Alphaland Interesting concept, mediocre execution.
Got linked here from a post elsewhere about game design that basically said that, in order to present the "literate player" (don't like the phrase, but can't think of anything better) with something genuinely new, game designers should make things that don't appear to have been designed. Minus worlds, basically. This game was given as an example.
Definitely an interesting concept, although I'm not sure how well it's implemented here, if that was the intent. The Life background, minimalistic graphics, and clearly nonrandom music and sound effects make the crafted nature of the game show through. But that might be a necessary tradeoff; I suspect most players wouldn't put up with realistically glitchy music and sound for even the ten or fifteen minutes that it takes to complete this game. (Glitchy graphics, on the other hand, have potential, and even playing them straight Minus World style would be preferable to the graphics here, which are so placeholderish that their non-placeholder nature is clear.)
It seems like the intent of this game was slightly different: yes, it's surprising the player by subverting the design/glitch dichotomy, but it's placed in the context of a world that is *incomplete*, not just imperfect. (A shame, really; if not for that, the message could have been an interesting response to certain aspects of the Christian worldview, albeit a response that, inexplicably, comes off to me as rather Christian itself. Hmm.) Alphas, not minus worlds. But the effect remains essentially the same, previously mentioned caveats excepted.
The message was built up in the game in an interesting way, but the ending ruined it. Instead of a mostly blank canvas about change, onto which the player can project his own contexts, it turned out to be a message about death so heavy-handed it'd rip its dick off it tried to masturbate. And I didn't even get the cheap swipe at played-out platformer franchises that I was hoping for. Oh well.
The game itself is a re-skin of the "throw you into a complex world with no instructions and leave you to gather objects and powerups" / "Metroid without enemies" archetype pioneered by Seiklus and popularized by Knytt. But unlike Seiklus, the environment here is complex and varied enough that it takes more than ten seconds to figure out what to do in a new environment, adding a slight puzzle aspect to the game; and unlike Knytt, the level design (this game's strongest point and Knytt's weakest) guides the player toward the objectives, instead of leaving him to wander around aimlessly for endless hours.
Overall, I'd say the concepts in this game are far more interesting than the game itself, which isn't much more than another art-game Knytt. 'Art games' (another phrase that I don't like) tend to be short and value message over gameplay, but the strengths of this game are all in the gameplay; between the Knyttish exploration, the Minus World aesthetic, and the environment-related puzzles, there's a good full game in there waiting to be developed. A platformer Nethack, maybe.
But even though the concepts don't work well as an art game, especially considering the poor execution of the message, this still merits a high rating for the level design. It's rare that this sort of balance is struck; most games of this sort collapse into either triviality or tedium.
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