But that's the one bed the bad guy can lift to kill you. When you get to the end and escape to apparent safety, the first thing you see is a bed which you race for because the game has just spent five minutes reinforcing the idea that bed = protection. One entire section has you using beds, the only safe place to hide under, to pass an enemy. Then there are bits where the game outright lies to you. At one point there's a door that immediately drops something on you and kills you when you open it that you will absolutely never see coming. The first one will kill you, so you avoid it by moving to one side, and then the second one has an extra bucket in the place you moved to. A good example are lethal buckets of scrap that swing down from the ceiling. There are a lot of things that can kill you that you won't know about until it happens.
It also, like the last game, continues one of my least favorite design ideas: 'die to learn'. There's so much I love in this game that I was muttering 'maybe it's a nine?' for most of my playthrough but that one boss fight ended that. It also loops through increasingly difficult permutations and actively contributed to me reducing the score. One of the late-stage boss fights has a 'holy shit, WHAT?' impact when it's first revealed but soon descends into a joyless loop of playing the same few seconds over and over again trying to shave off the thousandths of a second you need to win. There are a couple of chase sequences requiring an almost race track level of cornering precision to survive. Some moments arrive as spectacular set-pieces but quickly become muscle memory loops as you try to hit the perfection needed to complete them. That said, while dramatic framing is great, Little Nightmares 2 does suffer from the same gameplay camera issues as the last game - that 2.5D, side-on view making some jumps and corners a fluffy and imprecise hit or miss affair.Īgain, like the last game, the controls lack the reactive precision the game occasionally asks of you. Chases, threats, and reveals push and pull angles in and out of the screen to articulate danger and attention in different ways. One monster is revealed from an almost ground level angle, framed in shards of window light. Evil eyeĮven the camera works adds to the horror, tilting and leaning drunkenly in sections, almost imperceptibly at times but enough to foster a sense of unease. The rattle of the mannequins lurching through the dark is also going to take some time to fade. I can still recall the dreadful screech of triumph from a particular monster finding you far too clearly as I write this.
The sound design only adds to the layers.
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Each level is full of personality, and just exploring is rewarding in its own right thanks to the craft that goes into expressing the character of any given area. And, when the game isn't outright trying to mess you up directly, it leaves just enough scattered around the environment to let your mind go to work on the horrible gaps.Īll of this gradual, insidious descent into madness is aided by some superlative atmosphere, and world design. That's followed by a whole sequence where multiple people step off rooftops as you pass that's pretty disturbing. Another puzzle causes a mindless, disfigured creature that was clearly once human, to walk off the top of a building. Like when you trap and eliminate a certain character in a furnace, and Six sits down to warm her hands while the screaming is still happening. There's a huge darkness to all this despite the childlike presentation. Elsewhere there are juddery mannequin people made of mismatched prosthetic limbs that creak and lunge in the dark but can't move in the light, leaving you wildly swinging a torch beam about to hold them back. Sometimes you fight these child dolls, cracking their heads open like eggshells with a pipe you can barely lift. They screech and swarm destructively over everything like safari park monkeys destroying a car.
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The rubber neck lady rules over a school of horrible, plastic doll children with cracked open hollow heads. As I mentioned before there's rarely anything obviously terrible on display but Tarsier Studios just gets 'fucking horrible' as a concept at an impressively fundamental level.