-
Introducing NeoGAF Gold
EDGE scores - issue 223 - January 2011 [Update: Next Month Teaser 164]
- Thread starter British Monsoon
- Start date
- 254
I haven't played bayonetta so I'm just going by what people said about the combat. hence "seemingly".
I have not been commenting on bayonetta's quality as a game. i've been focusing on the art style and how it's entirely possible that it could turn people off the game.
I brought in Kurt Logan as an extreme example to show that "unique" and "consistent" are silly adjectives to use to say that Art is somehow "good" or "bad". it's all so fucking relative. i don't like bayonetta's style AT ALL and I don't really give a shit if it's consistently terrible or erratically terrible. to me, it's still terrible.
I have not been commenting on bayonetta's quality as a game. i've been focusing on the art style and how it's entirely possible that it could turn people off the game.
I brought in Kurt Logan as an extreme example to show that "unique" and "consistent" are silly adjectives to use to say that Art is somehow "good" or "bad". it's all so fucking relative. i don't like bayonetta's style AT ALL and I don't really give a shit if it's consistently terrible or erratically terrible. to me, it's still terrible.
Review scores seem to be on the money and while I don't agree with most of the awards they seem to be at least sane.
And yeah Bayonetta has pretty terrible art design. The enemies just look terrible. Really unappealing for me and it probably impacted my judgment of the game a bit. Still, the actual gameplay is good.
And yeah Bayonetta has pretty terrible art design. The enemies just look terrible. Really unappealing for me and it probably impacted my judgment of the game a bit. Still, the actual gameplay is good.
do you know anything about sound design? because, yes, limbo's sound design is of extraordinary quality and its execution is very unique, often subtle but extremely polished, and masterfully implemented.
the slow and brooding buildup to a dark ambiance with hints of sinister strings and distant, muffled, warm harmonies and the ever-present environmental sounds, the faint ambient noise... there's the slow and eerie passages with warm and organic sound and the cold, empty stretches of unknown, potentially dangerous terrain followed by sudden outbursts of dark and violent melodic and sometimes disharmonic flashes. then there's the excellent use of reverberation, doing a fantastic job of setting the mood in general, especially later on.
but the sound design has gameplay implications as well and is often used very cleverly and to great effect. one scene in particular comes to mind: the first encounter with the spider...
you walk across a long stretch of grass in the forest. but it's eerily quiet, so you're alert. there's hardly a sound and no obstacles or dangers in sight, so of course you notice the trap high up on a tree, but for now it seems useless, so you continue on ahead to find the big spider blocking your path. first you only hear a rattling from the bushes. then it reveals its long and ominous looking legs and you get closer, wondering what will happen next. suddenly it seems to target you but you step back just in time before it manages to pierce you. it misses, but instead its leg violently stomps and shakes the ground. WHOOMP. now the sound definitely has your full attention. after another stomp everything turns quiet again for half a second. and then you hear it: a metallic *CLANK* from your left speaker, from somewhere off-screen. you know what happened almost immediately: the trap you just walked past must have fallen from the tree. and you realize what's next...
yes, truly masterful sound design
the slow and brooding buildup to a dark ambiance with hints of sinister strings and distant, muffled, warm harmonies and the ever-present environmental sounds, the faint ambient noise... there's the slow and eerie passages with warm and organic sound and the cold, empty stretches of unknown, potentially dangerous terrain followed by sudden outbursts of dark and violent melodic and sometimes disharmonic flashes. then there's the excellent use of reverberation, doing a fantastic job of setting the mood in general, especially later on.
but the sound design has gameplay implications as well and is often used very cleverly and to great effect. one scene in particular comes to mind: the first encounter with the spider...
you walk across a long stretch of grass in the forest. but it's eerily quiet, so you're alert. there's hardly a sound and no obstacles or dangers in sight, so of course you notice the trap high up on a tree, but for now it seems useless, so you continue on ahead to find the big spider blocking your path. first you only hear a rattling from the bushes. then it reveals its long and ominous looking legs and you get closer, wondering what will happen next. suddenly it seems to target you but you step back just in time before it manages to pierce you. it misses, but instead its leg violently stomps and shakes the ground. WHOOMP. now the sound definitely has your full attention. after another stomp everything turns quiet again for half a second. and then you hear it: a metallic *CLANK* from your left speaker, from somewhere off-screen. you know what happened almost immediately: the trap you just walked past must have fallen from the tree. and you realize what's next...
yes, truly masterful sound design
jarosh said:
do you know anything about sound design? because, yes, limbo's sound design is of extraordinary quality and its execution is very unique, often subtle but extremely polished, and masterfully implemented.
the slow and brooding buildup to a dark ambiance with hints of sinister strings and distant, muffled, warm harmonies and the ever-present environmental sounds, the faint ambient noise... there's the slow and eerie passages with warm and organic sound and the cold, empty stretches of unknown, potentially dangerous terrain followed by sudden outbursts of dark and violent melodic and sometimes disharmonic flashes. then there's the excellent use of reverberation, doing a fantastic job of setting the mood in general, especially later on.
but the sound design has gameplay implications as well and is often used very cleverly and to great effect. one scene in particular comes to mind: the first encounter with the spider...
you walk across a long stretch of grass in the forest. but it's eerily quiet, so you're alert. there's hardly a sound and no obstacles or dangers in sight, so of course you notice the trap high up on a tree, but for now it seems useless, so you continue on ahead to find the big spider blocking your path. it stomps and shakes the ground with its long, dangerous looking legs. after another stomp everything turns quiet again for half a second. and then you hear it: a metallic *CLANK* from your left speaker, from somewhere off-screen. you know what happened almost immediately: the trap you just walked past must have fallen from the tree. and you realize what's next...
yes, truly masterful sound design
the slow and brooding buildup to a dark ambiance with hints of sinister strings and distant, muffled, warm harmonies and the ever-present environmental sounds, the faint ambient noise... there's the slow and eerie passages with warm and organic sound and the cold, empty stretches of unknown, potentially dangerous terrain followed by sudden outbursts of dark and violent melodic and sometimes disharmonic flashes. then there's the excellent use of reverberation, doing a fantastic job of setting the mood in general, especially later on.
but the sound design has gameplay implications as well and is often used very cleverly and to great effect. one scene in particular comes to mind: the first encounter with the spider...
you walk across a long stretch of grass in the forest. but it's eerily quiet, so you're alert. there's hardly a sound and no obstacles or dangers in sight, so of course you notice the trap high up on a tree, but for now it seems useless, so you continue on ahead to find the big spider blocking your path. it stomps and shakes the ground with its long, dangerous looking legs. after another stomp everything turns quiet again for half a second. and then you hear it: a metallic *CLANK* from your left speaker, from somewhere off-screen. you know what happened almost immediately: the trap you just walked past must have fallen from the tree. and you realize what's next...
yes, truly masterful sound design
One thing I'll saw about Limbo. When I handed the controller to my casual gaming brother to play, knowing nothing about what he was getting himself into, I made a point of cranking the volume way, WAY up while I watched with sadistic anticipation.
My god those spike traps made us jump out of our seats every time. So god damned brutal.
My god those spike traps made us jump out of our seats every time. So god damned brutal.