![]() ![]() ![]() Light is used to build tension and instill fear – I found myself hesitating to step into the light because I was afraid it might kill me. Typically, light equals safety and security, but the game transforms it into something to be scared of. This is just one small way “Inside” is able to evoke emotions and tell a story. For example, some areas are watched by robots with powerful searchlights that will kill anything that they see – anything entering the light receives a swift death. Lighting and shadows are also put to excellent use in “Inside.” While often being used to great effect in atmosphere building – such as when a car’s headlights cut through the forest – light is also used in gameplay elements. Though subtle, the camera movement feels careful and deliberate – shifting your perspective towards important objects or events, building tension or framing interesting shots. The camera pans, zooms and rotates ever so slightly, almost as if it’s playing with the newfound sense of freedom that 3D provides. Splashes of color such as the protagonist’s red shirt allow certain things to stand out and help draw the player’s attention to objects in the environment. Unlike the monochromatic “Limbo,” “Inside” actually has a color palette – although it’s very drab and muted. Backgrounds and foregrounds show great attention to detail, and some puzzles will even require you to manipulate elements in the foreground and background. The game conveys an excellent sense of depth that makes the world feel bigger and more alive. You’re still limited to a single plane of movement (left to right), but the jump to 3D feels like a big step up and is a massive improvement in the storytelling department. While “Limbo” was rendered in a flat 2D, “Inside” uses 3D graphics. ![]() The most notable difference is the art style. ![]() The result is a game that manages to surpass “Limbo” in almost every way. Instead of delivering more of the same, Playdead took the essence of “Limbo,” refined it and built upon it. While these comparisons are easy to make – especially upon seeing “Inside” for the first time – they only exist on a surface level. “Inside” even shares in “Limbo’s” feverish desire to kill the young protagonist in a variety of grotesque ways should you fail a puzzle or sequence. They both feature a dark, brooding soundtrack (written by the same composer) which is used sparingly in order to build tension or atmosphere. Players control an unnamed, faceless young boy as he solves physics-based puzzles to progress.īoth games have simple controls – you can only run, jump and grab. It took developer Playdead six years to release their next game, “Inside.” On the surface, it’s incredibly easy to make comparisons between “Inside” and “Limbo.” Both are puzzle-platformers taking place on a 2D plane, set in a mysterious, dark world. Even today, “Limbo” sticks out very clearly in my mind – an impressive feat for a 2D, black and white game with no dialogue. However, even with these shortcomings, “Limbo” managed to create an experience unlike any other at the time. It suffered from an abrupt ending and some puzzles were poorly designed, requiring too much trial-and-error to solve. With a monochromatic color palette, a complete lack of words or dialogue, physics-based puzzles and surprisingly gruesome death animations, I loved “Limbo” for its unique presentation. Six years ago, Danish video game developer Playdead released their debut title “Limbo” – a dark 2D puzzle – platformer that took a minimalist approach to art and storytelling. ![]()
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