ABSOLUTE CINEMA
apenas joguei sem saber e te garanto que é uma das melhores experência que vc vai ter.
desculpa sem spoilers manito apenas joguei sem saber
apenas joguei sem saber e te garanto que é uma das melhores experência que vc vai ter.
desculpa sem spoilers manito apenas joguei sem saber
This game is a fucking ride, when it had its hooks in me I couldn't put it down until I'd finished it. While Inscryption is overall the superior game, The Hex is Daniel Mullins's best story, and god damn is it creative.
conceptually enjoyable but the result of it doing so many genres with simple controls leads to a finished project with a scope that's a mile wide but an inch deep. the story is what keeps it going but after a while the switching of mechanics just gets kind of annoying. also the artstyle here just looks ugly to me, if it's intentional i suppose i understand but to me it just looks like a shitty miniclip flash game.
Et c'est quoi la suite, the Hept ? 😂
Bim, ça c'est de l'humour à géométrie variable !
Mouais je vais peut-être la supprimer celle-là
Bim, ça c'est de l'humour à géométrie variable !
Mouais je vais peut-être la supprimer celle-là
When Dan Mullins hits, it's a resounding win for indie games as a whole. The Hex plays with such unique genre shifting and a wonderful metanarrative about humble beginnings being overtaken by early onset fame and money being introduced into someone's life. As always, the metanarrative fucking rocks and it builds to an ending that I honestly like more than Inscryption's. Inscryption is without a doubt the better overall product, but The Hex surprised me. And I do so love when Dan Mullins surprises me.
I'm not even totally sure what I just played, but dang is it good. This genre-bending, fourth wall-breaking experience is something that I definitely didn't expect, and would definitely recommend everyone to play it.
MANO...
MANO...
Sem palavras, isso daqui... como eu nunca ouvi falar ninguém falando disso, como não tem vídeo sobre esse jogo no Youtube Br??
Agradeço mto aos meus amigos por terem recomendado a trilogia de jogos do Daniel Mullins, pqp...
MANO...
Sem palavras, isso daqui... como eu nunca ouvi falar ninguém falando disso, como não tem vídeo sobre esse jogo no Youtube Br??
Agradeço mto aos meus amigos por terem recomendado a trilogia de jogos do Daniel Mullins, pqp...
This review contains spoilers
This game is weird, because it's hard to give a rating. Thing is, it's kind of uneven. It's very good in some places, and a bit annoying in others.
OK, so it's a metagame thing, where the real story is about the developer of all the games the different player characters are from. It's cute, it's well done, there's clever stuff in it. The ending especially and is pretty impactful. When this game comes together and is working, it really, really works well. But the problem is that this game is also a tour through these different genres like fighting games or RPGs, and some of these bits drag.
In particular, the middle chapter is a sendup of "classic" (that is, shitty) JRPGs. It's making fun of how those games had boring and repetitive combat, gruesomely overwritten dialog and were three times too long. It makes you do three different boss fights to get the orbs so you can move on. I get that this is the structure of the exact games it's making fun of, where getting to do the same three things as everyone else but in the order you want lets the games claim they have choice and consequences. But it's a tedious padding technique in those games and it has the exact same effect here!
Another complicated feature is the puzzles toward the end. Going from game-within-a-game to game-editor-within-a-game is really clever, and it's a good device paired with the metacommentary from Lionel Thingie. But the puzzles themselves are nakedly stolen from The Witness. Now, listen, I'm not judging anyone for stealing ideas (I think Picasso was right about that one), but the problem is that in a game that really wants you to think about their creators, and what they say about their games, and whether they're assholes or not, then going anywhere near the question of Jonathan Blow is something that's hard for the audience to treat as accidental. I mean, are we to understand that Lionel Thingie is being compared to Blow? What's the point being made there?
And finally, while the final Walk segment is effective both as a poke at walking sims and a climax of the game, the problem is that the whole concept is lifted from The Beginner's Guide! Once again, I like it when good ideas from one work are used in another, but this is too blatant. Is the plagiarism the point? Is this game a response to that game somehow?
Still, you have to give credit to any game that can prompt a little thought like this. This sure is saying something. I also really dug the visual style. It's simple 2D, but I think it's effective, and the style is also agreeably consistent throughout the game. I thought the transformations into the top-down shooter and JRPG perspectives were quite clever, too.
OK, so it's a metagame thing, where the real story is about the developer of all the games the different player characters are from. It's cute, it's well done, there's clever stuff in it. The ending especially and is pretty impactful. When this game comes together and is working, it really, really works well. But the problem is that this game is also a tour through these different genres like fighting games or RPGs, and some of these bits drag.
In particular, the middle chapter is a sendup of "classic" (that is, shitty) JRPGs. It's making fun of how those games had boring and repetitive combat, gruesomely overwritten dialog and were three times too long. It makes you do three different boss fights to get the orbs so you can move on. I get that this is the structure of the exact games it's making fun of, where getting to do the same three things as everyone else but in the order you want lets the games claim they have choice and consequences. But it's a tedious padding technique in those games and it has the exact same effect here!
Another complicated feature is the puzzles toward the end. Going from game-within-a-game to game-editor-within-a-game is really clever, and it's a good device paired with the metacommentary from Lionel Thingie. But the puzzles themselves are nakedly stolen from The Witness. Now, listen, I'm not judging anyone for stealing ideas (I think Picasso was right about that one), but the problem is that in a game that really wants you to think about their creators, and what they say about their games, and whether they're assholes or not, then going anywhere near the question of Jonathan Blow is something that's hard for the audience to treat as accidental. I mean, are we to understand that Lionel Thingie is being compared to Blow? What's the point being made there?
And finally, while the final Walk segment is effective both as a poke at walking sims and a climax of the game, the problem is that the whole concept is lifted from The Beginner's Guide! Once again, I like it when good ideas from one work are used in another, but this is too blatant. Is the plagiarism the point? Is this game a response to that game somehow?
Still, you have to give credit to any game that can prompt a little thought like this. This sure is saying something. I also really dug the visual style. It's simple 2D, but I think it's effective, and the style is also agreeably consistent throughout the game. I thought the transformations into the top-down shooter and JRPG perspectives were quite clever, too.
They could never make me hate you Super Weasel Kid! I really thought I would achievement hunt this one but I don't have it in me...maybe someday. Certain parts drove me nuts but if there's one thing Daniel Mullins gets right every time is that the lust for answers far outweighs any nuisance.
Very excited for Pony Island 2, Danny knows how to make a game. My on critique is that it kinda drags, don't wanna spoil but the onslaught of different gameplay elements gets annoying. Rad game.