got me thinking, among other things, about the various priorities the 3d platformer can take on...been playing this a bit in tandem with what is shaping up to be my first full playthru of mario 64 (and with sephonie as the most recent 3d platformer ive returned to) and i feel like they all illustrate some kind of imaginary rubric that u can place most of not all 3d platformers on. mario 64 here represents games that prioritize the Player Character above all else, famously slaved over for total perfection before a single real level was ever made...i'd say games like Demon Turf and Pseudoregalia pick up this torch the most. sephonie is for me the undisputed peak of the focus being the world itself, in a physical geometrical way...every move in ur toolkit is about interacting with specifically the space, u cant accomplish nearly as much in an empty room as u can with games in that first category. cavern of dreams then is a herald for games that mainly prioritize the world, but as Context rather then Shapes. its super super refreshing tbh...the spaces are about as far from abstraction as u can get despite how surreal and impossible they are. thinking about places and objects as Themselves are essential for solving the puzzles, which are the main focus here and an absolute delight...so many moments of realization were paired with a joyful smile. also super adorable and crittery, and vaguely disquieting but not in a way where it feels like its secretly threatening...all the colors are right there to be appreciated, its just strange to walk thru such expressionist worlds. an incredibly worthy successor to rareware platformers, which in retro terms were the kings of this kind of context-heavy approach (and in a slightly different way, story-driven adventure games like psychonauts). many of these indie 3d platformers take from the rareware lineage, corn kidz 64 also gave me a lot of banjo vibes, but all the games turn out so different! wonderful stuff, and extremely comforting game...v little high stakes platforming, just vibes and exploration and cool puzzles. also even tho this was a fairly easy 100%, its one of my favorites ive probably ever done...half of it gives u one of the coolest rewards EVER, the other half contains one of the coolest puzzles in the game...which ended up being the final card i needed, so it rly went out on a high note. and ofc, the whole game Expertly makes u feel like a Little Guy

Reports of the mid-budget game’s death have been greatly exaggerated. They’re generally now something you have to more actively be on the lookout for, but there are still plenty of them with all the same hallmarks cynics’d have you believe we don’t get anymore – navigation by way of unique geographical landmarks as opposed to UI widgets, obtuse systems you only learn the inner workings of by throwing yourself into the deep end, visual design and mechanics strange enough to ward off the easily disoriented and more. Few games in recent memory exemplify it all better than this.

While that clip works a rough vertical slice of what you can expect from Clash’s combat, its little nuances aren’t immediately obvious at a glance. The way its blocking system works feels especially distinctive from other action games with parries, temporarily slowing down the enemy you block almost like a localised version of Witch Time, but key to the balance it strikes between complexity and accessibility is how it lets you cancel any light punch at any point into one of a special attack, jump or dodge. It’s a narrow but malleable core which enables a bunch of playstyles simultaneously; you can help speed along Zenozoik’s death by manipulating these mechanics to absolutely wombo combo its denizens, be less committal and whittle them down while dodging away and luring them into each other’s attacks, focus on filling Pseudo’s attack gauge to spend as much time in his superpowered first person mode as possible or take any number of other approaches. Chuck in unlockable combat styles you can find through exploration (complementing its revamped, Bloodborne-inspired level design) alongside some light moveset customisation and you’ve got the type of game you’ll be reloading saves before boss encounters just to replay them differently, this all being before you get into modifiers brought about by the Ritual.

This is essentially an in-universe dice game that you can challenge bosses to before the fisticuffs start, during which the pair of you offer up an artifact to either somehow alter the fighting area, debuff one’s opponent or introduce some other advantage to one’s side depending on who has the most dice remaining by the end. The effects can get pretty creative, thick fog rolling in and obscuring your vision in exchange for causing enemies to swing blindly at whatever’s nearby being a suitably chaotic standout, though my favourite has to be the paired Pact and Summon artifacts. Winning the Ritual with the former active lets you store the boss you’ve beaten as an ally which you can then summon to help you by upon winning a second game with the latter equipped – if you stack up enough of both, you can essentially turn an unusual beat ‘em up into an even more unusual version of Pokemon, pitting cannibalistic mushroom men against tripedal bright blue elk with faces growing out of their chests and all manner of other weird and wonderful mercenaries I’ve no idea how these guys’ concept artists dreamt up. It does sometimes feel tedious that there’s no way to forfeit the Ritual once you’ve challenged someone to it, but it’s a worthwhile exchange for the sheer variation it enables in combat encounters. It’s everything I mentioned in the first paragraph dialled up to 11, fostered by an almost totally optional minigame. How cool is that?

I’m already predisposed to love any fictional world conceptually bizarre enough to feature something like this as its sole governing law, but it helps that it’s got the art direction to match. It’s one thing to be able to point your camera anywhere in a game and have a new wallpaper on your hands, another entirely both to craft such a genuinely alien environment and render it consistently readable without anything resembling objective markers. It’s perplexion with a purpose: it’d have been much easier to just let the player’s map or some other immersion breaking visual cue do all the thinking for them, but instead, the environmental artists and modellers gave it their all and went the extra mile to make this nutcase’s fever dream a believable place you’re expected to organically learn the lay of. Their creativity even benefits the enemy design in a way – certain opponents not having a particularly big or varied moveset is offset at least a bit by how you can never really be sure how something as uncanny as a technicolour lion with the face of an elderly man (for example) is going to attack. It easily joins hands with Bayonetta Origins and Inkulinati on the podium of some of 2023’s most unique visual design, none of which received any industry recognition in this regard because why would those with large platforms ever try to raise awareness of anything actually interesting?

How or why any given game flies under the radar varies too much to pin it on a singular cause, it’s just a particular shame that it’s happened in this case because of the extent to which Clash is stuffed with things people commonly claim to want. It might sound like a hodgepodge of disparate ideas when you’re just reading about it, but to me there are clear throughlines connecting all of its esoteric mechanics, outlandish art, intimidatingly loopy level design and litany of music I can’t do justice to with words – a willingness to be different and respect for the player’s intelligence. You can only put so much stock into how a game’s number of plays correlates to its actual popularity on a site where Gravity Rush 2 has more than Starcraft and Minecraft has only about three times as many as a Yakuza game, but only managing double digits even in a place of relative enthusiasts wouldn’t seem to bode well for its prospects (or, at least, as well as something with these traits deserves).

That’s why I challenge you, whoever’s reading this, by the One Law: please take a chance on this game you may have missed. They don’t make them like this anymore, except when they do! And when they do, you’ll be reminded of how much we could still do with more games like it.