Inmost, analysis Switch, One of the Apple Arcade games

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One of the most attractive Apple Arcade titles comes to the Nintendo console to tell a dark and hard story through three characters.

Apple Arcade was launched as a proposal that wanted to promote a new type of mobile game. The one that surely does not have space to succeed among the gatchas and free to play, full of elements such as integrated purchases and an aggressive business model. In the Apple service we have rescued several gems, among them Sayonara Wild Hearts, which find their space within a subscription that allows imagination to fly. Inmost was one of these bets. Last week it came to Nintendo Switch to bring with it a story of loss and hope. Of death, unease and sacrifices. The Hidden Layer Games game leaves you indifferent.

We are not going to get into big spoils, since Inmost’s gaming experience is below four hours of play and is an indivisible part of its appeal, but we will say that it is a crude game, in which through eyes of three protagonists we see a dark, unkind face of life. The hero, a seemingly normal man who has no combat skills or anything like that and simply tries to escape from the dark beasts that are chasing him is the connecting point of the whole plot, where we also find a young girl trying to escape from danger -much more mundane, but dramatic- and of a knight who fights against beasts with sword and hook in hand.

They are the protagonists of this game in which puzzles play an essential role in understanding the good and not so good of the game. The first thing is that you can see that the style of control and response of the characters was initially raised for mobile phones. A slow pace, a type of jumps and very marked movements and everything built in such a way so that the not so precise touch control does not play tricks on us. We do not say it as a bad thing, but something that is evident that you notice right away. To this is added a development in which normally two or three challenges are not joined at the same time, but we go step by step: one thing leads to another.

And what must we do to advance the story? It depends on each case. After a brief introduction with the little girl under our control, we will have in our hands the worldly man, a normal and ordinary person who solves puzzles as he advances. The protagonist can pick up and push things, find objects that help him to break through -such as a pick to break stone walls- and pick up and fit gadgets wherever he has to. In this way, our progress is developed by taking gears and placing them in machines that allow us to rise, use ropes to collect objects from remote areas, mount platforms with a beam previously extracted from another side and push wheelbarrows, find keys and jump from one side to other. All while dodging enemies, jumping over them, or scurrying away when they’re chasing us.

His playable proposal is reflective, always looking for something to interact with on stage. Similar, although with different abilities, is the little girl. That it has a role much more focused on stealth. By not being seen, and by having to escape from all different obstacles, the interaction with the stage being focused on rising to places that due to its size does not reach making use of what surrounds it. And finally, we have the gentleman. This mysterious swordsman has a great range of abilities, but he cannot jump. We have a sword to be able to attack the enemies and stand up to them -the only one that can- together with a hook that allows us to grab all kinds of places, also vertically, to continue their journey. With a higher rhythm, with almost no puzzles involved, it is the one that puts the most agile and intense action on the table, since we will have certain confrontations where you dodge them -such as the backdash- will be key to later counterattack against enemies that other characters could not overcome.


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