Listen to this podcast. I’ll show you what this mouth can do.
Happy Halloween oooooooooooooooh! and welcome back to the podcast. Today, we’re going to be talking about Slitterhead, an action horror title, and the first game from developer Bokeh Game Studio, founded by one of the creators of Silent Hill. In Slitterhead, you play as a kind of spirit entity with the ability to possess regular people. Some of these people are more special than others, “rarities,” and they mostly act as your main playable characters throughout the game. While possessed, characters can attack and use skills and you can swap between people with very few restrictions. This allows you to cover distance quickly, make it harder for enemies to hit you, as well as more specific tech like “avoiding” fall damage and setting traps with certain skills. This is a really cool concept for a combat system and an even cooler concept for the tone and narrative of the game. Unfortunately, that’s about the best that Slitterhead gets. The whole game is designed in a very dated way, with disconnected missions that need to be replayed multiple times with little to no variation, a lack of enemy types to flesh out the combat system which could have been fairly deep, and generally shows a lack of polish that could have really helped it sing. What is there can still be cool, if you’re particularly nostalgic for that sixth or seventh generation design, but it requires some patience and the ability to appreciate the ideas the game has despite its flaws. We’re going to be talking about the classifications of rarities and what we think the game was trying to accomplish with its systems, the frustration of being forced to play through a section multiple times, and we lament the state of development that makes games so expensive.
Thank you for joining us again this week! This is one of those games that feels like it has such a good idea that it just wasn’t quite capable of delivering on that makes the finished product more disappointing than anything, but still, I’ve seen the game has its fans. If that’s you, let us know what it is you like about it in the comments or over on our Discord. I’m sure some things that were a big deal for us might not be for you, and some of our negatives are positives in your eyes, it’s all subjective. Next time, however, we’re going to be talking about Silent Hill f, so we hope you’ll join us then!
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Listen to this podcast. I’ll show you what this mouth can do.
Happy Halloween oooooooooooooooh! and welcome back to the podcast. Today, we’re going to be talking about Slitterhead, an action horror title, and the first game from developer Bokeh Game Studio, founded by one of the creators of Silent Hill. In Slitterhead, you play as a kind of spirit entity with the ability to possess regular people. Some of these people are more special than others, “rarities,” and they mostly act as your main playable characters throughout the game. While possessed, characters can attack and use skills and you can swap between people with very few restrictions. This allows you to cover distance quickly, make it harder for enemies to hit you, as well as more specific tech like “avoiding” fall damage and setting traps with certain skills. This is a really cool concept for a combat system and an even cooler concept for the tone and narrative of the game. Unfortunately, that’s about the best that Slitterhead gets. The whole game is designed in a very dated way, with disconnected missions that need to be replayed multiple times with little to no variation, a lack of enemy types to flesh out the combat system which could have been fairly deep, and generally shows a lack of polish that could have really helped it sing. What is there can still be cool, if you’re particularly nostalgic for that sixth or seventh generation design, but it requires some patience and the ability to appreciate the ideas the game has despite its flaws. We’re going to be talking about the classifications of rarities and what we think the game was trying to accomplish with its systems, the frustration of being forced to play through a section multiple times, and we lament the state of development that makes games so expensive.
Thank you for joining us again this week! This is one of those games that feels like it has such a good idea that it just wasn’t quite capable of delivering on that makes the finished product more disappointing than anything, but still, I’ve seen the game has its fans. If that’s you, let us know what it is you like about it in the comments or over on our Discord. I’m sure some things that were a big deal for us might not be for you, and some of our negatives are positives in your eyes, it’s all subjective. Next time, however, we’re going to be talking about Silent Hill f, so we hope you’ll join us then!
Episode 184 - Bring Me the Cellos - Darkest Dungeon
Describing The Skybox
1 hour 23 minutes 58 seconds
8 months ago
Episode 184 - Bring Me the Cellos - Darkest Dungeon
In time, you will know the tragic extent of my podcast,
Welcome to Fanbruary! For our first listener suggested title this year, we’re talking about Darkest Dungeon, an RPG with Lovecraftian themes and light roguelike elements. Darkest Dungeon is known to be a difficult game, and it sticks to this design ethos with a commendable level of commitment. Depending on who you are, maybe too much commitment. With a large number of random factors affecting everything from what characters you get offered, the results of looting and in-combat effects, playing through the game’s dungeons feels like a Rube Goldberg machine of quirks, diseases, attacks and more triggering in a sequence that is almost always bad for you. This makes the climb for upgrades and ever-higher-leveled characters slow, but (I imagine) rewarding for dedicated players. And if you’re looking to become one of those dedicated players, don’t despair, or do despair, I guess, because the game’s non-gameplay elements do a great job of selling an atmosphere of hopelessness and fear, underscored by a charismatic and slightly shmaltzy narrator. This game has a lot going for it, but your enjoyment is ultimately going to be decided by your level of patience and how much you like turn based combat. We talk about the game’s difficulty and what parts of it we felt we could adequately prepare for, our biggest tribulations, and we discuss how part of the game could have been better if it was more like a pretzel.
Thank you for joining us again this week, and thank you for all your submissions for Fanbruary! I’m sure this is starting to sound like a thing I just say every episode, but as usual, we are running a bit behind this month, but we will get four episodes out for Fanbruary that just might bleed a bit into March. This game tried and successfully defeated us, unfortunately, but I’d be curious to hear from more long-term players if they’ve found consistent strategies or what high level play actually looks like, given that I only exhibited low level play. Let us know in the comments or over on Discord! Next time, we’re going to be talking about Castlevania 64, another game with a bit of a dismal atmosphere, but perhaps lightened by the jank of early 3D games, so we hope you’ll join us then.
Describing The Skybox
Listen to this podcast. I’ll show you what this mouth can do.
Happy Halloween oooooooooooooooh! and welcome back to the podcast. Today, we’re going to be talking about Slitterhead, an action horror title, and the first game from developer Bokeh Game Studio, founded by one of the creators of Silent Hill. In Slitterhead, you play as a kind of spirit entity with the ability to possess regular people. Some of these people are more special than others, “rarities,” and they mostly act as your main playable characters throughout the game. While possessed, characters can attack and use skills and you can swap between people with very few restrictions. This allows you to cover distance quickly, make it harder for enemies to hit you, as well as more specific tech like “avoiding” fall damage and setting traps with certain skills. This is a really cool concept for a combat system and an even cooler concept for the tone and narrative of the game. Unfortunately, that’s about the best that Slitterhead gets. The whole game is designed in a very dated way, with disconnected missions that need to be replayed multiple times with little to no variation, a lack of enemy types to flesh out the combat system which could have been fairly deep, and generally shows a lack of polish that could have really helped it sing. What is there can still be cool, if you’re particularly nostalgic for that sixth or seventh generation design, but it requires some patience and the ability to appreciate the ideas the game has despite its flaws. We’re going to be talking about the classifications of rarities and what we think the game was trying to accomplish with its systems, the frustration of being forced to play through a section multiple times, and we lament the state of development that makes games so expensive.
Thank you for joining us again this week! This is one of those games that feels like it has such a good idea that it just wasn’t quite capable of delivering on that makes the finished product more disappointing than anything, but still, I’ve seen the game has its fans. If that’s you, let us know what it is you like about it in the comments or over on our Discord. I’m sure some things that were a big deal for us might not be for you, and some of our negatives are positives in your eyes, it’s all subjective. Next time, however, we’re going to be talking about Silent Hill f, so we hope you’ll join us then!
