Perogi Plays Video Games

RPG, PC, April 11 2012

I suppose I'll start of by saying I'm not a huge fan of RPG-type games. I played Chrono Trigger long ago, and loved it, but other than that I haven't liked many RPGs. That is, until this game came along. Legend of Grimrock is a modern take on the rogue-like genre. It doesn't just emulate the genre though, it really tries to redefine it and I think it's pretty successful in that. You get four characters to assign a race and a class, then you get thrown into the top of a fucking mountain: Grimrock. From then on you have to make your way down through the dungeons and caverns to the base of the mountain, slowly unraveling the mysteries of this ancient construct.

Now, rogue-like games were a tad before my time so I'm by no means an expert on the genre, but I know enough to realize the amazing things Grimrock has done. How it works is that your four heroes are arranged in a square formation. The two in front take damage, and the two in back are safe so long as the ones in front stay alive. This gives you a really interesting amount of flexibility in how you want to configure your party. Some people put two fighters in front, a fighter and a rogue, or two rogues with a shit load of evasion. So you go around dungeons like that, fighting bad guys in a pseudo-turn-based grid environment. Now I say pseudo-turn-based (so many fucking hyphens) because while it seems turn-based, it is not. It is possible for you to out-maneuver bad guys. As in, you can hit them, move to a new square, hit them again, and so on being effectively invincible. Course this becomes difficult when fighting more than one enemy (often). Now to be honest, I actually dislike the whole maneuvering thing, maybe I'm just lazy but I wanted to play the whole game by just standing in front of the monsters and hacking the shit out of them. For about half the game, that actually works too. Near the end though the game sees a pretty big difficulty spike and it basically forces you to do fancy maneuvering/turning shit (some enemies do area of effect damage so getting hit with that shit will cripple the weak guys in the back). I did not like this, but maybe you will. For me though, the main attraction of Grimrock isn't even the fighting or the RPG elements. It's the fucking secrets.

Oh God I love secrets. Grimrock has A LOT of them. Well wait hold on I'm going to talk about the graphics quickly first, because it's relevant. When you hear about a rogue-like game you probably think shitty graphics. Recent examples would be Binding of Isaac and Dungeons of Dredmore. They have old school graphics, sprites 'n shit. Grimrock is fully 3D and played from a first person perspective (not the traditional top-down perspective). And the graphics are amazing. Now why this matters, is because a good portion of the secrets are actually little tiny buttons hidden among the brickwork of walls. You've seen it before in other stuff, push the brick with a little symbol on it inwards and the wall opens up. There are so many of those and it's awesome. Sometimes you will find a little button and open up a secret room with treasure, and in that room will be another secret button. Secrets within secrets, holy shit! But yah, it's not all just monotenously scanning walls for buttons. What's really impressive about Grimrock is the insane amount of puzzles they managed to come up with using a grid-based system. What's more, a lot of the puzzles have an alternate way to solve them that gives you secret shit. This game has insane amounts of replayability just because if you don't look up all the secrets, you could spend days trying to find them all. I went through almost the entire game and was completely unaware of these golden artifact things. I thought I'd been finding nearly every secret, but there were like, super secrets, or something, that I kept missing. There's whole sections of the dungeon that you can't even get to without doing some crazy secret shit, like the Vault of the Dismantler near the end. All the puzzles and secret-finding easily constitutes half this game. Especially because you will need the hidden, epic gear to get far in the game.

The one thing I disliked about this game though is how hard it gets near the end. It doesn't have an inconsistent difficulty level, it has a beautifully smooth difficulty curve. But around like halfway through the game, it gets to the point where you say "OK, this is a pretty good difficulty, it is challenging but still doable". Then at around 3/4 of the way through you start to be all like "Wow this is getting hard! I better start maneuvering and making use of everything I have if I want to survive". Then you get these nearly invulnerable, area of effect spellcasting guys near the end and I was just like fuck it. By that point, for me anyway, I pretty much had to start running past enemies, maneuvering constantly, or just backtrack to find the really unbalanced secret shit (which there actually isn't, I checked later and I had the majority of the best items in the game, and it was still hard as fuck). So yah, that pissed me off and I ended up not finishing the game. That was on normal difficulty mind you. Now being a rogue-like game, being retardedly hard and punishing does keep with the genre. The thing is that it starts out unbearably easy, and it's not that punishing. In fact when the game started getting really hard, I'd just run back to the checkpoints every time I got low on health. It got to the point where I would just hack at the super-tough enemies until three of my four guys died, haul ass to the checkpoint, revive everyone, then repeat until the enemy was dead. It got to be pretty boring and tedious. Also Grimrock doesn't have a perma-death option, something that made me sad. It does have the neat option to disable maps though, so you'll have to get some grid paper and draw your own maps old school. Either that or get lost as fuck. But yah, if the game had stopped getting anymore difficult around like, Level 8 I think it was, it would have been just perfect.

Don't let me whining about it being too hard detract from the game though, it's great. The class and race options offer you a surprising amount of customization for your party, and the option for hilarious and challenging playthroughs for replayability. For instance I got halfway through the game with four rogues; two in front with skill points in daggers and evasion, and two in the back with skill points in ranged weapons. It actually worked better than the standard party lineup, which I find amusing. Anyway. The secrets and puzzles are amazing enough that you could take away the RPG elements and still have a fun game to play. Seriously you could just rip the puzzles out of Grimrock and make them into their own game, they are that detailed and amazing. The graphics are great and playing a dungeon crawling game like this in the first person is more fantastic than I would have thought. Sound isn't that noteworthy, rarely is these days. I just talk about sound because all the real video game reviewers still pretend it has a huge effect on how good a game is. In short, this game took old concepts and revolutionized them to create one of the best games I've played in a long while. It will please people new to the genre and veterans. 

Score: 8/10

Puzzle, PC, who fucking cares

First off let me say fuck this game. I actually paid for this game and now I hate myself. Sure it only cost two dollars, but even for that measly price this game is not worth it. In fact, there is barely anything to write about. The game is just bad. 

First off, the puzzles in the game are horrible. Horrible. And all you do in that game is solve puzzles really, and they're horrible. The puzzles are just fucking block moving puzzles. You transform into a werewolf, push/pull crates around, then transform back into a human. That's really as complicated as it gets. Sometimes you have to push a block a bit, transform into a human to reposition, then push the block some more. Holy shit! This makes it so the puzzles are usually pretty simple to figure out just by staring at the screen for a few seconds. The worst part though, is that once you figure out the puzzle, it takes like three fucking minutes of pushing blocks all over the place to do it. Course this doesn't really matter because the game gives you the option to just BYPASS ANY PUZZLE YOU WANT WITH NO STRINGS ATTACHED. SERIOUSLY. There are no little hint coins, or collectibles that allow you to bypass hard puzzles, you can do it for literally every puzzle in the game, constantly. Once I figured this out, it's all I did. I mean why would you not? There are no consequences and the puzzles fucking suck anyway. 

The game does have one almost redeeming quality. The writing is decent. Not amazing, but decent. The characters are alright and there's some pretty funny jokes in there. Come to think of it, a lot of the writing is reminiscent (though no where near the quality) of the Monkey Island series. Other than that, the graphics suck, the sound sucks, everything else about it is just shit. The writing is literally the games only good quality. And since the puzzles are awful, all you do is skip the actual gameplay just to get to more of the writing. It's like a perfect example of everything a game should not be. AND I PAID FOR IT. Fuck this game

Score: 1/10

Grand strategy, PC, Feb 14 2012

I've had to rewrite this review a few times now because I kept getting caught up talking about the features. There are a lot of features and gameplay mechanics, enough to write pages about. Instead of doing that though, I'm going to try a different approach. After all, it's a bit of a different kind of game.

If you're familiar with Paradox Interactive you'll understand what I mean when I say grand strategy. Think Risk meets Dwarf Fortress. It has the same sort of theme as Risk (control a country, conquer shit) but with the complexity of Dwarf Fortress (compared to most other games that is). Now, Crusader Kinds 2 is, in my opinion, the easiest to learn of the various Paradox grand strategy games (except perhaps for Europa Universalis 3) but is still challenging for people not used to learning games. As in you have to learn how the game works by experimenting with it. However, once you learn how everything in the game works it is very rewarding. The game has enough depth to keep you entertained for hundreds of hours and be different every time. 

So now I'm going to try and talk a little bit about the games mechanics without going overboard. How CK2 differs from other strategy games is that you aren't some bodiless entity that controls a country. You have your very own character in the game. The game basically revolves around characters. From kings, to barons, to counts, every province, kingdom, or duchy is controlled by a specific character. Characters are very important in this game as most mechanics are extensions of the whole character thing. A lot of time is spent looking over lists of characters. You want to marry a woman with good stats so your heir inherits those stats, you want skilled but un-ambitious people to be your vassals, and you want to stay on good terms with characters who are stronger than you. There are things to do other than just read about the hundreds of characters in the world though. There's a very good combat system, and of course managing your realm is a huge part of it. There's other little systems and features in place too, but like I said, I could go on for hours. Suffice to say the gameplay in CK2 won't bore you for an incredibly long time. 

Now on to the various other stuff. The graphics in CK2 are beautiful, though you spend most of the time looking at the map in the political view, so you don't always get to see the great textures all across Europe. As for the sounds of the game, they aren't that great. There are some sound effects, but no voice acting. I'm pretty sure there is like one song that just repeats every ten minutes. It's an OK song but after the fifth time it's annoying. Then again, pretty sure most people listen to their own music while playing games these days, I know I do. So the sound thing isn't that bad. Now what CK2 is actually doing badly, well not too badly, but it's a little buggy. Not only is it buggy, but a lot of the game mechanics seem half used. BUT NOT TO WORRY. As with almost all of Paradox's games there will be a lot of free patches that not only fix bugs but add an immense amount of content (if you want an idea look at EU3 before any add-ons, then look at it in the Divine Wind add-on). In fact there's already a new patch out that updates the Crusade system in the game to be better, adds a tool to design your own characters from scratch, and fixes a bunch of bugs. So while CK2 might seem a bit buggy and even a little bare-bones, that will all change very quickly.

I was really excited when I heard about this game. I was a huge fan of EU3, and played Victoria 2 a bit (if you like CK2 also check those games out). When I finally played CK2 I was so happy with it. It does start to wear thin after maybe 20-30 hours, but I know future patches will extend the mechanics to create an infinite amount of shit you can do in so many different ways. This game is a great investment because it's only going to get more fun as time goes on and things are added to the game. If you're a fan of RTS games and haven't played one of Paradox's grand strategy games, this is the perfect one to break into the genre with. 

Score: 9/10

A lot of people might not know about this game, and that's a terrible fucking tragedy. I can not accurately describe with words how excited I am for this game to be released. From the makers of Haven and Hearth, Salem is a crafting MMO with perma-death. Let me say that again: PERMA-DEATH. Perma-death in an MMO is something I've been waiting for since fucking forever. There are a whole shit-load of reasons I love perma-death that I may or may not go into in this article, I haven't decided yet. But what I will definetly talk about it how awesome Salem is going to be. 

So far, there hasn't been a lot revealed about Salem. They haven't gone in depth about the crafting system, or how towns and all that will work, or anything really. I suspect it will be similar to Haven and Hearth though. I've played crafting MMO's before, but not a lot. I played A Tale in the Desert quite a bit, but never really got into Haven and Hearth, found it a little too inaccessible. From the few interviews and trailers though, it seems that Salem will be a lot easier to get into and this is one of the things I'm excited about. The greatest thing, I think, about crafting MMO's isn't the crafting, it's how they focus on social interaction more than anything. Andrew Tepperson, creator of ATITD, has often talked about how his game is more of a grand social experiment than a crafting MMO. The way the players can pass their own laws, elect their own rulers/mods, and really control the game;s world. Salem is taking these concepts and multiplying them by a thousand. 

The game is set in the new world, colonial America. You take the role of colonists sent to make something out of the vast wilderness of North America. The game will draw heavily on Gothic themes such as Lovecraft and Poe. Not much is known about the gameplay so far, but you will be able to erect totem-like structures to create a town. This totem structure will 'claim' a certain area for your town, this area can then be expanded by creating other authority structures. I suspect that the gameplay will be a revamped form of Haven and Hearth but this is just a guess, although an educated one. I have in mind this grand vision of people grouping together to form polities and eventually city states. I sense there will be an immense amount of political intrigue as people or organizations vie for control over the masses of people to form them into city states or even full blown civilizations. This will be the main attraction of the game, for me anyway.

Perma-death will add a whole new level to this though. The fact that when you die, your character is dead forever, will completely change the way the game is played. It won't be like in classic MMORPGs when you throw yourself at any situation with no thought of the outcome. In Salem, if you try to instigated a coup against a city state and fail, that's it for you, you have to start all over. I think it will create a much more crafty and intriguing environment where everyone carefully and articulately calculates their next move. This will be because the stakes are always very high. If you lose in World of Warcraft, all you have to do is spend a minute walking back to the place you died. If you die in Salem, you have to spend another month leveling up your character to the same place as before. This is why people will group together, form secure cities where they feel safe and are protected by authority figures. Putting a massive penalty on death adds a ridiculous amount of depth to any game. It's why I think it will be similar to real life in terms of sociology, people don't like to die in real life and they certainly won't like dying in Salem.

It's not known too much how death and crime and all that will work yet, all we have is one Youtube interview called Crime and Punishment. One of the game developers talks about how the whole criminal system will work. When someone commits a crime, they leave clues. If you find these clues you can then call someone who has put skills or whatever into the 'sheriff' class. These 'sheriffs' will be able to analyze clues and will then be able to track the criminals. Once you find the no-good motherfucker, how you dispense justice is up to you. But since the game has perma-death, well what could be more final than justified homicide? This sets the stage for there to naturally develop bandit/raider type organizations. I keep thinking back to Butch Cassidy and the Sundance Kid. I already have a group of people recruited for when the game goes to beta. We will create a small, unsustainable town hidden in a canyon or something like that. Once we have a good base set up, we will start hitting the smaller towns. We'll ride like demons into the pathetic little villages, slaughter everyone who gets in our way, then make off with every valuable resource the city holds. The ones we don't kill will end up fleeing to other places or starving to death in the ruins of their settlement. Eventually, of course, the law figures will catch our scent. When that happens we will have to make out like, well bandits, and constantly be on the run. Eventually we will have an amazing standoff with the equivalent of the entire Bolivian army (picture the final scenes of Butch Cassidy right here) and we will get cut down like true, romantic heroes. After that I have other cliche plans, most notably re-imagining of The Elder Scrolls Dark Brotherhood idea. I feel certain there will be a demand for a third party to perform assassinations for the purpose of political intrigue. I could fill books with my absurd plans for this social game.

What is really amazing about this game is that it appears to offer something to everyone. There will no doubt be a heavily detailed crafting system for those that enjoy minecraft-like games. But there will also be a huge PVP system, a system of social and political intrigue, and even a magic system. So far all that's really been said is that witchcraft will be one of the two paths magic users can take, and that already excites me. I'm very hopeful (because of the aesthetic influences) that there will be a Cthulhu-esque type of occult magic present! If I can commune with the Great Old Ones I will fucking die of joy. And these are just the things that I know! The game is still in alpha testing and who knows what else might worm it's way into Salem. 

Puzzle/Indie, PC, March 1 2012

I usually don't play indie games. There are a lot of them, and few of them are actually worth playing. So I only ever end up playing indie games that are recommended to me by friends or that there is a buzz about. Vessel is a puzzle indie game and I'm happy to say it's one of those few indie games worth playing. You take the role of Arkwright, a steampunk inventor. Arkwright's crowning invention (and the main mechanic of the game) is the fluro. These are little water robots composed of a seed, which acts as its programming, and a liquid, which makes up it's body. All the puzzles in the game then revolve around combining various liquids and seeds in new and interesting ways. There are a lot of things that Vessel does very well, but one big thing that kinda makes it fall apart and makes it a good game instead of a great game.

When you buy an indie game most people expect a small game. This was something that I really liked about Vessel. It has around 10 hours of gameplay and enough game mechanics to keep it fresh for all 10 of those hours. The flip side is that after you get through the game, there isn't really any replay value. That's a huge turnoff for people these days but I've never been big on replay. It's apparent that a lot of work went into this game, especially given the relatively small development team. I say with confidence that if Strange Loop Games had just a few more people working on this game, it could easily have been a full game in its own right. Even where it is now, it's really on the borderline. Vessel is just as long and detailed as most DS puzzle games, the difference being that most of the full puzzle games have replay value. So if you do decide to buy Vessel, you will definetly be getting your monies worth.

You start Vessel with nothing and slowly build up an arsenal of puzzle solving tools. Every world introduces at least one new liquid and seed and there is a good amount of synergy between all the tools you get. By that I mean (for the most part) none of your tools ever become useless. The games main charm comes from how liquid: how it flows, behaves, and how to solve puzzles with it. There are lots of great puzzle solving moments with elegant solutions. I'm kind of avoiding talking about a lot of the game mechanics specifically and there's a good reason for that. Vessel does something that I absolutely love in video games, it doesn't tell you how to play. What it does is slowly give you a bunch of tools and lets you explore and experiment with them. All the liquids do interesting things and interact with each other and it's up to you to figure it all out. There is no tutorial or instructions, the game never informs you "this is all the things this liquid does, this is how you use it". All that is left for you to learn by poking around the game. This is why I'm kind of avoiding talking about specifics, I don't want to ruin that 'aha' moment when you discover a new mechanic that helps you solve a troublesome puzzle. While I do love how Vessel makes you explore the game mechanics for yourself, it also leads to its major drawback.

When you don't tell players how to play the game, you open it up for them to experiment. This is a good thing, if the game is very well put together. Unfortunately, Vessel is far too open in its gameplay and it really suffers because of this. I'm really good at breaking games, and I started to do it in Vessel without even realizing it. In fact, the first puzzle in the game I solved wrong. You are supposed to direct fluros by using lights to activate these three switches in a row that get turned on and off by walking through them. Since the game didn't explicitly tell me that the fluros behave this way, I approached this puzzle with no knowledge of how the game works. So instead of using the lights, I ended up figuring out a way where if you flick the switch halfway, run back a little, then very quickly run past it, you can get past the switches without turning them. I didn't realize until later that I had actually cheated that puzzle. This isn't the only case either, I'd say I cheated at least 1/3 of the puzzles in the game. There were even a few puzzles I bypassed completely with some platforming and the games very easy to abuse jetpack-like nozzle. And this is the biggest problem with Vessel. By not explicitly explaining the game to you, they open up the game's world for you to poke about around in. And when I poked, I found a lot of bugs and cheating ways to solve puzzles. While there are lots of pleasing moments where you find an elegant solution to a puzzle, there are (for me at least) even more moments where you solve a puzzle and feel dirty about it because you know you cheated. You know you cheated because you only used half of the puzzle elements on the screen, or none at all. It just feels wrong and that's the absolute last thing a puzzle game should do. 

Another way the puzzles start to fall apart in Vessel is how finicky they are. Since the entire game revolves around fluids, it can get very irritating. There is nothing more frustrating than knowing how to solve a puzzle and not being able to do it. Soemtimes a puzzle requires you to very accurately position a nozzle or seed, or spray fluid (hah) in a very specific spot or way. Which is hard because the physics of the fluids are well programmed, which makes them hard to control to the level some of the puzzles demand. I mean some puzzles I'd come to and know how to solve it, but the solution was so annoyingly finicky I would just look for a way to cheat it, and almost always find one. 

Now that I've bitched about it, I have to concede that the game does a lot more right than it does wrong. Bitching about a game first is always more fun, constructive and what-not. Anyway most of the puzzles are really good and fun, and like I said discovering the game mechanics on your own is a complete joy. I remember when I was fucking around and combined these two fluids to see what would happen and they exploded. It was awesome. Seriously, other than the many ways to cheat and some finicky puzzles, the game is great. Shit some people might even see the cheating thing as positive. It can be pretty fun messing around and finding all the different ways to break a game, I guess in that respect Vessel can even have some replay value. 

All in all Vessel is a gem among indie games. It has a good amount of gameplay, complimented by many different elements and mechanics to keep the game fresh right up until the end. The story is charming and interesting, with a great ending. The only drawbacks are the many ways to cheat the puzzles, little to no replayability, and some finicky, frustrating puzzles. All in all it's a well rounded and polished indie game, something you don't see very often. Most indie games just start with a gimmick and stick with it. They end up being more like a demo than a full game. Vessel manages to to be a real indie game the likes of which could have easily made it as a full DS puzzle game if it had just a little bigger development team. 

Score: 8/10

Indie, PC, Feb 14 2012

As you have probably guessed, I did not like this game. Not only did I not enjoy the actual game very much, I'm irritated at it's overhype. It's not that over hyped, but still. People see a new game and flip the fuck out because they've never seen anything like it. Just because it's new doesn't mean it's good. It's also not very hard to see why it's not that good. You look at the things Dear Esther tries to accomplish and judge it on that shit and how it could have been better. And trust me when I say it could have been better in a lot of ways.

At this point it may sound like I fucking hate this game, and that's not true. I actually liked it for the first few minutes until one thing happened. One thing that continued to happen all game and was so fucking frustrating. I would be walking around the game's island, sipping my rum and coke, and marveling at the environment. I wanted to see more! So I strayed from the obvious laid out path and went off to explore. And then I hit an invisible wall. Even if you have the privelege of being able to explore somewhere without being stopped by some bullshit boundaries, the game punishes you for it. There is nothing interesting off the main path and then you have to walk (very slowly) back to the main path to continue the game. At one point you come to a shipwreck in a little bay type area and I naturally ran down to explore it. I thought 'maybe there will be something interesting hidden in one of those broken storage containers'! Nope. Instead I walked around the shipwreck for five minutes, found nothing of interest, then had to slowly and dejectedly walk back to the main path. It ruined any sort of emotion the game was trying to build and just frustrated me.

Despite this, the game's main and linear path does have very beautiful environments (if you go exploring, the corners of the world are far less polished). I would be a dirty fucking liar if I said some of the game's environments didn't take my breath away, multiple times. I won't spoil anything by describing all the really cool places the game takes you, but yah, they're great. This presents a bit of a problem though. All these gorgeous vistas and environments make you want to explore, to see more. This is the sort of game that is not conducive at all to having a linear path to walk along, it should be way more open. The way the game is set up you may as well just be watching a movie. The game makes sure there is one way to go and you see everything there is to see. Which, to me, takes away some of the magic. You don't find anything, you're shown it.

A linear path gives the developers tighter control over the player's experience. Since Dear Esther sacrifices an open environment for this, I really felt they could have done a better job. That isn't to say the game doesn't evoke some interesting emotions, it just doesn't do it as well as it could have. The random dialogue that triggers at certain parts of the game ends up being back story rather than an actual narrative, none of it applies to what you're doing. Some of the dialogue gives back story on the island, and some on why your character is so morose, but none of it develops any sort of story. What I'm trying to get at is that as you play the dialogue you hear is pretty irrelevant, it doesn't apply to the things you're doing. There is hardly a sort of tour-guide dialogue going. There are a few cases where the dialogue will tell you about a feature of the island, and then you'll pass by it and it's like 'oh, yah that's the little cave where so and so was rumored to live'. But these moments are very few and again, not very relevant. I would have liked to see more applicable narratives, like recalling the stories of men getting lost in the labyrinthine caves and going mad from the darkness, just before you yourself enter the caves. But no, you could completely separate the dialogue from the game and nothing of value would be lost. It's unfortunate.

My final gripe is that Dear Esther does not feel like a journey. It feels like a morose stroll. And since a linear path makes building a story really simple, this is pretty unacceptable to me. Maybe the developers were just going for a walk-through-the-park sort of feel, but it comes off feeling very one dimensional. It does make you feel sad and even a little contemplative (because the game is purposefully nonsensical it seems), but that's it. Throughout the whole game it's the only real emotion they seem to go for. Well, I shouldn't say that. There are a few moments of wonder caused by the environments,  but it doesn't break the game up nearly enough. I don't know though, this sort of thing is more subjective. Maybe for other people they did get a sense of being on an actual journey. I mean I could see that the developers were sort of trying for that. There's a goal you can see high on a mountain as you walk about, you go to two different environments, but for me nothing really happened. There was no build up, no climax, just all of a sudden an epilogue. 

I sound like I'm being really rough on this game and I am, because deep down I love it. I wanted it to be better, and I hope that the next game like this (I'm sure there will be another) will improve. Despite all I've said, Dear Esther is a good game. The environments are amazing. The score is unique and fits perfectly. The mood and atmosphere are better than most games. The thing is that Dear Esther sacrifices a lot to accomplish other things and then doesn't accomplish them very well. They traded an open environment for tight control over the player experience, but then didn't do much with that experience. They sacrificed gameplay so the player wouldn't be distracted, but then they didn't include any semblance of a plot or story. The way it is now, I honestly would have preferred Dear Esther just have been a movie. Which makes me sad because I admire the things it was trying to accomplish.

Score: 7/10