![]() The comparisons end there, but it did have a similar thoroughness. The feeling of an abandoned, previously impressive town made me think of a Kidz Bop version of Bioshock or Dishonored. Also despite the shift in intensity that happens, I really did like the tone of it, and the setting was fun. Glad it was short as it could have gotten old. They really leaned on the "bullies from broken homes" thing which didn't seem very necessary, but wasn't a deal breaker. I feel like with something that's essentially "bullied misunderstood artist making imaginary friends" there was a lot of potential for a bunch of sad sack indie boy BS (I just played Maquette, and that was my hugest problem with it) Sonny guard was super up, but I'm glad that never came. It's like it's all cutesy platforming and then instantly 4 boss battles in a row that, like you said aren't really tough, but just kind of tedious. This is absolutely spot on with the sudden raising of stakes. I certainly hope that moving forward they can make a more cohesive experience next time around. While short the game is a fairly simple Platinum trophy (though to my understanding there are 3 or so potentially bugged trophies), and I do hear the VR mode is neat. It felt like the team at Pixelopus was split with one faction being all-in on the painting and the other demanding combat to make it a more action-oriented title, with the compromise being the final product having a 70/30 split between the two. This calm painting excursion suddenly becomes a life or death struggle with no warning. The combat itself isn't very deep (you have three attacks), is not present in the game at all until this point, the monsters you fight aren't difficult but take a fair amount of hits, and it never quite gels with the rest of the game. However after playing through roughly 70% or so of the game by just needing to do some light platforming and painting the game throws a huge curveball at you by suddenly becoming near totally combat-focused. I had times where I died from jumping from a high point, while other times I simply hung over an equally high ledge before dropping and landed just fine. Also notable is the game's inconsistent fall damage. I was never caught once by them (outside a few scripted story sequences), so i'm unsure of the penalty incurred for actually being caught. The only obstacle outside a few minor puzzle solving and platforming segments is a roving band of bullies that can be easily distracted by climbing a nearby building or structure and shouting at them. While it's a fun little romp with its fairly intuitive painting mechanic it's also nearly devoid of any actual difficulty. Genies can also be customized with ears, tails, and other silly apendages. Sometimes it's a little wonky, but it feels pretty great. You can plaster entire walls with moons, flowers, stars, trees, and other scenery using the PS4's motion controls. The design templates that you use to paint are scattered about throughout the world and function as the game's collectibles. Ash can summon "genies" that can be customized and roam on walls to help him remove dark paint, power machines, burn away cloth, or blow wind to move objects. ![]() Ash is eventually tasked to use his artistic ability to revitalize the town and save it from the Darkness. The game follows a teenager named Ash who likes to hang around and sketch in the abandoned fishing town of Denska, which saw a mass exodus after a substance deemed "Darkness" began manifesting after an oil spill. ![]() I finished Concrete Genie last night after having forgotten I redeemed it via PS+.
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