You can feel his weight when he jumps, when he begins accelerating from a walk to a sprint, when he just barely makes a jump and has to pull himself up, and even when he dies. INSIDE boldly skips the score, and instead scores with the subtle genius of its sound design. Perhaps the most remarkable piece of information about the sounds in INSIDE is that Danish composer Martin Stig Andersen recorded sounds being routed through a human skull, which created an ominous somber feeling that adds greatly to the atmosphere without drawing attention to itself. Walking over damp concrete sounds so true to life that you could swear you could smell it if you tried. The creaks and moans in the early-game’s barn tell a story of the age of the wood and how long it must have been since the farm was abandoned. Sounds add an almost tangible feeling of texture to objects in the game. This makes way for the impact of this game’s striking sound design. INSIDE prefers to leave the player with an ominous quiet, driving home how small and alone the protagonist is. For these reasons, soundtracks are typically prominent features in games, especially those for whom atmosphere is critical. Legend of Zelda: Ocarina of Time) can even become legendary for their vital contribution to game-feel. They help bring the player into an experience by inspiring emotions that help them connect to the events happening on-screen. However, INSIDE develops a powerful feeling of “This poor kid,” which builds tension in more hectic moments. ![]() Without sympathy or empathy, the struggles of the game’s protagonist fall flat. In Bastion, for example, a player is unlikely to sympathize with the protagonist due to the distanced perspective and the game’s unearthly setting. In other games, however, this dissociation can very easily detract from a player’s valuable sense of inclusion. For INSIDE, this separation works to great effect in creating a sense of fear for or pride in, the kid in times of peril or triumph, respectively. Looking at the lines of mind-controlled people), make him feel alive even under the player’s control. Additionally, the subtle responses the kid makes in response to his environment (eg. Despite directly controlling the kid’s every action, there was enough separation that solving the puzzle was still perceived as the kid’s achievement. Cars visible in INSIDE's background that have holes in the windscreens.During the GameGrumps playthrough of INSIDE, Dan Avidan, after solving a puzzle, casually remarked “Oh man, this kid is smart!” before being teasingly reminded by co-host Arin Hanson that Dan was the one controlling the kid. Tl dr: Major theory of LIMBO is that boy died from being thrown through a car windscreen in a car crash. I didn't see the connection when I first read the theory, but today it suddenly hit me! Could this be a canon link between the games? Or was it just a sign from the developers that they are aware of this theory? One of the leading theories of LIMBO is that the boy died in a car crash thrown to the windscreen as symbolized by the boy crashing through the glass at the end. Never even crossed my mind that it was the same kind of worm in the first game I just assumed it was the pig's tail, and it was a visual cue/warning that some of the pigs were still alive.Ģnd time round, I also noticed that around the farm area, there was at least one broken down car with what I assumed was a bullet hole in the windscreen. But I completely missed a crucial link: the worm you pulled out of the pig. ![]() I realised there were more similarities the second time round: darts-wielding enemies and use of anti-gravity. Some similar game mechanics in the puzzles, pipes, and a thematic link in that both feature a lone boy protagonist. ![]() My first play of INSIDE, I didn't see many plot links to LIMBO. Only after this did I read through theories on the 2 games. Saturday: Played INSIDE to get the secret ending. Wednesday: Completed LIMBO for the first timeįriday: Second playthrough of INSIDE (to disable all the orbs)
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