Imagine if ĎA Forestí by The Cure was a videogame.
finding the concept hard to grasp then donít. Just get Limbo. Once
again itís our new favourite thing (at least this week Ė we are a
Itís kinda like an emo version of
Boy and His Blob, but without the blob (WAAAAAAH! We want our
blob!!! Weíre gonna crank My Chemical Romance and cut ourselves
now!!!), mixed with classic 1920s and 1930s black and white Alfred
Hitchcock flicks. Limbo looks like nothing else weíve seen
games-wise, but thereís more to it than just bleak prettiness.
Youíre plopped into Limboís austere world with no instructions,
and no story (unless you consult promotional blurbitude, which
mentions some uncertainty about your sisterís fate). You can move,
jump and thereís an action button for pulling and pushing stuff Ė
thatís it. No scoring, no cutscenes, just gaming. Itís
platformer-meets-puzzler, with some absolute head scratchers, and
more red herrings than a Chernobyl fish farm. It can frustrate, but
when you nail a puzzle thatís killed you repeatedly you and your
brain will let loose a satisfied Ďaah!í.
As many will be
quite aware, Limboís existed for a while on PSN and XBLA. The Vita
trip doesnít add all manner of unnecessary touchy-feely crap, but it
scores one huge advantage by default, and thatís the Vitaís OLED
screen. A game relying on a palette of black and various degrees
thereof could only thrive here, and Limbo does. It has never looked
Macabre, enrapturing, gruesome, diabolical and
frustrating are just some of the adjectives that flitted through our
bonce whilst playing Limbo. Support this now Ė not because itís from
a wee indie, or because youíre a fan of The Cure craving anything
vaguely resembling a fix, but because itís still one of the finest
little games ever.