Fish, for example, can accommodate riskier players by quickly rolling out of harm’s way, while Plant’s power of entangling enemies suggests a more cautious, calculated type of play. There is a range of characters to wander its post-apocalyptic world with, each favoring a specific approach to its numerous hazards. Like Ed McMillen’s masterpiece, it features a series of short, claustrophobically confined levels packed with throngs of enemies whose patterns one must learn by heart so that their attacks will be anticipated rather than merely reacted to. As the population of each dwindles, their corpses dotting the otherwise surprisingly tidy Wasteland, an illusion of omnipotence is proportionately reinforced – what’s a lone sniper and a handful of rats to a level 6 Crystal with a triple machine gun and a grenade launcher? This insidiously decelerating natural rhythm, an inversion of the classic video game convention that dictates levels should be getting progressively harder, tends to engender a false sense of security that will be responsible for more player deaths than any of its bosses.Ī top-down roguelike of excruciating difficulty with a visual aesthetic that oscillates between cuteness and morbidity, Nuclear Throne at first brings The Binding of Isaac to mind. Here’s an indispensable piece of advice for the Nuclear Throne neophyte: never relax between stages.
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