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2010 video game

2010 video game

Limbo
Limbo Box Art.jpg
Developer(southward) Playdead
Publisher(south)
  • Microsoft Game Studios
  • Playdead
Manager(s) Arnt Jensen
Producer(south)
  • Dino Patti
  • Mads Wibroe
Designer(s) Jeppe Carlsen
Programmer(south) Thomas Krog
Creative person(s)
  • Morten Christian Bramsen
  • Stine Sørensen
Composer(s) Martin Stig Andersen
Platform(s)
  • Xbox 360
  • PlayStation 3
  • Windows
  • Os 10
  • 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
    • European union: 20 July 2011
  • Windows
    • WW: 2 August 2011
  • OS X
    • WW: 21 December 2011
  • PlayStation Vita
    • WW: iv June 2013
  • iOS
    • WW: 3 July 2013
  • Linux
    • WW: 23 June 2014
  • Xbox One
    • WW: 5 Dec 2014
  • Android
    • WW: 11 February 2015
  • PlayStation iv
    • WW: 24 February 2015
  • Nintendo Switch
    • WW: 28 June 2018
Genre(s) Puzzle-platform
Mode(s) Single-player

Limbo is a puzzle-platform video game developed by independent studio Playdead and originally published by Microsoft Game Studios for the Xbox 360.[1] [2] [three] The game was released in July 2010 on Xbox Live Arcade, and has since been ported by Playdead to several other systems, including the PlayStation three, Linux and Microsoft Windows. Limbo is a 2D side-scroller, incorporating a physics system that governs ecology objects and the role player graphic symbol. The player guides an unnamed boy through dangerous environments and traps as he searches for his sis. The developer congenital the game's puzzles expecting the player to fail earlier finding the correct solution. Playdead called the style of play "trial and death", and used gruesome imagery for the boy's deaths to steer the player from unworkable solutions.

The game is presented in black-and-white tones, using lighting, film grain effects and minimal ambience sounds to create an eerie atmosphere ofttimes associated with the horror genre. Journalists praised the dark presentation, describing the 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 form. Limbo received disquisitional acclaim, merely its minimal story polarised critics; some critics plant the open-ended work to have deeper meaning that tied well with the game's mechanics, while others believed the lack of significant plot and abrupt ending detracted from the game. A common 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, but some reviews proposed that Limbo had an platonic length. The game has been listed among the greatest games of all fourth dimension.

Limbo was the tertiary-highest selling game on the Xbox Alive Arcade service in 2010, generating effectually $7.5 million in revenue. 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'southward next title, Inside, was released in 2016, and revisited many of the aforementioned themes presented in Limbo.

Gameplay [edit]

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

The role player controls the boy throughout the game. As is typical of nigh 2-dimensional platform games, the boy can run left or right, jump, climb onto short 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 surroundings.[4] [5] The nighttime visuals also serve to conceal numerous lethal surprises, including such ecology and concrete hazards as deadly bear traps on the wood floor, or lethal monsters hiding in the shadows. Among the hazards are glowing worms, which attach themselves to the boy's caput and force him to travel in only one direction until they are killed.[6]

The game'south 2nd 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 tin be avoided and used after in the game; one behave trap is used to clamp onto an animal's carcass, hung from the terminate of a rope, tearing the carcass off the rope and allowing the branch and rope to retract upwards and permit the boy to climb onto a ledge otherwise out of reach. As the thespian will likely see numerous deaths before they solve each puzzle and complete the game, the developers call Limbo a "trial and decease" game.[7] 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.[8] [9] Game achievements (optional in-game goals) include finding hidden insect eggs and completing the game with five or fewer deaths.[x]

Plot [edit]

The primary character in Limbo is a nameless boy, who awakens in the heart of a wood on the "border of hell" (the game'southward title is taken from the Latin limbus, meaning "edge"),[xi] where he encounters a behemothic spider who tries to kill him. Later on using a trap to cut off the sharp points on one-half of the spider's legs, it retreats further into the forest, and the boy is allowed to pass. However, he is later caught in webs and spun into a cocoon. After breaking complimentary from the threads that attached 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 human characters who either attack him, run away, or are dead/dying.[12] [thirteen] [xiv] At one bespeak during his journey, he encounters a female character, who he thinks might exist his sister, merely is prevented from reaching her.[15] The forest eventually gives way to a aging metropolis surroundings.[14] On completion of the final puzzle, the boy is thrown through a pane of glass and back into the wood. Subsequently he wakes up and recovers from the pain and shock, he walks a short distance until he once again encounters a girl, who, upon his approach, stands upward, startled. At this point, the screen cuts to black, abruptly ending the game.[xvi] [17]

Development [edit]

Co-ordinate to Playdead co-founder Dino Patti and lead designer Jeppe Carlsen, Playdead'south game director, Arnt Jensen, conceived Limbo around 2004.[11] [13] At that fourth dimension, as a concept artist at IO Interactive, Jensen became dissatisfied with the increasingly corporate nature of the company. He had sketched a "mood paradigm" of a "secret identify" to become ideas, and the consequence, similar to the backgrounds of the terminal 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 help and proceeded to create an art style trailer by 2006.[18] He had only intended to use the trailer as a means to recruit a developer to help him,[xi] merely the video attracted substantial involvement in the project from across the Cyberspace, eventually leading him to meet with Patti, who was also dissatisfied with his task.[half dozen] Their collaboration led to the founding of Playdead.[6] Although Patti helped in the commencement few months with programming, he realised that the project was much larger than the two of them could handle, and Patti adult the business around the game'due south expanded development.[six]

Initial development was funded personally by Jensen and Patti along with Danish government grants, including funding from the Nordic Game Program, while large investors were sought later in the development cycle.[6] Jensen and Patti did non want to commit to major publishers, preferring to retain full artistic control in developing the title.[thirteen] Jensen originally planned to release Limbo equally a free Microsoft Windows title, just by this betoken, Jensen and Patti decided to make the game a retail title.[6]

Playdead chose to ignore outside communication from investors and critics during development, such as to add together multiplayer play and adaptable difficulty levels, and to extend the game'due south length. Co-ordinate to Patti, Playdead felt these changes would break the integrity of Jensen's original vision.[10] Patti too felt that the investors "tried to control 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 by giving him a moustache."[19] Numerous iterations of the game took place during a 2+ one⁄2 -year evolution cycle, including changes Jensen had demanded to shine the championship,[10] some elements being added two months prior to the game'south release.[20] Patti stated that they "trashed seventy%" of the content they had developed, due to information technology not fitting in well with the context of the game.[eleven] The core evolution team size was about 8 developers, expanding to 16 at diverse stages with freelancers.[21] Playdead developed the design tools for Limbo in Visual Studio; Patti commented they would likely seek third-political party applications for their next projection given the challenges in creating their ain technology.[eleven] Patti later revealed they had opted to use the Unity engine for their next project, citing the evolution of their custom engine for Limbo as a "double product, doing both engine and game", and that their Limbo engine is limited to monochromatic visuals.[22]

Limbo was released on 21 July 2010 on the Xbox Live Arcade service, as the first title in the yearly "Summer of Arcade" promotion.[23] Although the Amusement 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 role, 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, merely subsequently reviewing their options, decided to get with Xbox 360 exclusivity, in office that "Microsoft provided us with an fantabulous opportunity, which included a lot of support for the championship which in the terminate would mean a better visibility for Limbo".[25] According to producer Mads Wibroe, part of their decision not to release for the Windows platform was to avoid bug with software piracy, something they could control on the Xbox 360.[26] Patti stated that staying sectional with the Xbox platform was an assurance that they would be able to recoup their investment in the game's development.[27] [28] Sony Reckoner Entertainment executive Pete Smith stated later on 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, merely that their side by side game, already in evolution equally of October 2010, may meet wider release.[27] [28]

Yet, 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 be released.[30] Similarly, a possible PlayStation 3 version was projected based on the title appearing on the Korea Media Rating Board 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, afterwards set for 19 July and 2 Baronial 2011, respectively.[32] [33] Patti clarified that their alter of mind from their earlier Xbox 360-exclusive approach was considering "we want as many people to play our games equally possible".[32] The release was gear up for well-nigh a year after the original availability of the Xbox 360 version, after the expiration of the Xbox 360 exclusivity rights for the game.[25] [34] Both the PlayStation iii and Windows versions of the game accept 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 X version of the game through the Mac App Store in December 2011, fulfilling their promise to release the title before the end of 2011; though they had wanted to as well release the Mac Steam version past then, this version was ultimately delayed to mid January 2012.[36] [37] A Linux version of the game, based on a Wine-encapsulated package prepared by CodeWeavers, premiered in the Humble Indie Bundle Five charitable sales result 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.[forty] The PlayStation Vita version of the game was adult by Playdead with assistance from the UK studio Double 11, and was released in June 2013.[41] The Vita version does not use the handheld's 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, assuasive 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 use on the touchscreen devices.[43]

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

In September 2017, 505 Games published Limbo along with Playdead'southward post-obit title, Inside, as dual-game retail package for Xbox One and PlayStation 4.[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'due south inception, Jensen set up out three goals for the final Limbo product. The first goal was to create a specific mood and art style. Jensen wanted to create an aesthetic for the game without resorting to highly detailed 3-dimensional models, and instead directed the fine art towards a minimalistic style to allow the development to focus its attention on the gameplay.[18] Jensen's 2d goal was to only require ii additional controls—jumping and grabbing—outside of the normal left-and-right motility controls, to keep the game easy to play. Finally, the finished game was to present no tutorial text to the role player, requiring players to larn the game'southward 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'southward meaning for themselves.[26]

Some aspects of Limbo bore out from Jensen's own past, such as the wood areas that were like to forests around the subcontract where he grew up, and the spider coming from Jensen's arachnophobia.[xix] Jensen drew inspiration from pic genres, including works of film noir, to set the art fashion of the game; the team'south graphic creative person, Morten Bramsen, is credited with recreating that art style.[55] [56] Much of the game'due south flow was storyboarded very early on in development, such as the boy's encounters with spiders and listen-decision-making worms, also as the overall transition from a woods to a city, and so to an abstract environment.[six] Equally evolution progressed, some of the original ideas became besides hard for the small team to complete. The storyline besides inverse; originally, the spider sequences were to be present nearly the end of the game, only were subsequently moved to the start role.[6] In retrospect, Jensen was aware that the offset one-half of the game contained more than scripted events and encounters, while the second 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 estimation simply he knew, though noted later the game'southward release that some players, posting in forum boards, had suggested resolutions that were "scary shut" to his ideas.[20]

Limbo
Limbo Soundtrack Cover.jpg
Soundtrack album by

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

The game's audio was created by Martin Stig Andersen, a graduate from the Royal Academy of Music in Aarhus.[six] Andersen'due south 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 later on 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, simply at the same fourth dimension it's abstract".[57] Andersen sought to create acousmatic music exclusively incorporating the sound effects of the game'south environments. Two examples he pointed to was the use of electricity noises while in the presence of a ruined neon "HOTEL" sign,[6] and silencing the current of air sound equally the spider approached the male child in the forest.[58] Andersen avoided the use of hands recognizable sounds, distorting them when needed as to allow players to interpret the sounds' meanings for themselves.[57] Andersen constructed most of the game'due south sounds through a number of "grains" instead of longer audio loops, allowing him to adjust the playback to requite better feedback to the player without sounding repetitious; one case he cites was the employ of separate sounds for the male child's toe and heel when they make contact with the ground, giving a more than realistic sound for movement.[59] Many reviews for the game stated that in that location 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 interpretation by the histrion in the aforementioned manner as the game'southward 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 information technology will probably make them more scared when in that location'southward no music to have them past the hand and tell them how to feel".[57] Due to fans' requests, Playdead released the game's soundtrack on iTunes Shop on 11 July 2011.[34] [sixty]

Limbo soundtrack runway listing
No. Championship Length
1. "Menu" iii:x
ii. "Boys' Fort" 2:17
3. "City" 3:38
iv. "Rotating Room" iii:02
5. "Sis" iii:21
6. "Gravity Jump" four:12
Total length: xix:40

Gameplay direction [edit]

Jeppe Carlsen, the lead designer for Limbo 'southward puzzles, speaking at the 2011 Game Developers Conference

The gameplay was the second chemical element created for the game, following the graphics created past Jensen.[20] The gameplay was created and refined using rudimentary graphic elements to establish the types of puzzles they wanted to accept, merely aware of how these elements would exist presented to the player in the released version.[20] 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 programmer for the custom game engine, became the lead designer after Playdead found him to be capable at creating puzzles.[6] Carlsen stated that the puzzles within Limbo were designed to "[go along] yous guessing all the fashion through".[13] Jensen besides wanted to make the puzzles experience like a natural part of the environment, and to avoid the feeling that the thespian was simply moving from puzzle to puzzle through the form of the game.[6] Carlsen identified examples of puzzles from other games that he wanted to avoid. He wanted to avoid elementary puzzles that gave the player little satisfaction in its solution, such as a puzzle in Uncharted two: Amid Thieves that involved simply moving a sun-lit mirror to specific points in a room. In dissimilarity, Carlsen wanted to avoid making the puzzle and so circuitous with many separate parts that the player would resort to trial-and-error and eventually come out with the solution without thinking virtually 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 figure out himself.[61] [62] Carlsen designed Limbo 's puzzles to autumn between these limits, demonstrating i puzzle that just has three elements: a switch panel, an electrified floor, and a concatenation; the goal—to use the concatenation to cross the electrified flooring—is immediately obvious to the player, and and so tasks the player to determine the right combination of moves and timing to complete it safely.[62] They ofttimes had to strip away elements to make the puzzles more enjoyable and easier to effigy out.[20] The decision to provide little information to the actor was an initial challenge in creating the game. From their initial pool of about 150 playtesters, several would have no thought of how to solve certain puzzles.[20] To improve this, they created scenarios before troublesome spots that highlighted the advisable deportment; for example, when they establish players did not think about pulling a boat onto shore to utilise as a platform to reach a higher ledge, they presented the thespian with a box-pulling puzzle earlier to demonstrate the pulling mechanics.[53]

The team developed the game's puzzles by commencement assuming the player was "their own worst enemy", and made puzzles as devious every bit possible, only then scaled dorsum their difficulty or added visual and audible aids as if the histrion was a friend.[53] One example 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 designs of this puzzle had the bear trap on the same screen as the spider, and Playdead found playtesters focused too much on the trap. The developers altered the puzzle to put the trap in a tree in an earlier off-screen department when facing the spider; the spider's actions would eventually crusade this trap to drop to the basis and become a weapon against the spider. Carlsen stated that this organisation created a state of affairs where the role player felt helpless when initially presented with the mortiferous spider, but and so assisted the player through an audible cue when the trap had dropped, enabling the player to detect the solution.[53]

Ane animator was dedicated full-time during three years of the game'south evolution to work out the boy'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 thespian moved the boy almost it.[20] Jensen felt this was important as the character was e'er at the middle of the player's screen, and the most 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 continue the player interested.[53] Carlsen noted several early puzzles were too circuitous for the game, but they would end upwardly using a portion of these larger puzzles in the final 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 3 and Microsoft Windows platforms received similar praise, holding Metacritic amass scores of 90/100 and 88/100, respectively, compared to the ninety/100 earned past the Xbox 360 version.[54] [63] [64] Some journalists compared Limbo to previous minimalist platform games such as Another Earth, Flashback, Middle of Darkness, Oddworld: Abe's Oddysee, Ico, Portal and Complect.[72] [75] [76] [77] [78] Reviews consistently noted Limbo 'southward short length for its college selling toll: two to v hours of gameplay for 15 euros or 15 U.S. dollars. Reviewers asserted this length-to-price ratio was the largest drawback for the game, and would be a deterrent for potential buyers.[xiv] [7] [71] [79] Some journalists contended that the length of the game was ideal;[79] The Daily Telegraph 'south Tom Hoggins considered the short game to have a "perfectly formed running time",[lxxx] while Daemon Hatfield of IGN commented that "it's better for a game to leave us wanting more than to overstay its welcome".[vii] Numerous independent game developers, in an organised "Size Doesn't Matter" attempt, commented on the critical response to Limbo 'due south length-to-price ratio. The contained 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 non other forms of entertainment such as films.[81]

Limbo was mostly praised for its puzzle design and the simplicity of its controls. Jake Gaskill of G4 Idiot box was impressed past the complication of the puzzles based on the two simple actions of jumping and grabbing onto objects, similar to LittleBigPlanet, with a variety of elements to assure "you're e'er facing something new and challenging" during the game.[9] Game Informer 'south Matt Miller commented that part of the success of Limbo is that "every ane of these [puzzles] stands alone"; the game accomplishes this in Miller'due south stance by varying the elements throughout the game, and preventing the histrion from getting too accepted to like solutions since "everything changes".[70] GameSpy's Ryan Scott believed that the game empowered the player to piece of work through solutions themselves, and its puzzle design, "with its elegant simplicity, offers upwards what feels like a earth of meaningful possibilities".[72] The frequency of death was non considered a distraction from the game; not merely were the deaths seen equally necessary every bit part of learning and overcoming each obstacle,[78] [82] merely reviewers constitute the checkpoints where the player would restart to be plentiful throughout the game.[14] Will Freeman of The Guardian praised the game but noted that beyond the "fume and mirrors" of Limbo 's artwork, the game is "undermined by the title'south lack of innovative gameplay", which he says has been seen in earlier platform games.[83]

Presentation [edit]

Limbo 's graphical and audio presentation were considered past reviewers as exceptional and powerful elements of the game. The monochrome arroyo, coupled with film grain filter, focusing techniques and lighting, were compared to both flick noir and dreamlike tableaus of silent films, allowing the visual elements of the game to carry much of the story'south weight.[7] [84] [85] Cian Hassett of PALGN likened the outcome to watching the game through an old-fashioned motion 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 blueprint decisions to High german Expressionism with "dreamlike levels that twist and spin in unexpected angles".[23] The art style itself was praised equally 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 also praised, such as by using silhouettes to avoid revealing the true nature of the characters or shadows, or by showing human figures across a chasm who disappear once the player crossed the chasm.[87]

Reviewers found the sound effects within the game critical to the game's impact. Sam Machkovech, writing for The Atlantic, called the audio management, "far more colorful and organic than the fuzzed-out looks would lead yous 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 past moving the male child character "are given an eerie clarity without the presence of a conventional soundtrack to encompass them".[69]

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

Plot [edit]

The game's story and its ending take been open up to much interpretation;[8] the catastrophe was purposely left vague and unanswered by Playdead.[10] Information technology was compared to other open-ended books, films and video games, where the viewer is left to interpret what they have read or seen.[72] [ninety] Some reviews suggested that the game is a representation of the religious nature of Limbo or purgatory, as the boy graphic symbol completes the journey only to stop at the aforementioned place he started, repeating the same journey when the player starts a new game.[eighty] Another interpretation suggested the game is the male child's journey through Hell to accomplish Sky, or to find closure for his sister's death.[16] Another theory considers that either the male child or his sister or both are dead.[16] Some theories attempted to contain details from the game, such as the modify in setting every bit the male child travels through the game suggesting the progression of man from child to adult to elder, or the similarities and differences between the final screen of the game where the boy meets a girl and the main bill of fare where what could be human remains stand in their places.[xvi]

The absence of directly narrative, such as through cutscenes or in-game text, was a mixed point for reviewers. John Teti of Eurogamer considered the game's base story to be metaphorical for a "story of a search for companionship", and that the few encounters with human characters served as "emotional touchstones" that drove the story forrard; ultimately, Teti stated that these elements brand Limbo "a game that has very few humans, but a surplus of humanity".[fourteen] Hatfield praised the simplicity of the game'southward story, commenting that, "with no text, no dialogue, and no explanation, information technology manages to communicate circumstance and causality to the player more than 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 most no homo characters with whom the player comes into contact, but that the game ends with an unexpected revelation.[14] [7] GameSpot's Tom McShae found no issues with the game posing questions on "expiry versus life and reality versus dream", only purposely providing no answers for them, allowing the role player to contemplate these on their own.[71] McShae too considered that the brief simply gruesome death scenes for the male child helped to create an "emotional immediacy that is difficult to forget".[71] The New York Daily News ' Stu Horvath noted that Limbo "turns its lack of obvious narrative into one 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 critical of the lacking narrative, feeling that the game failed to explain the purpose of the synthetic traps or rationale for how the game'south world worked, and that the final act left him "more dislocated 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 lilliputian prove that [Playdead] actually knew where they were going with the game", citing the 2d half, when the role player is traveling through a factory-type setting and where he felt the game became more similar a typical two-dimensional platform game, and led to an anticlimactic ending; Hargreaves contrasted this to more than gruesome elements of the showtime one-half, such as encountering corpses of children and having to use those every bit function of the puzzle-solving aspects.[93]

Sales and accolades [edit]

Before its release, Limbo was awarded both the "Technical Excellence" and "Excellence in Visual Fine art" titles at the Independent Games Festival during the 2010 Game Developers Conference.[94] At E3 2010—about a calendar month earlier its release—Limbo won GameSpot's "Best Downloadable Game",[95] and was nominated for several other "Best of Show" awards, including "Best Platformer" by IGN,[96] "Nearly Original Game" by G4 TV,[97] and "Best Puzzle Game" by GameSpot.[98] The game was nominated as one of 32 finalists at the 2010 IndieCade festival for contained developers, ultimately winning the "Sound" honor.[99] [100]

Post-obit its release, Limbo was named "Game of the Twelvemonth", "Best Indie Game", and "Best Visual Art" at the 2010 European Milthon Awards during the Paris Game Testify in September 2010.[101] Game Informer named Limbo their Game of the Month for August 2010.[seventy] Limbo was awarded the "All-time Indie Game" at the 2010 Fasten Video Game Awards.[102] The game received the about nominations for the 11th Annual 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 championship won the "Take chances Game of the Year" and "Outstanding Accomplishment in Sound Design" Interactive Achievement Awards from the Academy of Interactive Arts & Sciences and was nominated for "Outstanding Achievement in Game Direction" and "Outstanding Innovation in Gaming".[105] [106] The Academy also named Limbo as the winner of the 2010 Indie Game Claiming accolade in the "Professional" category, forth with a $100,000 prize.[107] [108] The game was selected every bit the 2010 Annie Award for All-time Blithe Video Game.[109] Limbo was named as one of x games for the publicly voted 2011 "Game of the Yr" BAFTA Video Game Awards.[110] In improver, the game was nominated for the committee-determined BAFTA awards for "Artistic Accomplishment", "Use of Audio", "Gameplay" and "Best Game".[111] The inclusion of the independently developed Limbo among other larger commercially backed games such as Assassin's Creed: Brotherhood and Call of Duty: Black Ops for such "Best Game" awards is considered an indication that the video game industry has started to give 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 peak ten video games of 2010. IGN named information technology the third best Xbox Live Arcade title of all time in two lists, published in 2010 and 2011, in both cases following Shadow Complex and Pac Man Championship Edition.[115] [116] Limbo was spoofed past the comedy troupe Mega64 during the 2011 Game Developers Conference,[117] and later past the CollegeHumor sister website, Dorkly.[118]

Inside two weeks of its release on Xbox Live Arcade, Limbo gained more than 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 300,000 copies of the game were sold.[53] By the finish 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 budgeted the number of lifetime players of Braid, released two years earlier. Langley, who had expected Limbo 'due south sales to autumn "due to the lack of repeatable content and being a strictly single player experience", considered that these figures had "browbeaten everyone's expectations".[120] Phil Spencer, the Vice-President of Microsoft Game Studios, stated in September 2010 that Limbo was "our number one Summertime of Arcade game by a long stretch", and further posed that Limbo represents a shift in the type of game that gamers want out of online on-need game services; "it's condign less about iconic [intellectual property] that people know and it's becoming more than diverse".[121] Limbo was the third-highest selling Xbox Live Arcade title in 2010, selling 527,000 and generating about $seven.v million in revenue.[122] In March 2011, Microsoft listed Limbo equally the 11th-highest selling game to engagement on Xbox Live.[123] Playdead stated that more than two one thousand thousand users on the Xbox 360 service played through the demo within the year of the game's release.[25]

The developers announced that as of Nov 2011, they had sold over 1 million copies of the game beyond the Xbox 360, PlayStation three, and Microsoft Windows platforms.[36] Past June 2013, simply prior to the iOS release, Playdead appear that total sales of Limbo across all platforms exceeded iii one thousand thousand.[43] The PlayStation iii version was the pinnacle selling third-party downloadable game on the PlayStation Network service in 2011.[124] The PlayStation 3 version was also voted "All-time Indie Game" in the 2012 PSN Gamers' Choice Awards.[125] The Mac OS 10 version of Limbo was awarded with Apple tree's Design Award in 2012.[126]

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

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External links [edit]

  • Official website

padillafroasur.blogspot.com

Source: https://en.wikipedia.org/wiki/Limbo_(video_game)

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