![]() ![]() How many games, at fifteen dollars, offer a fraction of the originality, the emotional risk, the aesthetic pleasure of Papo? The shelves of GameStop are lined with multimillion shooters that drape themselves in the textures of the favelas, and yet this little game manages a sense of place that puts them to shame. ![]() This attitude seemed to betray a fear that gaming might be entering some kind of weird future in which games were prized for things other than being perfectly-balanced distractions.Įight months after it first came out on the PlayStation Network, Papo was released today for the PC, and in retrospect, the perspective of the latter group seems particularly silly. ![]() Others docked Papo for its repetitive gameplay and some annoying technical hiccups, and were particularly anxious to convey that just because the game is touching and personal and beautiful and mature doesn't mean it's a good game. Many hailed Papo as a new kind of game: Thematically rich and emotionally mature work from former AAA developers tired of making the same old iterations on three or four blockbusters. It's unusually, maybe unprecedentedly personal for a game so polished: It's based, in part, on the relationship between its creator, the Colombian-born Vander Caballero, and his alcoholic father. The first title from the Montreal indie studio Minority Media, Papo tells the affecting story of a favela boy named Quico, who with the help of a toy robot and the ability to magically transform the architecture of his slum, tries to placate a ravenous but good-natured beast. Perhaps no game released last year split opinion like Papo Y Yo.
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