The deep, beautiful dark of Knytt Underground

I couldn’t tell you when Knytt Underground got added to my long list of untouched PlayStation 3 games, but it did at some point. Thanks to PlayStation Plus, of course, a service that lets me download a high number of titles to collect digital dust until I randomly decide to play them or am inspired by an outside source to see what the deal is. This time around, I was inspired, greatly so, and we can look to Matt Mason’s posts over at Obtain Potion for the push, specifically Living Under a Rock and Let’s Find Another Deux Machina, as I really had no idea what Kyntt Underground was for the longest time. I figured it was some indie puzzle game, and it definitely is that–but so much more.

At its most basic form, Knytt Underground is about subterranean exploration. You play as a young woman called Mi Sprocket who is mysteriously mute, as well as, eventually, Bob, a magical bouncing ball. Naturally, the two characters play very differently from each other; you use Mi to climb up/down walls, and Bob can bounce around the room and reach previously unattainable areas, as well as tether himself to certain robots. For Bob, it’s all about physics, and sometimes that can be a bit tricky to master, especially when a single bounce can send you zooming across the screen, possibly to a new area, before you even have a moment to react. The game is split into three chapters and an interlude, with chapter one focusing on getting Mi to the fairy village and chapter two focusing on becoming Bob and learning what he can do. Chapter three seems to be the real meat of the game and is both awesome and intimidating.

See, it’s easy to get lost in Knytt Underground, both metaphorically and literally. There are a lot of rooms to explore, with a number of exits, and while some of them are simply dark, narrow corridors to run through, others are expansive openings, with high ceilings that any spelunker would love and, more times than not, something absolutely stunning to look at in the background. Take the purple forest, for instance. The first time I arrived there, I couldn’t believe my eyes. I was underground, and yet here is this string of large trees, swaying in a reddish-purple haze, dancing with the cavern wind. It got a little Inception-like there, this other world in this other world, and I just stood there, unmoving, absorbing it all. Other backgrounds are just as gorgeous, with plant life literally glowing in the darkness, lava that looks devilishly hot, and mushrooms that look too beautiful to eat.

However, something about Knytt Underground has me greatly conflicted. Really, I’m just not sure how I feel about it. It’s a stunningly gorgeous game, rife with bright and vibrant flora, the kind of nature you’d expect to see examined in close detail on the newest BBC documentary about the planet Earth, all backed by a soft, ambient soundtrack of rushing waterfalls, dripping ceilings, and gentle breezes. Yet..it’s goofy. The characters are silly and look like someone’s first attempt at webcomic art in the early 2000s, and the things they say are inane, such as obscure discussions about the Internet. I’m namely talking about the two fairies that accompany Mi after you reach the village and speak for her during her muteness. Visually, it’s extremely jarring. Tonally, too, though I suspect something is trying to be said here. Also, most of the quests you take on are pointless, with Mi going to great lengths to find certain people or keys for locked doors only for it all not to matter; the person you were looking for already returned home, and the door magically opened by itself.

At this point, I’ve dabbled in chapter three for only a bit, but eventually felt overwhelmed, especially considering the size of the map is roughly ten times that of the previous chapters. I mean, I can see areas highlighted in red on the map as places of interest to go–most likely these are the bells that Mi needs to ring to stop the apocalypse–but getting there isn’t a simple hike. You have to now use both Mi and Bob the ball in combination to reach new pathways, and sometimes doing that can be a lot of trial and error. I’m sure I’ll pop back into this visually stunning underground realm soon enough, but I need a little breather in the meantime.

Disposabot teaches you that death is the answer

I learned of Unept’s Disposabot from perusing the ever enlightening Jay Is Games, and I’m glad I gave it a shot, as this turned out to be a bit more than just a cute-looking puzzle platformer. In fact, it’s a cute-looking puzzle platformer that makes you think, though some levels can be beaten simply by throwing everything against the wall and seeing what sticks, but for the most part, you gotta use your noggin. It’s definitely one of the better Portal wannabes. Wait, let me explain.

Dr. Nemesis, the snarky founder and CEO of the Tyrant corporation, has decided to kidnap you, an ordinary citizen robot, and really put you through the ringer. By that I mean…a number of anti-hero weapons testing rooms, which are filled with numerous and dastardly ways to lower an android’s power level from 100 to zero in a flash. Your job, naturally, is to get through each room safely and in one piece in pursuit of finding a way to stop the often heard, but rarely seen villain, that way you can get back to normal, daily automaton life. Whatever that is. In each of these rooms is a replicator that allows you to respawn in a new, mechanical body after dying, and this is the main mechanic that will get you from one side of the level to the other. Yup, dying is the answer.

When your little robot dude/dudette dies, your body remains in the level. The Last Geek from Ludum Dare 22 did this, but it was only for cosmetic purposes. Some enemies will leave an empty, light-as-a-feather husk of a corpse that you can push around and use as a stepladder, and others will completely freeze your wireframe in place, even in mid-air. The trick is figuring out how and when to use each of these special corpse types to your advantage, to reach the end-of-level pipe entrance, and the first few levels are beyond basic and obvious, there to teach you these skills, but the majority of the levels are quite puzzling, especially the later ones where you need to get keys before exiting or do certain actions in a specific order without fault.

Disposabot is controlled entirely with just the arrow keys. You move left and right with the respective keys, and press up to jump. If you find yourself stuck and want to start over, simply hit the [R] key to clear away all your mistakes. Surprisingly, that’s all the control you need to get the job done, though I always prefer to play platformers with a d-pad or analog stick for better precision and ending up missing a few vital jumps. Each level gives out medals at the end based on how many times you died, the less earning the better prize, which helps add some replayability for those trying to make it through as perfect as possible. I got mostly golds and silvers, though a few of the final levels saw me dying over and over again out of frustration and unplanned attempts to just push my way to the end, winning only bronzes.

However, unlike Portal, the story never reaches that same wondrous high, but you do eventually put Dr. Nemesis in his place, and the last third of the total 21 levels are very rewarding from a gameplay perspective. Again, it’s a cute-looking puzzle platformer that makes you think. Plus, all the clouds are Tetris shapes. Really, you can’t not smile at that.

2014 Game Completed Comics, #3 – Temple Run 2

–

Every videogame that I complete in 2014 will now get its very own wee comic here on Grinding Down. It’s about time I fused my art with my unprofessional games journalism. I can’t guarantee that these comics will be funny or even attempt to be funny. Or look the same from one to another. Some might even aim for thoughtfulness. Comics are a versatile form, so expect the unexpected.