The puzzles are generally less convoluted, which reflects a post- Journey trend away from challenge for challenge’s sake.
Inside is at least more forgiving than its predecessor, which delighted in tricking the player by changing the rules. Inside is a two-button game – aside from moving left or right, all the boy can do is jump (A on the Xbox One controller) and grab (X or B). Sometimes, as in Limbo, you’ll only learn how to stay alive by first dying a horrible death, but when a scene resets, it interrupts the flow. One sharp counter to that naturalism is the high chance of repeated death and immediate resurrection, which is perhaps a discussion to be had about video games as a whole rather than just this one, but it’s particularly jarring in a psychological horror that can be experienced in one sitting. Meticulous animation and sound design make everything feel more naturalistic, despite the fact that nobody has any discernible facial features and the boy can only travel left or right. In an early sequence, the sound and subsequent sight of an approaching car triggers an acceleration in the boy’s step and breath, a beam of torchlight appears followed by an overhang with just enough time to hide beneath it, at which the boy curls up small and his breath subsides.
Subtler signals teach you how to respond to threats. This time, the threat is human beings, not giant spiders.
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