The core challenge of this section of the game is to avoid the shockwave, which is a design decision that has implications regarding the level geometry. These ludic functions of sound are unique to the medium of video games, and INSIDE provides a valuable case-study in combining multiple functions using the single core mechanic of persistently looping audio. The “musical suture” (Kamp, in: Ludomusicology: approaches to video game music, Equinox, Sheffield, 2016) created by continuously looping audio during death and respawn is also examined with regards to immersing the player within an evolving soundscape.Ĭollins ( 2008) posits that interactive games must ensure that the player hears sounds that provide feedback based on their actions, instruct them as to their objectives, and orientate them within the world of the game. The concept of spectromorphology proposed by Smalley (Organised Sound 2(2):107–126, 1997) is used to analyse the way in which musical cues can retain ludic functionality and promote immersion in the absence of diegetic sound design. This paper uses this aspect of the soundtrack as a case study, examining the effects of looping sound effects and abstract musical cues on player immersion, ludic functionality, and episodic engagement. Released on Microsoft Windows, Playstation 4, Xbox One, Nintendo Switch and iOS, 2016) features a gameplay section in which rhythmic audio cues loop continuously both during gameplay and after player death. It’d be easy to play one of these games on a long plane ride or trip.The manner in which soundscapes evolve and change during gameplay can have many implications regarding player experience. Honestly, this became my favorite way to play the two games, and their short nature make them perfect for bite-sized play sessions on the go. Inside and Limbo are creepy games, and I had a great time playing in handheld mode with headphones on, taking in all the myriad minimalistic sound effects and music. The feedback of the Joy-Con help make the game just a tad bit more immersive, and it surprisingly upped the tension ever so slightly. Rumble is used mostly when you land from jumps, or at times when things are shaking on screen. We’ve seen with games like 1-2 Switch that the Joy-Con’s rumble can be used in more intricate ways than most controllers, and while this is a small touch it helps add more to Inside and Limbo. There is one somewhat new feature that I really like on Switch, however, and that’s the rumble used in the Joy-Cons. I ran into zero instances of slowdown on either game when playing in handheld mode, and its impressive that the framerate stays at a steady pace on the little system. Switching to TV mode, however, Inside looks just as visually striking on Switch as its counterparts on PS4 and PC. Limbo’s art style results in the game looking vibrant on the quality handheld screen, and while Inside takes a tiny bit of a resolution hit in handheld mode, it also looks fantastic. This means that the games run smooth as butter on the Switch, just like other versions, even when playing in handheld mode. It’s a boon that both games sport simplistic art styles, although they’re both highly evocative at the same time. Luckily, I can say that playing Limbo and Inside on Switch are great experiences, and may just be the best way to play them yet. Obviously, fans were excited to hear both titles would be making their way to Nintendo Switch, but like with any port worries about performance spring up. Both titles have been acclaimed by both critics and fans, with Inside even garnering a 4.5/5 from us here at Twinfinite. Chief among the top indie games are Limbo and Inside, two pseudo-horror platformers from the developer Playdead. Indie games have gained phenomenal traction over the years, with tons of standout titles garnering attention for their artistic style, unique gameplay, and more.
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