The expressive, one-to-one controls are as likely to send you flying in the wrong direction as to propel you in anything like the right one.īut also, it’s a genuinely intriguing central mechanic. It’s an unfathomably inefficient means of locomotion, and a ridiculous sight to behold. In Foddy’s rendition, your avatar can’t use his legs because they’re in a cauldron, clanking against the ground and sloshing with liquid: the protagonist’s own sweat, I couldn’t help but think. Our hero has legs, but they do him no good. Getting Over It cribs its premise from a Game Maker oddity called Sexy Hiking, wherein a bedroom-eyed MS Paint dude has to drag his way up a mountain using a hammer. Getting Over It with Bennett Foddy is at once a refinement of this idea, a loving homage to experimental game design, and a meditation on the value of making and consuming obtuse, difficult, or otherwise indigestible works. Running and climbing aren’t especially difficult things to do in most video games-but when you’ve got to, say, control each of a unicorn’s limbs individually, any attempt at progress can result in a surreal failure-farce the likes of which only games can provide (and that even games, when they do provide it, tend to provide unintentionally). The control schemes were the rub, you see. Until recently, Bennet Foddy was best known for QWOP, CLOP, and GRIP, three games about performing relatively simple actions with tremendous difficulty.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |