Genre: Puzzle-Platformer
Year: 2010
Developed by: Playdead
Published by: Microsoft Game Studios
Platforms: Most of them
#150
Feeling Like: *shudders*
I don’t know if I’ve ever played a game that gets more out of less. Previous entries on the 500 entail massive worlds, voice acting, photo realistic graphics, an orchestral soundtrack and casts of hundreds. Limbo is akin to a beautiful, haunting minimalist painting. There’s no dialogue, barely any text, no tutorial, no introduction level to get you acclimatized. There isn’t a menu, equipment, or items. No friendly owl guiding you. No friendly anything. You awaken as a boy, a silhouette with beady, white eyes and move to the right. Walking, jumping and grabbing onto things is the extent of your abilities.
Without the incredible atmosphere and thoughtful design, this could be perceived as lazy but it’s anything but. The levels are sparse, but meaningful. The shadows and lighting are used to tremendous effect; not only does the game look incredible, but oftentimes puzzle solutions are hidden behind something that would be easily seen in a game with color. I believe this is the only game I’ve ever played that’s entirely in black and white (and gray!) and it’s also one of my favorites.
The game quickly shows you its teeth; the boy may look cute, but soon you’ll be coming across menacing threats that are usually reserved for some old school fairy tales meant to scare the shit out of children. Hanging bodies, mind-altering slugs, bear-traps and a giant spider are just a few of the challenges you’ll have to overcome. Every death is generally disgusting – the quiet, ambient sounds magnify the cruelty this poor little guy is subjected to.
The world building is terrific, although I know some would prefer more details or exposition to fulfill an emotional arc. I enjoy when I have to fill in the gaps myself. Hints of something, or background buildings are just as effective as the hyper-detail we saw in The Last of Us. I know it’s not quite the same, but to me it added to the mystery. Where the hell am I? What happened? What’s around the corner? Limbo is the kind of game where you’re frequently on edge; the lack of soundtrack makes every footstep, or industrial whirr, or spinning blade feel that much more potent. The sound design is terrific.
The puzzles and platform challenges are secondary to the feel of the game. I died a lot, and you will too, largely because the stages are based around trial and error. You don’t have a life bar and even the most inconsequential looking bump to the head will result in death. Since the penalty for dying is minimal, you’re encouraged to try things out – as long as you can stomach watching an innocent little boy get hacked, skewered, plunged, or squished a few dozen times.
Everything is so eerily quiet, but it’s a good level of creepiness. There aren’t any real jump scares, the fear comes from the foreboding tone and constant dread. I’m down for this, I can handle this. When it comes to games like Alien: Isolation or Dead Space that’s a hard no from me, dawg. But when it comes to 2-D stuff like Limbo, Inside, or the Little Nightmare games, I cannot get enough. I like that they’re lean experiences, I like that they’re consistently good value, and I like how the creators don’t pound us over the head with their plot. This kind of game or genre isn’t for everybody, but it’s absolutely for me.
Playdead really hit it out of the park, it’s a shame that they only lasted for two games. Luckily for us, their second effort, Inside, is absolutely superb and you can see the humble beginnings here in Limbo. It may have taken six years to develop, but its impact will last well beyond that and rightfully retains a spot among the best indie platformers available. If these screenshots are even slightly interesting to you, I urge you to take the plunge.
The 500 