Why did they create Metroidvania Pac-Man? This is an inevitable question in the heart of the labyrinth shadow, but I ask with true curiosity with true curiosity. The game is an attempt to transform PAC-Man, one of the most iconic video games of all time, into a more current species, but it is wrapped in such a embarrassed, peculiar pack that before I reached the end of the maze, I was as confused as then. Shadow Labyrinth is uneven, full and often frustrating. He has a decent fleeting game, but does not succeed in something consistent.
You play technically at no time of this game as a Pac-Man. This is the first maze in the shade, because the presence of the character is the main point of sale. For most experiences, you play as a hood, a serene robot who runs a sword powered by ESP. His stiff jump and attack animations remind me of most Hollow Knight, although the comparison does not do this game. Like many metroidvanias, the game becomes more amusing, the deeper you get thanks to the up-to-date movement and fighting skills, and I was glad that I could feel the feeling of early hours.
Your companion, which looks terrible like Pac-Man, is a robot named Puck. It comes to life to fight for it (there are no limbs and cannot employ weapons) for a mysterious purpose, which is only a few hours in history. You play as a album in certain cases, and I like the classic game of the PAC-Man series, but Puck is completely different. You transform into it when touching the walls made of blue delicate. Basically, it is a magnet, jumping from platform to platform. It also automatically moves forward, so it is as if each platform is a belt conveyor.
Puck avoids the group of diving enemies from the Galaga series.
The red line for preview of the jump trajectory and the brake button to keep the property are welcome, but I never felt comfortable playing as a album. Her combat sections are particularly annoying, because her only attack is toteen with a spinning blade. However, the enemies hurt you if you touch them, and it is challenging to shoot at the enemy and make contact with the blade, while avoiding the body. Fortunately, you only play as Puck, maybe 15 percent of the time, but this did not make me more willing.
There is also a third playable form; Your Gaia meter transforms you into a powerful moss, which can inflict a lot of damage and is resistant to environmental threats, such as spikes. This is a good way to squeeze out of challenging fights and often serves as a satisfying, climax closer to the battle.
Form of Gaia.
After combining these three styles of the game, you set off for a science fiction adventure to contribute to intergalactic war. The accompanying story is unfortunately too complicated for its own good, especially because of how it is told. It is a plot with enormous, widely braided ambitions, but the information is told more often than it was shown, and the bits that the player experiences are unoriginal and forgotten moments wrapped in the bizarre aesthetics of the game.
Speaking of this, game visualizations leave much to be desired. Character models are tiny on the screen, but full of such unparalleled details that they feel out of place, especially compared to time with a placed background. The village of Bosconan is a great example, because all its inhabitants are excessively designed, while the background is great and painting. The lack of consistency between these two elements never improves and often distracts.
The Bosconian village is a great example of how the character and background models look completely different.
Shadow Labyrinth is the most pleasant at a while for a moment. He fights with the structural structure, the whole game, but every moment is usually fine if not a bit clumsy. With one annoying exception on the path for key update, platforming is engaging without a frustrating. And when you get a full package of combat and movement skills later in the game, Combat is a slightly pleasant attack, evaporation and maintenance of the ESP meter, which you need to avoid both avoiding and special movements. To say, the fight, like most of the game, lasts too long to become fascinating.
Shadow Labyrinth is much too long – 30 to 40 hours – and unlocking basic skills takes eternity. Parry and blocking, two basic skills in most games, are unlocked through boss fighting from 5 to 7 hours in the game, after you feel comfortable with the basics. On the other hand, it is basic to miss key abilities, such as a pound of earth or a double jump, and control points are so little and far between withdrawal is pain.
The whole experience ends with the most frustrating hint-huge raise in difficulties, a wave of boss fights and an endless, multi-phase showroom. It completely kills the rush leading to the finals, which makes it catastrophic for history and gameplay.
Shadow Labyrinth is such a strange concept that I have optimistically assumed that it comes from a specific, targeted original pitch, but it is one of the least focused games I’ve ever experienced. History, design and structure are disordered and placed. At best, it is medium and crazy at best. There is not enough PAC-man for fans of this franchise, and its elements of Metroidvania are too frail to appeal to fans of this genre, so why did they create Metroidvania Pac-Man? After spending 40 hours in the game, I still don’t know, and this hinders the command.
