Gone are the striking evocative 8-bit neon backdrops of old, and instead we're given excessively detailed, and often disgusting, animated environments that wouldn't feel out of place in a Ren and Stimpy episode. The most noticeable change this time around is the aesthetic, eschewing the first Nidhogg's classy pixelated sprites in favour of garish multicolored monstrosities that look like stretchy Play-Doh molds. This sequel doesn't reinvent the wheel but it does add further depth and flavour to its predecessor's winning premise in a delightful, if inessential, way. Messhof aced the basics, but had more to offer.Įnter Nidhogg 2. Lead developer Mark Essen spent three years refining Nidhogg's systems, so it would be a shame to simply let them run their course in a single cult hit. Nidhogg wasn't lacking in complexity, but it was in variety and scope. For some, however, it was too bare bones. It was a beautiful ballet of blades and brawn, distilled into a scant four maps. Barring that, there was always the option to viciously rip your opponent to pieces with your bare hands. Based on timing, positioning and momentum, you could slide into foes, dive kick, stab, parry, disarm, deflect, and toss your sword. Ludicrously simple on its surface, the depth came from a multitude of context-sensitive movesets. Messhof's two-player competitive fencing game shaved the one vs one fighting game to its core with only two buttons (jump and attack) and a single game mode wherein each player ran towards their goal on opposite ends of a seven-stage scrolling arena. The original Nidhogg was a great example of minimalist elegance. It's not revolutionary, but it's the best Nidhogg has ever been. An already sterling fighter gets a new coat of paint and a few new tricks.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |