Explorez tous les épisodes du podcast NOCLIP

What’s the definition of imaginary? A Podcast that only exists in your mind. Welcome back to the podcast! Our second game titled after a woman’s name that begins with the letter L is Who’s Lila, a pretty bizarre adventure game in which you control your character’s face. The object of the game, at the outset, is to sell your responses in conversations by molding your face, Mario 64 stye, into an expression that will go over well. This adds a layer of complication into an already unsure situation which means that any conversation can have a lot of different possible outcomes. This makes more sense when you realize that the game is meant to be played repeatedly, with many short narrative branches that conclude and intend for you to restart after. Beyond that, there are puzzles to solve that step outside the bounds of the conversation mechanics and, in fact, other bounds, and these might be the highlight of the game for some people. As a complete package, this is a strange and experiential game with a surprisingly intriguing narrative that has a lot to grab onto. We’re going to be talking about the hurdles and strengths of having an unprecedented mechanic set, the complicated nature of exploring the different paths in the game, and the benefits of an eyebrows first approach. Thank you for joining us again this week. There are days when I wish that if every game we talk about could be something like this. I love what this game does to innovate even if the complete package has its issues. Did the theming and odd concept sell you on this game? Let us know in the comments or over on the Discord! Next time, we’re talking about the most recent of the games we’re playing this month with Lorelei and the Laser Eyes, so we hope you’ll join us for that!

The Queen of Podcasts is weak to fire. Welcome back to the podcast, and to the very special “games titled after women's names that start with the letter L” theme! To start us off, we’re going to be talking about Lorelai, a 2D side-scrolling adventure game. Lorelai is the third game in a series that began with Downfall and the Cat Lady, the latter of which is by far the most noted. Not least of which is because we did an episode on it, trendsetters that we are. Lorelai is a not insignificant visual upgrade from Harvester’s previous games, but the themes and narrative beats between the Cat Lady and Lorelai are very similar, just focusing on a different character in the same world. Otherwise the games play about as you’d expect. You collect inventory items to be used in puzzle solving, talk to people and largely just experience the story. The result is two very comparable games and one of them unfortunately comes out on top by most metrics. We’re going to be talking about the narrative and character writing, the big swings taken visually and how they generally made the game more atmospheric and interesting, and we really step up to the plate for step dads for some reason. Thank you for joining us again this week! I’ve been unreasonably excited about this stupid theme, but with one exception: Lorelai was the only game in it that was a known quantity to me. That being said, as a big fan of the previous games by Harvester Games, maybe my expectations were somewhat too high. What did you guys think about this one? Are you a fan of the series and have thoughts on this game, or are you new and wondering why we care so much? Let us know in the comments or over on our discord. Next time, we’re going to talk about Who’s Lila, a mystery game and a game with a mysteriously weird method of interaction, so we hope you’ll join us for that.

Please consider supporting our planned podcast expansion. Welcome back to NOCLIP! Today, in our last episode of our DLC theme, we’re talking about Echoes of the Eye, Outer Wild’s expansion that adds a new explorable area into the base game. Describing it like that, you can maybe see why we had originally planned this for Pocket, but this is Outer Wilds, so the exploration and puzzles in this expansion are dense and complicated. So our decision to end Pocket is already paying dividends, I suppose. Echoes contains one new celestial body to fly to, yes, but within it there are new areas, a clever use of old mechanics to create new interactions and, slight spoiler, many new subareas full of clues and puzzles to uncover. Similarly to the base game, talking about much in specificity would be a bit of a spoiler, but the thing to take away from that is that this feels very much like the base game. If you enjoyed the self-directed gameplay of Outer Wilds this is largely more of the same, but tonally and environmentally it does have enough to make it feel fresh. We’re going to be talking about the difficulty we each had actually getting to the DLC in the first place, the satisfaction and frustration the new puzzles bring, and we talk about which of my actions were free of consequences. Thank you for joining us again this week! As we discussed on the episode, we may not have come back to play this DLC for a while, or possibly ever, had we not done this theme so it’s exciting to jump back into a game that inspired such strong emotions when we last talked about it. Much like the original, this DLC can be tough to get into and tough to finish, but the journey is really the point in this game and the journey is extremely good. Did you play this right away when it came out or are you just now being reminded it exists? Let us know in the comments or over in our Discord server! Next time, we’re starting the extremely catchy “Games Titled With Women’s Names That Start With the Letter L” theme, which begins with Lorelai, so strap in for that!

I’m feeling full of beans. Welcome back to the podcast! Today, we’re talking about the DLC for Xenoblade Chronicles 3, Future Redeemed. This is an expansion type DLC which gives you a full new party of characters, starts you at level one and makes subtle but meaningful changes to the mechanics and has you set out on an entirely new story set in the same world as the base game. This is probably for the best given how long it’s been since we’ve played the original, so we don’t have to deal with high level enemies while forgetting all of the mechanics, but as is usually true with Xenoblade games, what is probably the most interesting development in the DLC concerns the story. The DLC features characters from far flung parts of Monolith’s trilogy, and the ways and reasons they interact with your party take a focus in the narrative. Because of this the DLC focuses a bit more on the overarching narrative, which is on the more complicated side, but it still puts a decent focus on character stories, just maybe in a less impactful way than the base game. Mechanically, the new classes are largely fun and well designed, with some hitches here and there, and the new systems give you something novel to sink your teeth into if you are so inclined. All that said, the game plays mostly very similar to the base game so if you were a fan of that, you’ll probably enjoy another 20-30 hours of this as well. We’re going to be talking about how the mechanical changes affected our play, the characters and what archetypes they fill both in the story and as narrative devices, and we realize that maybe we’ve been the dumb guy all along. Thank you for joining us again this week! This was a game that we really liked originally and probably wouldn’t have gone back to for the expansion for a long while if we hadn’t done this DLC theme, so I’m happy we got the chance. If you’ve been through it, how did you feel about the changes from the base game? Did you feel compelled to fill out your affinity goals to level everyone up? Let us know in the comments or over on our Discord! Next time, we’re going to finish out DLC by talking about Echoes of the Eye, the DLC for Outer Wilds, so we hope you’ll join us then!

Oh, podcast. Welcome back to NOCLIP Pocket…for the last time! We’re interrupting our DLC theme because of the episode 100 milestone, and we’re talking about Super Mario Land. If you’ve been following for a while, you know that we started Pocket with an episode on Super Mario Land 2, so we felt it was appropriate to end it with the original Super Mario Land. This is a platformer and one of the earliest games in the Mario series. Released on the Game Boy, the limitations of the platform, and the age of the game, are both apparent in how it affected visuals and design, and impressive in how they were overcome. This feels very quaint to come back to, but compared to how simple the majority of Game Boy games were, this feels like a real accomplishment. With 12 levels over 4 worlds that explore different themes, this feels more like a Mario game than you might expect, and one that has some meat on its bones, even if it isn’t very long. We’re going to be talking about the level design in comparison to Super Mario Bros. and how much we think was hardware versus the state of game design in 1989, how the music carries the presentation despite the simple visuals distracting from some surprisingly detailed sprites, and we call for Mario to be restored to his former vehicle-driving glory. Thank you for listening to NOCLIP Pocket this week! To be clear, the podcast itself is going to continue on after today, but we think Pocket specifically has outlived its necessity. Moving forward, we’re going to hold on to the same release schedule and cadence of games we talk about, but will be doing away with Pocket as a sub-show and incorporating the shorter, weirder titles into the main show instead. So basically we’re making a big deal out of nothing. Pocket held some of our biggest surprises, so let us know, what was your favorite episode of Pocket? Did you try any games you wouldn’t have otherwise? Let us know in the comments or over on our Discord! There won’t be a next game in this case, so we’ll catch you on the Xenoblade Chronicles 3 DLC episode next time!

I'm weak as a kitten and thick as two planks. I've always been this way. I'm proficient in podcasts. Sorry. Welcome back to the podcast! As our second episode in our run of DLCs, we’re talking about The Shadow of the Erdtree DLC for Elden Ring. And yeah, this is the release that inspired the theme in the first place. Shadow of the Erdtree released over two years after the original game, and the scope of this DLC alone is evidence of that. Advertised as being “about the size of Limgrave,” the map is a sprawling multilayered world with numerous different areas, some of which are pretty well hidden. Being big isn’t necessarily an indication of quality, of course, but it is a good thing to keep in mind when considering this as an expansion to Elden Ring. Being another open world to explore, the challenge in development is making the area interesting to be in and worth exploring. The world looks amazing. Potentially unbound by the setting of the DLC being in a kind of afterlife, each area has such a distinct visual presentation and runs the gamut from somber to chaotic to awe inspiring. The other half of the equation was maybe less successful, with mechanical rewards, like new items, weapons and spells, are spread more thin than in the base game, which makes exploring slightly less rewarding than you might expect. That being said, the novelty of the new items and weapons makes finding them exciting, and they can come in handy engaging in the DLC's many new combat encounters. Designed to be taken on very late game, the fights in Shadow of the Erdtree are difficult, and to combat this, they have introduced a new upgrade system to generally increase damage and defense, and on your first playthrough you’re going to want to search these out for sure. I hesitate to say more, obviously there’s a lot to discuss, and the length of this episode is testament to that. We’re going to be talking about our experiences with most of the major bosses, the design of the world and its visuals, and we give you a great deal on a robe that may or may not contain untold eldritch horrors within. Thank you for listening this week, and an extra special thanks if you actually listened to the whole thing. This was a DLC that we, and a lot of people, were looking forward to and we wanted to put it on the list as soon as possible after release. Did you have a good time with this one? Did you find the difficulty to be off-putting? Let’s talk about it in the comments or over in our Discord. Next time, we’re going to be talking about Xenoblade Chronicles 3’s expansion Future Redeemed, so hopefully you’ll stop by for that one.

You want me to do some podcasting? Welcome back! Today, for episode 99 of pocket and for our first episode in our DLC theme, we’re going to be talking about the Rogue-lite addition to Splatoon 3, Side Order. Adding roguelike gameplay to Splatoon’s third person shooter mechanics works pretty well, giving you bonuses upon choosing rooms that are mostly similar to the gear abilities you’d get in game but with a higher potency and having a permanent upgrade system in the form of Marina’s hacks, but is let down slightly by the difficulty. Taking on average only a few runs to complete, the game gets into the territory of grinding out wins kind of early in its runtime. Not to say that just playing the game isn’t still fun, it just lacks the bite that make the genre as compelling as it is. The other aspects of the genre like feeling like an unstoppable monster at the end of a run are still there though, though the game notably lacks complicated build synergies, though that isn’t a hallmark of every roguelike. As for everything else, you can see the care that was put into the visual design like all Splatoon games. An effort was made to make everything still seem cool and presenting a wide amount of visual variety despite the game’s washed out themes. The narrative is pushed very slightly forward, with a focus on the development of Pearl and Marina’s characters, which is welcome but not groundbreaking by any means. We’re going to be talking about builds and progression, the incorporation of characters into the mechanics to help strengthen your bond, and this and other Nintendo games’ DLC and expansion releases and why they’re so weird sometimes. Thank you for joining us this week! It’s always fun to revisit Splatoon every now and again, and especially with how strong the DLC was for the last game, this was one I was excited to try. If you’re a roguelike fan, I’m mostly sorry this is gated behind a fully different game so you aren’t able to just try this on its own. Let us know your thoughts on this one over in the Discord or in the comment section! We’re hitting a big milestone next time as it will be the 100th episode of Pocket, so we hope you’ll join us for that. We’re pausing the DLC theme to celebrate and talking about Super Mario Land to refer back to our first episode on its sequel, so it’s going to be a special one!

Karffin’ Mofang podcast. Welcome back to the podcast! Today, as the last episode of Mystery May this year, we’re going to be talking about Obduction. This is a game in the style of Myst by Cyan, the developers of Myst, and boy did they ace the assignment. Obduction is more accessible than the originals, yes, but it does get into that same headspace more and more as it goes on. So the game has complicated puzzles (and some less complicated ones), but while the design mechanically hasn’t evolved too significantly since the 90s, visually, they have been able to create a world that looks very good and shows the imaginative otherworldliness these games are known for while using what are completely different techniques than what were used to create the visual elements of Myst or Riven. The visuals alone would probably have been enough reason to play the game at the time it came out, but it’s still a cool experience now to see some of the environments created for the game and to explore them, very slowly, as you scour for clues. We’re going to be talking about the pace of the game, the challenges presented both in and out of game, and we give some unsolicited advice on filmmaking, despite not being filmmakers ourselves. Thank you for joining us this week! This game did a surprisingly good job at letting us fulfill our “be people who can make any kind of progress in Myst games” fantasy, but still asked a bit too much of us to complete within the time we had. Are you a fiend for this style of adventure game, or did you pass this one by? Let us know in the comments or over on our Discord! The last few episodes have tested one of our weaker traits, being at all smart, but next week we are going to try and rally and prove we’re good at something difficult, because we’re playing Elden Ring’s Shadow of the Erdtree DLC (as part of a theme with other DLCs)! We hope you’ll join us for that.

Podcast to the shelled ones. Welcome back to the podcast! Today we’re talking about Ecco the Dolphin, a side scrolling adventure game and a real classic of the Genesis era. Ecco is a weird game in a lot of ways, the most obvious of which is the fact that it’s a game in which you play as a dolphin and all the surprisingly fluid movement that comes with that. Moving around in this game is surprisingly cool for the time, with the ability to swim very quickly around the map and jump out of water. This theme also serves well for other mechanics, including a breath mechanic to add some time pressure to levels and sonar which creates maps on the fly, both of which are really unique and play into the unique aspects of the game. The other reason the game is weird is that, without spoiling it, it does go to places you might not expect from a game about a dolphin. The fact that there is a narrative twist and a bunch of these cool and flavorful mechanics almost makes up for the fact that this game is an extremely unintuitive maze game. Maybe one of the best examples of a game that is fun to play but not fun to beat, completing levels in Ecco requires you to dodge randomly placed phasing-through-walls enemies while moving at high speed and trying to find nooks and/or crannies that contain crystals, which are just keycards. So it’s a bit hit and miss but it is one of those retro games that is definitely worth at least looking into if you’re interested in some of the bigger swings. We’re going to be talking about how and why the difficulty of the game is what it is, how unexpected the twist was, and we fit in a mention of Blackfish because why not. Thank you for joining us again this week! Ecco got put on the list almost as a joke, but we’re glad to have actually played it. Such is the whim of the dice. Were you aware of what this game actually was? Did you play this when it was a new game? Let us know in the comments or over on our Discord! This is our last randomly selected game for Pocket, so we’re moving on to our next theme, a thing no one cares about but we have no shortage of anyway. Next time, we’re starting a series of episodes dedicated to DLC and expansions and we’re beginning with Splatoon 3’s Side Order, so we hope you’ll join us for that!

There is surprisingly little use for the podcast block. Welcome back to the podcast! Today, the dice have ordained we talk about Infinifactory. This is a game that has been on our list for many years at this point and the main reason we ended up putting it on the (now comical misnomer) Mystery May table was mostly out of fear. Fear of exposing our deep inability to play puzzle games with any kind of ability. Infinifactory is a game by Zachtronics, who are known for creating this sort of puzzle game in which you create machines to accomplish a task. This happens to be one of their most literal. Tasked with creating factories that create specific outputs from a never ending conveyor of inputs in the form of blocks. Using a litany of different tools including welders, rotators and pushers, you orient blocks and combine them together. This ramps up in complexity shockingly quickly and it’s both impressive and intimidating, as the objects you create become less abstract and more like actual things. This plays into the game’s thematic elements as you are creating these products for an alien race under duress. This plays into the visual and interstitial elements of the game, but also into a surprising narrative. Less surprising because of its content, more due to its existence at all. We’re going to be talking about our struggles with the game as it progressed, the relaxed atmosphere of the game, and how difficult it sometimes is to buy burritos. Thank you for joining us again this week! We may have been slightly out of our depth in the second half of this game, but we wanted to play it because it is, at first glance, the most approachable of Zachtronics’ games. And this largely bore out. Are you a long-time Zachtronics fan, or do you find these games kind of unapproachable? Let us know in the comments or over on our Discord! Next time, we do not get to rest our brains, as we are playing Obduction, from the creators of Myst and following very much in its footsteps, so if you aren’t as mentally exhausted as we are, we hope you’ll join us for that.

Podcast.Mystery(1); wait(31) Welcome back to the podcast, and to, shamefully, our first episode of Mystery May! Quadrilateral Cowboy is a part heist, part desktop simulation game in which you use a portable “deck” to hack into security systems and use gadgets to get into locations in a cyberpunk dystopia. And the thing that really sets this game apart from most other games in this genre is that you actually have to do all the hacking yourself. It’s not quite complicated on the level of something like Hacker Evolution, but the act of creating code yourself and then needing to execute actions in sync with it creates a really creatively expressive environment in which to solve puzzles. The game may add a few more things than were strictly necessary to be a satisfying collection of systems, but each of them is fun to play around with and get a hang of. On top of the strictly mechanical elements of the game, the game builds its world, one of skyscrapers and autoturrets, bombastically while setting up its characters in an exceedingly subtle way. The minimalist art style and lack of any dialogue betray how well the narrative elements are communicated by way of environments, character behaviors and gameplay setup. This is one of those games that, while definitely not being for everyone, shows how games can be used to communicate weirder concepts in ways few other mediums can. We’re going to be talking about how the crunchy mechanics are used to design novel puzzle concepts, issues we had both technical and skill, and we set you up with a DC 17 vibe check. Thank you for joining us again this week! We know it’s been a long time coming on Mystery May, so much so that it is now June (“Mystery Summer Theater” as Andy has taken to calling it), but appropriately, this game has been on our list to play for seven years so it’s been a long time coming as well. Are you a fan of really finnicky mechanic sets like this, or did you look once at this game and say “maybe I’ll play the next one”? Let us know in the comments section or over on our Discord! Next time, Mystery May gives us one of the most “thing that’s not like the others” games on the list with Ecco the Dolphin, so we hope you’ll join us then, or the suffering will almost definitely not have been worth it.

Pod bless you, Andreas. Welcome back to the podcast and somehow, despite it being the middle of the month, not our first game of Mystery May! Today, we’re going to be talking about Pentiment, an adventure game in which you play as an artist as he is thrust into the middle of murder mysteries, however unlikely that might be. In each act you collect evidence and talk to the people of the town to gather information and do so in a way that changes the narrative of the game and the other options available to you. One of the most impressive elements is just this, the number of different paths available to you and the often very minor things that can affect a playthrough and flesh out your version of Andreas, as well as the world in which he lives. Given the historical setting of the game, this world building is a major part communicating the themes and helps ease the player in the politics and other messages the game is trying to engage with. And it is really successful at this. You may not learn anything specifically new about the era in which the game takes place, but you will come out with thoughts about the peasants’ complaints against their governance, the relationship between a religious institution and the power of the state, and other pretty heady topics the game broaches surprisingly seamlessly. We’re going to be talking about how the game’s art style attempts to mimic the art that was created during that time period, the game’s surprisingly solid writing and also the length of time we can listen to chickens before we just give up and turn the sound off. Thank you for joining us again this week! We’ll be slowly rolling through our next few episodes due to things happening in our lives outside of the podcast, but we will be moving through four Mystery May games before anything else, and the first of those is coming next week on Pocket. Next main episode, however, will be on Infinifactory, so we hope you’ll join us for that.

I can’t just hide here forever and podcast. Welcome back to the podcast where this week we’re going to be talking about Pseudoregalia! This is a metroidvania platformer that was originally developed as part of a game jam. The game is set in a castle and tasks you with navigating around to discover new abilities and, eventually, keys to end the game. The method by which you do this is some absolutely badass movement tech. I think it’s safe to say that for the majority of people, this movement is the major selling point of the game. You are very fluid, being able to chain different moves together to cover huge distances and scale walls, turning most rooms into something of a puzzle, but one with many interesting solutions. You can string together wall jumps and slides and kicks and et cetera in a number of different ways to traverse the world and it is pretty much always engaging to do. There are certainly ways in which the game doesn’t excel, but it is nonetheless a really fun way to spend a few hours, especially if you are the kind of person who likes to master these kinds of mechanics. We’re going to be talking about the necessity of the map, an addition in an update, to navigate without going completely insane, the game’s interest curve as you progress toward the end, and we codify the misty castle aesthetic. Thank you for joining us again today as we close out our time doing soulslike games with the least soulslike of all. Still a fun time and one that did become strangely popular. How did you hear about this game, if you had at all? Let us know in the comments below or over in our Discord. Next time, we’re going to be talking about Pentament in our constant struggle to make every non-themed game as different as possible from the one we played before. We hope you’ll be back for that!

Grand Covenant’s Fourth Law: A podcast cannot lie. Welcome back to the podcast! Lies of P is definitely a game that turned some heads when it was announced, given that it’s based around Pinnochio. Set in a city overrun by automatons, stylized as puppets, who have broken their safeguards and begun attacking people, Lies of P takes its themes and ideas from Pinnochio, along with some of its characters, but not necessarily its plot. In fact, the way it manages to weave this inspiration into the rest of the game is probably its most impressive narrative feat. This is particularly notable that the thing it’s weaving these elements into is just a Dark Souls game. More so than any other game we’ve played, on- or off-air, this really feels like a FROM designed Souls game, or at least very close to it. The combat takes heavy cues from Sekiro and Bloodborne with the healing mechanics and stats from Dark Souls, you can tell the developers have been taking notes. And this can be both good and bad, because the game feels familiar and also very good to play most of the time, but it does also call attention to elements from the games (upgrade materials, consumable items, a prosthetic) that feel more or less necessary for this game specifically. It’s a strange experience to some extent, but still a very good one if this style of game is something you already enjoyed. Is this game derivative? A little, for sure, but there is still some novelty to be found, particularly in its aesthetics. This and the combat mechanics that combine the weapon variety of Dark Souls (as well as a unique weapon recombination mechanic) with the satisfying defensive options of Sekiro, mean that as much as this makes you think about where its inspirations came from, as weird as the theme of the game is on its face, and as difficult as the game can be at times, it’s still a very good time. We’re going to be talking about the integration of the source material into the mechanical identity of the game, how auxiliary mechanics complicate the game both for good and for bad, and how they really should have just called the game Pinnochio. Thank you for listening this week! As you can probably tell, we’ve been doing a bit of a Soulslike run recently, which we’ll be finishing up on pocket next time, but I think it’s shown just how diverse this subgenre can be. Lies of P stands out less for its own identity but more for its devotion to the identity of the games that inspired it, and it’s a complicated topic to discuss. Do you think this impressive adherence to FROM’s catalog will be a positive change for these types of games going forward, normalizing the base gameplay and allowing for more diversity in how those mechanics are utilized and twisted to fit the game at hand, or do you think this is just one direction for the genre to go, with the other elements taking center stage as in games like Lunacid? Let us know in the comments or over on our Discord! Next time, we’re going to be sprinting as far as we possibly can in the other direction and talking about Pentiment, so we hope you’ll join us then.

Banished into the depths of the Great Podcast. Welcome back to the podcast! Today, we’re talking about Lunacid, a game that is in its own words, inspired by old FROMSOFTWARE titles like King’s Field and Shadow Tower. And while you can definitely feel the influence, the game does enough to stand out on its own that it’s definitely worth playing. You play as someone cast into the Great Well, essentially an enormous dungeon, with escape being your only goal. This goal is pretty emblematic of the game, as well, as it is extremely vague and leaves the player mostly just exploring each area in hopes of finding clues to help them progress. This is a massive strength in that it preserves the mystery inherent to a lot of FROM’s catalogue while forcing the game’s exploration elements to the forefront, which the design is obviously very focused around. It also results in the game being a bit aimless, which depending on who you are can be a little frustrating, but with enough meaningful rewards to find to keep you playing. Weapons and spells are extremely plentiful, offering a lot of ways to interact with both combat and the world itself, with some specific interactions like unlocking paths as well as more player-driven things like being able to skip some obstacles and reach strange locations. Lunacid is nostalgic, thanks to its aesthetic design, but it is also a captivating world to explore that folds in more recent design trends to make something more transcendent than just a copy of its inspirations. We’re going to be talking about the games by which Lunacid’s design is influenced, the presentational choices from character designs to the music’s genre and style, and we discuss whether we were or were not in “the know.” Thank you for joining us again this week! This was a game I knew I wanted to do pretty much as soon as I’d heard about it, so while we aren’t exactly day and date with its release, it was one we scheduled as soon as possible. Did you play this game in early access or since it’s been out in full? Did you find it to be more or less similar to Dark Souls? Let us know in the comments below or over on our Discord! We’re sort of continuing on a trend for the next episode and we’re going to be talking about Lies of P, the Soulslike that features Pinocchio for some reason, so we hope you’ll join us for that!

Hold down and swipe up to podcast. Welcome back to the podcast! For our last episode in Fanbruary, well into March at this point, we’re going to be talking about Mario Hoops 3 on 3. MHTOT (lol) is a bit of an anomaly in the Mario sports game pantheon, as it is a DS game that makes heavy use of the touch screen in its control scheme. This seemed like a pretty innocuous suggestion when we got it, but playing this game is a whole experience. It is without a doubt the most complicated basketball game I’ve ever played, and it is really interesting, but I’m not sure where this would even fall on the good game-bad game scale. The overall content is pretty limited, but that is partly made up for by just how difficult it is to get a handle on the controls. There isn’t too much preamble for this one, honestly, it’s just mad swiping on a DS for a few hours. We’re going to be talking about the insane control scheme, the insanely lengthy tutorial, and how this game is exactly like The World Ends With You. Thank you for joining us again this week! This episode was requested multiple times and honestly I’m so glad we finally got to it. It’s such a bizarre time capsule for when new hardware brought innovations, some of which were good and others which were Mario Hoops 3 on 3. Was this a game you had heard about, or enjoyed when it came out? Did you actually play it with other people, and if so how was that experience? Let us know in the Discord or down in the comment section. Next time, we’re going to be playing Pseudoregalia as part of our souls-like themed month we’re trying to do, so we hope you’ll join us for that!

You could pod another cast. Welcome back to the podcast! Today, for our second bite at the Fanbruary apple on the main cast, we’re going to be talking about Valheim. Valheim is a survival game that largely captured the audience for this type of game when it released in early access with it’s Norse theming, boss laddering and robust base building mechanics. Since those halcyon days, the updates to the game have slowed down a bit and the player base has dwindled some, but it still remains one of the most popular survival games. Now, we are not the most avid survival game players. You might say that we all but never play these games. But, we gave this the old college try despite being very unfamiliar with the conventions of the genre, and for the most part managed to get by. Valheim is a game about very slow resource accretion with helpfully well defined goals, those being to build a shelter, improve your equipment, find a way to navigate to each boss, and defeat them for powerups, and then proceed down the line. It is compelling to have an extrinsic goal in a game like this, but there are also myriad decisions that place it squarely within its genre and make it lack some appeal outside that audience. We’re going to be talking about chopping down trees, mining copper, and chopping down trees. Thank you for joining us again this week! Following our stated objective of playing games we wouldn’t normally during Fanbruary, this is squarely outside of our usual comfort zone. That said, the game has its merits and I hope we were able to identify them successfully. And if not? Why, you can let us know down in the comments or over on the discord, from whence this suggestion came! Next time, we’re taking a look at Lunacid, a King’s Field inspired title, so we hope you’ll join us then!

We are not enemies, but we are a podcast. Welcome back to Fanbruary! For our second game of the month (don’t look at the calendar, please), we’re going to be talking about Wet, a third person shooter that iterates on the mechanical innovations of games like Prince of Persia and Max Payne, and takes its title both from a shortened version of the term “wetwork” and also people who are bad at naming things. Wet is honestly a fascinating game just in the sheer difference between its relative obscurity compared to other games from the era and the amount of effort that was clearly put into it. The mechanics are fleshed out, if not always polished, the visuals hold up pretty well for its period, the soundtrack features over a dozen guest artists and that’s not to mention the insane voice cast (and I mean that literally, we entirely forget to mention it in the episode). And yet, if you’re like anyone I’ve talked to about the game, you’ve probably never heard of it. While we may not know exactly what caused this game to fall into obscurity, we can look at it now and see what it brings to the table. We’re going to be talking about the game’s exploitation film theming and aesthetic, how the mechanics come so close to realizing their potential, and the impossibility of asking your parents for a game called Wet. Thank you for listening to NOCLIP Pocket! We are slowly getting our wheels spinning again after taking most of January off, but Fanbruary is underway with five whole days left in the month! We like to do games we would most likely not do outside of the fan-suggested month, and while Wet fell more into the “we would have never thought about it” category more than the “we would never play that” one, we still wanted to give it a chance because of cool it looked. Was Wet a game you had played, or even heard about? Let us know down in the comments or over on Discord! We’ll be back next time to talk about Mario Hoops 3-on-3, so we hope you’ll join us then.

You did not survive the podcast, Raziel. Welcome to Fanbruary! As we have for the last three years, this month we’re going to be looking at games suggested by members of our community and we’re starting today with Legacy of Kain: Soul Reaver! This is an action/adventure Metroidvania title from 1999 and, especially considering the era in which this released, it has a lot going on. The game has full voice acting for all characters, a not insignificant world to explore and a large amount of side content for the player to stumble onto. Over the course of the game you will pick up a few traversal abilities, health and mana upgrades, spells, and an upgrade to your weapon by exploring the world. That said, this game shows its age pretty significantly and has a number of features and design decisions that maybe don’t hold up so well playing them in a modern context. Whether that be controls, enemy design or the mechanics of puzzles and combat, there is always something off about most systems that really put a hinderance on your enjoyment of the game. What are these? Well, tune in to hear us discuss the exploration-focused world that the game presents, the different things the game tries in the Metroidvania genre, and to hear us say what every 90s kid would about water levels and swimming. Thank you for joining us again this week! We got a lot of great suggestions from you all for this month and it has been genuinely hard to narrow down which games best meet our criteria for great Fanbruary titles, and Soul Reaver felt like a good pick to start us off because it’s fairly well-known, but not one we would likely go back to had it not been suggested. After playing it, it’s fair to say that we understand why the series has the reputation it does, though it’s also a pretty powerful reminder of the effect nostalgia can have on our perception of something. Were we too harsh on the game? Are you a long time fan who is upset we only played this game and skipped Blood Omen? Let us know in the comments or over on our Discord! Next time, we’re going to be talking about Valheim, which will be our first episode on a survival game, so we hope you’ll join us then!

A podcast inside a podcast inside a podcast… Welcome back to the podcast! For our January episode, which we kind of did so you didn’t forget we exist before Fanbruary begins, we’re going to be talking about Cocoon. Cocoon is a puzzle game developed by Geometric Interactive, a studio formed by members of the developer Playdead, and while this game is something else entirely than Limbo or Inside, the style they bring is definitely present. Cocoon is not a horror game, yet it creates a sense of eerie foreboding all while being saturated with color and without the threat of death to the player hanging over their head. It’s an intriguing world to exist in, and that’s not even getting into the actual puzzle mechanics. These involve ducking in and out of different playable areas which you can physically carry with you and eventually imbue you with additional abilities. It’s almost hard to explain in a way that impresses upon you what makes it interesting, but it’s a great set of mechanics to center the puzzles on, which get progressively more complicated in the ways you might expect and in some ways that you definitely won’t. It’s a very satisfying, but not overly difficult experience and one that is well worth giving a shot. We’re going to be talking about the puzzles that really had an effect on us and the way we see the game, how the sound and visuals work together to create an incredible atmosphere, and we use the word Kafkaesque in what seems like a safe scenario but probably still use it wrong. Thank you for joining us! Cocoon was a game that we were both excited for given its pedigree and one that feels thematically appropriate as the first of a new year. What was your experience with Cocoon? Did you find the puzzles as satisfying as we did? Were you able to create a more satisfying interpretation of the themes? Let us know in the comments, or over on our Discord! Next time, we’re heading into Fanbruary, the month where you the listener chooses what games we play. We’ve gotten some great suggestions so far, but it’s still open for the next couple weeks if you want to give us any further games to consider. Our first full episode is going to be on The Legacy of Kain: Soul Reaver, so we hope you’ll join us for that!

The awards show least likely to be compared to Dark Souls What a year it has been! We played some comical old PC games, overrepresented horror, had some unnecessary and frankly inscrutable themed months and most of the good games we played came as suggestions from you guys. Okay, so maybe it was exactly the same as every other year, but it’s all about the content variety, really. This year had a good amount of that, at least. And of course, as has been said for untold past millennia, variety in games played means excellent choices for the NOCLIP Awards. Today, we’re bringing back some old favorites as well as new categories. From Best Soundtrack and Smashiest Balls to Coolest Ancient Artefact and the Another Man’s Treasure award (in which we find the most worthless collectibles), we’re recapping the truly standout moments of the year and reflecting upon the games we played and talked about. We hope you can use this opportunity to join us in celebration, or at least get drunk and yell at our bad decisions. Thank you for listening this week, and for your continued support over the last year! Contrary to the joke in the beginning of this description, things have changed a decent amount for us. We crossed 100 YouTube subscribers this year, which is funny, but still a milestone. The podcast is also being recorded mostly fully remote at this point, which was a learning curve (that we’re still climbing, so thank you for bearing with us). All that in addition to the usual time spent and decision making we do to try to make the show as entertaining as possible means that we put forth some effort to make this thing. That said, we as always had a great amount of fun even with the worst games we played, and continue to love doing it. Thank you to everyone who listens and we hope we continue to be, at minimum, satisfactory in 2024.

This early in the game, I doubt you have the podcast to back that up. Welcome back to NOCLIP Pocket, and the final episode of the year! We decided to try to do holiday themes this year and based on our success rate, I doubt we’ll go for it again. Cthulhu Saves Christmas is a novelty follow up to another comedy RPG by this developer, Cthulhu Saves the World, but this time it is obviously themed around Christmas. The game is a throwback RPG with turn-based combat and (kind of) random encounters, where you lead Cthulhu and a party of festive followers around locations from different Christmas mythologies to defeat an evil league of ne’er-do-wells. On top of that, the combat has numerous systems, including a character specific mechanic involving building and spending chicken power as well as shifting the moves available to you based on your use of yet another recharge system. If that all seems like a lot for an indie game as short as this one is, well, you’d be right. There are a lot of good ideas present here, but it lacks the focus that’s necessary to really bring it all together into a game that is both novel and fun. That being said, if the game’s particular brand of humor speaks to you and you can appreciate the presentation, with a particular highlight on the music, this could still be worth the pretty low asking price. Thank you for joining us again this week and this year for NOCLIP Pocket! We hope your holidays are going well (or at least better than the games we chose for this month, lol). I want to spotlight the upcoming Fanbruary event we’re doing here, so if you have suggestions of games we’d like to play, let us know over on our Discord or in the comments (or an email, or wherever else you’re comfortable doing so) and we’ll put those games in the running for an episode. Check out the last two Februarys for some examples of what we chose if you’re looking for inspiration. Thank you for listening this week, and next time we post a pocket, it will be one of the games we chose, so we hope you’ll join us then!

I will podcast unfulfilled! Happy holidays! To celebrate the season, we’re talking about a game that has at least one time on the internet been compared to Home Alone, and that game is Trapt! Trapt is a game in which you prepare and trigger traps within a 3D environment to attack and kill your enemies. Unlike what you are probably imagining, the game plays nothing like a tower defense game or even a puzzle game. It is instead the clunkiest action game you’ve ever played. As you have to trigger traps manually with most of them affecting only a single tile or a row of tiles, most of the game consists of meticulously leading the pretty manipulable AI into specific parts of the map where all of your traps are set up to trigger them all at once. But this isn’t all bad! Well, the gameplay is kind of a wash, but there is more to the game than that: the narrative and character work are also really bad! But in this case it is a major boon for the game, because if there is a reason to play it, it’s likely for this absolute camp. Every enemy you kill has a backstory and unique entry and death dialogue, with some levels having up to ten enemies, and each stage begins and ends (at least) with a cutscene. There is a lot of story content to enjoy, and while the plot itself is pretty basic, and character’s motivations seem very easily swayed, the melodrama of it all is very worth it. We’re going to be talking about how the game itself plays and what we expected from it, the dialogue we found especially hilarious, and we defend our choice to make this a holiday episode. Thank you for listening to the podcast this week! We talk a bit of trash on this one, but the game is still doing something unique (even though it’s the fourth in a series, technically) and deserves some flowers for that. We didn’t have a bad time or anything, it’s just a fairly basic execution of the concept. Have you played other games in the “Deception” series? Is the first one you’ve even heard of? Let us know over in our Discord or in the comment section! Next time, we’re going to be rolling out the green carpet for the NOCLIP Awards, so get your bingo cards ready and start making predictions! We hope you’ve had a good year and we’ll see you in 2024 for more episodes!

My intentions are podcast. Welcome back to the podcast! Today, we’re going to be talking about The Fall. Despite being almost ten years old, I’d consider this to be part of the new wave of adventure games, ones that seek to capture some of the elements of the classic games but without the more obtuse elements. The Fall mostly manages this, using a 2D sidescrolling style which limits the amount of screen searching and navigation you have to do to find all the pieces to each of the puzzles. It’s not without its stumbling points, but for the most part the puzzles are well designed and placed very smoothly into the difficulty curve. Slightly more questionably, it also includes combat mechanics and some exceedingly light platforming, but the mechanic set is well rounded and it’s easy to overlook some of the less polished aspects. The kicker, though, is that what you didn’t know you were actually here for is the narrative. The game is shockingly well written, both for the genre and medium as well as the time period, doing a great job of communicating its themes without dumbing them down for the player to understand. It’s a sci-fi narrative focused around AI that feels very focused, and honestly ahead of its time, and it’s well worth playing just for the story alone. We’re going to be talking about the more misguided elements of the puzzles and mechanic systems, how impressed we are that we cared about the characters at all, and ways to improve coffee…puzzles. Thank you for joining us again this week! This is a game that had made it onto the Mystery May list for how long we’ve known about it, but having now played it, it’s surprising how little it shows its age. Certainly in some mechanical ways it feels old, but we were impressed by its maturity. Let us know what you thought in the comments section or over on our Discord! Next time, we’re doing what may be our first ever Christmas special, and talking about Cthulhu Saves Christmas, so we hope you’re in the spirit for it then.

I’ve got some oomph in my bloom. Welcome back to the podcast! Today, we’re talking about Super Mario Bros. Wonder, a new 2D Mario platformer, which in a weird way kind of feels like part of a trend of Nintendo making more nostalgic releases, like Pikmin or Metroid Dread and remaking Link’s Awakening and Mario RPG. Mario Wonder is a classic 2D Mario game like we haven’t seen since the New Super Mario Bros. games, but unlike those games, Wonder has a direct goal of making more innovations and changing the basic gameplay of Mario. This is a AAA video game, though, so don’t expect something so radically different and risky, but with a more whimsical aesthetic and a surprising mechanical section in each level, it certainly feels much different than past games. And this is definitely a good thing, Wonder lives up to its name by giving you something new to discover in each course and encourages you to explore to ensure you see as much of it as you can. In addition, the game contains new powerups, a badge system that can change your moveset and the layouts of the world as well. All this to say, this game isn’t the next best thing in the history of platformers or even just Mario. It is refreshing, and fun, and well designed and it looks and sounds very pretty, but it isn’t going to stress your abilities, it isn’t jam-packed with content and much of the gameplay is straight out of previous titles in the series. This makes up the bulk of our conversation: in a very mechanically driven genre, is what Mario Wonder provides different enough to be recommended despite the polish that comes with being a first party Nintendo title, is it too different, with differences in kind appearing partway through every single level while not giving the base platforming room to shine? We’ll discuss this and also be talking about the importance of collectibles and how they influence you as you play, the difficulty management present in the badge and character systems, and we take a hard stance on how Toads are treated in the Mario canon. Thank you for listening again this week! As one of the more anticipated Nintendo releases this year, we were excited to get into it and it is interesting to see how it compared to each of our expectations. Or maybe it was very boring to see and I’m just trying to drum up excitement to try to convince you to listen to our podcast, who’s to say? Either way, what did you think of Mario Wonder? Are we just extremely old and have been playing platformers for too long, or was this game easier than you would have expected? Let us know in the comments or over in our Discord! We are getting into the holiday season and so next time, we’re going to be getting into the spirit by talking about that classic Christmastime game: Trapt on the PS2. We hope you’ll join us then, if only to figure out how that makes sense.

The podcast is watching. Welcome back to the podcast! Today, we’re going to be talking about Rollerdrome, a game that mixes the extreme sports of Tony Hawk’s Pro Skater with the extreme crime of gun violence. In Rollerdrome, you are tasked with eliminating all the enemies that spawn in waves within a level while performing tricks to reload your guns, and doing so quickly to maintain combos and end up with a high score. Maybe the concept doesn’t sound simple at first, because it isn’t, but even so the game is still much harder than you might expect at the outset. The game’s short length means that compared to the amount of time you have to practice for it, the challenge ramps up quickly, with levels in the first round of the game being able to kill you repeatedly if you aren’t careful, and probably still a few times even if you are. Is the game worth learning well enough to push through these difficult stages? I’d say yes. The act of getting better at this game is incredibly satisfying because the mechanics all play so well into each other. Your weapons all serve very distinct purposes and each contain different mechanics to get used to, like timing or charge-up mechanics, but all feed off of the same ammo pool, meaning that managing your resources by sprinkling tricks in wherever possible is a major part of keeping combos up and even just surviving. This means that when it clicks, your runs look very fluid, improvisational, but controlled. We’re going to be talking about, yes, the difficulty and how we each felt it handled it, the game’s light narrative, and we discuss the pros and even better pros of being able to skate on a huge monster’s ass. Thank you for joining us again this week! Rollerdrome is one of the rare video game ass video games done for Pocket, and one that didn’t really take me by surprise. But just because I got exactly what I expected from it doesn’t mean it isn’t great. Did you feel that Rollerdrome was a satisfying challenge, or are we babies? Let us know in the comments, or over on our Discord! Next time we’re going to be talking about The Fall, which is an ancient (by today’s standards) indie adventure game, so we hope you’ll join us then.

Use the Holy Pod to follow the Golden Cast Welcome back to the podcast! Today, we’re talking about Tunic, a game styled very much after the classic 2D Zelda titles, but with some other influences that will become apparent as you play through the game. Tunic is a colorful, cute game, with a fox wearing a shirt as a protagonist and bushes that squish and bounce when you cut them down. This seems to be to lure you into a false sense of security because the game itself is actually much more difficult than its aesthetics would lead you to believe. The combat in this game is simple in terms of your actions, but has depth in execution. Regular enemies can pose a threat early on, some much more than others, but the bosses of the game are all tests of your abilities. Beyond that, the game primarily focuses around navigation puzzles and exploration, rewarding the player with upgrades and items they can use to get stronger, make fights easier or open up further paths for traversal. And you can’t forget what is essentially the selling feature of the game, the instruction manual. There is a booklet programmed into the game itself that you pick up pages from over the course of your adventure. The book mostly isn’t written in a readable language (though it can be deciphered with some dedication), but it gives hints on everything from what you should be doing to how to perform basic actions like the dodge roll, explaining invincibility frames, and what the different parts of the UI mean. Collecting pieces of this manual is a driving force for a lot of reasons, and we’ll get into all the things it means for the experience in the episode. We’ll also be talking about the accessibility of certain features and how much the average player should be accommodated, the ups and downs of the combat and our experience with the bosses, and Dark Souls, Dark Souls, Dark Souls. Thank you for listening to the podcast again today! This one was always going to happen eventually, and now that it’s done we’re left with some complicated feelings, but this game is genuinely incredible in a lot of ways. How did you get along with Tunic? Was the difficulty on par with what you look for in games, or were you taken aback by the level of challenge? Were you able to solve the end game puzzles or did you leave that for the more cryptographically-minded out there? Let us know down in the comments, or over on our Discord (where you can also suggest games for us to play)! Next time, we’re going to be talking about Super Mario Wonder, the newest Mario platformer, so we hope you’ll join us for that.

I’m just podcasting my Wares. Welcome back to NOCLIP Pocket! Today, we’re talking about Anodyne, a Zelda-like indie game from ten years ago, which, boy does that just feel like forever these days. Anodyne doesn’t so much have a shtick as it just tries to be a solid action adventure game while exploring its mechanics and themes, and realistically that’s all it needs to be. This is a decently well focused game that understands its own scope very well, and because of that it manages to hold up incredibly against the passing of time. Anodyne takes place within a dream and explores a variety of settings from apartment buildings and hotels to fantasy forests and abstract representations of “place,” which keeps each new area feeling fresh which does wonders for keeping the player engaged as they go through it. Its mechanics are mostly simple, as it doesn’t port over the item collection aspects of a Zelda game, but it does have depth in the mechanics it does have, which are both a little surprising and largely unexplained. It manages to hold a bit of mystery all while being a focused, unassuming little game, and is definitely worth playing if you haven’t already. We’re going to be talking about balancing tone in a game with so many different aesthetic elements within it, what areas we felt were most well executed and most unexpected, and we no joke read a definition out of a dictionary, so get absolutely pumped for that. Thank you again for joining us this week! It’s been a couple months since we’ve done an entirely unthemed pocket, and Anodyne has been on our list for a while (it was relatively new when the podcast started, unbelievably), so we finally got to bring it out. If you played Anodyne, were you early enough to have played before the remaster? If not, do you think the game holds up after so many years? Let us know in the comments or over on our Discord! Next time, we’re going to be talking about Rollerdrome, and for no other reason than we wanted to. Which changes the tone of the end of these descriptions, I’m realizing. I got very used to being able to just sort of follow a formula. But it’s not “Retrovember” where we’re talking about all the games featuring 90’s trends like rollerblading or something, so this will just have to do. We hope you’ll join us then!

I’m as podcast as you are. Welcome back! For our final episode of Halloween, we’re talking about Dredge, the fishing game that takes its aesthetic inspiration from cosmic horror, and of course, H.P. Lovecraft. In Dredge you play as a fisherman and you catch fish to pay for upgrades to your ship, repairs, etc., all while working toward the goal of collecting several relics for a mysterious man who lives on an island by himself. Which isn’t weird at all. The fishing itself is engaging enough, but the atmosphere of the game is where it really shines. There is a sense of foreboding as day turns to night and things start becoming more dangerous. This ends up being the main point of contention as far as how successful the game is, because while the aberrant catches and mysterious strangers are all very interesting, and the darkness always hides an unknown threat, the other half of the game is inventory management and resource collection. The more mechanical half of the game can be satisfying, but the tension is broken during extended periods of supplying metal and wood to upgrade your ship, making sure your fish are perfectly tetris’d in your storage, and managing net catches. The game is pulled in two directions, with one wanting to be an atmospheric, dread inducing horror title and the other wanting to be a pretty decent management sim. None of it is quite enough to make the game bad, or not worth playing, and the narrative makes up for it by being just mysterious enough to lead the player along and make them want to learn more about the characters, but it does feel like a weak spot in an otherwise good game. We’re going to be talking about the curse that is trying to do cosmic horror in a video game, how we engaged with the story of the game and our expectations, and we redesign the Pokemon games to make them better, just as a free bonus. You’re welcome, Game Freak. Thank you for joining us again this week, and for the month of spooky games that we look forward to all year. And we even kinda did it twice this time. How was everyone’s Halloween? Did you play anything particularly scary, or do anything else to get in the mood of the season? Let us know in the comment section or over on our Discord server! Next time, we’re going to be shifting gears a fair bit, and talking about Tunic, so we hope you’ll join us then.

Welcome home. Welcome back to the podcast! Today, we’re talking about Midnight Manor, a late entry suggestion for Pocket this Halloween that ended up probably saving our schedule. Midnight Manor is a short horror-themed platformer from a solo developer that encourages players to play the game multiple times in different ways to see all the narrative possibilities it has to offer. Mechanically speaking, the game is simple, revolving around carrying items necessary for progression from place to place and navigating the titular manor. This simple gameplay lends itself, in a way, to the multiple ending-based design of the game, encouraging you to make small optimizations to make each successive run a bit faster, but admittedly does very little to make the game more engaging to go through each time. With no enemies, and therefore no fail state, to speak of, what is left to really engage with lies in its atmosphere, music, art and narrative content. All of these things are subjective, but given the short time investment to actually complete the game, and even seeing all the endings isn’t going to add all that much to your total playtime, it is likely worth the low barrier to entry to playing. We’re going to be talking about how character design can raise questions and eyebrows and our thoughts on the intentionality of it, what vibes the presentational aspects of the game put off, and we theorize on what this game may be a sequel to. Thank you for joining us again this week! Midnight Manor was a strangely nostalgic experience that harked back to indie games during our more experimental years when we were just trying anything we could find. That said, it’s a mixed bag, though still more polished and with more thought than you might expect from a project that was this tiny. Did Midnight Manor send you back to a simpler time? Did it get you to play through it more than once? Let us know in the comments, or over in the Discord, where the suggestion for this game came from. As I said at the beginning, our time was rather tight this month, and our last Halloween game is going to bleed over into November a little bit, but we’re always happy to try weird things for October and this certainly qualifies. Next time, we’re going to be talking about Anodyne for a bit more of an adventure-y feel for November, so be sure to check back with us then!

Dismember their podcast. Welcome back to NOCLIP! Today, we’re going to be talking about our first horror title for the Halloween season with Dead Space. Specifically, we’re talking about the 2023 remake of the game with only a limited understanding of the original. That said, this is a game that makes a pretty brutal impression very quickly, so we did pick it up quickly. Dead Space is an action survival horror game in the same vein as Resident Evil 4, with an over the shoulder camera. The game’s hook is centered around its enemies, the necromorphs, forcing the player to cut off their limbs to dispatch them efficiently, and this is accomplished in about the most inelegant way imaginable: with power tools and a phenomenally heavy boot. The game is gory and over the top, and while it stumbles over some of the more nuanced elements of the artform, like character development and story, sometimes an extremely raucous horror title is exactly what you want. Which isn’t to say this game goes full Doom. The violence is extreme, yes, but it has scary moments, sometimes maintaining something resembling quiet for seconds to even minutes at a time. It builds and releases tension in quick bursts, and uniquely handles its music cues so as to allow the player to jump scare themselves at times, making it a perfect game for that mid-October horror kick. We’re going to be talking about the arsenal and how the game’s take on weapons sells its premise and mechanical hook, how the remake’s expanded take on Isaac Clarke impacts its narrative and storytelling, and we produce two extremely professional box quotes for them to use on any future physical releases of the remake. Thank you for joining us again this week! The remake of this game re-sparked our interest in doing it for Halloween, despite continually putting it off for other things, and honestly I’m pretty glad we waited. The visual spectacle of this game is one of its major selling points and the more modern version of it probably helped it take effect. That said, have you played the original version of the game? Do you think we should have played the original over the remake? Let us know over in our Discord or in the comments! Next time, we’re going to be talking about Dredge, the Lovecraftian fishing game that released earlier this year and took the world by storm. Or at least, by drizzle. By squall? Some people liked it, for sure.

I’m sorry. I couldn’t keep my podcast. Welcome to Halloween! Our favorite month of year for being our birthday month, it’s also time for us to play just so many, many horror games, starting today with Signalis. Signalis is an indie survival horror game, set in a dystopian sci-fi world in which you play as a “Replika,” a robotic servant, assigned to a pilot of a spacecraft. When laid out like that, a lot about the game’s setting and plot don’t really seem that remarkable. It’s part of the reason I think it’s pretty difficult to really “spoil” this game in the traditional sense, because Signalis is much more of a tone piece than it is a straightforward narrative experience. Yes it has a plot, one that has development and changes and satisfies in its own ways, but the visuals, the cutscenes, the sound, all play into what really makes this game special, in that it creates this eerie, uneasy sense of not really knowing what is and isn’t real. And the other thing that makes this game special is just how well it manages to pull off the classic survival horror style. Limited inventory spaces, enemies that reanimate if you haven’t burned them and specific save rooms are likely pretty familiar to you at this point, but it hasn’t been done this well in a long time. The game isn’t exceptionally difficult, per se, but that classic Resident Evil feeling is definitely there, as you make progress through zones you need to plan routes through as you begin to memorize them, solving puzzles and making tactical decisions about which enemies to kill and which to run away from. It really hits both of its points of focus dead on and is a horror experience I’d recommend to nearly anyone. We’re going to be talking about the game’s clear inspirations and what it does to mimic or improve on their systems, the plot of the game and how it gives you enough to make a certain type of person really want to engage further with it, and we put our belief in the eternal universality of waifus. Thank you for joining us again this week! We know our output has been somewhat diminished recently, but we will get through four horror titles this year even if we need to leak into November a bit. Signalis came pretty highly recommended from a number of people, so it’s good to see y’all have good taste (please save some of that for Fanbruary!). If you haven’t played Signalis yet, I do highly recommend, it’s a perfect game to get in the mood for the season, likely more so than the other games we’ve got coming up this month, so get on it and let us know what you think down in the comments or over in our Discord, which is actually where our next Pocket game is coming from. Next time, we’re going to be talking about Midnight Manor, so we hope you’ll join us then.

We are celebrating our eighth birthday here at NOCLIP, but I can’t help but feel like something is off. In computer memory, there are eight bits in a byte, and memory is necessary to run video games. Video games are like stories, but the players can do things. They have verbs. Eight represents the verb in the classic joke about how seven ate nine. An eight looks like two donuts, which are things you might eat. It’s all coalescing around something, I just don’t know what. Coalesce! Eight letters! 8L, 8lesce. Octolesce. Sounds like… Talk less. Is the universe trying to say that we are getting annoying? Or that we should cover Octopath Traveler? What does the universe know anyway? In radical defiance of nature’s wishes, we are in fact going to expose you to even more talk. Talk that is unrelated almost entirely to video games and which we in fact removed from episodes of the show, only to now regurgitate back to you in the form of a blooper reel. I hope that’s what you wanted, as you can see, the signs are difficult to decipher at times. Regardless, none of this mutes our level of appreciation for those of you who are listening, those who have provided feedback on the show over on our Discord or in comments, and those who have joined us recently, who honestly have gotten the best deal since I feel like we are always improving. I hope this brief gag reel works as a palette cleanser, as I hope every year, and that you will join us for the upcoming Halloween month exploration of games like Signalis and Dead Space. Happy NOCLIP Day, and thank you for sticking with us!

Oooh, banana. Welcome back to the podcast! Today, for Simian September, we’re going to be talking about Donkey Kong 64, the only 3D Donkey Kong collectathon platformer that’s fit to print. This game certainly has a reputation, it’s almost infamous, so we thought it would be interesting to see if that reputation is warranted coming back to it after all this time. DK 64 is a platformer, as mentioned, and one that is in the vein of Rare’s prior N64 classic Banjo Kazooie. The difference, primarily, is that in DK 64, the game centers around the fact that you have five characters to play as, all with unique abilities, forcing you to swap characters many times to complete objectives and collect all the bananas, coins, golden bananas, etc. (seriously, there’s a lot more). This is probably the most important aspect of its design, because while it opens up a ton of space for design to create a bunch of challenges in a relatively small space, it also forces the player to constantly be mindful of who they’re playing as and what they need to progress. This is cool, for sure, but it can also be extremely annoying and, by design, time-consuming to have to continually swap Kongs to do something as simple as grabbing coins off the ground. It has a solid game underneath it all, though, so depending on your tolerance for these annoyances, it can definitely be worth going back to check out, if for no other reason than the kickass soundtrack and the absurdity that gave this game its cultural impact. We’re going to be talking about games preservation, the signature style of Rare’s music team, and in a stunning return to form, we determine what food DK 64 is most like. Thank you for joining us again this week! We barely squeaked this one out within Simian September proper, so I hope y’all don’t mind our diminished output recently. We’ve been podcasting remotely for a bit and are still working the kinks out, so give us some time and things should get relatively back to normal. Did you have opinions on DK 64 before you played it? Do you think the game holds up or does it deserve its current status as a meme? Let us know down in the comments or over on our Discord! Next time, we’re going to be entering into October, which means horror games, an original concept pioneered by us and no one else, so we’re going to be kicking that off by talking about this year’s Dead Space remake. We hope you’ll join us then…if you dare!

That’s the stupidest podcast I’ve ever heard! Welcome back to NOCLIP Pocket! Today, we’re going to be talking about one of the all time classic point and click adventure games, The Secret of Monkey Island as our pocket episode for Simian September, the month that’s like Ape-ril, but in September. Monkey Island is notable for a number of reasons, but it releasing in 1990 means that it was one of the first hits in the genre to really take off and did a lot to popularize Adventure games. It also featured the lighthearted comedic tone that many adventure games, particularly the LucasArts games, would adopt for the rest of the genre’s time in the zeitgeist. That being said, the version of the game we’re playing today is the Special Edition, which infuriatingly came out 19 years later in 2009. This version has updated visuals, making the game look more like a cartoon than the original was able to given technological limitations and added voice acting, which makes the game a bit more accessible for modern audiences. Not so accessible as to make some of the puzzles easier to solve, but I don’t really think anyone expected that from a point and click from 1990. The actual gameplay is where the game shows its age most obviously, though not in the usual way for games of the genre. Monkey Island isn’t a long game, but it is pretty slow, with players needing to meticulously check for items, areas and zones throughout its few maps, but the puzzles never quite get into the outlandish cause and effect logic puzzles of other point and clicks. There is good and bad, but taken as product of its time, the game does surprisingly well, but may not hold up to modern scrutiny. We’re going to be talking about comedy and how the style of this game’s writing manages to make it feel pretty timeless, puzzle difficulty without resorting to pixel hunting or other less-than-logical designs, and we speculate how well fighting a robot fits in with the setting of this game. Thank you for joining us this week! We’re going through some tumultuous times currently, so only a couple episodes for this month, but Monkey Island has been on our list for a while and it’s good to finally have a place to put it. There are even a few proper monkeys in the game, too, so this was less of a stretch than we maybe originally thought. Are you, well, old, and played this game as a kid or around the time of its release, or were you, like us, someone who heard about it as a classic of the genre? Let us know over in our Discord or in the comments. Next time, we’re entering into the scariest, spookiest month of the year and are going to be talking about Signalis, a game that has been recommended to us by nearly everyone we’ve ever met, so we hope you’ll join us then.

A scattered dream that’s like a far off podcast. Welcome back to the podcast this week! Today we’re doing an episode that was a long time coming and talking about Kingdom Hearts II. The only numbered entry in the series we hadn’t talked about yet and probably the simultaneously most loved and most controversial Kingdom Hearts game. KH2 is an action RPG like its predecessor, but amps up a lot of the mechanical interaction to be much faster and more stylish. At times, it plays like a character action game with you executing 20+ hit combos and flying through the air, but its depth in combat lies in a different area than in those games, focusing more on the different meters and timings as well as your ability to navigate the command menu and just generally being aware of your surroundings. In a way, this is the first game in the series that has a real mechanical hook to latch onto rather than its presentation and IP crossover content. However, that is still present and is a large part of why these games are so loved. The Disney worlds are back and the narrative writing here starts the trend of what people understand to be Kingdom Hearts story writing as a whole. This game introduced Organization XIII, nobodies, and characters like Roxas and Namine to the larger public and whether that stuff is going to float your boat is purely a matter of taste. What is noticed though is a loss of the simplicity and innocence the first game had. Though this could also be a good thing, as the characters introduced add a lot more depth to the storytelling, and lore wonks most likely come back to things said in this game as a basis for many theories, but it is markedly different than it was in Kingdom Hearts and the feel of the game is changed because of it. There are other changes, too. Levels are more open to facilitate the flashier combat, platforming has been all but stripped out, and the gummy ship levels are fully reworked, but these are all things to be played and listened to, so let’s just jump in. We’re going to be talking about the game’s focus on being bigger and bolder and badder and some other b’s too, probably, than its predecessors, the moody character writing and how this actually set the game apart from its contemporaries, and we discuss what part of the game if executed slightly differently would be on the front page of the New York Times. Thank you for listening this week! It took us a long time to get to this game, but it’s finally done and we’re all better off for it. The legacy of this series is taken pretty seriously by its fans, and that’s something that is difficult to talk around when going back to this game after a long time. While we, when taken as a whole, are very familiar with the game and have nostalgic attachment to it, it is pretty old as far as games go, and while that reflects in some of the design decisions that were made, it absolutely does not diminish the impact this game had both on its own franchise, which was paradigm defining, but also on games as a whole. It has a lot of appeal both for people who already played similar games as well as for people who got into it for the Disney stuff and ended up getting exposed to some of that classic RPG weirdness. So which are you? Did you play this game at the time of its release and grow up with the series as many people my age did, or did you play it retrospectively, or something else? Let us know in the comments or over on our Discord! Next time, we’re going to be devolving into a more primitive state and talking about Donkey Kong 64 as we kick off (and in all likelihood, also end, given our current schedule) Simian September, the spiritual successor to Ape-ril, so we hope you’ll join us for that, and not stop listening for the continuous unhinged themed month ideas.

Podcast go, Sora go, go! Welcome back to NOCLIP Epilogue! Today we’re going back to one of our first ten episodes and talking about Kingdom Hearts. Kingdom Hearts is an action RPG with a dash of platforming on the side, as exploring the different worlds is a big part of both the goal of the game’s design and the appeal. That being said, the real notable thing about Kingdom Hearts, particularly at the time of its release, is its association with Disney. The game incorporate characters, locations, music and other themes and references to many Disney films throughout its levels and its plot. For a lot of people, this is probably why they got into the games in the first place, and I really can’t blame them. The source material is treated reverently, and at least here in the first game, incorporated into the plot in a way that feels real, necessary and additive. Waiting to see what movie each level is going to take you into is a real selling point for the game and because of their incorporation of characters and music, it really makes the sense of being in a movie you love even more palpable. Aside from this, it’s a game released in 2002. There are some limitations due to original hardware, design trends and other problems of the time, but if you can look past that, it was an extremely unique game and of the sequentially numbered entries in the series (358/2 does not count as numbered, lol) still the one that delivers on its premise the strongest. We’re going to be talking about what can make going back to the game a struggle for some and a joy for others, the game’s dedication to its concepts and unique ideas, and we do everything in the end of the world. Thank you for joining us again this week! We’ve piled up a few epilogue episodes (thanks to an unlucky roll during Mystery May, one more than we had originally intended) so far this year, so I hope you find it a worthwhile exercise. Let us know in the comments if you’ve been enjoying them or not and if you have suggestions of other games we should revisit! Kingdom Hearts is obviously a huge series and the reason we decided to handle this one now is because our next main episode is going to be on its sequel, which will complete the trilogy of episodes for us, so we hope you’re looking forward to it. Until next time, remember you can leave a comment or join us over on our discord to leave game suggestions or talk about the games we’ve been discussing. Next time, we’re going to be talking about the Secret of Monkey Island, since we’ve been suffering point and click withdrawals recently, so be sure to check us out then!

A Warg is hunting the podcast for food! Welcome back to the podcast! Today, we’re going to be talking about Rimworld, a colony sim strategy game. Rimworld is one of those games that you probably either already love or have never heard of, which is to say, it is exactly what its audience wants it to be, but appears absolutely inscrutable from the outside looking in. In Rimworld, your goal is predominately just to survive by collecting resources, managing colonists, and handling combat, all of which can become vastly more overwhelming than it appears on the surface. That sense of not being able to quite manage everything feels like it is an intentional decision, though. The game bills itself as a “story generator,” and a well-oiled machine of a colony, while satisfying, doesn’t exactly generate many stories. Having to handle unexpected breaks in the system, and in your colonist’s emotional state, keep things feeling tense and unexpected. As a simulation-heavy game, and one made by an extremely small team, there isn’t much power left for the cutting edge graphics, which have not been pumped up on level three, that you may be used to in modern games, but it’s simplistic style fits well and is part of a presentation that does not slouch in other areas. The sound design in particular is outstanding, with instantly recognizable sound cues for different actions and events, and a soundtrack that will, subjectively, rock you into another dimension. The UI, on the other hand, can be a bit confusing at times and lends the game its notoriety for being immensely difficult to get into if you’re new to the genre. It is a complicated game with a lot of deep systems and a lot of strategies to learn and develop, so you’ll have to listen to see how we adapted. We’re going to be talking about the struggles of starting the game, the wackiness the mechanics can bring to the table, and determine which famous work of Spanish surrealist art it most resembles. Thank you for listening this week! Once you listen to the episode, it will become abundantly clear that one of us in particular is a massive fan of this game, so it comes highly recommended if you can stomach the learning curve and the amount of time it will suck out of your life. But I also get that it’s a tough game to start, so we’d love to hear your experiences. Have you been playing for years, or did you pick it up recently? Have you played with the DLCs or only vanilla? What do you think about Thrumbos? Let us know in the comments or over on our Discord. Next time, we’re going to be finally talking about Kingdom Hearts 2, the last in the main trilogy we haven’t talked about so expect that to be kind of the reverse of this episode. We hope you’ll join us then!

Oh no! They podcasted the building down! Welcome back to the podcast! Today, we’re going to be talking about Chop Goblins, a surprising-in-many-ways FPS by David Szymanski. Chop Goblins is short, with only five levels and five weapons, and can be beaten for the first time in two hours or less, but because of this it never overstays its welcome and keeps introducing new things over the course of the game, including new enemy types. The titular Chop Goblins are not a design that is easy to take seriously, along with most of the rest of the game, but you can see in them that there actually was a lot of care put into making the game feel right. Different kinds of enemies require different strategies to effectively defeat without taking damage, and managing groups of them is core to playing the game well. The game is a “boomer shooter” by definition, but it has a strong core that comes from experience and the love of the genre. I’m not sure how else you’d want me to synopsize Chop Goblins, it’s just a simple, fun game with a better core than you might expect. We’re going to be talking about how the levels and music are used to emphasize the game’s innate silliness and comedy, the feel of all the weapons and what makes them each interesting choices, and we draw a a comparison to one of our favorite games of all time, Rascal. Thank you for joining us this week! We did this game partly to get through something short because we have a lot of more time-consuming games coming up this month, but also because I played it on release and it has really stuck with me for some reason. Seeing a game this competent with this ridiculous of a premise just really warms my heart. Did you play Chop Goblins? …why not? Let us know down in the comments or over on our Discord! Next time, we’re returning to the ole Epilogue well and doing an episode about Kingdom Hearts, sort of in preparation for our next big episode on Kingdom Hearts 2, so we hope you’ll keep an eye out for that!

Next time we meet, I’ll have lived a good full podcast. Welcome back to the finale of Spooktember in July! Today, we’re going to be talking about Ghostwire: Tokyo, a first person shooter game from Tango Gameworks, the developer of The Evil Within. Ghostwire is a sort of a horror game, but with an emphasis on magical first-person combat and Japanese culture, which makes it sort of an odd experience because of where its priorities seem to be. The open world parts of the game are in a lot of ways bog standard, with myriad collectibles, “Ubisoft towers” to clear to open new sections of the map, sidequests and other digressions, but on the other hand, there are also pages upon pages of item and character descriptions, full of folklore and details about everyday life in Japan. It makes the actual world of the game feel very realized, and downright educational at times. The combat contains a lot of systems, but not a lot of incentive to engage with that depth, as encounters tend to be fairly easy to overcome either with your basic “elemental weaving” attacks or with stealth, limiting the amount the player will actually experiment with the advanced techniques or other weapon items like the bow and talismans. To some extent, this is a shame, because the game’s setting and visuals are at times captivating, but taken as a whole this still isn’t a bad game and there’s a lot of fun to be had if you’re willing to look past the more banal parts of its design. We’re going to be talking about our perception of how this game was received and its potentially overlooked content update that adds a lot of good things to the game, how the open world both succeeds and fails by following trends in design that are over a decade old, and we address the very real danger of flip-kicking school children. Thank you for joining us again this week! We had fun cobbling this stupid theme together, and this was the game I’m most happy to have had a reason to play. Not because it’s the best of the games we talked about, but because it’s a title we likely wouldn’t have played otherwise, and one that is pretty fascinating at times. It isn’t groundbreaking, but it focuses on things most games don’t, and it’s always fun to see something in the triple A space trying to do weird things. What did you think of Ghostwire? Did you play at release and if so were you aware of the update that came out? Was I justified in comparing this to No Man’s Sky? Let us know in the comments or over on Discord! Next time, we’re going to be tackling a game on the complete opposite end of the genre spectrum and talking about Rimworld, so we hope you’ll join us for that!

If this is podcast, we never should have climbed down from the trees. Welcome back to Spooktember in July, the month where we barely even know what’s going on anymore. Today, we’re talking about Ghostrunner, a first person platformer action game where you have to execute difficult platforming while avoiding bullets and doing cool cyberpunk sword tricks. It is a categorically awesome concept in all the ways that games can be, really. The obvious first comparison to make is to Neon White, which we just talked about a few months ago, and the comparison isn’t a stretch. Both games necessitate the player repeat sections repeatedly to get them as close to perfect as they can in order to succeed and move on to the next level, but Neon White is much more forgiving, and subjectively, a bit more motivating. Ghostrunner is a much harder game, something that is obviously a design choice, but because of that the act of completing a section is often reward enough without wanting to go back and get all collectibles or improve your time. This doesn’t make the game bad, however, but it is a much more daunting experience just to complete. The mechanics are very tight and their strength comes in the form of trying to get the player into a flow state, but then the biggest issue facing the game is that when it does stumble, it breaks that mindset and begins to feel frustrating more quickly than a more forgiving game might. This could all be irrelevant to you, though, depending on how tough you like your challenges to be, and it is a well polished gem if hard is what you’re looking for. We’re going to talk about boss fights and why they weren’t as successful as they could be, difficulty and its necessity to the game on a conceptual level, and we determine the true identity of the Ghostrunner to be an eighteen wheeler. Thank you for joining us again this week! This game was really the lynchpin for the whole “Spooktember in July” bad idea we had, since we were able to cobble together a theme after wanting to just talk about the Resident Evil games we did. That said, it’s a game I’m happy to have played, one because I had a reasonably good time with it, and also because it’s such a good example of the razor edge you walk when designing a game with difficulty at its core. Which side of the fence did you fall on? Were you able to carry this game out to completion? Let us know in the comments or over on our Discord! Next time we’re going to be talking about Chop Goblins, a bit because it’s short and we need some breathing room for some bigger episodes coming next month, but you can see it as a bit of a bonus Spooktember game if that suits you. Hope you’ll chop on down for that one.

How dare you talk about saving your podcast when you’ve murdered mine? Welcome back to the podcast, and to our delightfully themed Spooktember in July. We’re concluding our first set of games with Resident Evil: Village, currently the latest main series, non-remake Resident Evil game, and one that received a lot of hype prior to release thanks to a marketing strategy that involved a nine foot tall vampire lady. One of the first things you might notice in the game itself is how it relates to other games in the series. Specifically, RE8 features the same protagonist, Ethan Winters, as RE7, a game that was making obvious strides to return to the series’ survival horror roots, which had largely been supplanted by a more action-heavy approach since RE4. Now, in Village, it seems like Capcom wanted to mesh the two and the inspiration taken from RE4 is pretty obvious with the game containing a merchant who can upgrade your weapons, and a more dynamic combat system with enemies who are faster and more threatening than those in the previous title. While this persists across most of the game, several quieter moments break up the action (sometimes becoming the best parts of the game themselves), but the two halves of the design philosophy never really meet in the middle and it ends up feeling more episodic than a real blend. That isn’t to say the game is bad, it’s actually quite good, but it does sit in an awkward place in the series. Unless something this game does is just really your “thing” it’s hard to recommend if you haven’t played some of the games it is directly referencing in its design. We’re going to be talking about the design of each of the levels and how they follow a certain structure and brisk pace, we talk about the inclusion of the merchant and an economy in the game and how that effects how you play it compared to other RE titles, and we discuss the nuances of the relationship between the “Big Bad” and the “Small Bads”. Thank you for joining us again this week! The Resident Evil cycle of the month is now over, so let us know what you think. How do you feel RE8 stacks up against other games in the series, or just other horror games in general? I personally like that there is a high-profile triple-A horror franchise that is willing to pour money into doing weird stuff like this on occasion, but game development of this scale always comes with some baggage. Continue the discussion over on our Discord server or in the comment section. Next time, we’re moving into the “Ghost” phase of Spooktember in July and talking about Ghostwire: Tokyo, so we hope you’ll join us then, even if it is statistically unlikely you played the game.

“Fun” rhymes with “podcast” for a reason, stranger. Welcome back to the podcast! Today, we’re going to be talking about the Resident Evil 4 Remake that was released this year. Why are we talking about this game on Pocket? Well, we wanted to squeeze it in closer to its release date and the focus of the episode is mainly going to be on the way the remake differs from the original, rather than our typical beat by beat discussion of the game itself. This resulted, of course, in an hour long Pocket episode because they changed a whole lot, actually. The bones of Resident Evil 4 are still here, obviously, and the Village portion of the game is still similar to the original in many ways, but there is a ton of new and altered content throughout and that’s without talking about the fundamental changes to the gameplay. Leon controls in a much more fluid way which feels more modern, but necessitates a change in the overall combat system. Enemies are much more aggressive and have new angles of attack to match Leon’s ability to parry with the knife, perform stealth kills and even move while shooting (what a novel idea). This makes the game even more action-focused than the original, which was a massive departure from the series at the time of its release. Basically, even for fans of the original game, this remake represents fantastic new content, rather than a replacement, and that’s probably the best thing they could have done for a remake of an icon like this. We’re going to be talking about combat and difficulty and how the updates change what the game feels like to play, the slight change in tone to bring it out of the B movie camp that defined the original, and we call out the great offense that is adding crafting to Resident Evil 4. Thank you for joining us again this week! We probably could have gone on about this game for another hour and done a full episode, but we were afraid it would be a little redundant both with the discourse that has already happened and the fact that we had already covered the game in the past. Not to mention we have a slate of games planned for the extremely well-thought-out Spooktember in July theme month we have going on and didn’t feel like it would fit at a different time in the schedule. How did you feel about the changes to the game? Was the remake the first time you’ve played RE4, and if so do you have any desire to go back and see where it came from? Let us know in the comments or over on our Discord server! Next time, we’re going to be moving along into the next subtheme of the month and talking about Ghostrunner, so we hope you’ll join us then.

Expand-a-band-band, podcast stash! Welcome back to the podcast! We took a bit of an extra long time with this one, but if you’ve played this game, I imagine you’ll understand why. The Legend of Zelda: Tears of the Kingdom is a massive open world game and the sequel to Breath of the Wild, the game that some people said redefined what open world games should be. To an extent that is true, and we have already seen a lot of its impact on the genre, but Tears of the Kingdom adds a pretty significant amount of innovation on top of that, and some of that stuff is going to be hard for developers to replicate. And all of that while reusing the same ground map as Breath of the Wild. Tears of the Kingdom is huge, yes, adding large new areas to explore and containing thousands of discrete goals to accomplish from quests to shrines to dungeons and collectibles, but its most defining feature is a more fiddly one, specifically the new abilities that let you manipulate the game’s physics system on an entirely new level than Breath of the Wild was able to pull off. Ultrahand, Recall and Fuse let you use the game’s environment more or less to your whims, building contraptions with prepackaged device spheres to do anything from driving a car across Hyrule to making an enemy-seeking robot, shoot arrows imbued with an absurd number of item specific properties and move objects back and forth through time, opening a ton of possibilities not just in combat, but in traversal and puzzle solving. Meanwhile Ascend makes you entirely rethink the way you look at the game world, the effect of which isn’t dissimilar to Red Faction’s destructible environments way back in the PS2 era feeling like a revolutionary upheaval of game systems. The experience of playing this game is somehow very different from playing its predecessor, but with a familiarity that makes it feel simultaneously very comfortable but also tricking you into maybe not being as blown away as you could be. We’re going to be talking about our exploration of the mechanics and how our experiences differed in how and when we realized we could take advantage of our new abilities, the inclusion of new enemies and dungeons that felt significantly different from each other and from Breath of the Wild, and we confirm that the Ganondorf we are talking about is the shirtless sexy Demon King one. Thank you for joining us this week, and apologies for the late release! Tears of the Kingdom is probably going to be one of (if not the) most talked about games this year, and we aren’t exactly early to the discourse, but I hope you enjoy the episode. I’m not kidding when I say Ascend has changed the way I view games, with me thinking I can travel vertically in everything I play now. It’ll be a while before the effects of this game wear off on people. What did you think? Was the game worth the wait since 2017? Did the game make your Switch catch on fire? Let us know over in our Discord or in the comment section! Next time, we’re entering into the very well named and not stupid at all “Spooktember in July” where we’re going to be talking about Resident Evil VIII (or Village, or 8, I suppose) so we hope you’ll join us for that.

One whiff of this and you’ll have your throat slit over the last tin of podcasts. Welcome back to NOCLIP Pocket! Today, we’re going to be talking about The Bunker, an FMV adventure game with a surprising level of production value. We chose to cover this game partly because we had played it before, and there are several other things coming up that are going to take up a lot of our time, and also partly just to expose ourselves as people who keep really hoping for an FMV game to really knock our socks off. This didn’t manage that, but it still has some interesting qualities. Being a more modern game, The Bunker lacks the B-movie cheesiness that is honestly the selling point for a lot of older FMV titles these days, but having a focus on more of the filmic quality is a direction you rarely see these types of games go. Using actors with experience and some truly outstanding set design goes a long way to make the game feel more like a movie. More like a movie, in fact, that it does a game. The Bunker’s level of interaction is low. Barring one or maybe two instances, your choices have no impact on the plot unfolding, and most of the things that require player input could have easily been accomplished without it, making the interactivity feel like a token inclusion. While it doesn’t strike the perfect balance, or much of a balance at all, there is something that still feels pretty novel about it, and the story it tells is at worst competently executed and pretty interesting. We’re going to talk about how much interaction the game has and what impact it really makes, the environments in the game and how much they sell the premise, and we talk about the things that really don’t need to follow a schedule. Thank you for joining us again this week! This was a short episode on a pretty short game because we are gearing up for some bigger things in the future and we wanted to maintain living while still being able to get them out in time. Still, this is at least kind of a strange one to look at right? FMV is a dying, some would say dead, subgenre and to see the amount of care put into making this feel like a modern piece of media gives me at least some respect for it. Have you played any FMV games in recent times? How do you think the genre holds up, and is there a way of making an interactive film like this more satisfying to play? Let us know over in the Discord or in the comments section! Next time, unless we find the inspiration to do some kind of filler between this and Zelda, we’re going to be talking about the Resident Evil 4 remake, so we hope you’ll join us then.

It is decreed that one shall pound the podcast. Welcome to the 150th episode of NOCLIP! Today, we’re celebrating, in a way, by finally talking about Super Mario 64, one of the single most defining video games of all time. Platformers, and probably games generally, were changed forever following the success of Mario 64, and that influence is impossible to deny. We’re going to be looking at that influence, and specifically, the problem solving that went into making this game work as well as it did. The technology that made this game possible was new at the time, and much of what makes playing video games in 3D possible needed to be defined and explained to the player. How do you see where you are, how do you interact with enemies and navigate the world? These questions needed solutions and the elegance with which most of them were handled is extremely impressive for what is essentially a first attempt. That being said, the game is extremely old in the context of the medium, and playing the game now is very different than playing it then, so seeing how the things pioneered in Mario 64 have been iterated on, or in some cases, have remained staples of the genre since, is also an interesting exercise. Does it “hold up” to the cruelty of time? Is the game even fun for someone playing it for the first time today? This is a question that will have a more immediate and well known answer as time goes on, but we are right at that edge where its legendary status and ubiquity among people playing games still mean that most people have an attachment to it and are able to contextualize it in line with its contemporaries. This much is true though, it holds up better than most, if not all of its immediate contemporaries, and the contributions it made to the medium are still obvious even now. We’re going to be talking about the obsessive diegesis of Mario 64’s world and how charming it is, the level and objective design and how experimentation was core to the game’s success, and we make an argument for Nintendo to do some pretty unorthodox DLC. Thank you for joining us this week! Super Mario 64 is a game that, honestly, hasn’t been on our schedule for a very long time for a number of reasons. The number of people who have talked about it already being among the most potent reasons, but there were other reasons this didn’t feel quite right for us to do. However, given the kind-of milestone of being our 150th episode, and with Nintendo being in the spotlight recently due to Zelda, it felt appropriate to take our shot at the almost 30 year old game finally. And personally, I’m pretty happy with the result. Let us know what you think of our discussion of this classic down in the comment section or over on our Discord. Next time, we’re going to be talking about The Legend of Zelda: Tears of the Kingdom, and it’s probably going to be delayed by a bit, so we hope you’ll anticipate that.

Why is every podcast fish? Welcome back to NOCLIP Pocket, and our final episode from Mystery May! Today, we’re talking about Octodad: Dadliest Catch, a game about an octopus doing his best to blend in with human society. The game is straight out of the Goat Simulator era of physics-based games, and owes a lot to all the QWOP-inspired physics hell games that came before it, but what makes Octodad stand out is that it’s just much more playable than most other games in the genre. In Octodad, you control your legs and arm separately, with a wobbly ragdoll character and everything in the environment weighs nothing to allow for it to maximally fly around everywhere when you bump into it. However, the game has a plot and it wants you to finish it, so it never reaches Getting Over It levels of difficulty. In a way, this does make the game weaker, as the crazy physics interactions are less pronounced, but it’s a game you can finish and one that doesn’t overstay its welcome, giving it more of a feeling of real player-friendly design and making it a great jumping off point for getting into the genre. We’re going to be talking about the game’s perceived difficulty, how Octodad cultivates its comedy and makes it work, even at the player’s expense, and give you our top strategy tips for cheating at the arcade. Thank you for joining us again this week, and for seeing us through Mystery May this year! We’re really happy with how it turned out, so we’ll be dredging the table up again next year as well. Did you play Octodad at any point in the 9 years since it came out? Did you play the original freeware Octodad? How did you feel about Mystery May and are there any games you were really pulling for off our table? Let us know in the comments or over on our Discord! Next time, we’re going to keep it a little bit unorthodox and are going to be talking about The Bunker, an FMV game about people living in the post-apocalypse, so we hope you’ll keep an eye out for that.

What is love known by? When it hurts to say “Welcome to NOCLIP.” Welcome back to the podcast! Today, we are doing as the dice instructed per the rules of Mystery May and playing Child of Light. Another game that’s been on our list for a while, Child of Light is an Ubisoft developed RPG that showcases the studio’s “UbiArt Framework” engine that was designed with the intention of being able to develop with artist’s ease of use specifically in mind. As a result, Child of Light is a game that has an obvious focus on delivering it’s storybook-styled visuals over all else, and therefore has a strong and consistent aesthetic throughout. Beyond the visual style itself, the music fits the theme well while not being overly showy, and conversely, the writing is done entirely in rhyme, calling attention to itself massively and just being a big in-your-face element of the game. Playing the game, though, is more traditional RPG fare, with its big distinguishing twist being a combat timer that allows strategies based around slowing or interrupting enemies and choosing attacks based on the length of time they take to cast. It fits together well enough but contains some design pitfalls that makes this a flawed game, but still an interesting one. We’re going to be talking about the abundance of systems and the harm they can do to the player’s experience, the really charming character and visual design and how they fit it together with the narrative and gameplay, and how Ubisoft really changed as a person once they got that sweet-sweet Rabbids money. Thank you for joining us again today! We’re sad to see Mystery May close out, because it’s been a surprisingly fun time not having to make decisions about what to play. Were you one of the people who played Child of Light when it released, and if so, what made it grab you then? Did you pick it up recently and become confused at the weird DLC elements that just kind of got thrown in? Let us know in the comments or over on our Discord! Next time, with full control back in our hands, we’re going to be talking about Super Mario 64, sort of keeping with the theme of “how did it take them this long to cover this,” so we hope you’ll join us for that!

Take out the reptile, first of all. Welcome back to the podcast! For our first Mystery May title for Pocket, we managed to roll a critical miss, forcing us to do an epilogue episode on Rascal, probably the worst game we’ve covered for the podcast. What started as a joke episode based on a history with the game became probably the podcast’s most enduring reference point for things being done badly and given how old the episode is, it probably was high time we took another stab at it. This episode isn’t overly long, and features far fewer hosts, but hopefully this is a good introduction to the game and why we keep talking about it, even after five years. Rascal itself is a 3D platformer for the PS1 that pretty much behaves in every way contrary to how a platformer should. You have tank-esque controls, a camera that will absolutely not do what you want it to do, and a terrible gun that you use to fight infinitely respawning enemies that appear offscreen and kill you. It’s a nightmare, but at least it’s a funny nightmare. The game so confidently thrusts you into its meat grinder of ill conceived challenges that you can’t help but laugh at your own poor fortune. We’re going to be talking about the outdated design philosophy that is expected of games of this era, the baffling design philosophy that makes up the rest of the game and we talk about all the games that were definitely inspired by Rascal’s secret genius. Thank you for listening this week, or at least I hope you listened to make playing this game again worth it. We are actually happy to resurrect this particular meme, though, because we’ve referenced the game already this year, possibly multiple times. This is as close to a signature game as we have on this podcast, so hopefully this can be the last word, unless we roll a critical miss again at some point in the future… But did you play Rascal? Why? Was it out of a call of the void style curiosity because you saw the game lying around? Were you given this game as a gift, either by someone who didn’t know better, or more likely, as a gag? Let us know over on our Discord server or in the comments below! Next time, the dice deigned we talk about Octodad: Dadliest Catch, closing out an extremely weird chapter in NOCLIP Pocket history, so we hope you’ll join us for that. Also, massive credit to this frankly incredible guide, that we reference multiple times in both this and the original Rascal episode: https://gamefaqs.gamespot.com/ps/198413-rascal/faqs/37867

All those years ago, Tim had left the podcast behind. Welcome back to the podcast! For our first episode in Mystery May (but with rolling dice instead of solving mysteries), we’re going to be talking about Braid! Braid, as honestly you’re probably already aware, is a puzzle platformer that received a massive amount of recognition and acclaim when it launched on the Xbox Live Arcade way back in 2008. Far more puzzle than platformer, in Braid you use standard platforming controls and the ability to reverse time to collect puzzle pieces and complete levels, with each new level offering a different gimmick that changes the way the world and sometimes your abilities work. Gameplay-wise, the puzzles are extremely well-built. Never being outright unsolvable for the average person but also deep enough to provide a challenge and featuring some truly unique solutions. To some, this will be the biggest draw of the game. For others, the game’s melancholic tone and vague story will be the thing that hooks them, and it is also well crafted. The writing is eloquent and evocative, calling to mind how we as people handle mistakes and questioning the fantasy of being able to turn back time to correct them. As two different elements of the game, they both really sing, but when experienced together, how well do they mix? We’re going to be talking about our difficulties with the puzzles, our difficulties with piecing the game’s message together from the parts it gives you, and we make listening to the episode without being embarrassed about it a difficulty by telling a yo mama joke at the halfway point. Thank you for joining us again this week! Braid coming up first on Mystery May is a great example of what we designed the whole system around because it’s been on our list literally since the inception of the podcast and kept getting kicked further down the road. It feels good to have finally played it, but missing the cultural zeitgeist on this game may have done more harm than we realized? Do you think Braid still holds up and its intentions still come across in the modern day? Do you think Braid has had an impact on game development or just indie game popularity generally? Let us know in the comments or over on our Discord! Next time, we’re going to be talking about Child of Light, as deigned by the fates, so we hope you’ll join us then.