![]() While it is short, I appreciate the razor sharp focus on a single mechanic it feels super polished and fully explored with different enemy attack patterns. That’s essentially all you do for the three and a half hours the game takes to beat. That could very well be the point, but sometimes an enemy will just be purple for several, lengthy attacks in a row which gets frustrating. I do find that these types of attacks happen a bit too often for a game where the enemy sets the pace of combat rather than the player, and it often leads to me getting impatient and just tanking the hit to build meter with attacks. Some attacks will be purple rather than blue or orange, and those you’ll need to dodge instead of parry. If you’re the opposing color, you’ll still block the damage, however. Additionally, you can swap between orange and blue at any time, and only parrying an attack of the matching color will build energy. You can attack with a three hit combo, but you can’t cancel out of the final hit into a parry and attacks don’t build as much energy. Instead, you build up a meter near the bottom of the screen by parrying, then release that energy for a one hit KO. ![]() Unlike most games, your immediate objective in a fight isn’t to reduce your opponent’s HP to zero. Those battles are mostly one-on-one affairs, though the game will throw quite a few 2v1 fights in the mix later on. Like you’ll have some epic drums playing after a fight has already wound down and your character is trying to make peace with their opponent. It feels like the soundtrack is going at a 100 when it really should be more subdued and atmospheric. I didn’t find it particularly compelling, partially because the music does a poor job of accompanying cutscenes or gameplay. It’s still a novel way of telling a story in modern games, so I won’t spoil it, but it’s pretty much what you would expect. The story is entirely up to interpretation, with no dialogue whatsoever. You then go on a journey over the course of your childhood and adulthood to defeat your darkness and help others like you. You play as a being of light who, shortly after being born, is attacked and infected by a being of darkness that emerges from their reflection. Naturally, I had to jump in and see how it feels. Strayed Lights is an artsy, Journey or Flower style game but with a combat system entirely focused on parrying. It’s an action that, when done right, just feels so good to perform. My favorite DMC style is Royal Guard, I’ve watched that one famous Street Fighter clip 100 times, and I play every Fromsoft game with a kite shield. Jay Stahl is an entertainment reporter at The Des Moines Register.A good parry in a video game is my weakness. Journey's journey in Des Moines was bookmarked the only way they know how: with "Any Way You Want It." At the concert's end, streams of confetti rained down from above - a perfect closing moment for a night featuring Toto. The kindness-peppered popular track "Be Good to Yourself" caused the downtown Des Moines audience to rise to their feet swaying, swinging, and clapping while Pineda later hugged and embraced audience members in the front row. Hits such as "Who's Crying Now," a guitar solo by Neal Schon, and "Wheel in the Sky" played after with an epic light show ending, before the band performed the universally loved hit "Separate Ways (Worlds Apart)" as Pineda jumped off of various on-stage platforms. servicemembers as the metro area audience applauded before singing along to the fan favorite love song. "Good people of Iowa, how do you like it so far?" Cain asked to cheers before dedicating "Faithfully" to U.S. A slow-burning piano solo by the band's famed pianist Jonathan Cain followed shortly after.ĭes Moines received the beloved ballad "Open Arms" with open arms as hundreds sang along. Songs like "Lovin', Touchin', Squeezin'" followed as the audience rose to their feet and sang along with drinks in hand while sway dancing around as Pineda led a hyper-interactive performance. Then, hundreds of smartphone flashlights were held up while Pineda crooned to "Lights," flanked by a video that played scenes of San Francisco and the Bay Area on an elevated platform. "Don't Stop Believin'" featured a lyric change to "just a city boy raised in South Des Moines" that elicited crowd cheers as thousands sang along to one of the era's most nostalgic songs. Folks of all ages stood up for the rockers' opener, "Only The Young," sang by Journey's Pineda, followed by a soulful, animated performance of "Stone in Love" from Pineda featuring jumping and throwing a microphone toward the sky.
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