You know, one man’s trash is another man’s treasure. I’d say Clair Obscur: Expedition 33 is worth playing for a lot of reasons, but I think it’s got huge fundamental issues in both its combat and narrative design; it’s still on the short list for most outlets’ game of the year awards this year. Hades just got a sequel, and I didn’t even care for the first one. For many people, those two games are just about the only roguelikes or -lites they’ve ever played, but I don’t think they’re even good ones of those; the level generation is so limited that you’ll have seen all their permutations quite quickly, and the bonuses from boons just about all feel superfluous and interchangeable. Hollow Knight holds this legendary status among metroidvanias, and Silksong followed suit. I thought Hollow Knight was just fine, but I was surprised to find that this was the game with that sort of following. When facing the possibility of playing Silksong this year or about 5 other video games that came out this year, I don’t think Silksong is making the cut.
But your mileage will absolutely vary. These games have hype for a reason: a lot of people love them. You might, too.
A big part of the appeal of Hollow Knight and Hades are their respective art styles. They are both genuinely gorgeous games, and it really improves the experience. I would rather open up Hades again instead of, say, TBoI for exactly that reason, despite my thinking that TBoI is the better roguelike.
Admittedly I can’t bring myself to enjoy Hollow Knight at all, but that’s just an issue of me disliking metroidvanias.
I played E33 for about 4 hours. The combat system is atrocious. It feels like I’m playing a turn based RPG but with elements of Dark Souls? The almost necessity of dodging in combat made me give the game up.
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You know, one man’s trash is another man’s treasure. I’d say Clair Obscur: Expedition 33 is worth playing for a lot of reasons, but I think it’s got huge fundamental issues in both its combat and narrative design; it’s still on the short list for most outlets’ game of the year awards this year. Hades just got a sequel, and I didn’t even care for the first one. For many people, those two games are just about the only roguelikes or -lites they’ve ever played, but I don’t think they’re even good ones of those; the level generation is so limited that you’ll have seen all their permutations quite quickly, and the bonuses from boons just about all feel superfluous and interchangeable. Hollow Knight holds this legendary status among metroidvanias, and Silksong followed suit. I thought Hollow Knight was just fine, but I was surprised to find that this was the game with that sort of following. When facing the possibility of playing Silksong this year or about 5 other video games that came out this year, I don’t think Silksong is making the cut.
But your mileage will absolutely vary. These games have hype for a reason: a lot of people love them. You might, too.
A big part of the appeal of Hollow Knight and Hades are their respective art styles. They are both genuinely gorgeous games, and it really improves the experience. I would rather open up Hades again instead of, say, TBoI for exactly that reason, despite my thinking that TBoI is the better roguelike.
Admittedly I can’t bring myself to enjoy Hollow Knight at all, but that’s just an issue of me disliking metroidvanias.
hades’ strength is its narrative; hk’s strength is its worldbuilding.
it’s very difficult to stand out on pure gameplay in the 21st century.
I played E33 for about 4 hours. The combat system is atrocious. It feels like I’m playing a turn based RPG but with elements of Dark Souls? The almost necessity of dodging in combat made me give the game up.
I’d go for CO:E33 too. Its a decent enough game but I don’t understand the absolute hype it receives. Probably a 5/10 game for me.