There are a few moments when Ori feels unfair. It's classic a 'die until you memorize this' design, but not unfair. It’s better seen than described, so I’ve embedded a video of the first of these timed segments above. This is not the sort of game that lets less-skilled players skip the tough bits to get on with the pretty art, which isn’t a knock on Ori, but something you ought to be aware of. I did find these end-of-dungeon difficulty spikes surprising given the forgiving save system and marketing that focuses on a “deeply emotional” story (which is told in beautifully-animated segments, but never quite gets better than the sweet and tragic opening). I never spent more than 20 minutes or so on one segment. Mastery is intrinsically enjoyable-it’s the entire premise of Super Meat Boy, which I also love-and I don’t mind barking at my screen when it feels cruel, so long as it’s not too cruel. They’re a series of challenges which come fast and must be memorized-every time I got a little further, I died trying to figure out what I needed to do next, and then I memorized that and got further, and died again. Ori’s three dungeons (for lack of a better word) each have timed chase segments which must be completed in one go. There are a few places, however, where you can’t save at all. If something is giving you trouble, you can save just before it and try and try again until you succeed. Once I was in the habit, though, the system is a nice modern bit of design that acts as counter-balance to Ori’s difficulty. Early on, when I wasn’t in the habit of paying attention to my energy reserve and saving after every accomplishment, it was mildly frustrating: I’d solve a difficult bit of maneuvering and then die later from some stupid mistake without having stopped to record my progress. Using the energy resource, which is fairly plentiful, Ori can save in any safe place. Others I’ve spoken to are not fond of Ori’s save system, but I like it. By some accidental luck, I actually made it to the entrance of the final dungeon long before I was supposed to, and then had to turn back and try not to die as I escaped without the abilities I was supposed to have reached the area with. It comes with the genre’s captivating exploration, but also the minor flaw that such openness can lead to pointless excursions into places you’re not supposed to be yet. Ori can easily be compared to Metroid in that respect: It’s an intricate, winding network of passages, each with hidden areas, treacherous platforming puzzles, and projectile-spewing enemies. Ori is classified as a metroidvania, a genre of 2D platforming action games where new abilities are typically picked up along the way and backtracking-often to find formerly unreachable secrets-is a necessary part of playing. The curiously calming (and fantastic) music seems more suited for a city builder, but smartly so: piano, winds, and strings relieve the stress of playing Ori and lull me into a cool-headed space, where I can routinely die by spike pit and keep going. It’s also very fun, and pretty difficult.
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