The Beat of Crypt of the NecroDancer

Crypt of the NecroDancer is a game set to music, and is about living the beat. (Except for Bard mode, which I shan’t speak of again.) It’s set on a grid, and every movement on that grid has to happen on (or close to) the beat. The character physically can’t leave the square otherwise, and […]

The Text in The House Abandon

The House Abandon emulates the experience of playing a horror text adventure called “The House Abandon” on a Futuro 128k. It has one mechanic: typing. No Code made the game for the Ludum Dare 36 game jam, which had a three-day limit. By basing their design on a single, simple mechanic it seems No Code […]

The Ammunition in Fallout 4

Fallout 4 has impossible ammunition. It has no weight. If you work hard enough to find them, the game will let you carry 200 miniature nuclear bombs while you sprint down the road. While this is absurd, it isn’t uncommon: the ammunition in Payday 2 has a per-person cap, but has no weight (only duffle bags have […]

The Soundtrack in Eldritch

In the traditional sense, Eldritch barely has a soundtrack. The library (your hub area) is totally silent, and the temples have only the most subtle of ambient tracks – distant echoes, the sighing of wind, maybe some low-key guitar chords. Every playthrough starts with a distinct guitar riff, then settles into disquiet. Your footsteps are […]

The Days of This War of Mine

The war is made of days. Each starts with a few bars of music, a splash image to denote the current state of Pogoren (riddled with looters, relatively calm, buried in snow, etc), and a gigantic “DAY __”. When that screen fades, the player’s shelter appears, and whoever they sent out to scavenge last night […]