Sentences with phrase «designed boss fights»

With cleverly designed boss fights, delightful new suit power - ups (finally, we could be a Boo), and some of the best level variety since Super Mario Bros 3, Galaxy was one space odyssey that did not disappoint.

Platinum Games has always been at its best when designing boss fights, and that's still true here.

Not exact matches

Song of the Deep is a solid adventure, with some memorable boss fights and a complex level design.

Enemies and boss fights are bland, but this is more than made up for by excellent level design, hilarious dialogue, loveable characters, and an expertly realised, brilliantly Australian world.

The visuals are superb, the level design is amazing, the amount of content is huge, the replay value and multiplayer is great, the music is worthy of awards, it innovates on Donkey Kong Country Returns and adds so much in terms of new abilities and level designs and the boss fights are a lot of fun.

The boss fights are great, the music is absolutely wonderful, and the sound design all around is good.

Sticker Star had bland chapter designs and bland plots to them, all it was was «beat some levels, backtrack into other levels after solving a puzzle, fight the boss, get the Sticker Crown.»

Its gameplay mechanics are certainly enjoyable and the boss fights well designed but this ends up losing ground to a generic and bland plot, rather dull missions and cutscenes that contribute with very little to the overall experience.

The only other weaknesses I could say Breath of the Wild has other than somewhat uninspired dungeon boss designs (but the boss fights themselves are amazing) is the story and the final boss.

Jotun: Valhalla Edition is a beautiful, but sometimes shallow, crash course in Norse mythology that shines in its boss fights» designs and overall presentation.

Unfortunately while it does show potential, the disappointing boss fights, confusing level design and bland environment really dampens it as a whole.

While Tropical Freeze served as a vast improvement over (the admittedly great) Donkey Kong Country Returns in nearly every regard — from level design to boss fights to music — there were, unfortunately, two aspects in which Tropical Freeze merely followed suit with its predecessor, as opposed to improving it.

The bosses in the game aren't without some design issues, but I found myself glued to the edge of my seat each time I reached a new transformation animation in each fight.

The game consists of huge boss fights, talent trees, multiple endings and hand - crafted as well as procedurally designed levels.

+ Amazing soundtrack and art design + Raises the bar for boss fights in modern platformers

Jose Otero of IGN has given Super Mario Run an 8 out of 10, [9], praising the game for its strong level designs and new mechanics though also citing three - hit boss fights with Boom Boom and Bowser as «relics from Nintendo's past» and states that «they're not as smart or clever as the rest of the campaign stages.»

And for every instance of jarring level design or incongruous enemy placement here, there's the odd brilliant boss fight — not least Looking Glass Knight, which is one of my all - time favourites.

If you ignore Souls» colourful enemies and excellent level design, what you do in a typical Souls boss fight is not at all unlike what Monster Hunter demands.

There are also special events with the so called boss fights against an expert fictional racer that seem to be inspired from the design of the classic Need for Speed games, complete with their own opening real - time cinematics that introduces the main racer.

Just remember: boss fights are puzzles created with «open non-linear design» approach.

But it's the boss fights where things get really interesting, despite following the generic «shoot it in the blowing bit» design philosophy.

I expected to burn through the game in a couple hours, but I almost felt like it progressively got better with the level design and boss fights.

However, these diversions are most interesting when they take on the form of plentiful boss fights — well - designed battles that test your brain much more than they do your brawn, like one battle in limbo where you play a game of Simon Says with a ghost king to deal damage to him.

You will become intimately familiar with these as each boss in the game is designed to be a unique tactical battle, not the usual headlong beating of most fighting games.

While Tropical Freeze served as a vast improvement over (the admittedly great) Donkey Kong Country Returns in nearly every regard — from level design to boss fights to music — there were, unfortunately, two aspects in which Tropical Freeze merely followed suit with its predecessor, as opposed to improving it.

The enemy design includes guards with varying amounts of armour, weaponry and routines, mechanised spiders, flying drones, turrets and more besides with guards showing up in the middle of some levels to provide enemy reinforcements, while enemy boss fights include a larger spider bot, a centipede, a hover tank and more besides.

When adding that in to the underwhelming level design, inconsistent difficulty levels and frustrating boss fights, it sadly doesn't live up to its initial promise.

Throughout the majority of my time with Donkey Kong Country: Tropical Freeze, I wasn't exactly paying attention to the story set - up that gave DK and his friends the motivation to traverse the game's gorgeous and tough levels — I was simply enjoying the challenging gameplay flow, the sweet level design and the satisfying boss fights.

It was arguably the most inventive game in the series as well, with outrageous designs for stages; such as riding on missiles shot out of a helicopter, which are hitting the boss you're fighting, the top down perspectives in mode 7, and riding a futuristic motorcycle while shooting down enemies.

In the next part, I will talk about 2D and 3D art, sound / music, level design / boss fights, play - testing, getting the game onto an iPhone (Xcode), and the final crunch to the finish — the much juicier — and rewarding - parts of game making.

- the team has been adding weapons one by one because they want the same amount of attention for each weapon - the team learned that when they added two new weapons at once, one would end up getting overshadowed by the other - there were more new stages than returning stages because bringing back old stages would have little surprise - since they want to satisfy both new and returning players, they changed the order of stage additions - there weren't any major direction changes in balancing from Splatoon 1 - there have been more pattern combinations between weapons and stages, so there was more involved to balance them all - matchmaking is handled by getting 8 players with similar rank points, and then they're split by weapons - the rank point gap between S + players is bigger than ordinary players - only about one in 1,000 active players are in the S +40 to S +50 region in Ranked Battles - there's even less than one in 10 players that reach S +, while 80 % of the overall player base are in A or less - about 90 % of S + ranked players are within a + / -150 hidden ranked power range - rock was the popular genre in Splatoon, so they tried changing it for the sequel - they prioritized making good background music first before forming the band to play that music - the design team would make the CD jacket - like artwork afterwards - due to this, the band members would often change; some getting added while some others removed - Off the Hook is an exception, as they first decided they would be a DJ and rapper along with their visuals first - Off the Hook's song came afterwards - In Splatoon street fashion was the trend, but in Splatoon 2 they tried adding more uniqueness - the aim was to add Flow with ethnic clothing and Jelfonzo with high fashion - all Jellyfish in this world are born by splitting, which means Jelfonzo was born by splitting from Jelonzo - Jellyfish are like a hive mind - when they hold a wedding ceremony, they're just simply holding the ceremony - Jelonzo and Jelfonzo start gaining their own consciences so they can speak - Flow used her working holiday to go on a trip before reaching Inkopolis Square - during the trip, she met the owner of Headspace - the owner liked her, so she got hired to work there - Bisk has a unique way of speaking: anastrophe - the team tried to express him as an adult man - they made him into a giant spider crab because they wanted someone with high posture - he came from a cold country and broke up with his girlfriend to join a band - just like Flow, he became attracted to squids - Crusty Sean finally has his own shop, but he opened it because he's someone who follows the current trends - one of the trends happens to be people opening their own shops - drink tickets aren't stacked, but the probability is higher than a single brand - the music in Inkopolis Square changes depending on the player's location - sounds contribute to creating atmosphere in the location - the song at front of Grizzco Industries had an atmosphere that feels like some smell can radiate from the game screen - as for Salmon Run, they imagined it as a Japanese restaurant outside Japan that is not run by a Japanese person - each time the player moves between the shops, the game uses an arrange shift that shows the personality of each inhabitant - the arrangement in Shella Fresh is related to Bisk's guitar and mystery files that describe his past - with the Squid Sisters moved to Hero Mode, Off the Hook was put in charge in guiding battles and festivals - Bomb Rush Blush has an orchestra «because it would sound like the final boss» - the team wanted to express the feel of the story's real culprit with this music - the probability of each event occurring in Salmon Run is different - there are no specific requirements, meaning they're picked randomly - this means it's possible for fog to appear three times in a row - the Salmon have different appearances based on the environment they're raised in - if the environment is harsher, they would become large salmon - Steelheads and Maws have big bodies, while Scrappers and Steel Eels have high intelligence - Salmons basically wield kitchenware, but everybody else has a virtue in fighting to actually cook the Salmons - Grill is the ultimate form of this - when Salmons are fighting to the death, they can feel the same sense of unity - they would be one with the world if they were eaten by other creatures, and they also fight for the pride of their race - MakoMart is based on a large supermarket in America - the update also took place on Black Friday in America, which was why Squids are buying a lot of things in the trailer - Arowana Mall looks like it has more passages because there are changes in tenants and also renovation work - Walleye Warehouse has no changes at all, because the team wanted to have at least one map that stayed intact - the only thing different in this map is the graffiti, which is based on the winner of Famitsu's Squid Fashion Contest - all members in the band Ink Theory graduated from music university - they are well - educated girls who also do aggressive things - the band members wearing neckties are respecting the Hightide Era from the prequel - the team will continue adding weapons and stages for a year, and Splatfests for two years - the team will also continue to make more updates including balancing

«The boss fights are the high points both of character and combat design, these screen - filling grotesque creatures requiring canny use of your weaponset and associated projectiles»

The only other weaknesses I could say Breath of the Wild has other than somewhat uninspired dungeon boss designs (but the boss fights themselves are amazing) is the story and the final boss.

It expressed great interest, though, in the more standard 3D of the boss fight segments, and told them to scrap the project and instead focus on making a game based solely around that design.

The bosses are brilliantly designed, because you'll have to think differently while fighting them.

-- Handcrafted 2D graphics with explosion animations galore — Cutesy gore art and cheeky humor all perfectly balanced to enhance the gameplay — Multi-layered parallax backgrounds that draw the player in — The brash, but lovable anti-hero, Harry... aka... you — 30 levels crammed with relentless waves of bug assaults and evolving game design — 5 Merciless boss fights that are not meant for the timid or meek hearted — Dozens of different types of ferociously quirky bugs to slaughter — Coin hoarding to your heart's content — An arsenal of firepower to slice through the bugs like soft, melted butter — Upgradeable Weapons to make any trigger happy player smile — Turn the bugs to dust with the pitiless Power - Ups and feel free to beef them up at your leisure — Customizable suits because that color really does suit you — Complete missions and earn your stars of valor — With the ability to customize and upgrade weapons and power - ups, no two rounds are alike.

The boss fights are also well designed and so too are the mini boss fights which at times felt equally (if not more) harder than the actual boss fights.

Put your skills and reflexes to the test through furious melee combat and epic boss fights against uniquely designed enemies.

Though I was disappointed by the small role of the world ends with you characters and some frustrating designs, the end game completely saves it, giving those rage educing boss fights you hate with all your being until you finally emerge victorious feeling like a true Keyblade master.

It was originally designed as a purely boss fights game, but when it got a lot of attention at the 2014 E3, StudioMDHR decided to make something bigger and better.

Levels are designed around this feature, as are boss fights.

What I love (loved) about Life Force is the organic / machine design of most everything, not to mention it had some really cool boss fights along with both horizontal and vertical levels.

The cruelty in Japanese game design is fully explored in this game: if you die at the end of a level you often have to start again from the beginning of it, boss fights are very difficult on even the easiest setting and will require many hours of trial and error, you also can not save the game whenever you want to.

The bosses occasionally offer up a creative design or two, but the fights range between «over in a couple of seconds» and «laboriously long and drawn out.»

Puzzles and boss fights are just the right complexity and the level design is spot on... From the control scheme to the visual design the game just feels «right» as though all elements are working in harmony.»

A chapter on progression, one on purity of mechanics, another on boss fights, and level design, and visual evolution, and, and, and.

The game, which is exclusive to the Nintendo eShop on Wii U and Nintendo 3DS, includes 40 new dimension - bending levels and epic boss fights designed for super players.

The game consists of huge boss fights, talent trees, multiple endings and hand - crafted as well as procedurally designed levels.

With a well - developed metroidvania style, alongside a great amount of content, fun combat, beautiful aesthetics, singular design, moral choices involved in gameplay and unforgettables boss fights, it carves its own path to become one of the best indies of 2017 Read full review

The design is very unique, and with plenty of puzzles to solve and enemies / bosses to fight it still manages to be a fun and entertaining game.