![]() ![]() However, I do feel that The Beginner's Guide has already gone further down this path of authorship as an aesthetic. That this trash is found objects on the internet punctuates the point nicely. This is reinforced cleverly through the heavy use of trash in the mountain that you are trying to get over. Getting into a game in this way is still very fresh-feeling. Bennett Foddy's narration feels like Spike Lee acting in his own movies. It feels like a game made by an individual with something to say. I think that the real innovation of the game is in the fact that it is authored. Also, things like catching your hammer on a bit of an outcrop can be entirely unexpected by the player and can result in major movement. ![]() Additionally, slight differences in factors like angle and thrust can result in vastly differing results. Physics is a thing that people intuitively understand but find difficult to accurately predict. I found that to be a highly imaginative reconstruction of a standard game design pattern and the fact that later stages can take you back before that point is very thought-provoking.Īlso of note here is how well the physics-based system underpinning this game works. There are outcroppings designed for you to hook onto when falling and there are areas that serve sort of like checkpoints in that they're difficult to fall out of. Additionally, by tying itself to the concept of getting over things, it conveys ideas relevant to the human experience. Getting Over It says a lot in an often elegant manner. Game designs often work out to building a shared language between the game and the player and then using that language to say things. I'm constantly impressed by how eloquent the game design is. Like them, getting better through repetition and rote learning is the bulk of the experience of the game. I've had the exact same feeling that this game engendered in a lot of platformer games before. This article assumes that the game doesn't substantially change what it has to say beyond that, which is quite possibly false. I only got a little past The Devil's Chimney and I've only skimmed a video about twice past that.The importance of the name is going to come up a couple more times in this article. The realization of common turns of phrase is something that there needs to be more of and that games do well. The game's name is key to the entire experience.Like Robert Yang stated in his manifesto, much of the value of the game actually comes from the fact that it exists more than the actual playing of it.It is the promise of reward that justifies the frustration. The side story of Sexy Hiking is a lot of what keeps me going through the game.I accept that I'm in a cauldron as the game starts with that premise, and as a result it is only logical that I can only move myself with the hammer. ![]() It also keeps me from feeling that there are other actions that I should be able to take.
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