It does the same or more damage, and it’s faster in addition to being ranged, so it’s always the preferred weapon. Hyper Light Drifter makes the obvious but uncommon choice to make the gun strictly better than the sword. Your weapons are the typical sword and gun, and the typical distinction here is for them to be useful in different situations: the sword is powerful but dangerous, while the gun is convenient but weak. Attacking and dodging both have subtle, smart mechanics that give the game’s action unusual contours. Verb-wise, it’s basically “move,” “dodge,” “kill.”Īgain, there’s enough effort put into this to make it better than it sounds. Aside from a generic “interact” button used to open doors and pick up items and soforth, everything you can actually do in the game is focused on finding groups of enemies and killing them. So you’ve you’ve got this rich, mysterious, expansive world to explore, and your only means of interacting with it is to kill things. Most impressively, there are many huge, unique setpieces that add a real presence to otherwise generic areas. The copy/paste effect is largely avoided different instances of the same structures will have slight differences or be broken in different ways. The environments are big and messy, making it feel like the world has some actual weight behind it. It uses pixel art, but it isn’t really “retro” – it’s an aesthetic, but it’s not intentionally low-quality. But it’s made with considerably more care and effort than your typical pointless nostalgic throwback. It’s not particularly friendly, because it assumes that you’re already familiar with the things that it expects you to do. You run around fighting enemies and picking up items, working your way towards the big, imposing bosses, and dying over and over again while you try to figure out what the hell you’re supposed to be doing. Hyper Light Drifter is a typical video game that presents itself as a typical video game. Video games have been and are overwhelmingly concerned with the noun “enemy” and the verb “kill.” This framework doesn’t work for everything – it’s difficult to apply meaningfully to abstract games, and it’s an awkward fit for sim games, where you’re basically just selecting options off a menu – but, imaginatively speaking, there should be a large variety of potential “sentences” you can form like this, giving games a rich expressive language that can address a wide variety of human concerns. That second part, the, is the “noun,” which is the object within the game that you’re “verb”-ing. Like, in Mario you can run, jump, duck, fireball, grab turtle shell in old adventure games you can USE ON. So there’s this concept in game design called “verbs,” which are basically all the actions that the player can take in a game.
0 kommentar(er)
