Recent reviews by rjdimo

I do not like this game, only get it if you’re really into precision platformers.

The controls are strict and don’t get it confused with responsiveness, which is essential for a precision platformer to be good. I’m okay with the movement but the jump mechanic is my nemesis. There’s zero leniency in buffering a jump, press jump one frame earlier to your landing or one frame sooner when walking off the ledge and the input would be eaten. This happened to me several times when I was walking down a “slope”, that is pixelated staircases to be precise. Honestly, it’s not that bad if you can take it slow, but some levels have tight cycles that reward speed, and you’re likely to run off the ledge if your jump did not register on a teeny-tiny platform. However, I must concede that I’m not particularly good at precision platformers, thus the frustration, let’s put aside this and talk about actual bad designs.

Level 10 has moving bouncing pads that carry you around, but they only start to appear when you enter the level, so you’d have to wait for them to proceed. The level is around 70 sec and two thirds of the time were spent waiting. Level 11 has dripping acid from the ceiling that’s deadly, but also the same cinematic in the background that doesn’t kill you. Usually you want the scene to stand out from the background for better visual cues.

It didn’t take me long to beat the game without dying but it sure felt as frustrating as deathless runs that are longer and harder. Overall, it’s not too bad, and I’ll try the sequel to see if there’s any improvement.

Impeccable!

Consider Pascal’s Wager. Even with the slightest chance that God exists, only a fool would bet against his existence, given that the stakes are so high. But what happens if you’ve worshipped in the wrong deity all along? Among those gods from Greek, Egyptian, Mesopotamian mythologies, they can’t all have presence over the world, right? Or can they? What if the gods are driven by a even greater force? Well, welcome to Mulana and Eg-Lana.

La-Mulana 2 is an extremely open-ended Metroidvania that blends archeology with mythology. Similar to an amalgamation of carrot juice and apple juice, it tastes unsmooth at first, but once I’ve got into it, I just couldn’t resist. Sleep begins to elude me.

Guacamelee informs that you can’t break a red block until you’ve acquired the uppercut ability, and lots of modern Metroidvania titles have their emphasis on abilities and gear. La-Mulana 2 is eccentric in this sense, as it barely sets a clear barrier in your way at any time. By obtaining double jump, you’d expect that it opens the world with tons of fresh new opportunities, but it doesn’t, as much. In fact, such movement enhancement is more useful traversing rooms than unlocking items and reaching new areas.

In my own words, La-Mulana 2 is a lore-based Metroidvania, making progress isn’t as simple as obtaining a certain skill to break a certain block. The player is expected to learn about the ruin, gather scattered information, solve cryptic yet not overly obscure puzzles, and ultimately, unravel the secrets of Eg-Lana. The most useful upgrades in the game aren’t those that help you bypass obstacles, but rather those which assist you in traversing rooms to collect information, that is, health orbs, double jump, weapon upgrades, etc. You’ll eventually need the former upgrades, but only after solving the puzzles at first.

“Hardcore” is an overly used term nowadays, as most gamers and developers view it as a tag rather than a definition. And I’ve seen desperate attempts aiming to resemble such “hardcoreness” and fail, as those developers mistook “trial and error” for “hardcore”. Sometimes “hardcore” and “user experience” collide with each other, games with comprehensive tutorials are spoon-feeding knowledge to gamers, which isn’t necessary a bad thing, but it does rob the fun of players discovering game mechanics on themselves. Celeste only taught the players a few advanced tricks near the end of the game, leaving a variety of movesets yet to be uncovered. La-Mulana 2 went a lot further, leaving almost everything to the player’s imagination and inspection. Imagine Lumiza attending a training session learning how to whip, leap and place weights in the village before departing to the ruins, why would a well-trained archeologist do such thing?

La-Mulana 2 is a “seek and you shall find” kind of game, which expects the player to learn and develop their style of play through indirect assistance. Such design, as with fireworks, should be tread with extra care. I assume the developers learnt from criticisms of the first game, and added a pre-game area in which serves as an “open-world tutorial”, the Mulana ruins. The player wanders around, learns about the plot from the original game and get used to the flow of the moveset while obtaining essential starting items. Additionally, when you make it to Roots of Yggdrasil, the first area in Eg-Lana where the real game takes place, your exploration is pretty limited until you’ve solved the puzzle of the three goddesses and defeated Farnir, the one of many guardians. With that being said, the Mulana ruins and Roots of Yggdrasil serve as the basic tutorial and puzzle tutorial respectively. Upon defeating Farnir, you’ll start to feel the scope and depth of such open-ended Metroidvania. But fear nothing for the world is boundless, as each humble step counts toward the whole.

I do think there’re two puzzles that leap way out of bound in terms of logic, namely the usage of the pepper, and the riddle of the colossal dragon tangling with the infernal beast. Oh well, maybe it’s because the scripts weren’t properly translated into Chinese. As for the other puzzles, with the scope ranging from a single room to places scattered across multiple areas, are fair and reasonable, some of which are exceedingly well designed.

The seven gates of eternal prison puzzle is a noteworthy one. I’m supposed to enter seven gates in a certain order to unlock a seal, and passing through each gate disables one of my items. Hints about this puzzle trace back to early tablets in Divine Fortress, which I’ve scanned during my first 5 hours in the game. You may be confused, isn’t this a terrible terrible design which forces you to revisit old places aimlessly until you’ve found the information that you’ve overlooked? The fact is, the puzzle can be solved without any additional hints, that only “pass seven gates” and “each gate robs you an item” are sufficient for solving the puzzle. Each gate robs you an item, thus limits your mobility and rules out the possibility of reaching certain gates. By creating a checklist of which gate should be passed before when, you’ll be able to determine the correct order of the gates without additional assistance. It’s true that this puzzle would be much easier with the help of the tablets in Divine Fortress, as you’ll get the full ordering by solving an easy semiotic puzzle, but what fascinates me is the flexibility in solving this. Maybe you’ve lost track of one or two relevant tablets, and still been able to solve it through logic reasoning filling up the gaps.

I’m not a big fan of the platforming and the controls. You lose 90% control of Lumisa when she gets hit in the air. Along with no invincibility frame to spikes, this may easily result in you being juggled around several times, having a majority of your health drained. Also, teleport tablets don’t heal you, which is absurd given that you can simply teleport to the village then teleport back when fully healed. However, I do respect the developers for making these decisions, maybe they thought such feature gives the game its hardcore credentials.

Right now I’m motivated to play the original game, given that the sequel is so good. I might be disappointed, as La-Mulana 2 has clearly improved through taking into account all the criticisms of La-Mulana. The question is, exactly by how much? Am I really into this genre? We shall see.

Unappealing and poorly balanced, that’s all I can say.

Tower upgrades are WAY too expensive. For instance, level 1 gatling costs 30 gold and deals 40 dmg per hit, upgrading it to level 2 costs 70 gold but only increases its dmg to 81, so why not place another gatling? Upgrading is almost never a cost effective choice unless you’re playing survival mode and just ran out of room to place new towers.

Skills play too big a role, the difference between an easy flawless clear and barely surviving with optimal play. Ok, maybe a bit exaggerated, but this is a freaking tower defense game, you’re not supposed to bring down the mobs by raining bombs, electric pulse fields, thunderbolts and airstrikes on them. As a consequence, the game is solely focused on crowd control, completely ignoring another key aspect in tower defense, which is mono-killing power, the ability to kill a single tough enemy. Tough enemies move slowly, hence rain your skills as soon as they’re available and you should be fine.

There are 24 perks in total and you get a maximum of 14 points to spend as you progress, you would expect me to come up with a gazillion of builds. Unfortunately, some perks are vital, others are useless but you need them to unlock high tier perks, what a joke.

One of my most effective strategies has nothing to do with strategic thinking. I rather call it an exploit. A level 3 charger boosts nearby towers by 50%, the bonus is stackable, not additive but multiplicable. I’ll pause here to let that sink in………… Well, 1.5^6 = 11.390625, 1.5^8 = 25.62890625. There’s a seemingly useless perk, which allows me to sell towers without penalty. Therefore I can sell most of my towers in the midgame and super charge one or two towers. Suddenly, a pesky peashooter becomes the super mecha death christ, cuts through the enemy waves as if they were butter. Ironically, tower upgrading actually becomes a viable choice in this scenario, since it’s all about location location location.

The game still shines in some place in which other tower defenses lackluster. You can customize each tower’s shooting priority, which is a bigger deal than it sounds. But as I’ve said, Super Sanctum TD is tilted towards crowd control, target prioritizing doesn’t seem too engaging when the enemies are clustered.

Will only recommend to tower defense aficionados, during an 80%-off sale.

Runner3 is a bold successor of BIT.TRIP.RUNNER and Runner2, with radical changes to the gameplay and visuals. By doing such, devs took the risk of disappointing their fans. Indeed, several reviews deliver polarized messages, either “my favorite of the trilogy” or “runner3 is absolutely awful if you compare it to the previous games”.

Runner is the only title in the BIT.TRIP series with sequels, two but not one in particular, what makes it so unique? Rhythm game is a genre of music-themed action game that challenges a player’s sense of rhythm, games in this genre typically require players to press buttons or perform a sequence of action following the beat. Usually the players concentrate on the rhythm and partially ignore the visuals. However, Runner is centered on the visuals, as an action game normally would, the rhythm enhances the gameplay with catchy music and synchronized beats.

So the visuals actually matter a lot in Runner. Runner and Runner2 have plain, direct 2D visuals, with everything presented in a very straightforward manner. Runner 3 tries to enrich the gameplay by introducing a 3D view (lets say it’s 2.5D) with various camera angles. But the thing is, the visuals are too overwhelming and often obscure my rooted perception of the “rigid controls” from the first two games. Additionally, this raises a performance issue on my MBP, I had to turn all settings to the bare minimum, including the resolution, in order to reach a rather playable state. I usually blame OSX for it’s poor optimization and integration of games, but a friend of mine found the game quite demanding on Windows as well. The detailed visual thingy is overkill, especially for a game that requires you to make immediate decisions based on visual cues.

Previously, I’ve talked about “rigid controls” from the first two runner games, what does it mean exactly? To elaborate, let’s consider a single jump. Once you make the jump, you will be airborne for a while and the only thing you can control is the duration of the jump, that is, to drop faster by releasing the jump button prematurely. So Runner and Runner2 are all about choosing the correct moment to jump and deciding to make small hops or big jumps based on the situation.

Now, Runner3 presents… double jump, and ground slam, the ability to immediately slam onto the ground while airborne. The latter is a really good idea as it enhances the movement flow (the 9 impossible levels won’t be made possible without it) and gives the player an opportunity to recover an ill decided jump. However, the new movement set completely breaks the rigid playstyle that fans were anticipating. Personally, I’ve imposed an utterly stupid challenge on myself, that is, to beat the impossible levels with the bare minimum double jumps, just to rekindle the feeling of the rigid playstyle that brought me so much pleasure. Last, ground slam enhances the rhythm with percussion beats, sounds pretty sweet until you realize that the beats are almost absolutely desynchronized, a stain on the otherwise immaculate melody.

These are all the key aspects that other reviews might have overlooked. There are a lot of interesting topics worthy of discussion, such as collectables, difficulty balance, secret paths, retro levels, the puppet shows, the cutey patootie narrator, the infamous bullseye challenge, etc. But all of these are covered in various reviews, and I’m too lazy to paraphrase others’ thoughts and summate.

Don’t get me wrong, Runner3 is still a GREAT game, the music is even better than the first two games in my taste. Sequels should make experiments, good or bad, and learn from the mistakes. I praise the courageous effort in making so many bold decisions at once, and in fact, most of them turned out to be great. And to think about it, I’ve drained 73h in the trilogy, and it still feels like I could take another sequel.

A friend just asked me whether this game is good or not, and I thought, might as well copy paste my response here.

Albeit a little bit short, A Good Snowman Is Hard To Build is very decent. The game would be pretty mediocre if without the dream world, as it surprised me by breaking the barrier between each individual level and showing the game as a whole picture. As for the difficulty, I'd say it's not even close to mind-bending, but don't hesitate if you want a light challenging experience.

Gods Will Be Watching is a resource management game, centered on despair, compromises and sacrifice. It reeks of evilness, you being kind and merciful will inevitably result in more pain, more struggle against moral dilemmas. It’s unforgiving, a single mistake could ruin your whole run, leaving you to feast on your regrets. In another sense, it’s very forgiving, only if you are willing to boost research speed over Marvin’s dead body, succumb to cannibalism or simply shoot your friend in the damn face.

I also have a lot to talk about the story, surjective views that not everyone would agree upon, please don’t take it too seriously.

The story is mainly about determinism, or fate. You can get the hang of it just by reading the title “Gods Will Be Watching”, since god is often perceived as an omniscient divinity. Burden, what a name for a weary soul. Being stuck in a timeloop, forced to make cruel decisions over and over. Very rarely he makes it to “the end”, but his efforts were in vain. A likely story. These were my first impressions upon completing the main game. I have to say, the extra chapter was a blast, and here are my new insights on the story:

Shaman was adopted by the Op’mahuns, an alien race which possesses great technology to manipulate time. He reveals that time, rather than a line, is more like an ocean, for each wave being a different reality. Now instead of standing on Burden’s perspective, I’m looking at the big picture, where tides rise and fall and eventually a tsunami will arise.

I recall myself playing Civilization V, grinding for the best outcome to fulfill my pathological desire for perfection. Even on deity difficulty, the endgame becomes pretty boring due to my significant lead. And I thought, if I gradually increase the starting advantage of the AIs, it’ll reach a point that no matter how optimized my play is, my chance for beating them remains at zero.

Will the tsunami be able to rain on the Constellar Federation’s parade even once? I hardly think so. Liam is able to give a good stir and create some vortices, but he’s just another surfer who rides the tides. Maybe this is true meaning of determinism, tidal force could be strong, but gravity holds everything together.

不知不觉已经玩了89小时，写写我心目中Celeste的精妙设计与瑕疵。
图文并茂版[cowlevel.net]

Celeste能满足从手残玩家直至超级大神的不同需求。

我感觉Celeste的难度曲线已经很平缓了，手残多花点时间就能通关，不会有很强的挫败感。如果玩家还觉得难的话，游戏内置了“协助模式”，有多个降低游戏难度的选项——无敌、无限体力、多一次冲刺/无限冲刺、游戏速度减慢10%/20%/30%/40%/50%。通关后感到意犹未尽的玩家可以继续收集草莓、挑战B面C面。

此外，Celeste对硬核玩家也是一场盛宴，它的关卡设计与进阶操作是为速通量身定做的。速通之外，还有金草莓的收集（即各章节的一命通关）。我全成就花了20小时，剩下的全部时间都花在收集那25颗金草莓上。


每一章有若干草莓、一张B面磁带和一颗蓝心，内容丰富。

不查攻略收集全部草莓是一种享受。每颗隐藏草莓在地图上都有明确提示，不像某些游戏，找隐藏全靠蹭墙。在主菜单，每一章被分成了几段，每一段都记录了草莓的收集情况，按顺序进行排列，因此我可以利用这一点去找草莓。譬如说，我之前在第七章1500米处漏了两颗草莓，通过前后草莓所在位置进行排查，最终把目光锁定在唯一的一张图上。虽然Celeste给玩家的印象是坠落即死亡，但我还是向地面的缺口纵身一跃，底下果然有隐藏房间！有人可能会疑惑，这TM也是好的设计？其他的坑跳下去就死，偏偏这个坑底下有隐藏房间？是的，游戏已经通过草莓的排序给了足够的提示，我也不是每见一个坑都跳下去试试。第七章2500米处最后一颗草莓也有异曲同工之妙，因为倒数第二颗草莓已经在关底，搜索范围非常小，所以这颗草莓我是靠蹭墙找到的。

蓝心的收集也蛮有意思的。第二章梦醒后我登上塔顶，看到蓝心被封印，旁边有一则诗，提示玩家要在梦中到达这里。而在梦中试图登上塔顶的过程中，玩家进一步加深了对游戏机制的理解，因为要用到高级技巧：切换场景时刷新冲刺。第四章的蓝心玩的是超级玛丽3的梗，在白色方块上蹲5秒即可进入游戏背景。

第三章打扫旅馆那一段，总共有三条岔路，每条岔路结尾处有“洗衣机”，激活后便会将同颜色的脏被单清理干净。然而，沿途中的脏被单却是平台跳跃的落脚点，每清理一批被单，关卡的难度也随之提高。三条岔路选择的顺序不同，会有不一样的游戏体验。第三章的蓝心则是被脏被单封在房间里，需要玩家清理完被单后原路返回，在开头处取得蓝心。

Celeste在B面C面的关卡中逐渐教会玩家一些高级技巧：蹭墙跳、下蹲向前冲刺、冲出虚空的一瞬间可接跳跃等。还有一些则靠玩家自己领悟：墙角跳、不耗体力爬墙、斜向下冲刺接跳跃等。带着丰富的知识储备再去看A面的关卡，能找到许多“意想不到”的捷径。

抛开高级技巧不谈，Celeste对游戏机制的发掘也很深透。弹簧、虚空、泡泡和弹力球，在为玩家提供助推力之外还有一个很重要的功能，那就是刷新冲刺。在第六章中，弹力球还作为用羽毛飞行时的障碍出现。在所有章节ABC面中，我最喜欢的是5B，首先音乐就好听到没话说，其次它是唯一一个非线性结构的B面。最重要的是，5B踩怪兽和扔水晶那一段太让人惊艳了，让我产生了“还能这样玩？”的感觉，以下几种深挖的游戏机制相互交融着——悬空状态下踩怪兽刷新冲刺、勾引怪物撞开红砖墙、利用怪物复活时的冲击波震碎红砖墙/获得向前的动能、举起水晶时人物会保持之前的动能（可以扔出水晶，然后向前冲刺接住再扔出去，这样能把水晶扔得很远；抑或是扔出水晶再斜向冲刺接住，能爬上扛着水晶时上不去的墙）


C面让我十分失望。我个人觉得C面可长可短也可以很难，但必须有趣。本可用我前面所说的高级技巧和深层的游戏机制，创造出精妙同时具有难度的关卡，然而C面则是通过拼凑片段强行延长关卡长度、增加死亡与试错成本、增加操作难度降低容错性这种把戏为游戏画上了句号。5C是最恶心的，与最精彩的踩怪兽扔水晶没有半毛钱关系。好在我继C面之后还挑战了金草莓收集，不然会有种虎头蛇尾的感觉。

为什么OST不在steam商店卖啊？反正我是跑到bandcamp去买了。第八章冰与火的背景音乐不一样，由基本旋律分别加上幽寂的风声、炽热的岩浆声齿轮声组成。如果能像节奏地牢那样就更好了，分别为冰与火写两套更具特色的音乐，比如说冰用Chiptune火用摇滚。

真没什么可吐槽的了，哈哈。

图文版评测请移步奶牛关原文[cowlevel.net]

玩Portal时，我曾不止一次想过：要是能随身携带白色胶、弹力胶和滑行胶的话，岂不是上天入地飞檐走壁无所不能？Splasher满足了我所有的幻想。游戏机制非常简单，共有三种喷剂——水、红喷漆、黄喷漆。水能洗喷漆、杀死薄甲敌人、触发机关；红喷漆具有粘性，能让自己爬上墙和天花板，也能限制敌人的行动；黄喷漆具有弹性，能让自己跳得高弹得远，对着敌人射可以产生几万牛的作用力。这三种“武器”结合起来用，威力无穷。

通常来说，speedrun主题的platformer都有较高的门槛。然而Splasher却极其好上手，这主要得益于它的关卡设计，与其说它是门槛低的硬核platformer，倒不如说它是『极具深度』的休闲platformer。

Splasher虽然没有教学关，但它在中早期关卡不断地对玩家进行正面引导和教学，这胜过了一切。难度曲线是那么的平缓，新机制的引入是那么的自然。Splasher加入收集要素放缓了游戏的节奏，在全收集的过程中，玩家的水平会大大提高，为speedrun打下了基础。每一关都有4+2+1名工人可以解救，前4名可以理解为普通的收集要素，中间2名需要去“隔离区”救。隔离区其实就是一个小型竞技场，在平台跳跃中加入了战斗的元素，你需要利用地形、喷剂和机关从中突围。解救最后一名工人需要700点燃料，而一整关通过杀敌、救工人、“洗墙”能获得的总燃料也就700出头，这意味着你得几乎全清整个地图。

看到这，玩过雷曼的盆友可能会觉得Splasher的收集形式有点似曾相识，实际上Splasher正是由雷曼的关卡设计师和《勇敢的心》的音效师共同制作的，关卡名称玩了很多梗，我把自己能认出来的列举出来吧。

7 - There Will Be Fries There Will Be Blood
8 - Ray Man Origin
10 - Ink In Park Linkin Park
12 - Troopers Please
13 - Water is coming
15 - Big Bounce Theory 这不是柳丁脚踏车
18 - Ray Man Legend
19 - Toxink Avenger Toxic Avenger
20 - The Glados Principle

Splasher的商店页面有“Controller”这个标签。事实上，键盘只能朝八个方向喷射，而手柄有双摇杆可以实现360度无死角喷射。更重要的是，键盘的喷射方向受到人物移动方向限制，换句话说，人物往右走时没法朝左边射、往上爬墙时没法朝下射。但是自动瞄准拯救了世界，键盘用起来没有那么不堪，我这种手柄苦手肯定是会坚持用键盘的。键位是我最适应的，同时也是我认为最合理的——WASD移动，K跳跃，J、L、I分别对应水、红喷漆、黄喷漆。因为黄喷漆经常会代替跳跃，所以放在和K没那么兼容的位置上。然而设定里不能改键位还是让我费解，又不是什么多难实现的功能，为什么就不能体贴一点呢？

刚接触Splasher时觉得手感很滑，但我适应后反而很迷恋这种感觉，毕竟玩speedrun需要一定的惯性。适应这种手感的方法很简单：尽量少转身，用大跳和小跳控制自己的节奏，玩过BIT.TRIP.RUNNER系列应该能理解。

那么问题就来了，为什么说Splasher『极具深度』呢？因为想玩好实在是太难了。首先，游戏难度在获得黄喷漆后陡增，三种喷剂容易搞混。黄喷漆的使用也不容易精通——在地面上按“下”再喷才能把自己弹起，爬左边的墙时要按“左”再喷才能把自己往右弹。更重要的是，Splasher有关卡计时模式（Time Attack），有白金、黄金、白银和青铜四个奖牌——黄金时间是白金时间加10秒取整、白银时间是黄金时间加10秒、青铜时间是白银时间加15秒。白金奖牌之所以这么难，是因为这个时间是高手测试出来的，他走了所有高难度捷径，细节也做得不错。想要赢，只能和他一样，走所有高难度捷径，并把细节做得更好，难度可想而知。

还有三个Speedrun全游戏的模式：Selfish、Standard和Gotta Catch'em All，同样设有四种奖牌供高玩进行挑战。Selfish顾名思义，就是只管自己，每一关冲到终点即可。Standard要求玩家解救80名工人，80这个数字就特别精妙了，还记得每一关总共有4+2+1名工人吗？Splasher总共22关，这意味着Standard模式无须去隔离区救工人，常规路线上最难救的几名工人也可以战术放弃。Gotta Catch'em All则要求全收集。



最后说一下Splasher的不足吧。
游戏内容存在断层。总共22关，游戏在第14关获得黄喷漆之前没什么挑战性。大多数玩家通关即是全收集，耗时仅仅在5-10小时不等，内容不够充实。随后的进一步挑战便是高难度、零容错还考验细节的Time Attack和Speedrun了，绝大多数玩家在这里就弃坑了。以我之见，像Shovel Knight那样加一个NG+就非常完美了——少一些存盘点、多一些机关和敌人，玩家从一开始就拥有三种喷剂算是一种平衡吧。

剧情直白中二，虽然我玩platformer不太重视剧情，但这还是远远低于我的预期。进行人体实验的邪恶公司，居然被一个天赋异禀的普通员工给一锅端了。

Mac版的优化不够好，我高配15寸MBP 2016开着录像软件玩经常掉帧，有时还直接造成了我的死亡，很影响游戏体验。

绝妙的关卡设计，每一关tumor的获取方式很有创意、不拘一格，更不用说隐藏关的mega tumor了。到了最后才发现，收集的tumor居然不只是摆设。

极佳的手感，按键后的反馈感很到位，用一个字形容就是“粘”。当然这可能有主观成分。

游戏开头的剧情是Ash的游戏卡带坏了，自然，游戏中也少不了玩自己辛辛苦苦找到的隐藏卡带的部分。每一张普通卡带都将其特色主题展现得淋漓尽致，后面还有glitch卡带供高玩自虐。

BGM都是古典音乐的remix，太太太太太好听了。之前听以撒：重生的BGM没什么特别的感觉，看来站在巨人的肩膀上果然不一样。玩到一半我就注册了bandcamp账号并买下了专辑。

相比SMB，通关和全收集的难度都要低一些。但是，TEIN后劲十足，全成就的难度在SMB和VVVVVV之上。我最欣赏这种难度曲线了，不同水平的玩家能各得其所。

E胖的游戏背后都有着玩世不恭的恶趣味。SMB讲的是堕胎、以撒讲的是child abuse。我猜测TEIN讲的是癌症，只不过，站在了癌细胞的角度。


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