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2010 video game

2010 video game

Limbo
Limbo Box Art.jpg
Programmer(s) Playdead
Publisher(s)
  • Microsoft Game Studios
  • Playdead
Director(due south) Arnt Jensen
Producer(s)
  • Dino Patti
  • Mads Wibroe
Designer(southward) Jeppe Carlsen
Programmer(s) Thomas Krog
Artist(s)
  • Morten Christian Bramsen
  • Stine Sørensen
Composer(southward) Martin Stig Andersen
Platform(s)
  • Xbox 360
  • PlayStation iii
  • Windows
  • Bone X
  • Linux
  • Xbox One
  • PlayStation 4
  • PlayStation Vita
  • Nintendo Switch
  • iOS
  • Android
Release

21 July 2010

  • Xbox 360
    • WW: 21 July 2010
  • PlayStation 3
    • NA: 19 July 2011
    • Eu: 20 July 2011
  • Windows
    • WW: 2 Baronial 2011
  • Bone X
    • WW: 21 Dec 2011
  • PlayStation Vita
    • WW: 4 June 2013
  • iOS
    • WW: 3 July 2013
  • Linux
    • WW: 23 June 2014
  • Xbox One
    • WW: 5 December 2014
  • Android
    • WW: xi Feb 2015
  • PlayStation 4
    • WW: 24 February 2015
  • Nintendo Switch
    • WW: 28 June 2018
Genre(s) Puzzle-platform
Way(south) Single-histrion

Limbo is a puzzle-platform video game developed by contained studio Playdead and originally published by Microsoft Game Studios for the Xbox 360.[1] [two] [3] The game was released in July 2010 on Xbox Alive Arcade, and has since been ported by Playdead to several other systems, including the PlayStation three, Linux and Microsoft Windows. Limbo is a 2nd side-scroller, incorporating a physics organisation that governs environmental objects and the player character. The player guides an unnamed boy through unsafe environments and traps as he searches for his sister. The developer congenital the game'southward puzzles expecting the player to fail before finding the right solution. Playdead chosen the mode of play "trial and death", and used gruesome imagery for the male child's deaths to steer the player from unworkable solutions.

The game is presented in black-and-white tones, using lighting, film grain furnishings and minimal ambience sounds to create an eerie temper often associated with the horror genre. Journalists praised the dark presentation, describing the piece of work as comparable to film noir and German Expressionism. Based on its aesthetics, reviewers classified Limbo as an example of video games as an art class. Limbo received critical acclaim, just its minimal story polarised critics; some critics constitute the open-ended work to have deeper significant that tied well with the game'due south mechanics, while others believed the lack of significant plot and abrupt ending detracted from the game. A mutual point of criticism from reviewers was that the loftier cost of the game relative to its short length might deter players from purchasing the title, only some reviews proposed that Limbo had an ideal length. The game has been listed amidst the greatest games of all time.

Limbo was the third-highest selling game on the Xbox Live Arcade service in 2010, generating effectually $7.five one thousand thousand in acquirement. It won several awards from industry groups after its release, and was named as one of the top games for 2010 by several publications. Playdead'south next title, Inside, was released in 2016, and revisited many of the same themes presented in Limbo.

Gameplay [edit]

A pre-release evolution screenshot, showing the boy crossing a dangerous chasm on a rope bridge. The game's art fashion and presentation have been consistent through the game's development cycle.

The player controls the male child throughout the game. As is typical of about two-dimensional platform games, the male child can run left or right, jump, climb onto brusque ledges or up and down ladders and ropes, and push or pull objects. Limbo is presented through dark, greyscale graphics and with minimalist ambience sounds, creating an eerie, haunting environment.[iv] [five] The dark visuals also serve to conceal numerous lethal surprises, including such environmental and physical hazards equally mortiferous carry traps on the forest floor, or lethal monsters hiding in the shadows. Amongst the hazards are glowing worms, which adhere themselves to the male child's head and force him to travel in only 1 direction until they are killed.[6]

The game'south second half features mechanical puzzles and traps using machinery, electromagnets, and gravity. Many of these traps are not apparent until triggered, oftentimes killing the boy. The player is able to restart at the last encountered checkpoint, with no limits placed on how many times this can occur. Some traps can be avoided and used afterwards in the game; one bear trap is used to clamp onto an animal's carcass, hung from the end of a rope, tearing the carcass off the rope and assuasive the branch and rope to retract upwards and allow the male child to climb onto a ledge otherwise out of achieve. Every bit the actor will likely encounter numerous deaths before they solve each puzzle and complete the game, the developers telephone call Limbo a "trial and death" game.[vii] Some deaths are animated with images of the boy's dismemberment or beheading, although an optional gore filter on some platforms blacks out the screen instead of showing these deaths.[eight] [9] Game achievements (optional in-game goals) include finding hidden insect eggs and completing the game with five or fewer deaths.[10]

Plot [edit]

The principal character in Limbo is a nameless boy, who awakens in the middle of a forest on the "edge of hell" (the game's championship is taken from the Latin limbus, meaning "edge"),[11] where he encounters a behemothic spider who tries to kill him. Later on using a trap to cut off the sharp points on half of the spider's legs, it retreats further into the forest, and the male child is allowed to pass. However, he is later defenseless in webs and spun into a cocoon. Subsequently breaking gratis from the threads that fastened him to the roof, he is forced to hop, and eventually gets them off. After, while seeking his missing sister, he encounters only a few homo characters who either attack him, run abroad, or are dead/dying.[12] [13] [14] At 1 point during his journeying, he encounters a female graphic symbol, who he thinks might be his sis, just is prevented from reaching her.[15] The forest eventually gives way to a crumbling city environs.[14] On completion of the final puzzle, the male child is thrown through a pane of glass and back into the forest. After he wakes up and recovers from the pain and shock, he walks a short distance until he once again encounters a daughter, who, upon his arroyo, stands upwards, startled. At this indicate, the screen cuts to black, abruptly catastrophe the game.[sixteen] [17]

Evolution [edit]

According to Playdead co-founder Dino Patti and lead designer Jeppe Carlsen, Playdead's game managing director, Arnt Jensen, conceived Limbo effectually 2004.[11] [thirteen] At that time, as a concept creative person at IO Interactive, Jensen became dissatisfied with the increasingly corporate nature of the company. He had sketched a "mood image" of a "undercover place" to get ideas, and the result, similar to the backgrounds of the concluding game, inspired Jensen to expand on it.[6] Jensen initially tried on his own to program the game in Visual Basic around 2004, simply found he needed more assist and proceeded to create an fine art style trailer by 2006.[18] He had only intended to use the trailer every bit a ways to recruit a programmer to assist him,[11] only the video attracted substantial interest in the project from across the Internet, eventually leading him to meet with Patti, who was too dissatisfied with his job.[6] Their collaboration led to the founding of Playdead.[6] Although Patti helped in the first few months with programming, he realised that the projection was much larger than the two of them could handle, and Patti developed the concern around the game's expanded development.[6]

Initial development was funded personally by Jensen and Patti along with Danish authorities grants, including funding from the Nordic Game Program, while large investors were sought later in the development cycle.[six] Jensen and Patti did not desire to commit to major publishers, preferring to retain full creative control in developing the title.[13] Jensen originally planned to release Limbo as a free Microsoft Windows championship, only by this point, Jensen and Patti decided to make the game a retail title.[half dozen]

Playdead chose to ignore outside advice from investors and critics during development, such equally to add multiplayer play and adjustable difficulty levels, and to extend the game'due south length. According to Patti, Playdead felt these changes would break the integrity of Jensen's original vision.[10] Patti too felt that the investors "tried to command the company with no usable knowledge or respect", citing that after Microsoft raised concerns about the death of the boy, "one of the investors suggested we make him appear older past giving him a moustache."[19] Numerous iterations of the game took identify during a 2+ 1⁄2 -year development wheel, including changes Jensen had demanded to smoothen the title,[10] some elements beingness added two months prior to the game's release.[20] Patti stated that they "trashed 70%" of the content they had developed, due to information technology not plumbing equipment in well with the context of the game.[xi] The core development team size was nigh 8 developers, expanding to xvi at diverse stages with freelancers.[21] Playdead developed the design tools for Limbo in Visual Studio; Patti commented they would probable seek third-political party applications for their adjacent project given the challenges in creating their own engineering.[11] Patti later revealed they had opted to use the Unity engine for their next project, citing the development of their custom engine for Limbo as a "double product, doing both engine and game", and that their Limbo engine is express to monochromatic visuals.[22]

Limbo was released on 21 July 2010 on the Xbox Live Arcade service, as the first championship in the yearly "Summer of Arcade" promotion.[23] Although the Entertainment Software Rating Board (ESRB) had listed entries for Limbo for the PlayStation 3 and Microsoft Windows platforms, Playdead confirmed that this was a mistake on ESRB's function, and that they had no plans for the game on these systems.[24] Patti later clarified that they had planned on Windows and PlayStation iii versions alongside the Xbox 360 version initially, but later on reviewing their options, decided to go with Xbox 360 exclusivity, in role that "Microsoft provided us with an first-class opportunity, which included a lot of support for the championship which in the cease would mean a amend visibility for Limbo".[25] According to producer Mads Wibroe, part of their decision not to release for the Windows platform was to avert issues with software piracy, something they could control on the Xbox 360.[26] Patti stated that staying exclusive with the Xbox platform was an assurance that they would exist able to recoup their investment in the game's development.[27] [28] Sony Computer Entertainment executive Pete Smith stated afterward that while they had tried to vie with Microsoft for exclusivity for Limbo, Playdead refused to relinquish its intellectual property to Sony as part of the deal.[29] Patti affirmed that Limbo would non be released for another console, but that their side by side game, already in evolution as of October 2010, may run into wider release.[27] [28]

All the same, in June 2011, users found that a trailer for Limbo appeared on the Steam software service, which video game publications such as PC Gamer took as a preliminary sign that a Microsoft Windows version would exist released.[thirty] Similarly, a possible PlayStation iii version was projected based on the championship appearing on the Korea Media Rating Lath in June 2011.[31] On thirty June 2011, Playdead appear their ports of the game to the PlayStation 3 via the PlayStation Network, and to Microsoft Windows via Steam, subsequently set up for 19 July and 2 August 2011, respectively.[32] [33] Patti clarified that their alter of listen from their earlier Xbox 360-exclusive approach was because "we want as many people to play our games as possible".[32] The release was set up for nearly a year after the original availability of the Xbox 360 version, later on the expiration of the Xbox 360 exclusivity rights for the game.[25] [34] Both the PlayStation three and Windows versions of the game have additional secret content, according to Patti; it is unknown if this content will be added in a patch to the Xbox 360 version.[35] Playdead has since published a Mac OS Ten version of the game through the Mac App Store in December 2011, fulfilling their promise to release the title before the cease of 2011; though they had wanted to as well release the Mac Steam version by then, this version was ultimately delayed to mid January 2012.[36] [37] A Linux version of the game, based on a Wine-encapsulated bundle prepared by CodeWeavers, premiered in the Humble Indie Bundle Five charitable sales event in May 2012.[38] [39] A native port for Linux was later released on 19 June 2014, with porter Ryan C. Gordon bringing over the Wwise audio middleware that previously prevented a native port from being possible.[40] The PlayStation Vita version of the game was developed by Playdead with assistance from the Uk studio Double Eleven, and was released in June 2013.[41] The Vita version does not employ the handheld'south touchpad features; Patti stated that they "didn't feel it would suit Limbo at all" and wanted to provide the "original experience" of the game to Vita players.[42] The Vita version has Cross-play support with the PlayStation 3 version, allowing the user to buy the game once to play on either platform.[42] The iOS version of the game was announced shortly before its release in July 2013, and was designed to optimize the game for employ on the touchscreen devices.[43]

In Apr 2011, an Xbox 360 retail distribution of Limbo alongside other indie games Trials Hd and 'Splosion Man was released.[44] [45] Playdead began selling a "Special Edition" physical copy of Limbo for Microsoft Windows and Mac Bone 10, which included art cards, the game's soundtrack, and anaglyph stereoscopic glasses that work with a special version of the game to simulate three dimensions.[46] The title was afterwards ported to the Xbox 1 console and released in December 2014, with early adopters of the console getting the championship for complimentary; Microsoft's Phil Spencer called the championship a "must have played" game that affected their determination to requite the game to the majority of early adopters.[47] The Xbox 360 version was added to the Xbox 1 backwards compatibility lists in November 2016.[48] A PlayStation iv version of the game was released in Feb 2015.[49]

In September 2017, 505 Games published Limbo along with Playdead's following title, Inside, every bit dual-game retail bundle for Xbox I and PlayStation four.[50] [51] A version of Limbo was released on the Nintendo Switch on June 28, 2018.[52]

Story, fine art and music direction [edit]

From the game's inception, Jensen set out three goals for the final Limbo product. The first goal was to create a specific mood and fine art style. Jensen wanted to create an aesthetic for the game without resorting to highly detailed 3-dimensional models, and instead directed the art towards a minimalistic style to let the evolution to focus its attention on the gameplay.[xviii] Jensen'south second goal was to only require 2 additional controls—jumping and grabbing—outside of the normal left-and-correct movement controls, to keep the game piece of cake to play. Finally, the finished game was to present no tutorial text to the role player, requiring players to learn the game's mechanics on their own.[53] The game was purposely developed to avoid revealing details of its content; the only tagline the company provided was, "Uncertain of his sister's fate, a boy enters Limbo."[54] This was chosen so that players could interpret the game's meaning for themselves.[26]

Some aspects of Limbo bore out from Jensen's ain past, such as the forest areas that were similar to forests around the subcontract where he grew up, and the spider coming from Jensen's arachnophobia.[19] Jensen drew inspiration from film genres, including works of film noir, to set the art fashion of the game; the squad's graphic artist, Morten Bramsen, is credited with recreating that art fashion.[55] [56] Much of the game's flow was storyboarded very early in development, such every bit the boy's encounters with spiders and mind-decision-making worms, as well as the overall transition from a forest to a city, and so to an abstruse environs.[half-dozen] As development progressed, some of the original ideas became too difficult for the small-scale team to complete. The storyline also changed; originally, the spider sequences were to be present nigh the cease of the game, simply were afterwards moved to the first office.[6] In hindsight, Jensen was aware that the beginning half of the game contained more scripted events and encounters, while the second one-half of the game was lonelier and puzzle-heavy; Jensen attributed this to his lack of oversight during the latter stages of development.[6] Jensen purposely left the game with an open catastrophe though with a specific interpretation only he knew, though noted later on the game's release that some players, posting in forum boards, had suggested resolutions that were "scary close" to his ideas.[20]

Limbo
Limbo Soundtrack Cover.jpg
Soundtrack album by

Martin Stig Andersen
Released 11 July 2011 (2011-07-11)
Genre Acousmatic, ambience
Length 19:40
Label Playdead
Producer Martin Stig Andersen

The game's audio was created by Martin Stig Andersen, a graduate from the Regal University of Music in Aarhus.[6] Andersen's specialisation was in acousmatic music, non-traditional music created from generated sounds that have no apparent visual source. He was drawn to work with Jensen on the game after seeing the initial trailer, having been drawn in by the expressions of the boy character; Andersen compared the early visuals to his acousmatic music: "you have something recognizable and realistic, but at the same time it'southward abstruse".[57] Andersen sought to create acousmatic music exclusively incorporating the sound effects of the game's environments. Ii examples he pointed to was the use of electricity noises while in the presence of a ruined neon "HOTEL" sign,[6] and silencing the wind audio equally the spider approached the boy in the forest.[58] Andersen avoided the utilise of easily recognizable sounds, distorting them when needed as to allow players to interpret the sounds' meanings for themselves.[57] Andersen constructed most of the game's sounds through a number of "grains" instead of longer sound loops, allowing him to adjust the playback to requite meliorate feedback to the role player without sounding repetitious; one example he cites was the use of separate sounds for the male child's toe and heel when they make contact with the ground, giving a more realistic sound for motility.[59] Many reviews for the game stated that there was no music in Limbo, but Andersen countered that his sound arrangements helped to evoke emotions; the acousmatic music was intended to leave room for estimation by the player in the same manner as the game'south fine art and story.[half-dozen] Andersen noted that this helps with immersion within the game by making no attempt to control the emotional tone; "if [the players are] scared it will probably brand them more scared when at that place's no music to take them past the hand and tell them how to feel".[57] Due to fans' requests, Playdead released the game's soundtrack on iTunes Store on eleven July 2011.[34] [threescore]

Limbo soundtrack rail listing
No. Title Length
1. "Carte du jour" 3:10
ii. "Boys' Fort" 2:17
iii. "City" 3:38
iv. "Rotating Room" three:02
v. "Sister" three:21
vi. "Gravity Leap" iv:12
Total length: 19:40

Gameplay direction [edit]

Jeppe Carlsen, the pb designer for Limbo 's puzzles, speaking at the 2011 Game Developers Briefing

The gameplay was the 2nd element created for the game, following the graphics created by Jensen.[20] The gameplay was created and refined using rudimentary graphic elements to found the types of puzzles they wanted to have, but aware of how these elements would exist presented to the player in the released version.[xx] Limbo was designed to avoid the pitfalls of major titles, where the same gameplay mechanic is used repeatedly.[6] Carlsen, initially brought aboard as a developer for the custom game engine, became the lead designer after Playdead found him to be capable at creating puzzles.[half dozen] Carlsen stated that the puzzles within Limbo were designed to "[keep] you guessing all the way through".[13] Jensen also wanted to make the puzzles feel like a natural part of the environs, and to avoid the feeling that the player was simply moving from puzzle to puzzle through the course of the game.[6] Carlsen identified examples of puzzles from other games that he wanted to avert. He wanted to avoid simple puzzles that gave the histrion little satisfaction in its solution, such every bit a puzzle in Uncharted 2: Among Thieves that involved simply moving a sun-lit mirror to specific points in a room. In contrast, Carlsen wanted to avoid making the puzzle so circuitous with many divide parts that the actor would resort to trial-and-fault and somewhen come out with the solution without thinking about why the solution worked; Carlsen used an example of a puzzle from the 2008 Prince of Persia game that had seven different mechanics that he never bothered to effigy out himself.[61] [62] Carlsen designed Limbo 'due south puzzles to fall between these limits, demonstrating ane puzzle that simply has three elements: a switch panel, an electrified floor, and a chain; the goal—to apply the concatenation to cross the electrified floor—is immediately obvious to the actor, so tasks the histrion to determine the right combination of moves and timing to consummate information technology safely.[62] They frequently had to strip away elements to make the puzzles more enjoyable and easier to figure out.[20] The decision to provide little information to the player was an initial challenge in creating the game. From their initial puddle of about 150 playtesters, several would take no thought of how to solve sure puzzles.[20] To improve this, they created scenarios before troublesome spots that highlighted the advisable deportment; for case, when they found players did not remember well-nigh pulling a gunkhole onto shore to employ as a platform to reach a higher ledge, they presented the player with a box-pulling puzzle earlier to demonstrate the pulling mechanics.[53]

The team developed the game's puzzles by first assuming the histrion was "their own worst enemy", and made puzzles as stray as possible, but then scaled back their difficulty or added visual and aural aids equally if the actor was a friend.[53] I case given by Carlsen is a puzzle involving a spider early in the game; the solution requires pushing a bear trap to snare the spider's legs in it. Early on designs of this puzzle had the bear trap on the same screen as the spider, and Playdead constitute playtesters focused besides much on the trap. The developers altered the puzzle to put the trap in a tree in an earlier off-screen section when facing the spider; the spider's actions would eventually cause this trap to drop to the ground and become a weapon confronting the spider. Carlsen stated that this arrangement created a state of affairs where the player felt helpless when initially presented with the mortiferous spider, just and so assisted the thespian through an audible cue when the trap had dropped, enabling the thespian to observe the solution.[53]

1 animator was dedicated total-time during iii years of the game's development to work out the male child's animations, including animations that showed anticipation on the player's actions or events in the game, such as reaching out for a cart handle as the role player moved the boy well-nigh it.[20] Jensen felt this was important equally the grapheme was always at the center of the player's screen, and the nigh important element to spotter.[twenty] Playdead included gruesome death sequences to highlight incorrect solutions and discourage players from repeating their mistakes.[53] While they expected players to run the boy into numerous deaths while trying solutions, Carlsen stated that their goal was to ensure death wasn't a penalization in the game, and made the death animations entertaining to keep the thespian interested.[53] Carlsen noted several early on puzzles were too circuitous for the game, but they would end upward using a portion of these larger puzzles in the last release.[53]

Reception [edit]

Limbo 'southward initial release on the Xbox 360 has received acclaim from video game critics and journalists; the subsequent release of the game for the PlayStation three and Microsoft Windows platforms received like praise, property Metacritic aggregate scores of 90/100 and 88/100, respectively, compared to the 90/100 earned past the Xbox 360 version.[54] [63] [64] Some journalists compared Limbo to previous minimalist platform games such as Another World, Flashback, Center of Darkness, Oddworld: Abe'south Oddysee, Ico, Portal and Braid.[72] [75] [76] [77] [78] Reviews consistently noted Limbo 'due south short length for its higher selling price: two to five hours of gameplay for xv euros or 15 U.S. dollars. Reviewers asserted this length-to-toll ratio was the largest drawback for the game, and would be a deterrent for potential buyers.[xiv] [vii] [71] [79] Some journalists contended that the length of the game was ideal;[79] The Daily Telegraph 'southward Tom Hoggins considered the brusque game to have a "perfectly formed running time",[80] while Daemon Hatfield of IGN commented that "it'due south ameliorate for a game to get out us wanting more than than to overstay its welcome".[seven] Numerous contained game developers, in an organised "Size Doesn't Matter" effort, commented on the critical response to Limbo 's length-to-toll ratio. The independent developers questioned the demand to quantify that ratio, and noted that it only seems to be used as a factor in judging video games and not other forms of entertainment such equally films.[81]

Limbo was by and large praised for its puzzle design and the simplicity of its controls. Jake Gaskill of G4 Tv was impressed past the complexity of the puzzles based on the two simple deportment of jumping and grabbing onto objects, similar to LittleBigPlanet, with a diversity of elements to assure "y'all're e'er facing something new and challenging" during the game.[9] Game Informer 's Matt Miller commented that office of the success of Limbo is that "every one of these [puzzles] stands alone"; the game accomplishes this in Miller's stance by varying the elements throughout the game, and preventing the player from getting as well accustomed to similar solutions since "everything changes".[lxx] GameSpy'south Ryan Scott believed that the game empowered the thespian to work through solutions themselves, and its puzzle pattern, "with its elegant simplicity, offers upwards what feels like a world of meaningful possibilities".[72] The frequency of death was non considered a distraction from the game; not only were the deaths seen as necessary as part of learning and overcoming each obstacle,[78] [82] but reviewers found the checkpoints where the player would restart to be plentiful throughout the game.[14] Will Freeman of The Guardian praised the game merely noted that beyond the "smoke and mirrors" of Limbo 's artwork, the game is "undermined by the title'due south lack of innovative gameplay", which he says has been seen in earlier platform games.[83]

Presentation [edit]

Limbo 'southward graphical and audio presentation were considered by reviewers every bit exceptional and powerful elements of the game. The monochrome approach, coupled with film grain filter, focusing techniques and lighting, were compared to both film noir and dreamlike tableaus of silent films, assuasive the visual elements of the game to acquit much of the story'south weight.[7] [84] [85] Cian Hassett of PALGN likened the effect to watching the game through an erstwhile-fashioned moving picture projector that creates "i of the most unsettling and eerily beautiful environments" in video gaming.[73] Garrett Martin of the Boston Herald compared the art style and game design decisions to High german Expressionism with "dreamlike levels that twist and spin in unexpected angles".[23] The art style itself was praised every bit minimalistic, and considered reminiscent of the art of Lotte Reiniger, Edward Gorey, Fritz Lang, and Tim Burton.[55] [84] [86] The use of misdirection in the visuals was besides praised, such equally by using silhouettes to avoid revealing the true nature of the characters or shadows, or by showing human figures beyond a chasm who disappear once the player crossed the chasm.[87]

Reviewers institute the sound effects within the game critical to the game'due south impact. Sam Machkovech, writing for The Atlantic, called the audio direction, "far more colorful and organic than the fuzzed-out looks would pb you lot to believe".[88] Edge magazine's review noted that the few background noises "[do] little else than contribute towards Limbo's tone", while the sound effects generated by moving the male child character "are given an eerie clarity without the presence of a conventional soundtrack to cover them".[69]

IGN'due south Hatfield concluded his review by stating, "Very few games are as original, atmospheric, and consistently brilliant as Limbo".[7] Chad Sapeiha of The World and Mail summarised his opinion of the game's atmosphere as an "intensely scary, oddly cute, and immediately arresting artful."[8] Limbo is said to be the get-go game to attempt a mix of the horror fiction genre with platform games.[80] [87] The game has been considered an fine art game through its visual and audio elements.[eight] [23] [83] [89]

Plot [edit]

The game'due south story and its ending have been open to much estimation;[8] the catastrophe was purposely left vague and unanswered by Playdead.[10] Information technology was compared to other open-concluded books, films and video games, where the viewer is left to interpret what they have read or seen.[72] [xc] Some reviews suggested that the game is a representation of the religious nature of Limbo or purgatory, as the boy character completes the journey simply to end at the same place he started, repeating the same journey when the thespian starts a new game.[80] Another estimation suggested the game is the boy's journey through Hell to attain Heaven, or to detect closure for his sis's death.[16] Another theory considers that either the boy or his sister or both are expressionless.[16] Some theories attempted to contain details from the game, such as the change in setting as the boy travels through the game suggesting the progression of man from child to adult to elder, or the similarities and differences between the last screen of the game where the boy meets a girl and the main menu where what could be human remains stand in their places.[16]

The absenteeism of direct narrative, such as through cutscenes or in-game text, was a mixed point for reviewers. John Teti of Eurogamer considered the game'southward base of operations story to be metaphorical for a "story of a search for companionship", and that the few encounters with human characters served equally "emotional touchstones" that drove the story forward; ultimately, Teti stated that these elements brand Limbo "a game that has very few humans, but a surplus of humanity".[14] Hatfield praised the simplicity of the game's story, commenting that, "with no text, no dialogue, and no caption, it manages to communicate circumstance and causality to the player more simply than most games".[7] Both Teti and Hatfield noted that some of the story elements were weaker in the second half of the game, when there are nearly no human being characters with whom the player comes into contact, simply that the game ends with an unexpected revelation.[xiv] [7] GameSpot's Tom McShae found no bug with the game posing questions on "death versus life and reality versus dream", but purposely providing no answers for them, allowing the histrion to contemplate these on their own.[71] McShae also considered that the brief but gruesome decease scenes for the boy helped to create an "emotional immediacy that is hard to forget".[71] The New York Daily News ' Stu Horvath noted that Limbo "turns its lack of obvious narrative into i of the well-nigh compelling riddles in videogames".[91]

Other reviews disliked the lack of story or its presentation within Limbo. Justin Haywald of 1UP.com was disquisitional of the lacking narrative, feeling that the game failed to explain the purpose of the constructed traps or rationale for how the game'southward world worked, and that the final human action left him "more confused than when [he] began". Haywald had contrasted Limbo to Braid, a similar platform game with minimalistic elements which communicates its metaphorical story to the player through in-game text.[92] Roger Hargreaves of Metro stated that the game has "very footling prove that [Playdead] really knew where they were going with the game", citing the second half, when the actor is traveling through a factory-blazon setting and where he felt the game became more like a typical ii-dimensional platform game, and led to an anticlimactic ending; Hargreaves contrasted this to more gruesome elements of the outset one-half, such as encountering corpses of children and having to use those as part of the puzzle-solving aspects.[93]

Sales and accolades [edit]

Earlier its release, Limbo was awarded both the "Technical Excellence" and "Excellence in Visual Fine art" titles at the Contained Games Festival during the 2010 Game Developers Briefing.[94] At E3 2010—about a month before its release—Limbo won GameSpot's "All-time Downloadable Game",[95] and was nominated for several other "Best of Prove" awards, including "Best Platformer" by IGN,[96] "Most Original Game" by G4 Telly,[97] and "Best Puzzle Game" past GameSpot.[98] The game was nominated as ane of 32 finalists at the 2010 IndieCade festival for independent developers, ultimately winning the "Sound" laurels.[99] [100]

Post-obit its release, Limbo was named "Game of the Twelvemonth", "Best Indie Game", and "All-time Visual Art" at the 2010 European Milthon Awards during the Paris Game Show in September 2010.[101] Game Informer named Limbo their Game of the Month for August 2010.[70] Limbo was awarded the "Best Indie Game" at the 2010 Spike Video Game Awards.[102] The game received the almost nominations for the 11th Almanac Game Developers Selection Awards, earning seven nominations including for the "Best Debut Game", "Innovation", and "Game of the Year" awards,[103] and ultimately won for "All-time Visual Art".[104] The title won the "Adventure Game of the Year" and "Outstanding Accomplishment in Sound Pattern" Interactive Achievement Awards from the Academy of Interactive Arts & Sciences and was nominated for "Outstanding Achievement in Game Management" and "Outstanding Innovation in Gaming".[105] [106] The Academy also named Limbo as the winner of the 2010 Indie Game Claiming honor in the "Professional" category, along with a $100,000 prize.[107] [108] The game was selected as the 2010 Annie Laurels for Best Animated Video Game.[109] Limbo was named as i of ten games for the publicly voted 2011 "Game of the Year" BAFTA Video Game Awards.[110] In addition, the game was nominated for the committee-determined BAFTA awards for "Artistic Accomplishment", "Utilise of Sound", "Gameplay" and "Best Game".[111] The inclusion of the independently adult Limbo amongst other larger commercially backed games such as Assassin's Creed: Brotherhood and Phone call of Duty: Black Ops for such "Best Game" awards is considered an indication that the video game industry has started to requite more than recognition to these smaller titles.[111]

Several publications, including Time,[112] Wired [113] and the Toronto Sun [114] placed Limbo as 1 of the tiptop x video games of 2010. IGN named it the third all-time Xbox Live Arcade title of all time in ii lists, published in 2010 and 2011, in both cases following Shadow Complex and Pac Man Championship Edition.[115] [116] Limbo was spoofed past the one-act troupe Mega64 during the 2011 Game Developers Conference,[117] and later by the CollegeHumor sister website, Dorkly.[118]

Inside two weeks of its release on Xbox Live Arcade, Limbo gained more than 244,000 players to the global leaderboards—a crude measure of full sales of the game—which was considered an "incredibly impressive feat" compared to previous Xbox Live Arcade titles, according to GamerBytes' Ryan Langley.[119] Within a month of its release, more than than 300,000 copies of the game were sold.[53] By the end of August 2010, the number of players on the global leaderboard grew to 371,000, exceeding the number of players of other Summer of Arcade games released in 2009, and approaching the number of lifetime players of Braid, released two years earlier. Langley, who had expected Limbo 'south sales to fall "due to the lack of repeatable content and being a strictly single role player experience", considered that these figures had "beaten everyone's expectations".[120] Phil Spencer, the Vice-President of Microsoft Game Studios, stated in September 2010 that Limbo was "our number 1 Summer of Arcade game by a long stretch", and further posed that Limbo represents a shift in the blazon of game that gamers want out of online on-demand game services; "it'due south becoming less about iconic [intellectual property] that people know and it'due south becoming more diverse".[121] Limbo was the third-highest selling Xbox Live Arcade championship in 2010, selling 527,000 and generating near $vii.5 1000000 in revenue.[122] In March 2011, Microsoft listed Limbo as the 11th-highest selling game to date on Xbox Alive.[123] Playdead stated that more than ii million users on the Xbox 360 service played through the demo within the year of the game's release.[25]

The developers announced that equally of Nov 2011, they had sold over 1 one thousand thousand copies of the game beyond the Xbox 360, PlayStation three, and Microsoft Windows platforms.[36] By June 2013, but prior to the iOS release, Playdead announced that total sales of Limbo across all platforms exceeded 3 million.[43] The PlayStation 3 version was the top selling 3rd-political party downloadable game on the PlayStation Network service in 2011.[124] The PlayStation iii version was besides voted "Best Indie Game" in the 2012 PSN Gamers' Choice Awards.[125] The Mac Bone X version of Limbo was awarded with Apple's Design Honor in 2012.[126]

Applications for grants from the Nordic Game Plan, which had funded Limbo 's initial development, increased 50% in the second half of 2010, believed to be tied to the game's success.[127] Playdead was able to buy itself back from its investors in August 2011 from the revenue made from sales of Limbo.[128] Playdead's follow-up title, Inside, first released in June 2016, is visually and thematically similar to Limbo, and includes some elements that were cut from Limbo 'south development.[129]

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External links [edit]

  • Official website

thomasentalto.blogspot.com

Source: https://en.wikipedia.org/wiki/Limbo_%28video_game%29

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