Portal was one of the best games of this century: originally a fan - mod of half - life, it used a clever - as -
fuck game mechanic and outstanding game writing to tell a story and pose riddles that were fun to solve, play and watch.
Not exact matches
Sakaguchi and Horii defined an entire
fucking genre with their work and gave us such loveable and time - honored
game mechanics as mindless grinding, random encounters, useless potions and skills, and severely padded story lines with lots of fetch - questing, back - tracking, menial labor... okay it wasn't all positive... in fact
fuck all their other
games.
Moving on away from previous issues, I would like to ask one question which is pertinent to me: Why the
fuck would you include a «sneak»
mechanic in a hack»n' slash
game?!
I hate Crash as a character, and it is so obviously derivative of early Sonic
games it makes me sad Sega became so bad at making Sonic
games, but what we have here is a platformer where the core
mechanics work (ignoring the
fucking double jumps crapping out), the story is whack but it is generic platformer whack, and there is enough to sink your teeth into if you want to 100 % a platformer collect - athon.
Not only is it worth praising for how it ties in with the in -
game mechanics it's paired with, its instrumentation is also totally
fucking nuts in the best possible way; funky electric bass (a recurring theme of Mitsuda's work) is layered with shrill, panicked violins while the chords and time signatures shift and shiver around chromatic, jazzy melodies.