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!
It won’t end nicely. Not this time.
Welcome back to the podcast! Today, on a special epilogue episode, we’re going to be taking another look at Bloodborne. This is a FromSoftware action RPG, tragically confined to the Sony ecosystem, but still containing a lot of the genre trappings of the games related to Dark Souls. However, the combat has ben retooled to be faster and more aggressive and the setting has been moved from medieval dark fantasy to gothic and Lovecraftian horror. Similarly to Sekrio, From, even when experimenting with genres and themes outside of their typical wheelhouse, manages to create a shockingly complete package. The mechanics of the notoriously difficult series play into the unfathomable nature of cosmic horror, the gothic werewolf stuff has a consistent narrative throughline into the otherworldly stuff, it’s all very well considered. It still uses the Dark/Demon’s Souls style of storytelling that leaves the burden of interpretation on the player, but it works especially well in a world in which clear answers would run counter to the game’s themes. It’s a fantastic game and one we wanted to take another crack at given that it’s been eight years since our original episode. We’re going to be talking about the interplay between the studio’s signature style and the game’s themes, how the weapon mechanics change the way you approach Bloodborne compared to other Soulslikes, and we give a massive shoutout to our boy Floory.
Thank you for (re) joining us again this week! Without accounting for some anomalies here and there, we’ve released around three hundred episodes of this podcast over ten years and Bloodborne has been one of those that seemed ripe for the epilogue series given its age relative to how much we like it as a game. If you haven’t played the game yet, is it because you don’t own a Playstation? That would be a good reason. If you do own one, what’s up? Do you hate quality? Let us know in the comments below or over on our Discord! Next time is an extremely special episode leading into some also special announcements, given that it is Episode 200 and on the cusp of our ten year anniversary, so we’re finally playing the game that we are the last two people on Earth to have not played, Minecraft! We hope you’ll join us then, and keep an eye out for the upcoming news.
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!
