A quoi vous jouez en ce moment?

MrBrightside a écrit:Moi j'suis entrain de faire toutes les médailles de platine de Link Crossbow Training vu que je suis chez mon paternel.

Kawet a écrit:j'arrive pas à voir où tu bloques MickMack, t'as plus de détail ?

mickmack a écrit:

Kawet a écrit:j'arrive pas à voir où tu bloques MickMack, t'as plus de détail ?

niveau 2, quand tu trouves la bombe quand tu te mets en boule, ensuite tu descends dans un passage qui n'apparaissait pas sur la carte au début.

tu te mets en boule, explose quelques blocs, et tu descends. ce passage apparait en vert sur la carte.

ensuite direction à droite, et la après un saut je me retrouve bloqué entre 2 parois trop hautes pour passer au dessus, et aucun passage possible..

mickmack a écrit:cekoidon le saut mural?

In fact, the first time I noticed Hotline Miami’s tension between thematic unease and its gameplay was watching a group of students play an early build when it was shown at Gamescom. The students had been running through the first five or so levels, laughing, quipping and pointing at the various executions. At the press of the spacebar, the jacketed hero kneeled on a knocked down mobster and slit the throat of the defenseless man. Pixelated blood gushed out as it took a moment for the man to stop struggling against death.

I had seen the animation countless times and remembered the distinct feeling of unease as I first encountered it, but the effect on these students was remarkable: they –not theorists or designers - had noticed the same tension I noticed. In one fraction of a second, the atmosphere changed from having fun to uneasy faces. For a split second, the violence wasn’t a game – it was real. The conversation changed from discussing the coolest execution animation to whether the game wasn’t too violent to be fun. I was baffled.

[...]

The trick that Hotline Miami employs perfectly is offering no time for thought during its violent gameplay and then offering abundant need for reflection through pause and uncertainty of narrative. All of that was not achieved by telling me to feel this way, nor by voice-over or dialogue – it was that unique combination of interactivity, visuals, audio, dialogue and atmosphere that only games can offer.

Hotline Miami took a daring step forward into an uncharted territory in which ego, player, avatar, autonomy, trust, action, responsibility, justice, morality, games and gaming all hold relevance, but never are quite clearly defined, never quite take shape and often overlap, exclude eachother or challenge eachother in impossible ways.