You simply press anywhere on the screen, then lean your finger in the direction you want to go. The controls are so simple that the game never has to tell you what to do. Obstacle-based puzzles appear, occasionally of a traditional sort (crates, platforms and lifts) but often in forms that will remind you ofĭelicatessen, or a particularly bleak nightmare. Nameless, largely faceless – although blessed with the endearing character of so many of gaming’s blank slates – you awake alone in a forest, knowing only that you need to run to the right to accomplish a mysterious goal. Like the unbaptised infants, you have no idea why you’re being punished.

And if those examples seem unusually macabre for a platform game – well, welcome to Limbo. The violent deaths your character will suffer throughout the game are flinch-inducingly shocking, despite (perhaps because) so little is truly seen: the outline of an intestine spilling from your belly as a circular saw does its work two flailing arms beneath rising waters. Limbo is rendered in shadowy, semi-focused silhouette (German Expressionism is the usual reference point), yet from this austere palette the designers have painted something truly sumptuous. So what’s the big deal? Well, the look and sound of the thing is an obvious starting point. LIMBO Game: Super Mario Sunshine it ain’t

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