Before we start: no, little Orpheus is Do not Walking simulator.
In recent years, “China Room” (which I think is very unfair) has become disgusting with its “walking simulator”. These games will take you through the gentle and even powerful stories that unfold as you roam. A well-thought-out game, no guns and spouting arteries are not so worth your time and money. This is obviously incorrect-this is from a shooting fan-but perhaps after acknowledging this criticism, the studio’s latest effort has shed the encouraging ecstasy of Dear Esther and Everyone’s Gone and instead takes you In the noisy 1960s, I ventured through a lot of bright and charming places.
And it’s done well. The visual effect is pleasing. Sheet music is the perfect music accompaniment. The sound performance is sublime. In our two stories, the brisk and humorous narrative that reverberates back and forth between our two characters is casually, but not overwhelmed. Every chapter shares DNA, yes, but every time they will take you to a new exotic place, the story is full of mystery, magic, dinosaurs, giant worms, colored walruses, magic helmets and hidden deep in the sea Krakens. Each segment is an impeccable exploration pleasure, and its perfectly tonal script is made from an impressive cast in a soft, relaxed and perfect expression. When he stumbles through Plutonia, our protagonist Ivan Ivanovich screams in panic. Should this be a delightful nervousness? -When he slipped from a squeaky, sullen moment to the next moment.
The world we explored came from Ivanovich who recounted the three years he had been to, and it was completely MIA. Although Ivanovich failed medical treatment (and was arrested for cheating in the entrance exam; I have fallen in love with him), he was still a Soviet astronaut, not selected for the space race, but Travel in opposite directions; the center of the earth. As Ivanovic was dragged to his fierce General Yurkova, and forced to explain him for the past three years… the story became clear, disappeared, disappeared from the earth, and he took the The valence of the atomic bomb provided the power for his exploration module.
Oh, this is a charming yarn, a glorious adventure. In other words, the ending did not satisfy me. There are too many sharp story points, and these stories may not make the characters I gradually understand (and love) meaningful. I can’t deny that I like this journey, and I can’t deny that Laika is the first animal to orbit the earth in Sputnik 2, the unexpected cameo of Laika. The amazing visual performance is only further enhanced by amazing, perfectly balanced scores, allowing me to sit in repeated credit sequences so that I can immerse myself in the pleasure of the Little Orpheus theme.
Each chapter is sealed with a tourniquet, “commuting” for thirty minutes (although it doesn’t matter now, does it?), honestly, it’s almost correct, and neatly abridged my meeting. However, the problem is that it is too small.
It’s amazing to see the development team meticulously crafting such a unique customized story. However, distilling such a gorgeous, bright and colorful world onto such a small screen is distressing, especially on the iPhone; real estate is usually messed up by one’s clumsy big fingers, and a single number can be completely Cover Ivanovich’s sight. Things are better when playing on the larger iPad display, but I spent a whole time trying to witness the majesty of the towering background and Ivanovic’s animated face clinging to the larger screen.
The mechanic also felt exhausted from the screen swiping. Although in most cases, Little Orpheus’s platform is sufficiently forgiving and can usually telegraph to where it should be next, fingers cannot replace the accuracy of the controller or mouse/keyboard. The early games were not problematic, but the frequent chase sequence-plus the particularly frustrating parts of Chapters 7 and 8-required depth range and accuracy not suitable for iPhone.
The checkpoint is also a bit mean. Not so-believe me, my situation is worse-but imprecise mechanisms and tiny screens often lead to false errors. Keeping the same old environment is not fun, especially if you are forced to listen to Ivanovich, Yurkovoi exchanges the same conversation once, twice or even multiple times. But succumbing to death rarely feels unfair or unfounded.
Interestingly, there is not much hierarchical learning. The skills Ivanovic used in Chapter One—from vines to vines, climbing platforms, pulling ropes, pulling heavy switches, grasping and repositioning crates—are no different from the obstacles in Chapter 8. However, although some ideas have been recycled, for example, you will see the light from Menk searchlights many times throughout the journey, but they have not been welcomed. Like narration, they are not overused during the four-hour running time of the game.
In the end, things got a little more complicated. The glowing mist swirling under your feet-seemingly deadly-begins to rise, which requires you to stand up day and night-not easy on mobile devices. Rotating your fingers to manipulate the wooden gears scattered on the snow cliff in Chapter 4 feels intuitive, but it turns out that you only need to hold your fingers, which violates my instinct. Before starting the game, the pair of gears must be adjusted, but it is difficult to see them correctly from a given perspective. The same goes for the swing in the late game. Under forced 2D perspective, they are just a little hard to measure.
Oh, but that time when I pretended to be a dinosaur egg, the music also followed me up? Or is it time for me to crawl along the fleshy, elastic interior of a giant whale and avoid the gall bladder? I pushed an ice cube and it splashed into the frozen water, sawing a Day-Glo walrus into the air. I sneaked past the terrible Tyrannosaurus Rex, with big teeth and poor eyesight.Little Orpheus is Stuffed Despite such outstanding moments, and despite its rude control scheme and occasional frustration, it is all for anyone who wants a portable but substantive adventurous with color, charm, and a pleasant sense of humor. necessary.