In one early example, a box must be dropped onto a pressure plate in order to open a gateway. Once every part of a level has been imprinted in the memory, each of the regularly expanded group of triggers and tools placed through it can be seen to have a specific required position, function and scheduled time of use. There are points at which speed is required but on the whole, and the comparison is helpful in several ways, Closure is more like the second Portal than the first. Confronted with several mechanisms and moving components, I’d often believe perfect timing was needed, a light adjusted or placed at just the right moment in order to create a darkness-gap small enough to jump across, or to make a solid piece of architecture in just the right position as the ground beneath me faded to nothingness. The ‘Eureka’ moments occur regularly enough to make the ‘you what?’ moments bearable and most of the latter were due to me misreading the path through a level. Rapidly, the utilisation of light becomes more complex, with pedestals that trigger movement, bulbs hanging from swinging vines and ropes that can be attached to anchor points, lamps that are fixed in place but can have their angle adjusted to cast a beam across different surfaces and objects. That wall then ceases to be an obstacle and becomes a step, hopefully leading to a higher pool of light. To get through the wall, it’s necessary to discard your source of light, dropping it on the floor perhaps so that it only illuminates the base of the wall. Carrying around luminescent globes, which I refer to as lifebulbs, reveals the area immediately around the player, a small sphere of existence.Īt the earliest stages of the game, it’s useful to have a light in hand because it’s even possible to fall through the floor when it goes dark, but stumbling across a wall is problematic. The layout of a level doesn’t change when the lights go out, and most of the lights are almost always out, but you are able to pass through any surface or object that isn’t lit. Those thousand tricks of the light that make up the game’s challenge are all based on a single principle: where no light falls, nothing exists. Here’s wot I think.Ībout half way through the first of Closure’s four worlds, I started to keep track of the ‘Eureka’ moments, balancing them against the ‘You what?’ moments. How many lives must be expended to put in a lightbulb? If a tree falls in a forest but there is no light to show its final position, can it bridge the gap across a chasm? These and other philosophical quandaries are answered in Tyler Galiel’s Closure, a platform-puzzler that constitutes a sinister journey comprised of a thousand tricks of the light.
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