There is no justification to any of this, no value-add to be found in this meditative-going-on-coma pace. Not only were there sequence puzzles but the player spends most of the time walking, very slowly, from one point to another. While it is dressed up in a beautiful papercraft look and some of the pop-up book interactions are fun, it suffers from an aggressive case of banality. I tried playing Tengami (Nyamyam, 2014) with the children a few months ago which we eventually abandoned out of boredom. This was the great Sword & Sworcery? A few memory games? I even felt a twinge of dissatisfaction in my beloved Kairo (Locked Door Puzzle, 2013) which had a sequence puzzle among its earliest challenges. Sure, it had Twin Peaks references and occasionally you got to manipulate the environment in interesting ways but then there was a bit where you had to find invisible hotspots floating in the air and hit them in the right order.
#TENGAMI GAME CANT CLICK FREE#
Outside of small, free stuff, the first game I can remember that triggered this type of stomach-lurching disappointment was Sword & Sworcery (Capybara Games & Superbrothers, 2011). I don’t think of them as tried and tested, more like “unambitious and disappointing”.įind a key, unlock a door.
I moaned about the tendency for beautiful art games to rely on what you might call “tried and tested” mechanics to drive them.
In classic Electron Dance fashion, I ended on a throwaway thought that bore closer inspection. Earlier this year I wrote an essay called Art of the Impossible about Fragments of Euclid (Antoine Zanuttini, 2017) and William Chyr’s as-yet unreleased Manifold Garden.
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