay es esto de que los videojuegos existan.
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What a beautiful game. Man i love games, I'm glad they exist.
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What a beautiful game. Man i love games, I'm glad they exist.
Me dio por jugar a esto ayer tras ves la película de imagen real escrita por uno de los Russo. Realmente aquí surge germen de lo que Mortal Kombat e Injustice han significado en la última década y media: juegos rígidos y basados en no perdonarte ni una infracción al tiempo que una memoria prodigiosa para recordar combinaciones que rozan el absurdo. En la trilogía original, esos servían como chiste: aquí, son un añadido más en la sucesión de instancias machacabotones incluidas para especiar lo que es, a todos los efectos, un estilo de lucha raquítico. Tampoco ayuda que se notan los movimientos reciclados entre un personaje y otro, y que la mezcla de 2D con 3D está mal implementada.
La historia es estúpida, pero si vienes a Mortal Kombat (o a cualquier cosa en videojuegos sobre DC) por la historia, entonces te has equivocado con tu vida.
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I decided to play this yesterday after watching the movie that was written by one of the Russo's. In many ways, this is the beginning of what Mortal Kombat and Injustice have meant as fighting games for more than a decade: rigid gameplay that doesn't spare any mishaps and a prodigious memory to remember combos absurdly long combos that amount to flashy show-offs and little else. In the original MK trilogy, they were basically a joke: here, they're just another addition to the succession of button-mashing instances that are included to spice up what is, for all intents and purposes, a rickety fighting style. It also doesn't help that you can tell they recycled several fighting moves and the mixing of 2D with 3D is terribly implemented.
The story is stupid, but if you come to Mortal Kombat (or anything in video games made by DC) for the story, then you've made a bigger mistake in life than playing this game.
La historia es estúpida, pero si vienes a Mortal Kombat (o a cualquier cosa en videojuegos sobre DC) por la historia, entonces te has equivocado con tu vida.
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I decided to play this yesterday after watching the movie that was written by one of the Russo's. In many ways, this is the beginning of what Mortal Kombat and Injustice have meant as fighting games for more than a decade: rigid gameplay that doesn't spare any mishaps and a prodigious memory to remember combos absurdly long combos that amount to flashy show-offs and little else. In the original MK trilogy, they were basically a joke: here, they're just another addition to the succession of button-mashing instances that are included to spice up what is, for all intents and purposes, a rickety fighting style. It also doesn't help that you can tell they recycled several fighting moves and the mixing of 2D with 3D is terribly implemented.
The story is stupid, but if you come to Mortal Kombat (or anything in video games made by DC) for the story, then you've made a bigger mistake in life than playing this game.
2008
Hay aspectos de Off que creo que se sienten un poco anticuados incluso en la época que lo vio nacer. Dentro de los RPGs, creo que es un trabajo bastante tradicional, y aunque los puzzles agregan variedad a lo que, en otras circunstancia, sería un juego de lucha por turnos del montón. A su manera, el juego incide en este hecho, recordándote en todo momento que puedes automatizar las batallas y dejar que tu protagonista y compañeros sin rostro se encarguen de la parte aburrida.
Pero lo que creo que hace a OFF interesante hoy en día es lo directo que es en sus referencias. El juego se posiciona como una crítica marxista en clave RPG, y no esconde en absoluto sus influencias. Bertolt Brecht se sentiría satisfecho con el trabajo de estos alumnos suyos, incluida la parte en la que el juego reconoce los límites de su propio artificio. El único elemento que impide a este juego ser una joya inmaculada, en mi opinión, es que ese reconocimiento de artificialidad no parece dirigirse al formato sobre el que trabaja OFF. El juego se siente que ha escogido ser un RPG porque era lo más sencillo de hacer para Mortis Ghost, y no porque el RPG fuera un formato óptimo para contar su historia. Pero al mismo tiempo, hay muy pocos juegos que, incluso hoy, se atreven a ser así de directos en su ideología, lo que lo sigue haciendo especial muchos años después.
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There are aspects to OFF that I think are a bit quaint even for the era that saw its birth. Within RPGs, I think it's a fairly traditional work, but it's true that the puzzles add an element of weirdness to what would otherwise be a run-of-the-mill turn-based fighting title. In its own way, the game draws attention to this by reminding you that you can automate battles and let your faceless protagonist and companions handle the boring parts.
But what I think makes OFF interesting today is how explicit it is in its influences. The game positions itself as a Marxist critique of the system, and it doesn't hide its intentions. Bertolt Brecht would be pleased with these pupils of his, up to including a section wherein the game recognizes the limits of its own artifice. The only element that keeps it from being better, in my opinion, is that this recognition of artificiality doesn't seem to be directed at the format OFF is working on. The game feels like it has chosen to be an RPG because it was the easiest thing for Mortis Ghost to do, not because the RPG was an optimal format for telling its story. But at the same time, there are very few games that, even today, dare to be this ideologically direct, which still makes it a worthwhile experience even after all these years.
Pero lo que creo que hace a OFF interesante hoy en día es lo directo que es en sus referencias. El juego se posiciona como una crítica marxista en clave RPG, y no esconde en absoluto sus influencias. Bertolt Brecht se sentiría satisfecho con el trabajo de estos alumnos suyos, incluida la parte en la que el juego reconoce los límites de su propio artificio. El único elemento que impide a este juego ser una joya inmaculada, en mi opinión, es que ese reconocimiento de artificialidad no parece dirigirse al formato sobre el que trabaja OFF. El juego se siente que ha escogido ser un RPG porque era lo más sencillo de hacer para Mortis Ghost, y no porque el RPG fuera un formato óptimo para contar su historia. Pero al mismo tiempo, hay muy pocos juegos que, incluso hoy, se atreven a ser así de directos en su ideología, lo que lo sigue haciendo especial muchos años después.
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There are aspects to OFF that I think are a bit quaint even for the era that saw its birth. Within RPGs, I think it's a fairly traditional work, but it's true that the puzzles add an element of weirdness to what would otherwise be a run-of-the-mill turn-based fighting title. In its own way, the game draws attention to this by reminding you that you can automate battles and let your faceless protagonist and companions handle the boring parts.
But what I think makes OFF interesting today is how explicit it is in its influences. The game positions itself as a Marxist critique of the system, and it doesn't hide its intentions. Bertolt Brecht would be pleased with these pupils of his, up to including a section wherein the game recognizes the limits of its own artifice. The only element that keeps it from being better, in my opinion, is that this recognition of artificiality doesn't seem to be directed at the format OFF is working on. The game feels like it has chosen to be an RPG because it was the easiest thing for Mortis Ghost to do, not because the RPG was an optimal format for telling its story. But at the same time, there are very few games that, even today, dare to be this ideologically direct, which still makes it a worthwhile experience even after all these years.
TBD
Este juego sigue la estela de obra como Dominique Pamplemousse y la obra imaginativa del homófobo Doug TenNapel. Gob abraza la textura roñosa y desagradable de la plastilina con la que está hecha para sumergirte en un mundo sucio y cruento que, pese a todo, despide inocencia y maravilla infantil. La manera que tiene este estilo de mezclar lo asqueroso con lo bonito es algo que siento que se ha perdido un poco en los videojuegos, y que se ha denostado con la entrada en vigor del paradigma wholesome. Ahora bien, el juego es algo obtuso y requiere un tiempo de aprendizaje, y si ves que para salir de la habitación te estás dando un canto en los dientes, te recomiendo que lo dejes reposar un poco.
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This game follows the lead of works like Dominique Pamplemousse and the designs of noted homophobe Doug TenNapel. Gob embraces the grungy, nasty texture of the plasticine it's made out of to immerse you in a dirty, gory world that, despite everything, exudes innocence and childlike wonder. The way this style mixes the disgusting with the innocent is something I feel has been a bit lost in video games, what with the sway that the wholesome paradigm has taken. However, the game is a bit obtuse and requires some time to learn, and if you see yourself getting frustrated with it, I recommend that you let it rest for a while.
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This game follows the lead of works like Dominique Pamplemousse and the designs of noted homophobe Doug TenNapel. Gob embraces the grungy, nasty texture of the plasticine it's made out of to immerse you in a dirty, gory world that, despite everything, exudes innocence and childlike wonder. The way this style mixes the disgusting with the innocent is something I feel has been a bit lost in video games, what with the sway that the wholesome paradigm has taken. However, the game is a bit obtuse and requires some time to learn, and if you see yourself getting frustrated with it, I recommend that you let it rest for a while.
FAITH es vieja compañía a estas alturas, y su presencia y resolución ya resulta bienvenida, que no inesperada. He disfrutado mucho siguiéndole la pista a Airdorf todo este tiempo, y aunque creo que su pequeña trilogía ha caído en el clásico error de querer agrandarse y ensancharse hasta dejar de abarcar lo que controlaba, siento que este juego enlaza bastante bien con lo que venía explorando desde un principio. Así que ahora sólo me queda desearle suerte en lo que esté por hacer en los próximos años.
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Playing FAITH is like a habit, and its presence at this point in time is welcomes, but not unexpected. I've really enjoyed following Airdorf's lead throughout the years, and while I think his little trilogy has fallen into the classic pit of wanting to get bigger and wider until not being able to deliver what it set out to do, I feel this game ties in quite neatly with what's been explored since the beginning. So now I can only wish him luck on whatever he sets out to do next.
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Playing FAITH is like a habit, and its presence at this point in time is welcomes, but not unexpected. I've really enjoyed following Airdorf's lead throughout the years, and while I think his little trilogy has fallen into the classic pit of wanting to get bigger and wider until not being able to deliver what it set out to do, I feel this game ties in quite neatly with what's been explored since the beginning. So now I can only wish him luck on whatever he sets out to do next.
Este juego me ha traído poderosos recuerdos de dos épocas muy separadas entre sí. La primera se remonta a mi infancia y a aquellos primeros CDs que el ordenador de mi familia empezó a regalarme, y que tenían a personajes como Pipo en la portada. La segunda se retrae a la moda los juegos de terror de los 2010, y a la infinidad de youtubers dejándose asustar por juegos como Slender Tubbies. Baldi's Basics es más complejo de lo que un juego que imita el estilo de Slenderman podría dar a entender, pero a día de hoy sobrevive más que nada como una vaga amalgama de recuerdos inconexos por épocas muy diferentes del medio.
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This game has brought back powerful memories of two very different time periods. The first one goes back to my childhood and those first CDs that my family's computer started to gift me, which had characters like Pipo on the cover. The second one goes back to the horror game craze of the 2010s, and to countless youtubers getting scared by games like Slender Tubbies. Baldi's Basics is more complex than its trappings could imply, but it mostly exists as a vague and not very deep amalgam of these unconnected memories.
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This game has brought back powerful memories of two very different time periods. The first one goes back to my childhood and those first CDs that my family's computer started to gift me, which had characters like Pipo on the cover. The second one goes back to the horror game craze of the 2010s, and to countless youtubers getting scared by games like Slender Tubbies. Baldi's Basics is more complex than its trappings could imply, but it mostly exists as a vague and not very deep amalgam of these unconnected memories.
El último juego en la línea clásica de Gears of War es una destilación de desafíos arcade, con algunas armas nuevas y una interfaz alterada que enfatiza la velocidad y cambiar de equipo constantemente. En ese sentido, es verdad que cuesta un poco acostumbrarse a él y a su extraño sentido del ritmo. Pero me resisto a llamarlo un mal juego, porque siento que los niveles y los retos planteados animan a que juegues de maneras que en otras circunstancias jamás te plantearías. Es como intentar agotar todas las posibilidades del estilo de juego innovado por Gears antes de jubilarlo del todo. Así que me lo pasé bastante bien jugando a estas misioncillas. El hecho de que el modo historia utilice un sistema de narración fragmentario no hace sino reafirmar lo que ya pensaba de los Gears como juegos resignados a una violencia infinita, aunque en este caso es una que ayuda a unir personas distintas contra una causa común. En ese sentido, se siente mucho más militarista y pro-guerra que la trilogía original.
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The last game from the classic Gears of War line is a succession of arcade challenges, with some newly added weapons and an revamped interface that emphasizes speed and switching weapons. In that sense, it certainly takes a bit to get used to it and its strange sense of rhythm. But I'm reluctant to say it's bad, because it feels like the levels and challenges are there to encourage you to play in ways you hadn't considered. It feels like it's trying to exhaust all the options of the gameplay before retiring it, and with that mindset, I had a pretty good time with the missions. The campaign uses a fragmented narrative that only reaffirms what I already thought about the Gears games, which is that they are resigned to deliver violence and nothing else. In this case, the violence is there to unite different people against a common cause, and in that sense, it feels much more militaristic and warmongering than the original trilogy.
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The last game from the classic Gears of War line is a succession of arcade challenges, with some newly added weapons and an revamped interface that emphasizes speed and switching weapons. In that sense, it certainly takes a bit to get used to it and its strange sense of rhythm. But I'm reluctant to say it's bad, because it feels like the levels and challenges are there to encourage you to play in ways you hadn't considered. It feels like it's trying to exhaust all the options of the gameplay before retiring it, and with that mindset, I had a pretty good time with the missions. The campaign uses a fragmented narrative that only reaffirms what I already thought about the Gears games, which is that they are resigned to deliver violence and nothing else. In this case, the violence is there to unite different people against a common cause, and in that sense, it feels much more militaristic and warmongering than the original trilogy.
Este DLC de más o menos hora y media pretende ser una vuelta a los tiempos de Gears of War 1, con la salvedad de que cuentas con personajes propios (que funcionan como fanservice) y un modo bastante poco trabajado en el que puedes controlar al malo de la primera entrada. Es una secuencia muy poco llamativa, con tal vez el añadido interesante de un nivel en una escuela que construye bastante bien la tensión.
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This half and hour DLC is intended to take you back to the times of Gears of War 1, with a different roster of characters that are mostly fanservice and a mechanical addition that lets you play the bad guy, though not very inspired. It's pretty unremarkable, with the exception of school level that built tension quite well.
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This half and hour DLC is intended to take you back to the times of Gears of War 1, with a different roster of characters that are mostly fanservice and a mechanical addition that lets you play the bad guy, though not very inspired. It's pretty unremarkable, with the exception of school level that built tension quite well.