And no matter what I set it on, it wouldn’t be sensitive enough to hear me but yet so sensitive that it would pick up the tv or someone speaking in the room. Though you can adjust the mic sensitivity in its settings, I always seemed to have a problem every so often. My single complaint is that the game can have issues picking up your voice at times. I could totally see myself picking this up every once in a while just to enjoy the serene feeling it gave me while playing. Though it can be beaten in about 5 hours or so, it generally feels long while playing. In all honesty, this is actually a pretty long game for what it’s worth. These are original scores that feel as if they really were pulled out of these foreign worlds they were made to represent. These aren’t pop tunes that you’d hear in something like Sing 2, for instance. The music is also pretty unique in and of itself. No two ever sounded the same and always created an organic shift when necessary.īecause of its heavy use of music and singing, OHC really leaned into its toolset and pulled no punches. The various tunes and overtures tossed into each “realm” of the game does such a great job of setting up its locales and inhabitants. One Hand Clapping delivers some of the most beautiful looking and fantastically sounding environments. It was a trip every time my wife jokingly asked if I was okay while I was doing a terrible version of throat singing. Because you’re required to use headphones with a mic, you’re isolated in the game and immersed while those around just hear you singing like a crazy person. I will mention that one hilarious part of the entire experience of OHC is the fact that those around you will often wonder what the heck you’re doing. Just when one did seem to grow too familiar, the game went in the opposite direction just to wake you up again. Nothing overstayed its welcome for too long. It actually blew me away that I never really got tired of the mechanics at play either. With OHC, the entire thing is a cohesive and intelligently designed project. When it comes to games with a gimmick, they can often feel as if that’s the only thing that was crafted fully. I have to commend the devs for taking this unique mechanic and placing it in truly difficult scenarios. Even without the singing aspect, this title does require some brainpower too as it isn’t a breeze in the slightest. There is so much to dive into here and even though some ideas are recycled, they have a difference to them either in how they’re used or in how the puzzle area is laid out which makes them feel fresh again. Some will have you sing/hum to keep pitch with a few bars, others will want you to match pitch with what’s going on, similar to Simon says, and others may actually sample your voice in a pattern that will set the entire puzzle section into motion. They require a bit of technique in some cases or at least an ear for musical pitch. 75% of the game’s core mechanics come from players using their voices to solve its near-endless variety of puzzles. Controls-wise, you won’t really do much more than jump or possibly click your L and R shoulder buttons every once in a while. Gameplay is simple in some ways yet vastly complex in others.
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