The deeply unfair deaths that are still - this is Spelunky - the kind of thing you can trace back to a source and thus come to understand the varied steps that lead to your downfall. The experimental, what-does-this-thing-do death. It comes in waves, in stages, this dying I am doing. I am still dying a lot, up on the moon where Spelunky 2 is set, generally playing as Ana, the daughter of the Spelunker from the first game. a simple stretch of corridor with a lowish ceiling. Spelunky 2 has so many converging tricks to draw them out that it can wing it on occasion. Some of these flaws are in you I mean that the potentials for these flaws are in you. You die for the same reasons that some people get caught out for tax fraud and others end up rear-ending a bus filled with nuns. Generally you die in Spelunky because you're greedy or because you aren't paying attention. But in teaching virtues it also teaches you about all the vices. I tend to think of Spelunky as a means of teaching virtuous behaviour as much as it is a video game. Spelunky makes death (video game death, not death death) incredibly interesting. Or if you're second-guessing yourself at speed. The corridor is nothing special, it's just a little too low to allow you to deal with something at speed. The turkey that tried to help but didn't help. The moles - the sodding moles - who have interacted badly with a spiny lizard. The spider-and-bats knuckleball that beans you. Not because of any trap or any gimmick, but because you hadn't prepared yourself for the specific procedural nightmare that was coming your way. Sometimes, while exploring the very first levels of this procedural platformer, a bold attempt to sequelize one of the very few genuinely Tetris Tier games out there, you will come up across this simple stretch of corridor, and you will walk down it and regardless of how good your chances were a second ago, you will meet something that kills you pretty swiftly. There's a lot of stuff in Spelunky 2 - in many ways it's A Lot of Stuff: The Video Game - yet one of my favourite things in all of it - one of the things most likely to create the echoing trembles of the Rembrandt Run - is a simple stretch of corridor. It will take more than minutes to return from this. Because this is something you need to recover from. You sit and let the room tick and creak and settle, and you let time flow around you. You put down the pad and blink and then you find a quiet corner, hopefully under the speckled shadows of a looming monstera. The playthrough - often a long one, which in Spelunky speak means, oooh, all of six minutes - that seemed so promising and ended so suddenly, with such brisk and all-consuming calamity.
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