I have a few recs for games that are eerie and atmospheric and have good art direction and stuff but, well, video games being what they are most involve combat unfortunately. The only entry I could think to add would be Gone Home.
I have a few recs for games that are eerie and atmospheric and have good art direction and stuff but, well, video games being what they are most involve combat unfortunately. The only entry I could think to add would be Gone Home.
Another I'm interested in!
My main issue is I suck at having to respond to things quickly and my hand-eye coordination is tragic. The beau can attest.
I would recommend Fallow, but I really can't in good conscience since developer J. Tobin seems to have dropped off the face of the Earth and it may never get finished.
You should try To The Moon, as well. It's definitely worth a playthrough no matter who you are.
Maybe A Bird Story. By the same folks as To The Moon, though I would say it's slightly less good but also more weird, so YMMV. It's really cute, though.
As far as literally no combat the only things I could think of are Gone Home and the Zero Escape series. Dunno if the latter is your cup of tea, but it is very good.
As for ones I haven't played, you might want to look into Proteus, Firewatch, or Everybody's Gone to the Rapture.
To The Moon is a strange game that I liked a lot but tends to get very strong reactions in one direction or the other, I know some people who absolutely hate that game.
So that one I second but with perhaps less confidence.
Tried it. Only missiles work, as far as I can tell.
Anyway, I managed to finish with 27% items. Apparently you can go as low as 14%, but that is not for mere mortal cows like myself.
also
charge works
Charge works against Mom Brain's second form (the standing up one) but not, to my knowledge, against the first (sitting on the pedestal with the glass jar thingy).
To The Moon is a strange game that I liked a lot but tends to get very strong reactions in one direction or the other, I know some people who absolutely hate that game.
So that one I second but with perhaps less confidence.
1, CoM, and 2 tell a very complete story on their own and it's really only 2 where bloat sets in and even then there's an identifiable purpose a good portion of the time and most of it "works" on at least some level. People rag on the prologue because, well, it is overlong, but for me at least it served its purpose pretty damn well- its "final days of summer" atmosphere was very affecting when I first played it, and Roxas's morose demeanor and the way he sees his entire reality unraveled is absolutely heartbreaking. It should have been shorter, but it kind of had to feel a bit repetitive IMHO.
358/2 is very important to me in a very personal way. There's the unavoidable issue that it's manufacturing conflict to make a complete story less complete but man. I don't know if I could sum up why I love it and why I think it's so misunderstood in one post.
BBS is irritating. Probably my least favorite in the series, actually.
r:C serves one purpose: Saying to the player "Gee! We sure are in a bind on account of all these new plot threads! Don't worry, Sora will fix it all!" A purpose also served handily by BBS's epilogue. At least it's fun.
3D serves one purpose: Saying to the player "Gee! We sure are in a bind on account of all these new plot threads! Don't worry, Sora will fix it all!" A purpose also served handily by BBS's epilogue. It's also the worst in the series gameplay-wise.
I mean, it doesn't look terrible I suppose. I don't like that many missions now FORCE you to fight people - they took away the option of a no-combat run. Many missions now REQUIRE you to fight. I always felt that the ability to avoid combat, to purely run, was a very distinctive part of Mirror's Edge. Combat was always secondary, but now it's forced on the player, limiting your playstyle.
Based on youtube videos I have watched, it also looks like they've got you traversing the same areas quite often due to the open world aspect. In the original, each area was essentially a puzzle to solve, where that's no longer the case since you already know the answers. I don't think this is a game that benefits from being open world - it's better for each level to be specifically designed. You're on rails regardless (big YOU ARE LEAVING THE AREA OF THIS MISSION warning) to some extent, so it's not really an exploration game, per se, especially since there aren't things like cool items and whatnot to find. Some easter eggs maybe, but eh.
I also think it's very silly that there's an ability tree in the new Mirror's Edge. The gameplay should be very fluid and free-form. Things that make your running more fluid shouldn't be locked away. You can't even do a roll after a high jump at the beginning, which is a pretty basic thing. Mirror's Edge always excelled at letting the player have their head where gameplay is concerned, and this sort of... makes it choppier.
It's like they flipped where the freedom is. They took away full freedom of gameplay to instead give you an open world, which isn't even that great in this sort of game.
More of a personal thing that's subjective, but I also feel like they made the overall aesthetic a little more... overdone than it needs to be. Too many yellows, not enough pure whites. Comparing the two openers kind of defines what I'm talking about wrt aesthetic. Original Mirror's Edge. Everything is simple, clean. It's you and the city. You are a bird who floats across the top. Basic whites, strong colours, contrast. Annnnnd I couldn't find Catalyst's opening on youtube (last time I watched it, it was in the middle of someone-who-I-can't-remember's video), but the gameplay sort of shows it in other videos. The new opener is much busier - it's not you and the city, it's CITY CITY CITY YAY. Yeah, the original aesthetic is still there, but I feel like it's a bit more muted than it used to be. It's more Generic Utopia than it is Alien Utopia, if that makes sense? Either way, I'm aware this is very nit-picky, but game art style is something that is important in a game to me.
That all being said, I'm sure it'll still be a fun game, but they got rid of some of the core things that really appealed to me.
I would recommend Fallow, but I really can't in good conscience since developer J. Tobin seems to have dropped off the face of the Earth and it may never get finished.
Actually hold up when you say "no combat" do you mean nothing that tests your reflexes or just, straight up no fighting
Either/both. I'd prefer a minimum of fighting period, but I'm OK with low reflex requirements.
That said, part of my enjoyment of Undertale came from my aesthetic appreciation of danmaku games, even if I am awful at them. So *interesting* combat that isn't ludicrously hard is fine, too. Preferably flat-out weird/unique combat, so long as it's not wildly counterintuitive.
Also: Text adventures, y'all. So down for those if the writing's good.
As far as literally no combat the only things I could think of are Gone Home and the Zero Escape series. Dunno if the latter is your cup of tea, but it is very good.
As for ones I haven't played, you might want to look into Proteus, Firewatch, or Everybody's Gone to the Rapture.
To The Moon is a strange game that I liked a lot but tends to get very strong reactions in one direction or the other, I know some people who absolutely hate that game.
So that one I second but with perhaps less confidence.
To The Moon is a strange game that I liked a lot but tends to get very strong reactions in one direction or the other, I know some people who absolutely hate that game.
So that one I second but with perhaps less confidence.
I...kind of liked Dream Drop Distance. More than 358/2 at least. 358/2 was just a ton of filler and grinding down overlong HP bars. I remember going through all the bonus missions, finding the secret stuff, fusing weapons, cramming all the panels and multipliers my grid would allow, and still not being able to do more than 1HP to most enemies with anything other than your non-renewable magic.
Dream Drop Distance's main problem was that the bosses just straight-up had no openings. Every other game in the series you could counter or do something to stagger them, and then get in a good combo. These bosses...didn't. They just spam attacked and all you could really do was run away spamming balloons and homing fire.
I feel like DDD is probably the strongest outside of the main games, but it is in spite of its self-imposed issues.
for eerie visual novels there's one I've stumbled upon called We Know the Devil that was pretty interesting
so I stayed up all night completing this game, and yeah, I definitely would recommend it to everyone, if they're interested to see a particularly allegorical and esoteric take on the Queer Experience that's still really sympathetic and relatable - and a neat dark ambient soundtrack to boot, it'd be right up your alley Sredni
the true ending also really hits my favorable buttons in the best way :')
Comments
Gimme a minute and I can probably come up with some okay recs.
Anyway, I managed to finish with 27% items. Apparently you can go as low as 14%, but that is not for mere mortal cows like myself.
lol game of telephone
As for ones I haven't played, you might want to look into Proteus, Firewatch, or Everybody's Gone to the Rapture.
Actually, you might even like Minecraft.
charge works
Prove me wrong
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
the jar itself seems to have a few hundred
go me
and the other is playing Kingdom Hearts 358 Eternities/2
In Mass Effect and Dragon Age I skip through dialogue constantly because I read the lines so much faster than they're spoken
I didn't have that problem with Kingdom Hearts.
1, CoM, and 2 tell a very complete story on their own and it's really only 2 where bloat sets in and even then there's an identifiable purpose a good portion of the time and most of it "works" on at least some level. People rag on the prologue because, well, it is overlong, but for me at least it served its purpose pretty damn well- its "final days of summer" atmosphere was very affecting when I first played it, and Roxas's morose demeanor and the way he sees his entire reality unraveled is absolutely heartbreaking. It should have been shorter, but it kind of had to feel a bit repetitive IMHO.
358/2 is very important to me in a very personal way. There's the unavoidable issue that it's manufacturing conflict to make a complete story less complete but man. I don't know if I could sum up why I love it and why I think it's so misunderstood in one post.
BBS is irritating. Probably my least favorite in the series, actually.
r:C serves one purpose: Saying to the player "Gee! We sure are in a bind on account of all these new plot threads! Don't worry, Sora will fix it all!" A purpose also served handily by BBS's epilogue. At least it's fun.
3D serves one purpose: Saying to the player "Gee! We sure are in a bind on account of all these new plot threads! Don't worry, Sora will fix it all!" A purpose also served handily by BBS's epilogue. It's also the worst in the series gameplay-wise.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
well unless we use PhS for phantasy star i guess