Finished up with Edgeworth, so I've come over to this next. In general: it's pretty great!
It is beautiful, charming, and responsive - a solid base for a 3D mascot platformer. It performs fabulously on even the *spits* PS5 amateur, and rather than chasing ultimate fidelity, throwing loads of stuff on the screen that has physical properties that feel and respond so brilliantly is definitely my preferred way of flexing the horsepower.
While I think identifying 'lives' as a bit of an outdated concept is one thing, I do think its overuse of checkpoints does turn it into a bit more of a passive experience, but I see as well there's some other, shorter levels that are a bit more challenging, so I'm looking forward to getting onto those. So far, bosses have been fantastic. Huge, expressive, creative, each different but also straightforward enough that doing the thing is the focus rather than having to spend too long figuring it out... just... all very yes.
Unfortunately I saw someone compare its conveyer belt of gaming references to 'Ready Player One' the other day and that has hung over it like the figure of death the whole time. I spent the first week seeing so many people sharing "OMG look it's X!" snaps, and comparatively I'm instinctively just skipping through these as soon as possible to get on with the game. I think this angle was a bit less intrusive with Playroom, whereas over the course of a longer game that's no longer in the context of shilling a new system it's not quite the same? I may be on the outside with this, but eh, I dunno.
Its most heinous crime however is that there's an oft-used piece of music that has a melody that triggers my fight-or-flight reflex by sounding like it's going to lead into the chorus of pop warbler Jessie J's "Price Tag". It isn't, but it still puts me on edge every god damn time.
It is beautiful, charming, and responsive - a solid base for a 3D mascot platformer. It performs fabulously on even the *spits* PS5 amateur, and rather than chasing ultimate fidelity, throwing loads of stuff on the screen that has physical properties that feel and respond so brilliantly is definitely my preferred way of flexing the horsepower.
While I think identifying 'lives' as a bit of an outdated concept is one thing, I do think its overuse of checkpoints does turn it into a bit more of a passive experience, but I see as well there's some other, shorter levels that are a bit more challenging, so I'm looking forward to getting onto those. So far, bosses have been fantastic. Huge, expressive, creative, each different but also straightforward enough that doing the thing is the focus rather than having to spend too long figuring it out... just... all very yes.
Unfortunately I saw someone compare its conveyer belt of gaming references to 'Ready Player One' the other day and that has hung over it like the figure of death the whole time. I spent the first week seeing so many people sharing "OMG look it's X!" snaps, and comparatively I'm instinctively just skipping through these as soon as possible to get on with the game. I think this angle was a bit less intrusive with Playroom, whereas over the course of a longer game that's no longer in the context of shilling a new system it's not quite the same? I may be on the outside with this, but eh, I dunno.
Its most heinous crime however is that there's an oft-used piece of music that has a melody that triggers my fight-or-flight reflex by sounding like it's going to lead into the chorus of pop warbler Jessie J's "Price Tag". It isn't, but it still puts me on edge every god damn time.
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