2022
2022
2018
2020
Hylics 2 is a reiteration of its prequel Hylics. They have roughly the same intent and content but 2 is adapted out of the RPG Maker engine and has a lot more gloss. Both are awesome!
Hylics uses spellbinding visual presentation and bizarre language, including randomly-generated dialogue in parts, to present a game with actually extremely familiar RPG mechanics in an unfamiliar and alien way. It might be a cool way of demonstrating that the language of game mechanics is universal, because Hylics could have almost no English text in it and my experience with it might have been the same.
The RPG/game elements are nothing remarkable but they are very thoughtfully balanced and employed so that players will never feel divorced from the game in the same way that they feel divorced from the surreal setting.
By the end of Hylics 2, though, a fairly clear picture of the overall plot as a basic space opera about conquering the rise of anachronistic fascism distills. It isn't so different from a story we can understand after all. The characters may not say much, but they still feel unique thanks to their appearances and occupations.
An amazing setpiece in Hylics 2 is a sequence where a maze generates beneath the player's feet as they descend, and a shepherd's tone accompanies your path, making it feel urgent all the way down. At the end, there's a terrifying caterpillar-like boss that pushes towards you as the ground scrolls into the background, while an awesome and strangely dramatic trippy melody plays. It's a big summation of Hylics - immense stimulation of the player's senses through the ceaseless visual and audio work required to set up, like a perfectly executed domino chain.
It stands out for all lovers of art and weird games!
Hylics uses spellbinding visual presentation and bizarre language, including randomly-generated dialogue in parts, to present a game with actually extremely familiar RPG mechanics in an unfamiliar and alien way. It might be a cool way of demonstrating that the language of game mechanics is universal, because Hylics could have almost no English text in it and my experience with it might have been the same.
The RPG/game elements are nothing remarkable but they are very thoughtfully balanced and employed so that players will never feel divorced from the game in the same way that they feel divorced from the surreal setting.
By the end of Hylics 2, though, a fairly clear picture of the overall plot as a basic space opera about conquering the rise of anachronistic fascism distills. It isn't so different from a story we can understand after all. The characters may not say much, but they still feel unique thanks to their appearances and occupations.
An amazing setpiece in Hylics 2 is a sequence where a maze generates beneath the player's feet as they descend, and a shepherd's tone accompanies your path, making it feel urgent all the way down. At the end, there's a terrifying caterpillar-like boss that pushes towards you as the ground scrolls into the background, while an awesome and strangely dramatic trippy melody plays. It's a big summation of Hylics - immense stimulation of the player's senses through the ceaseless visual and audio work required to set up, like a perfectly executed domino chain.
It stands out for all lovers of art and weird games!
2021
2021
2021
2020
Someday Frictional will make the connection that their narrative and horror successes exist exactly where they don't overlap with the adjective 'Lovecraftian'. In this one, particular, it is gut-wrenching to see a unique and terrifying horror setpiece - the desert fort - thrown away for a bunch of space temple triangle puzzles in the name of... uh... aliens, cosmic horror, or something.
The atmospheric power present in The Dark Descent is here, but while there's nothing about the narrative that's inherently a failure, it's a burden. You can just make a game and focus on it being scary.
Striking the little match feels great though.
The atmospheric power present in The Dark Descent is here, but while there's nothing about the narrative that's inherently a failure, it's a burden. You can just make a game and focus on it being scary.
Striking the little match feels great though.
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