Nintendo Switch

What the Golf? Review – But No One Asks, “How the Golf?”

What the Golf? Review – But No One Asks, “How the Golf?”

Reginald Sockembocker crashed into the pro golf scene like a flaming semi-truck into a bouncy castle, bewildering all the pro golfers jumping unsuspectingly inside. In his high school and college days, he could sink balls into holes better than any other man alive. The golfing world eagerly awaited his professional career, and Reginald—or “Ball Bocker” as he came to be, “B-Squared” for short—stole the scene in addition to every tournament. You see, B-Squared—otherwise known as “BS”—loved his over-the-top antics as much as he loved pegging holes on the first try.

His first spectacle involved him winning a tournament with his non-dominant hand and only a putter. The following year, he ensured every single drive he took ricocheted against a bird in the air before hitting the green. The resulting PETA debacle made his name known in every household. After this incident, BS voluntarily replaced his right leg with a driver and proceeded to win every tournament that year with said leg, all the while speaking and dressing like a pirate.

Although the audience initially loved his show, each progressive year’s silliness soured their fun. By the time BS was using only verbal abuse to force the balls across the green, the viewers had had enough. Golf had lost its meaning, and BS’ wackiness became the norm, making any originality seem banal.

One day, after selling his soul to employ Satan as his golf caddy, BS scored his final hole-in-one for the year. When he turned to his adoring fans, he found none of them. No other golfers had entered the tournament. Even all the birds were dead.  Reginald Sockembocker discovered he was completely alone. As Satan entered into a vortex of fire and pained screams, he looked back at the golfer and shook his head in pity.

Left with only his thoughts, Reginald pondered, “What the golf?”

What the golf?

Solomon giggled to himself as he progressed through What the Golf?. As a parody of golf, the game was fun enough, but what made it unique was how it subverted his expectations. The first stage in the campaign seemed to task Solomon with hitting a ball into a hole shaped like a giant “1.” However, there was no ball, only a cup with its flag. When he took his first shot, the cup uprooted itself from the ground and toward the 1. Once completed, the game congratulated Solomon with “Hole in One.”

Player 2 grew sick of how often Solomon nudged her to look at his game. He wanted others to see how creative the game was, and its zaniness was exactly what he needed to pull him through his current depressive episode. As he progressed through zones based on soccer, music, Super Hot, Portal, Mario, and other sports, Solomon felt he had finally found a game to match Katamari Damacy’s brilliance. Both shared a love for the wacky, emphasizing fun over difficulty. There was even a multiplayer option to include Player 2.

But then Solomon continued to play, and What the Golf? became stuck in a sand trap. Solomon became aware he was just playing golf with extra steps, and the jokes struggled to keep the momentum. Later stages devolved so far from golf that it was no longer a parody but an aimless attempt for more content.

At any point, Solomon could have simply set the game aside, yet he didn’t.  He felt compelled to continue.  He yearned for the dopamine rush it had given him earlier. He’d get small doses here and there, but rather than make him happy, he just became more aware of his withdrawal symptoms. Once a source of happiness, What the Golf? became a target for his anger as he cussed it out. It was supposed to be an antidepressant, but it ended up as a reminder that he was still mired in his low.

What’s good?

Player 2:  I still don’t understand why you wrote it like this.

Solomon Rambling:  I’m trying to reflect…uh…embody What the Golf?’s problem. It starts out crazy and awesome, but it later becomes boring and bad.

P2:  I get that, but that final paragraph just sounds bad. Like you got a fifth-grade kid to write it.

SR:  That’s the point.

P2:  Well, I don’t think it’s good.

SR:  I know. That’s the point!

P2:  No, that’s not what I mean. You start off with that ridiculous story. Then you have that really vulnerable section where you describe Solomon, and then you just go to “What’s bad” like a normal review.

SR:  I did a “What’s good” section like I do in my reviews. With the bullet points.

P2:  You did?

SR:  Yeah, I did. It’s right here. Look. Come look. I say it’s funny, is good for score chasers, and has a good multiplayer mode.

P2:  See, I didn’t hear the difference when you read it to me. It’s fine that you did that, but I don’t think people are going to get it. I still don’t like that ending.

SR:  I’m keeping the ending. I like it.

P2:  That’s fine. I’m just saying my opinion like you asked.

SR:  I know. I know. I think the problem is the “What’s good” section. It’s not different enough to be noticeable. I’ll change that. I’ll also switch the “we” to “I” in the next section.

P2:  You don’t have to. I just didn’t like that either.

SR:  I’ll change it.

What’s bad?

I would love nothing more than to heap praises on What the Golf?, but as I had mentioned previously, the game struggles to justify enough content for a full round of golf. The worlds centered on cars, bowling, and Super Hot tend to drag on, featuring more stages than unique ideas. However, the real problem lies with the challenges. Each stage features two additional challenges, with the first often related to hitting par while the second offers a joke or a steeper challenge. These theoretically should further show off the game’s creativity. Instead, they demonstrate why you don’t build off of one-liners.

The par challenges can be especially frustrating due to their uneven difficulty. Some stages will set the par so high that you needn’t even bother with it. Almost all of the timed stages (a variation on par) are similarly generous. Other challenges require near perfect execution from you, and their difficulty translates to multiple retries as you attempt to get it just right. In this limbo, I became distinctly aware that What the Golf?’s level layouts are not nearly as refined as its comedy.

For the majority of players, you can stop once you’re bored, and the game will be good for you. I’m a completionist, however, and I continued coming upon issues. For instance, if you choose not to play the first-person levels in handheld, the game will repeatedly ask you to switch and will not save your decision to remain in docked. Backtracking in the campaign to replay old stages is also a chore, so if you’re looking to 100% the game, you may want to complete all the challenges as you beat each stage. Again, these aren’t big issues, but they still pissed me off.

What’s the verdict?

In conclusion, What the Golf? is a great game, but it has its problems. I liked that it was funny, creative, and fun to play with a friend. I did not like that it was short and not as good at the end. I recommend it to people who enjoy party games or good humor. I give it an 8/10.

Arbitrary Statistics:

  • Score:  8
  • Time Played:  Over five hours
  • Number of Players:  1-2
  • Games Like It on Switch:  Katamari Damacy REROLL, Heave Ho

Scoring Policy

Posted by Solomon Rambling in Review, 0 comments
“World for Two” Review – Too Little Stretched Too Far

“World for Two” Review – Too Little Stretched Too Far

As an amateur creator, sometimes your best doesn’t make the cut. For instance, with each video I have edited, my work improves and sets new standards of quality for myself. However, compare these videos to established YouTubers or anyone with a following, and my lack of skills becomes all the more evident. This is not to say my work sucks. Maybe it does. I kind of dug a hole for myself here. My point is we don’t compare a kindergartner’s finger painting to an art major’s final gallery. It’s unfair to the art major.

World for Two feels like its developer, Shinichi Nishimori, poured everything he had into its production. It’s beautiful and imaginative, and other games should aspire to match its level of polish. Despite the love devoted to this game, it struggles to be actually enjoyable, whether that is a flaw in Nishimori’s vision or the result of him making this game largely by himself. With a few more opinions and developers to hash out World for Two’s gameplay and design, it may have been a greater product, but as it stands now, it looks amateurish compared to other games of its ilk.

What is it?

World for Two basically plays like Doodle God. Those unfamiliar with Doodle God might know its original inspiration, Alchemy. If you haven’t played Alchemy, I imagine it’s a lot like World for Two.

In World for Two, you are an android created by the last human alive. All other creatures have gone extinct, and it’s up to you to populate the world with new species. You begin by harvesting crystals which allow you to produce archetypal genes, and you start with combining two “primordial genes” to make a simple amoeba. By splicing genes with samples of DNA, you’ll spawn new creatures which will begin to inhabit one of four environments. You’ll produce small critters at first and eventually work your way up to larger beasts.

You’ll have to do some legwork to continue your experiments. Once you create a new creature, you must visit it in its environment to retrieve its DNA. If you’re extracting a specific animal’s DNA for the first time, you must complete a simple matching game in which you combine two strands of DNA. Red nucleotides go with blue ones, and yellows pair with greens. After this, you can collect three samples of DNA before the creatures dies and evaporates before you. Normally, a blood sample could provide a sufficient DNA sample in the real world, but World for Two likes to tears chunks off, just to make sure they got everything.

You have access to only one environment (the Bog) at the beginning, with the rest becoming available as you produce more unique species. Different crystals can then be harvested from each biome, opening up more genes for you to manufacture and combine with DNA. In the course of this gameplay loop, you’ll glean information about the world and story by interacting with the scenery, killing animals, or talking to the scientist. It’s like the circle of life from the Lion King but bleak and pixelated.

What’s good?

  1. Nishimori has crafted stunning pixel art. The backgrounds are specifically gorgeous, with the Bog treating you to spiraling vines riddled with thorns. Each animal features a unique color scheme, and later, you’ll encounter new takes on various mythical creatures. It would’ve been nice if the backgrounds and designs contributed to a larger lore, but alas, they’re just eye candy.
  2. Although some of the DNA combinations ignore all logic, World for Two helps steer you toward successful matches without giving away any solutions. Most importantly, it keeps track of your incorrect guesses. You can also peek at a book which features an evolutionary tree of sorts which shows which animal DNA can still be manipulated to produce a new creature.

What’s bad?

  1. Most of the gameplay feels like unnecessary busywork. You click a button by a tower to collect crystals. You harvest DNA with that same button. The DNA minigame is nothing more than a multiple-choice question. The meat of the game is figuring out how a mouse becomes a beluga whale, but you’ll spend most your playtime running and tapping A to gather materials in order to enjoy the fun part.
  2. The fact that harvesting DNA kills your creatures not only results in more busywork but undermines your goal to repopulate the world. As I mentioned before, each animal yields three copies of DNA and then disappears. If you want to keep the animal around, you can only harvest two DNA samples. If you waste those samples in incorrect pairings, you need to recreate the old animal (plus any creatures needed to make it), go harvest its DNA, and then return to the lab to try again. Due to how monotonous this process is, keeping animals alive is a needless luxury, and your environments may remain as barren as they were at the start. If animals could regain their DNA over time, this issue would be largely mitigated
  3. Even with all of the needless padding, you’ll quickly reach the end of World for Two. I chose to keep one of each animal alive, so my playtime of four hours may be a little longer than other playthroughs. Of that time, I maybe spent 90 minutes actually puzzling out which combinations to make.  
  4. If the story was a creature, its DNA would be a combination of science fiction clichés and half-hearted philosophies. Our android makes fleeting observations during its journey, questioning the meaning of life. It doesn’t come to any major epiphanies, and while it can question where we go after we die, it quips that religion is beyond its understanding. The ending adds the prerequisite drama needed to slightly tug at the heartstrings, but it’s easier to predict the ending than determining how a lion is the evolutionary ancestor of the polar bear.    

What’s the verdict?

Shinichi Nishimori didn’t commit any grave sin when making World for Two. It’s competent and largely harmless, and I imagine it’s a better fit on the smartphone where it had originated. It’s also monotonous and lacking any substance. When other solo developers have made the likes of Return of the Obra Dinn, Undertale, Stardew Valley, and Axiom Verge, I can’t excuse World for Two’s failings.

That doesn’t mean Nishimori couldn’t build on his concept. In fact, World for Two is the type of game that would be perfect to dissect for my “I Can Do It Better” video series. Doing that, however, would involve me creating a video on my own, and that’s just a tad too meta right now.

Arbitrary Statistics:

  • Score:  5
  • Time Played:  Over four hours
  • Number of Players:  1
  • Games Like It on Switch:  Doodle God, Scribblenauts Mega Pack

Scoring Policy

Posted by Solomon Rambling in Review, 0 comments
Assault Android Cactus+

Assault Android Cactus+

Assault Android Cactus+

Defense Gelatinous Popsicle-

High score chasers and speedrunners have found the key to happiness in video games.  Whereas the plebian plays a game only once, the chasers and runners will replay that game ad nauseum until they break a world record.  Why play any other game when you can play Donkey Kong for four hours straight or complete Ocarina of Time blindfolded?  These gamers manage to suck dry any fun the game had and then eat the desiccated husk.  At least, I assume they enjoy doing this.  Otherwise, their ritual is some sort of masochistic torture lifestyle.

For the high score chasers, Assault Android Cactus+ (AAC) will keep you entertained for the entire year, or maybe a month.  I don’t know how time operates for you all.  For the rest of us, you’ll be looking at around five hours of playtime, ten at most.  Developer Witch Beam has refined the gameplay and presentation so expertly that any gamer will have a blast, no matter how much you end up playing.  Assault Android Cactus+ is a must-have twin-stick shooter, but for those without an obsession for leaderboards, the experience will feel short-lived.

What is it?

Assault Android Cactus+ separates itself from other twin-stick shooters by giving you unlimited lives but one battery.  This battery steadily depletes over the course of the level, and if you or any of your co-op partners “dies,” the battery loses more energy.  Defeating a wave of enemies will drop a green power-up which will recharge a portion of your reserves.  The more you die, the faster you will have to dispatch your robot enemies to stay in the game until you’ve defeated all waves.  If the battery empties out, you’ll restart the level.

Unlike your mindless robot nemeses, your playable characters are androids, all named after items on a grocery list written by a man having a stroke.  Whether you choose Cactus, Aubergine, Lemon, Starch, Holly, or another, each character sports a primary and secondary weapon.  Your primary weapon fires endlessly and upgrades as you collect bits from fallen enemies.  Hitting the ZL button will cause you to dodge and swap your primary for your secondary weapon, which has a higher damage output.  Once the secondary empties and cools down, you’ll dodge back into your primary weapon.  Power-ups will occasionally drop from enemies to add firepower/speed or freeze robots.  These prove especially helpful when you die and your primary weapon degrades back to level one.

The main campaign features 25 levels, including five boss battles.  Beating this will unlock a hard mode of sorts, labeled “Campaign+,” as well as a Boss Rush option.  Additionally, you have “Infinite Drive” which sends you against hordes of enemies and bosses until you collapse or reach Layer 50.  A “Daily Drive” acts much the same as Infinite Drive but will end after Layer 10.  All modes can be played with up to four players, and each mode will award you with currency.  This currency can then be used to buy unique options to change gameplay (such as an isometric or first-person perspective), art, or information about AAC’s larger universe.

What’s good?

  1. Dynamic stages carry the game’s intensity and entertainment value.  For instance, the first stage sees you battling robots as you ride an elevator, giving you little room to maneuver.  Once the elevator reaches the bottom, you have a larger space, allowing you to evade an increasing number of enemies.  Several stages will similarly change over time, and others will have stage hazards like conveyor belts, lasers, and fires.  Even the static stages are designed to keep you on your toes, although there are a few expected duds.  The boss fights, conversely, are uniformly spectacular.
  2. Despite your general mission to decimate waves of enemies, each of the androids incentivize tearing through metal in different ways.  Cactus is your most standard fighter, unleashing damage both up close and from afar.  With her shotgun and plasma field, Coral is best suited in the middle of the action, blasting large clusters of robots in one go.  Shiitake’s rail gun can tear through multiple enemies but is slow, and without her mines, she struggles to stay alive in close quarters.  None of the characters seem noticeably weaker or stronger than the others, although I’ve found Starch to be a beast against bosses.
  3. The story and characters deserve their own Netflix adaptation, even if AAC offers so little of them.  There are only four cutscenes in the entire game, but the dialogue is smart and goofy.  The leading ladies show their personality with their one-liners as they battle enemies, their conversations with the bosses (each unique to the character you choose before the fight), and their background stories.  They are sassy, silly, and badass, just as Isaac Asimov intended them to be.

What’s bad?

  1. One button controls dodging and changing to your secondary weapon, and it feels awkward.  Because the bosses and enemies can make the game a bullet hell at times, dodging is indispensable.  However, if your secondary weapon overheated, you’ll be barred from dodging until it finishes cooling down.  During more intense skirmishes, you’ll want to dodge but keep your primary weapon going, so you’ll have to dodge twice to keep your loadout.  One could argue that this design choice makes you more mindful when you dodge, but it more often acts as a nuisance when you want to focus on the firefight and not fiddling with your weapons.  
  2. Unless you like chasing for high scores, AAC’s Drive modes grow stale quickly. Both modes feature dynamic stages, with barriers falling in and out, creating new obstacles or protection.  However, the arenas, themselves, maintain their general circular structure, so you’ll often find yourself circle-strafing to avoid fire, clear enemies safely, and collect powerups.  For most gamers, it’ll be fun to try a few times.
  3. The graphics tend toward the uglier side. The game is not a looker on any system, but the Switch version makes things a little blurrier and a bit more jagged in places.  Most everything is easy enough to see, and it runs fine, so you won’t die to cheap tricks, but you’ll be excused if you wrote this game off as another generic twin-shooter based on the still images.

What’s the verdict?

All games cater to a specific audience.  Great games satisfy their target group and manage to welcome others.  Assault Android Cactus+ will delight arcade enthusiasts and those hungering for the tops of leaderboards.  For others, the game offers a brief blast of entertainment.  Its flaws are minimal; its strengths are plenty; and if there was more to it, it could claw itself to the top leaderboards of my own reviews.  As it is now, I’m left wanting a beefier sequel. 

Arbitrary Statistics:

  • Score:  8.5
  • Time Played:  Over five hours
  • Number of Players:  1-4
  • Games Like It on Switch:  Cuphead, Enter the Gungeon

Scoring Policy

Posted by Solomon Rambling in Review, 0 comments
The Town of Light Deluxe Edition

The Town of Light Deluxe Edition

Now Featuring Half the Content – For Both the Game and the Review

[98 words inaccessible with this version of the review]

The Town of Light on the Switch is exactly like that sensation. The game is total excrement, a porting disaster so horrendous you’d think the developers hadn’t played it.  It’s entirely possible they didn’t because if they had, they would’ve caught the bug which stops progress completely halfway through the game. And yet, the Nintendo community stopped giving shits (or never gave any) and moved on. Otherwise, someone would have noticed the bug, but here we are with a broken game, four months since the game came out and two months since I notified the publisher of the issue.

I don’t know if the Town of Light redeems itself in the second half. I can only review the first half.  Keeping with the spirit of this theme, I provide you a half of a review.

What is it?

The game follows the fictional Renée in modern-day times as she returns to the very real asylum, the Ospedale Psichiatrico di Volterra, in Italy.  Closed in 1978, the psychiatric hospital has succumbed to decay.  Broken furniture, papers, and weeds are the sole residents, and graffiti artists have left their marks along the walls.  As she wanders the abandoned facility, Renée recalls her memories of when she was committed in the 1940s, piecing together the trauma she experienced to understand the horrors perpetrated by the ward’s staff. 

Renée comes prepared, however, to deal with the demons of her past.  In addition to walking, she can interact with objects, turn on her flashlight, collect journal pages, turn off her flashlight, and monologue.  Wherever you wander, she prattles on about her behavior, sometimes offering direct clues to where you must go.  Occasionally, you—presented as some voice in her head—can respond to her incessant narrating to help or hinder her mental health.  Whichever you do impacts the gameplay as much as my attempts to complete the game.

[115 words inaccessible with this version of the review]

The dreaded puzzle…

What’s good?

  1. [54 words inaccessible with this version of the review]

What’s bad?

  1. The Town of Light is broken.  As I have learned from the publisher, “the button is off set [sic] on the boiler” in the aforementioned unsolvable puzzle, and there is no way to push this button otherwise.  With no way to progress (to my knowledge), be it through a cheat or chapter select, the Switch port is an incomplete game.  On principle, this type of game cannot score anything other than a 1 out of 10.
  2. [135 words inaccessible with this version of the review]
  3. Renée’s story often seems exploitative in how depressing and gruesome it is.  As the developers state, Renée is based on multiple stories of actual patients in the Ospedale Psichiatrico di Volterra.  As a result, she seems to have a bingo card of mental health symptoms and trauma.  These traumas are then graphically presented in still animated scenes.  On one hand, I like how the Town of Light does not shy away from the atrocities committed in the hospital, but the story seems almost indulgent in making Renée suffer.  Perhaps the full game justifies the bleak presentation, but other works like One Flew Over the Cuckoo’s Nest and Girl, Interrupted have provided better glimpses into the lives of patients in mental hospitals.  
  4. The Town of Light plays too linearly.  Most doors, corridors, and other sections of the grounds are inaccessible until your next task takes you to them, so exploration is discouraged.  Even if you do wander, Renée will remind you—almost exasperatedly—that you’re not going where you should.  Whereas Gone Home and What Remains of Edith Finch made linear progression seem natural through the design of the houses, the Town of Light must stick with the floor plan of the Ospedale Psichiatrico di Volterra, which could act like a labyrinth.  Rather than allow players to get lost and find their way to the story, the game presents an overly strict tour guide who chides you for being curious.
  5. [80 words inaccessible with this version of the review]
This journal is supposed to be visible, not a representation of the dark.

What’s the verdict?

Even on PC and consoles, the Town of Light is not a great game.  In the unlikely event in which the developers do patch the Switch version, it will still be a poor port.  Those with a perverse interest in this game after this review can get it on PC.  At least with that version, you can see how the developers cared deeply about telling this story and talking about mental health.  [76 words inaccessible with this version of the review]

Arbitrary Statistics:

Scoring Policy

Read the full review here.

Posted by Solomon Rambling in Review, 0 comments
Tick Tock: A Tale for Two

Tick Tock: A Tale for Two

An observation of Solomon

Much like a baby’s fascination with an electrical socket, Solomon sought cooperative multiplayer games despite their tendency to cause unfortunate circumstances for him and those he loved. He enjoyed the concept of teamwork, friendship, and all the other Care Bear flavors, yet they were less fun in practice. His partners rarely thought or acted like he did, and he couldn’t ignore their mistakes like he did his own. In his perfect world, his team would simply obey all of his orders. After all, nothing could rival the cooperation between a dictator and his subjects.

His wife similarly enjoyed co-op games and had learned to adapt to the Solomon brand of teamwork. While he obsessively pursued results (the three-star ratings and the obscure collectibles), she enjoyed the experience and interaction. He could pretend to lead his team to victory, and she would play the game as intended. In this sense, they formed a symbiotic relationship, with Solomon firmly taking the role of Player 1 and her joining him as Player 2. This tenuous but established relationship held for seven years. Only Tick Tock: A Tale for Two could crack the foundation, revealing the one-man shitshow that they had ignored for all those years.

What is it?

Tick Tock requires two devices—be it a Switch, tablet, computer, or smart refrigerator—and two copies of the game.  Upon launching, the game will prompt the players to select either “Player 1” and “Player 2.”  No local or online connection is necessary because the game progresses purely through the information the two players provide each other.  The game instructs players to not look at each other’s screen unless they get stuck.  Being a screen looker, Solomon took this as a challenge and a headache.  His wife was simply happy that the game allowed her to choose her nickname, “Player 2.”

Each player has one half of a point-and-click adventure game along with half of the story.  Both will visit the same locations, yet they’ll find different clues.  For instance, one puzzle tasks the players with completing radio news alerts, matching one half of the message on one screen with the other half on the other screen.  Numbers, dates, or locations concealed in the messages are then used to access another part of the game.  Essentially, a clue for one player allows the other player to progress and find the next clue, playing out like a mental three-legged race.  During his first play-through with his wife, Solomon felt both players were necessary components of a wholly unique game.  In his second playthrough, he played by himself – controlling both screens – and came to realize the game could abandon the second person altogether and fit on the two screens on a DS instead.

Outside of the puzzling, Tick Tock presents a world in which watchmakers fiddle with time as much as they do wheels and screws.  One such watchmaker, Amalie, invites both players to play a game, one which she made for her sister, Laerke.  A newspaper article reporting Laerke’s disappearance serves as the clue to the first puzzle which, once solved, sends both players back in time to the sisters’ quaint hometown.  In this town, pets and other animals go missing or are found dead.  Although conveyed only in bits and pieces through clues, the plot is predictable, much like this story of Solomon and his wife.

What’s good?

  1. The puzzles require a different strategy to solve them. Most cooperative puzzle games can be commandeered by one player ordering the others through the solution. If played as intended, Tick Tock demands players to share equal power in order to progress, to cooperate in sharing information.  Solomon did not play Tick Tock as it was intended. He tried to wrestle power from his wife, delivering blind commands which were rarely accurate or relevant. She protested frequently, but Solomon had the ability to protest more loudly.
  2. Although thin in detail, the story provided enough mystery to sustain Solomon’s interest.  He fell for the time gimmick, intrigued by how Amalie played with time like a wanton mistress, manipulating it to her gain.  It was not lost on him how Amalie did the same with her sister, how she pushed her values and experiments on Laerke with little regard to her feelings or complaints.  That he was doing the same to his wife as they played, conversely, was lost on him entirely.

What’s bad?

  1. Neither control option (control stick/buttons or touch screen) worked as intuitively as one would expect for a point-and-click game.  In an effort to direct his growing frustration with the game away from his wife, he jokingly complained how sluggishly the screens transitioned, how pieces would not respond to his swipes.  When complaining eased into irritated bitching, his wife encouraged him to calm down, and his anger erupted back onto her, accusing her of overreacting. 
  2. The puzzles become repetitive, leading to a bloated third act.  His wife pleaded with him to take a break, to come back to the game another day.  He refused.  He escorted her as they pieced together messages again, looked for subtle numbers and dates again, and wandered the same four locations again.  He also wanted to stop.  He knew he wasn’t controlling himself, but his neuroticism drove him to finish the game.  If he could finish it, he would have closure which meant he and his wife would have closure.  They could laugh later and discuss what they had liked.  He could focus his hatred on the game instead of suffocating her with his fumes.  He would never have to touch the damned game again. 

What’s up to your preferences?

  1. The puzzles require relatively little action apart from sharing information.  Apart from one puzzle which requires sharing information at a fast pace, Tick Tock never strays from its call-and-answer gameplay.  Some may like the focus, how the developer’s experimented with one concept.  Solomon loathed it, loathed how the same gameplay loop rested on his worsening communication with his wife.  He snapped at her, chided her for describing things inaccurately, criticized for not understanding his descriptions.

She begged to stop again.  She tried to convince him neither of them knew how to solve the next puzzle nor had the emotional stability to make the game a positive experience.  He told her to play better. 

She started crying, letting her Switch to fall into her lap as he watched her back.  His anger ripped through his brain, clinging onto any fuel to blame his wife, paint her as the problem.  He did not want this to be about him.  He pleaded for it to be anyone’s fault but his.  However, as petty as he was, he was not stupid.  He could recognize who was responsible. 

He mumbled an apology, following it with an explanation to excuse his actions.  He tickled her back, giving her time to relax as he looked up answers online.  He stopped touching her once he had found the answer.  With one more apology, he instructed her to keep playing.

  1. The game is short, lasting between one and two hours.  With no variation between play-throughs, there is little reason to play again other than for the story.  For many, Tick Tock will feel like a demo, largely because the developers could have included more variety in the gameplay.  Others will appreciate being able to complete the game in one sitting.  For Solomon and his wife, the game was far too long at 100 minutes.  Solomon had obtained his closure, just as he had hoped, and that closure took the familiar form of regret and shame.  He could not stand to look in her eyes.

What’s the verdict?

Tick Tock: A Tale for Two could be jokingly described as one of those games that test the strength of one’s relationship, like Lovers in a Dangerous Spacetime and Snipperclips. None of those games actually test relationships, and for most gaming duos, Tick Tock will be passingly enjoyable. It just didn’t work for Solomon. Did he ruin a great game with his pettiness and his anger? No. Even if Solomon had behaved, Tick Tock would never be a great game and would eventually be forgotten. But Solomon did ruin a game, and now, neither he nor his wife will forget it.

Arbitrary Statistics:

  • Score:  7
  • Time Played:  100 minutes together the first time, 64 minutes alone the second
  • Number of Players:  2
  • Games Like It on Switch:  Keep Talking and Nobody Explodes, Unravel 2

Scoring Policy

Posted by Solomon Rambling in Review, 0 comments