Saka sudhut peteng sajarah game, kene tembak, platformers lan ngalahake-'em-ups sing njupuk ora tawanan
Games digunakake kanggo dadi harder. Sing pemain veteran sesambat saiki mutter kapan ngadhepi sawetara modern moto-'em-up utawa tumindak ngulandara. Muni kaya ing Urut padha elitism wangsulane Lasirin sing snobs music nyenengi ing, criticizing bands saiki kanggo kakurangan kualitas legendaris pahlawan wingi iku. Nanging karo game, iku jenis bener.
Minangka industri wis thukul, judhul amba wis dipindhah menyang toning mudhun kangelan, supaya menehi pengalaman Gamelan minangka sudhut sawetara pemain sabisa. saiki, yen sampeyan pengin tantangan nyata, sampeyan kudu milih "hard" mode, kang biasane mung tegese luwih mungsuh lan kurang pluru. Nanging kangelan ing sawijining paling apik nalika iku bagéyan intrinsik desain: pemain kudu mikir bab game ing cara liyane - lan entuk kemajuan.
Sing mesthi bener kanggo irah-irahan ing daftar iki. Lagi ora kabeh klasik, nanging malah gedhe-gedhe blaka adil duwe kuwalitas iso lali sing digawe kita mantep. Punika bab karo kangelan: iku mung tenan nyengsarakke yen sampeyan pengin ndeleng apa sabanjuré.
Jiwo / jiwo peteng Demon kang (Fromsoft, 2009/2011)
Nalika Fromsoft kang Hidetaka Miyazaki nyetel metu rethink genre action RPG, salah siji saka dhasar anyar ana tantangan serius. pikiran iki: carane pemain bisa aran prestasi ora perlu ngatasi rintangan nyata? Ing game iki, malah paling mungsuh dhasar pemain Rajapati maneh lan maneh, supaya pesen layar "seda" wis imprinted ing otak. Mung panglipur iku pati iku part pokok saka carane donya iki bisa. Ing game liyane, dying punika Gagal, nanging kene dying iku carane sinau, carane njaluk luwih apik. ing jiwo, pati iku mung bagéyan saka lelampahan.
n goblins Memedi ' (Capcom, 1985)
platformer sisih-nggulung Capcom kang digunakake ancaman tau-saiki pati kanggo nggawe ngulandara unik kuat. One hit nyuda protagonist Knight Arthur marang boxers ati-pola, lan liya kills. mungsuh ranyono ngasilake nang endi wae, daya-ups bisa traps, lan paling pemain tau ndeleng liwat fase pisanan. Wong-wong sing tekan mburi mangerteni sing padha wis salah siji gagal nggawa salib suci, kang tegese replaying loro tingkat pungkasan, utawa sing ing nggawa wong wis tiba kanggo "a trap nyiptaaké dening Iblis", lan kudu bab kabèh liwat maneh. On setelan kangelan malah luwih. Capcom, sampeyan BRANDAL.
Ninja Gaiden II (Tecmo Koei, 2008)
Challenge tansah bagéan saka seri Ninja Gaiden, nanging 2008Ninja 's Gaiden II kenek puncak anyar nuntut gendheng. mungsuh iki atos-omah ing pamuter malah "normal" kangelan nanging, sapisan setelan ing Master Ninja, padha nyerang relentlessly karo kasar entuk chewing kesehatan-lan projectiles. Ing tingkat mengko, foes duwe cannons kanggo tangan sing geni karo tliti unerring lan tumata. Mokal urip ing kaping, nevermind matèni apa. alamiah, liya internet wong wis rampung ing bab kabèh patang jam tanpa kang nggebug sapisan.
Gusti Allah Hand (Capcom, 2006)
Gagal komersial Allah Hand kang tegese akeh gagasan apik sing durung bisa dicolong, siji kang layar kangelan meter sing panjaluk skill pemain kang. Ana papat gradations, saka tingkat siji kanggo tingkat DIE, lan yen sampeyan lagi njupuk smacked watara tetep kurang. Sawise sampeyan apik iki (wis angel) game Nanging, iku amps munggah carane mungsuh nyerang, ngendi padha bakal nyerang saka, pinten karusakan padha nindakake, lan mundhak ing ganjaran kanggo ngalahaké wong-wong mau. Sawetara game nggawe panjaluk sing Gusti Allah Hand ora, lan ora ana dasi kangelan lan kinerja bebarengan karo ayu banget kuwi.
UFO: mungsuh dingertèni (Mythos Games, 1994)
Iki ngendi seri XCOM wiwit, game strategi jero karo sikap unforgiving menyang play LAX. Desainer, Julian Gollop, wis digawe akeh gedhe judhul siji basis ing 2D nanging perspektif isometric XCOM lan implementasine saka pedhut-of-perang ditambahaké ukuran strategis medeni - supaya akeh prajurit ilang menyang sudhut peteng tau dicenthang. Alien manfaat kesalahane, Cut mudhun prajurit galake, lan bali ing pasukan basa sampeyan menyang pilihanipun hard ing scramble nekat supaya manungsa aman. Yen iki tindakan kanggo pindhah dening, kita lagi ngaco.
Fade Black (Delphine Software, 1995)
terusan Flashback kang ana upaya awal kanggo nggawa desain 2D sukses menyang 3D - lan disepelekake mung carane penting kontrol tliti sing. Sanadyan desain pihak wong-mikir maju ing sawetara babagan, Fade to Black was undone by many enemies that could kill in a single hit – one terrifying example being a tiny hard-to-target blob that flips towards the player character before dissolving all their flesh on contact. The lavish cutscenes created by the developer for each possible death make you wonder whether the tail was wagging the dog.
NARC (Williams Electronics, 1988)
Perhaps Eugene Jarvis is better represented by Robotron 2084, an impossible challenge and a much better game, but that low-fi sci-fi shooter lacks NARC’s crude impact. A two-player arcade game starring Max Force and Hit Man, out to take down Mr Big, NARC was one of the first games to truly glory in gibs and ultraviolence – the various junkies, punks and thugs explode into gory gobbets as the guns of justice blaze. Jarvis’s games are always difficult but, with NARC,they reached a whole new level of cruel theatre.
Smash T.V. (Williams Electronics, 1990)
Smash T.V. is an arcade classic and exemplifies a school of design that’s now largely dead: to make people desperate to see the next screen. The setup is perfect, a future gameshow where contestants move through rooms filled with death-dealing nasties and gain more prizes the longer they stay alive. Even the first room won’t hesitate to kill unwary players and, from then on, the gloves come off as Jarvis (maneh) and co-designer Mark Turmell squeeze as much colour, shrapnel, and explosive ordnance on-screen as possible. “Total carnage,” shouts the announcer. “IIIIIII love it!"
The Simpsons (Konami, 1991)
Ana bisa dadi nomer arcade Beat-em-ups ing titik iki - TMNT, X-Men, malah perang Final - nanging ing syarat-syarat dhuwit recehan irit guzzling liwat presentation nggantheng lan kangelan Ponggawa, iku hard kanggo ndhuwur The Simpsons arcade game. visuals, animasi, mungsuh lan cara sing ngédap lan cetha pegawe cinta (kados script) nanging game ngisor mau iku slugfest kasar sing utamané seneng pemain stunlocking - ngendi siji hit ndadékaké kanggo akeh.
Takeshi kang Challenge (Taito Corporation, 1986)
Originally ngrancang minangka versi 8bit saka gambar TV Takeshi kang Castle, Japanese actor and director Takeshi Kitano instead got hands-on with Takeshi no Chōsenjō and created a game unlike any other – one whose packaging warned that “conventional gaming skills do not apply”. Loosely following a salaryman who dreams of finding treasure, Takeshi’s Challenge serves up a Game Over for innocuous “mistakes” like not quitting the character’s job, failing to divorce his wife, or not hitting the right people. You can get a Game Over on the password screen. Another challenge requires you leave the controller untouched for an hour. All games are arbitrary: only Takeshi’s Challenge glorifies in the fact.
Rogue (Michael Toy / Glenn Wichman, 1980)
So original it spawned a genre, Rogue is a procedurally generated dungeon crawler where the difficulty – in the sense of what it chooses to throw at you – is a huge part of the appeal. Not only will each fresh adventure bring new environmental challenges and fights, but potions and weapons are random too – meaning just taking a glug is dicing with death. Players have to be adaptive rather than memorising specific challenges, and eking out a long adventure when the odds are stacked against you becomes part of the fun.
Benteng dwarf (Bay 12 Game, 2006)
The motto of this game’s community says it all: “losing is fun!” Dwarf Fortress is a game that has inspired whole prose epics on the travails of players’ ill-fated settlements, most of which start off meagre and then quickly fall prey to the thousands of things that can go wrong. Srigala, cave-ins, famine, cabin-fever, flooding, burrowing down to a demon god … Failure is inevitable, and not only do your dwarves go mad in adversity – they often create works of art to reflect what’s happened. There are plenty of tough games, but generating psychological scars for fictional characters suggests Dwarf Fortress is something special.
The Adventure of Little Ralph (New Corporation, 1999)
Doomed to curio status by a modest Japan-only release, The Adventure of Little Ralph plays like it was forged in the fires of arcade game design, but it is in fact exclusive to the original PlayStation and PSN. Scoring focused, hard as hell and shrouded in cult mystique, the traditional platformer today courts three-figure sums on the collector market, further denying it the broad audience it deserves. It’s “saving the damsel in distress” narrative may be hackneyed, but fiercely demanding boss fights that reinvent TAoLR as a beat-‘em-up serve to make it mechanically distinct, and cement its reputation as one of the most testing platformers yet developed.
The Bizarre Adventures of Woodruff and the Schnibble (Coktel Vision)
Difficulty in games is often a matter of testing the player’s ability to control with precision and react at speed. Coktel Vision’s narratively dark adventure game, Nanging, is instead a test of semiotic nous. Its post-apocalyptic tale is told with an abundance of made up words, many of which pass without definition, while its knack for conversation without context make it thoroughly confusing. Even Clockwork Orange had a glossary. And if you’re tempted to use trial and error to crack its puzzles, be warned that the sheer number of inventory items and illogical quirks make it a protracted, painstaking process.
Mushihimesama (Cave, 2004)
If any game genre is most synonymous with difficulty, it is the arcade 2D shoot-‘em-up, known today as the shmup. And it is developer Cave that pushes devotees of the form like no other. Which Cave game is the hardest is highly subjective, but in terms of undiluted difficulty, the insect-themed Mushihimesama’s infamous Ultra mode might take it. There’s less of the mechanical intricacy that makes other releases by the studio perhaps as demanding, but through the sheer number of bullets that fill the screen, Mushi Ultra delivers an onslaught that is as bewildering to watch as it is demeaning to play.
In The Groove (Roxor, 2004)
Any arcade music game has the capacity for towering difficulty. Take on some high-BPM electronica on a demanding difficulty setting, and whether you’re pounding your feet on a Dance Dance Revolution machine or standing over the decks of an oddity like EZ2DJ, the challenge will be immense. Few compare, Nanging, to the standard set by the Single modes of In The Groove, the debut of a short-lived series from Austin-based studio Roxor. Some of the tracks, when played on the game’s X setting, seem to want movement from the player’s body that is in no way catered for by human evolution.
Super Daging Boy (Team Meat, 2010)
If there’s a single moment that defines the experience of playing Super Meat Boy, it is quickly prodding the quick restart button. The platformer’s undersized stages brim with hazards, yet encourage you to play at furious speed. Akibaté, it’s a game of failing over and over again. Nanging, by allowing for split-second restarts, there’s almost no drop in momentum as you ride the loop of trying and dying. Nalika kuwi, Super Meat Boy works its players into a frenzied trance state from which it can take hours to recover.
Trials Fusion (RedLynx, 2014)
For a good while, this side-scrolling motorcycling game feels like a meditative experience – and then the difficulty curve suddenly shoots straight for the heavens. It is then that the game reveals its true form; a nightmarish physics puzzler dressed as a driving game. Just how do you get over that vertical wall? How many degrees of rotation are needed to land on that upside-down ramp? The answer is intimacy with every nuance of a bike’s suspension and weight; an intimacy a handful of players globally are reported to have mastered enough to have aced the game’s closing stages.
Battle Garegga (8ing/Raizing, 1996)
At a glance, Battle Garegga appears to sport a difficulty comparable to your usual 2D shooter: intensely tough, but nothing absurdly so. Nanging, it is the way the game makes you play that pushes it into the “hardest ever” field. Battle Garegga has remarkably complex rank, that is, difficulty, that adapts to the way you play. Managing rank to keep the game playable means avoiding some power ups and bonuses, and even “suiciding”, where lives are lost on purpose. Playing properly means playing on the edge, life stocks low and weapon power reserved, and it’s acutely exciting. The current world-record holder Kamui has held and bettered her leaderboard position through an estimated 18 years of devoted play, demonstrating the commitment Garegga demands.
Rick Dangerous (Core Design, 1989)
Core’s homage to Indiana Jones is a platformer played a few pixels at a time, edging forward to see what will kill you next. There are spikes, pits and boulders at every turn, and learning by failing is almost the only way to proceed. Your inventory is severely limited too, and there’s some tremendously demanding precision needed in a handful of particularly cruel and frustrating sections. Years later, Core would go on to craft another tomb raiding game, by which time the studio had apparently learned how to treat its fans a little more fairly.
Shadow of the Beast II (Psygnosis, 1990)
Mention the first Shadow of the Beast to the right crowd, and you’ll likely hear nostalgic musings on how its pioneering use of the parallax scrolling technique pushed game visuals into a new era. Ask about it’s sequel, and the response may be a little less rosy. The melee-focussed, multi-directional platform game would have been straight up demanding if it gave you any guidance. But it doesn’t, leaving you to work out everything for yourself. In a time before Youtube and walkthroughs, that alone was enough to make Shadow of the Beast II one of the toughest of its day.
Time Crisis (Namco, 1995)
Listing a familiar lightgun game might seem out of place on a list like this. Sawise kabeh, anybody who’s visited a dilapidated seaside arcade has likely thrown a handful of coins into the slot of Namco’s cop blaster, and felt nothing but delight. But try and complete the first Time Crisis properly – clearing it in a single credit – and it’s difficulty begins to become manifest. The lack of a hit indicator leaves a gaping hole in your ability to respond appropriately, and some punishingly curt timed sections serve to make it particularly easy to fast track to the game over screen.
I Wanna Be the Guy: The Movie: The Game (Michael O’Reilly, 2007)
Those who played this freeware platforming treasure that never officially left beta will likely find it hard to forget. Boiling its genre down to its founding elements, I Wanna Be The Guy was developed as a response to a then unfinished, brutally demanding Japanese flash game named Jinsei Owata. O’Reilly was convinced he could push Jinsei Owata’s difficulty a little further, and it appears he succeed. Akibaté, his game has become a reference point for the most testing indie titles. Super Meat Boy featured IWBTG’s protagonist, The Kid, who also starred as the final boss of the conclusive build of Jinsei Owata.
Weaponlord (Visual Concepts, 1995)
The greatest sin of this straight-to-console beat-‘em-up was that it tried to do things differently. It approached the control conventions of arcade fighters from the left field, using a range of weird button combos and d-pad swipes, but the result was a complex system too demanding for most ordinary players and utterly counterintuitive to committed beat-‘em-up competitors. The computer-controlled characters were also rather too good at their own game, and Weaponlord was ultimately consigned to its fate as a curio most renowned for being the first fighter designed with online play in mind. If you are tempted, the MegaDrive port is a little more forgiving than its SNES cousin.
Flywrench (Messhoff, 2015)
While Nidhogg is Messhoff’s most famous game, Flywrench must be its hardest. The set-up is deceptively simple; guide an abstract spaceship through minimal mazes that look altogether innocent, changing colour as you pass. Kasunyatan punika beda banget, where constantly dying and restarting is the standard. Flywrench is perhaps the most difficult game of the past year, or the past nine years, if you were one of the few who played the 2007 original, which saw an understated online release and inspired Braid creator Jonathan Blow to craft a playfully easy version named Nicewrench.
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