The 25 Najťažšie video hier všetkých čias

The 25 Hardest Video Games of All Time

Z najtemnejších kútov histórie hrania, Tu sú strelci, Platformers a Beat 'em-up, ktoré urobili žiadne väzňov


Beží na guardian.co.ukTento článok s názvom “The 25 najťažšie videohry všetkých čias” napísal Rich Stanton a bude Freeman, Pre theguardian.com v piatok 18. marca 2016 09.33 UTC

Hry bývali ťažšie. To sú Pochybnosti veterán hráči teraz mrmlať, keď sa stretávať s niektorými modernými shoot 'em-up alebo akčné dobrodružstvo. Znie to ako rovnakého druhu nostalgické elitárstvo, že hudba snobi oddávať, kritike súčasných pásma chýba legendárnu kvalitu včerajšie hrdinov. Ale s hrami, je to celkom pravda.

Vzhľadom k tomu, priemysel rastie, veľké tituly sa posunuli smerom nadol tónovania obtiažnosť, s cieľom poskytnúť hladký skúsenosti čo najširšie spektrum účastníkov, ako je to možné. dnes, Ak chcete skutočnú výzvu, musíte vybrať režim "tvrdé", čo zvyčajne znamená len viac nepriateľov a menej munície. Ale problém je v celej svojej kráse, keď je neoddeliteľnou súčasťou návrhu: Hráči musieť premýšľať o hre iným spôsobom - a zarábať na ich priebeh.

To je určite pravda pre tituly v tomto zozname. Sú to nie všetky klasiky, ale dokonca aj tie zjavne nespravodlivé majú neopakovateľné vlastnosti, ktoré robili nám vytrvať. To je tá vec s ťažkosťami: to len naozaj bolí, keď chcete vidieť, čo ďalej.

Démonov Souls / tmavo Souls (Fromsoft, 2009/2011)

duša démonov
duša démonov. Fotografie: z Software

Keď Fromsoft je Hidetaka Miyazaki stanovené prehodnotiť akčné RPG žánru, jeden z nových základov bola vážna výzva. Jeho myslenie bolo: ako môže hráč cítiť úspech bez prekonania skutočné šance? V týchto hrách, ani tá najzákladnejšia nepriatelia vraždy hráči znovu a znovu, takže správa obrazovka "si zomrel" je vytlačené na mozog. Jedinou útechou je, že smrť je základnou súčasťou toho, ako tieto svety fungujú. V iných hrách, umieranie je zlyhanie, ale tu umieranie je, ako sa učiť, ako sa dostať lepšiu. v Souls, smrť je len časť cesty.

n Goblins duchovia ' (Capcom, 1985)

Ghosts n Goblins
Ghosts n Goblins. Fotografie: Capcom

Capcom strana-rolovanie plošinovka používal všadeprítomnou hrozbou smrti vytvoriť jedinečne intenzívnej dobrodružstvo. Jeden hit znižuje protagonista rytiera Artura jeho srdce vzorované boxerov, a druhý zabije. Nepredvídateľné nepriatelia trú všade, power-ups môžu byť pasce, a väčšina hráčov nikdy neuvidí okolo prvého stupňa. Tí, ktorí dosiahnu koniec zistili, že som buď nedokázal priniesť Svätého Kríža, čo znamená, že opakované posledné dve úrovne, alebo že v prinášať to, že som spadol na "pascu vymyslel Satan", a musieť urobiť celú vec znovu. Na ešte vyššiu obtiažnosť. Capcom, ste darebák.

Ninja Gaiden II (Tecmo Koei, 2008)

Ninja Gaiden II
Ninja Gaiden II. Fotografie: Tecmo

Úlohou bolo vždy súčasťou série Ninja Gaiden, avšak 2008'S Ninja Gaiden II hit novú vrchole náročné šialenstvo. Títo nepriatelia hrubý-house hráč na aj "normálne" obtiažnosť, ale, akonáhle je nastavenie na majstra Ninja, útočia neúprosne s brutálnymi mání a projektilov zdravie žuvanie. V neskorších úrovniach, nepriatelia majú delá pre zbrane, ktoré oheň s neomylnou presnosťou a správnosťou. Je nemožné, aby prežili v časoch, nevadí zabíjať čokoľvek. prirodzene, Na internete znamená, že niekto urobil celú vec za štyri hodiny bez toho, aby bol raz zasiahnutý.

Božia ruka (Capcom, 2006)

Božia ruka
Božia ruka. Fotografie: Capcom

komerčné zlyhanie God Hand to znamená, že mnoho z najlepších nápadov, je potrebné ešte ukradnuté, z ktorých jedným je meter obtiažnosť na obrazovke, ktorá reaguje na zručnosť hráčovho. K dispozícii sú štyri gradácie, z úrovne na úroveň jedného DIE, a ak ste dostať tresol okolo neho zostáva nízka. Akonáhle sa dostanete dobrý na to (už tuhý) hra však, to zosilňovače up, ako nepriatelia útočia, kde zaútočí z, ako veľkú škodu robia, a zvyšuje odmeny za ich porazenie. Málo hier, aby požiadavky, ktoré Boh robí Hand, a nikto tie ťažkosti a výkon spolu s takou eleganciou.

UFO: Enemy Unknown (Mythos Games, 1994)

XCOM
UFO: Enemy Unknown, alebo XCOM v USA. Fotografie: Mythos Games

To je miesto, kde začala séria XCOM, hlboký strategická hra s neľútostnom postojom voči laxný hrou. projektant, Julian Gollop, robil veľa skvelých titulov ťahová v 2D, ale XCOM je izometrický perspektívny a realizácia hmla-of-vojny pridal desivé strategický rozmer - toľko vojakov prišlo na tmavom kúte ste dosiaľ nikdy nečítala. Cudzinci využívajú chyby, znížiť svojich vojakov nemilosrdne, a späť na základni vás nútiť do tvrdých voľby v zúfalej zhonu, aby ľudstvo v bezpečí. Ak je to niečo ísť, sme skrutkované.

Fade na Black (Delphine Software, 1995)

Fade to Black
Fade to Black Fotografie: Delphine

FlashBack je pokračovaním bol skorý pokus priniesť úspešné 2D do 3D dizajnu - a podceňovať, aké dôležité ovládacie prvky sú presné. Hoci pokrokové tretej osoby dizajnu v niektorých ohľadoch, Fade to Black bol odvolaný mnohých nepriateľov, ktoré by mohli zabiť jednou ranou - jeden desivé príkladom je malá kvapka ťažko cieľu, ktorý otočí smerom k postave hráčov pred rozpustením všetky svoje telo pri kontakte. Opulentné filmovej scény vytvorené vývojárom pre každú možnú smrť, aby vás zaujímalo, či chvost vrtí psom.

Narco (Williams Electronics, 1988)

Narco
Narco. Fotografie: williams

Možno Eugene Jarvis je lepšie reprezentované Robotron 2084, nemožný výzvou a oveľa lepšie hra, ale to low-fi sci-fi strieľačka postráda surový dopad Narco je. Dvoch hráčov arkádová hra v hlavnej úlohe Max sila a nájomný vrah, out zložiť Mr. Big, Narco bol jedným z prvých hier skutočne slávy v klinových vložiek a ultraviolence - rôzne feťáci, 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)

smashtv
Smash T.V. Fotografie: williams

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 (znovu) 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)

Simpsons
The Simpsons. Fotografie: Konami

There could be any number of arcade beat-em-ups in this spot – TMNT, X-Men, even Final Fight – but in terms of efficiently guzzling coins through gorgeous presentation and artificial difficulty, it’s hard to top The Simpsons arcade game. The visuals, animations, enemies and scenarios are exceptional and clearly a labour of love (unlike the script) but the game beneath them is a brutal slugfest that especially enjoys stunlocking players – where one hit leads to many more.

Takeshi’s Challenge (Taito Corporation, 1986)

Takeshi’s Challenge
Takeshi’s Challenge. Fotografie: Taito

Originally planned as an 8bit version of his TV show Takeshi’s 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)

Rogue
Rogue. Fotografie: Michael Toy and Glenn Wichman

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.

Dwarf Fortress (Bay 12 Hry, 2006)

Dwarf Fortress
Dwarf Fortress. Fotografie: Bay 12

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. Vlci, 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)

The Adventure of Little Ralph
The Adventure of Little Ralph. Fotografie: New Corporation

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)

The Bizarre Adventures of Woodruff and the Schnibble
The Bizarre Adventures of Woodruff and the Schnibble. Fotografie: Sierra Entertainment

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, však, 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)

Mushihimesama

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)

Into the Groove
Into the Groove. Fotografie: Roxor

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, však, 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 Meat Boy (Team Meat, 2010)

Super Meat Boy
Super Meat Boy. Fotografie: Team Meat

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. Ako výsledok, it’s a game of failing over and over again. Avšak, by allowing for split-second restarts, there’s almost no drop in momentum as you ride the loop of trying and dying. ako taký, Super Meat Boy works its players into a frenzied trance state from which it can take hours to recover.

Trials Fusion (RedLynx, 2014)

Trilas Fusion
Trials Fusion. Fotografie: RedLynx

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)

Battle Garegga
Battle Garegga Fotografie: 8ing

At a glance, Battle Garegga appears to sport a difficulty comparable to your usual 2D shooter: intensely tough, but nothing absurdly so. Avšak, 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)

Rick Dangerous
Rick Dangerous. Fotografie: Core Design

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)

Shadow of the Beast II
Shadow of the Beast II. Fotografie: Psygnosis

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. Koniec koncov, 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)

I Wanna Be the Guy
I Wanna Be the Guy. Fotografie: michal “KayinO’Reilly

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. Ako výsledok, 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)

Weaponlord
Weaponlord. Fotografie: Visual Concepts

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. The reality is very different, 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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