|Limbo's narrative is ripe for analysis.|
James said: "In many of the most successful releases to date, we take up arms and simulate the killing of faceless, nameless enemies in the name of some flimsy premise. We absorb bullets and retain our lives. There's no concern in the slightest about what that might represent."
James said: "Commonly, poets use their medium to convey their personal response to complex human emotion. Limbo, as it hit me, is about the emotional journey of a boy coping with loss. In his reality -- in the moments before he resumes consciousness in the forest -- we are unsure of what trauma has impacted him, only that it seems like the loss of a loved one has transported him here."
"I really enjoyed this game and you put into words what I loved most about it. Having been playing games for over years now, it is so rare to cross into that "art" category and still find it immensely playable. I have posted about Limbo before, and I still love it and think it is by far one of the best games ever made."
What I said: "Its narrative is chock-full of scenes tied together by Guybrush's
interactions with the personalities of land and sea. He meets
irreverent, larger-than-life characters such as the regal scientist
Marquis de Singe, the glass blower Crimpdigit, and most importantly, the
devious pirate LeChuck, his eternal enemy. They're shallow, but their
comedic actions compensate for what we don't know about their
personalties or histories, and they enhance Guybrush's adventures"
5 months ago
"Emily sees the zombies as well, though."
James responded: "I think, if I remember correctly, that Emily's POV scene can be taken as we're still inside the head of York, only what he's imagining Emily to be doing.."