Luckily, checkpoints are never far from where you died and it doesn’t usually take long to get back into the game. You don’t see them coming the first time around, but then you’re unlikely to be fooled again. The cheap deaths are usually sudden or unavoidable deaths. Sometimes it’s clever, too often it can feel cheap. When you think you have it worked out that’s when it throws an extra trap at you. Something you’ll find early on is that Limbo likes to play with expectations, and it will punish you for treating it like any other game.
If it does bother you it is possible to turn off the death animations. Just like with Inside, Limbo doesn’t hold back when the boy is killed, whether it’s dismembering or having him impaled on various spiky things.Įven though it isn’t detailed, it still manages to look like a horrible death. Bear traps are an early and regular threat which will get you used to popping your clogs in a violent fashion. Hazards and swift ends are hidden in the environment. To find your sister involves facing a ruthless world with death ever-present, it will often come out of nowhere too. Looking outside of the game to get a better idea of the story, the boy is looking for his sister. You play as a boy who’s woken up in a foreboding forest, there’s no text or dialogue to explain what’s happening, you just go with it. Limbo is a puzzle platformer set in a monochromatic world bathed in a film grain filter, with much of the world appearing as silhouettes. It is available now along with the developers’ follow up game Inside, and while it is the weaker of the two it provides a good chance to see what had people talking all those years ago. Since then it’s shown up on any platform it can run on, and now it’s the Switch’s turn.
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