Boards Journey is this game long? User Info: WalkingLobsters. User Info: Hemerukio. It's about 2 hours, a bit more if you stick around to pick everything up. Though that'll add up since the game's meant to be played more than once anyway. Certified Gilgamesh simp.
Yeah, the game is the perfect length to play in one sitting. You'll WANT to play again and again When you live for someone, you're prepared to die. Yeah, one game is about hours but the replay value is infinite. Huxley or Orwell? User Info: reikyu. Replay value is most definitely NOT infinite It's a beautiful game you'll want to play again, and it's worth the price for the graphical artistry alone.
Plus the multiplayer element is very clever and adds to the replay factor. That said, it's a very short game. It's also cheap, of course, but if you value hours per dollar as a factor in buying a game, then you might still be a tad disappointed. I don't, in fact I love shorter games, and I loved Journey. If you're tight for cash, maybe you'll want to wait for a price drop. If you've got a dozen or so bucks to spare, do get it. Make sure you play it in one sitting with no disturbing factors around you, at least the first time.
They are sheep, ruled by fear. About for trophies and everything else. This is yet another short game that leaves a lot to interpretation. One popular theory is that the small child is mind-controlled. This game cuts away from the quiet and meditative style and goes more for dialogue and character choices.
It is still a little dark though, with some pretty spooky moments. It is very story-driven while also having no cutscenes.
Unlike the previous games we mentioned, there is a lot of personality and interactions between the teenage characters. Basically the plot involves the group of friends closing an interdimensional rift. While the game is short, there is a lot of replay-ability due to the epilogue changing depending on the choices you make in the game. This game was a little less clean-cut than the others, as it actually received criticism for its shortness.
This may be because short games are expected to be more artistic while this one was expected to be similar to action-packed adventure games like Bloodborne or Metal Gear. However, the game has very good graphics and an engaging world. It's set in an alternate history if steampunk London. You play as part of an order of people who take down vampires and werewolves.
While some critics found the game to be just average, there are players who fell in love with it and have played it multiple times. This short puzzle-horror game has you play as a little child named Six in a world of monsters. The style is whimsical but dark at the same time, sort of like an old Tim Burton film, which is something a lot of fans loved about it. While you can beat the base game in three to six hours, there has been DLC released.
Fans have also praised the game for not depending on jump-scares and instead showing little creepy details that add more depth to the scary world around you. Also there are adorable cone-headed people you can throw and they sometimes mimic you.
This first-person adventure game takes place in Wyoming and is absolutely gorgeous. You play as Henry, a guy on fire watch in the Shoshone National Forest whose watchtower gets ransacked.
So you have the fun task of exploring the area and searching for clues. Can we do a Thatgamecompany spin - change the emotional feel - of a multiplayer game? That's how we started. So how do you get people to engage emotionally with other players in a multiplayer game? This would be the defining question for Journey, from the prototype through to the final release. And the answer, surprisingly, has more to do with what you take out than what you put in.
The first prototypes came very early. The prototype she saw was fairly basic, but playtests were already on the way. And they were already revealing interesting things about the ways that multiplayer games work.
Were they the right kind of interactions for the kind of game Thatgamecompany was seeking to make? Competition, or at least playing at cross-purposes, was an immediately obvious problem, "That [early] playtest informed us of the fact that having four people play at once introduces a lot of dynamics, like three-against-one or two-against-two," says Hunicke. Incompatibility came to the surface quickly.
And she was like, 'I hope you don't make a game that makes me feel like a slowpoke. Strange as it sounds, maybe there were simply too many players for the game to be truly social? Something had to give - and a reduction from four players to just two was an obvious starting point. But once Thatgamecompany started cutting things, it was hard to stop.
Hearing the team talk about it, it seems that Journey only started to truly emerge once things were being lopped off all over the place. Take communication: a necessity for a social game, surely? We supported all the conventional multiplayer game stuff. When we tried four players, people started to create situations where three player were heading out and leaving the other players behind.
That player felt socially left alone. There was a lot of disturbing experiences coming from the playtest so we knew that this wasn't the emotion we were going after. We were trimming off the weed that went away from our goal. So how about text communication? People hated to hear a teenage boy cursing at them and blaming them for not doing well. Those are the things that were in our way of connecting players. The solution was an abstraction - something that stood in for communication while allowing none of the difficult anxiety that the online space often creates.
When you ping large, it seems like you are calling. In prototyping and playtesting we found that was kind of ambiguous. People might know you are mad, but they don't hear you cursing at them. If anything, this ambiguity actually fed into the fun - with a ping, Journey became a game about actively interpreting the player you had been thrown in with rather than simply following orders or giving up and muting them.
Because you seemed this way,'" says Hunicke. So we knew that, okay, this happens if you remove all the communication and it's just a kind of puppeteering experience. People do develop ideas about the other person and they feel feelings about this cube that's moving around on screen. Once we get a real character in there, they'll definitely have feelings and thoughts.
With progress visible, the trimming of weeds continued, moving from the realm of communication to interaction.
Journey's early prototypes seem to have included a lot of classic co-op material - doors that only open if another player pulls a lever, say.
But guess what? And that was enough. It still feels different to have another person there.
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