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Official PageĬheck out Haim Grebnev's Isometry Studios homepage at: for the latest info and updates. Also app store name and publisher display name on page app were updated. Update: Sixth release version 2 has been released with updates made to a few checkpoints to the level 6, level 9 map negligibly modified so that you can't immediately reach the first checkpoint from the start. Its general spirit seems to be centered around an era before gaming started taking itself far too seriously, which is why you could more easily find games.
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The game also offers a menu system which includes the ability to save your progress in case you want to quit and come back later to it. Lemon - Commodore 64, C64 Games, Reviews & Music Download retro Commodore 64 games now It's hard to get angry at this game, mostly because Crystal Castles is just so wonderfully goofy. As with all of the Prince of Persia games, time plays an essential role in this game since after a bit of gameplay the story will introduce a time limit that the game has to be completed in. The goal in most levels is to navigate the terrain and find the gate in the wall that leads to the next level, overcoming any obstacles in the way. The play and feel of the game are exactly the same as in the originals, except with additional support for Xbox controller and touch screen. The game's story continues after the events of the second DOS Prince of Persia: Shadow and the Flame game in which the prince faces his new arch enemy: the evil witch who mysteriously appeared at the end of the previous game. This game is a fan made sequel to the original DOS 19 games Prince of Persia and Prince of Persia: Shadow and the Flame in which you can continue playing as the heroic prince of Persia, scaling towering height, avoiding traps, and finally come to terms with the Prince's most challenging adversary yet! It’s not like we don’t keep going back to those old Nintendo games, anyway.Click to enlarge Prince of Persia: The Crystal Castle And while that may limit the scope of what the band can do in the future, maybe that’s for the best. Step out of the 8-bit confines, and there’d be no illusion the concept would come off like a gimmick. It’s just funny to think of a whole new generation of kids that has never heard Fischerspooner.īy the close of the album, there’s a sense that too much of a good thing ends up being pretty damn samey, but it’s that narrow scope that also happens to be Crystal Castles’ greatest strength. A lot of that has to do with Kath’s reliance on octave-jumping basslines, big synth-string choruses, and pop-music structures, which definitely isn’t a bad thing.
Maybe not the coolest touchstone to throw around at this point, but it’s definitely present: “Air War” has more than a passing resemblance to Adult.’s “Nite Life,” and “Knights” could just as easily find itself next to Kittenz and Thee Glitz-era Felix da Housecat. The other strange presence on this record is the ghost of electroclash. As catchy and strange as the beats are by themselves, it’s Glass’ presence that really plays up the imaginary aspect of Crystal Castles’ persona: Her shifts between a voice trapped in the game and her cartoonish, exaggerated emotion make her seem more like a walking sample than a real person.
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The production is bit-crushed and pixilated, though not in a cold and murky way–the low-key “Magic Spells” is full of warm, ghostly melancholy, like the end-credit music for an imaginary Nintendo game.įiltered through the same pixilation effects, Glass’ vocals run the gamut between unintelligible textures and screamed-out chants.
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The kick/snare thud and crack of early industrial makes up at least 90 percent of the drum work, with the melody filled in by whirrs and beeps straight out of the underwater levels of Super Mario Brothers. That is to say, there’s a very specific, simple formula at work on this record, one that–aside from the final, tacked-on shoegazer cut “Tell Me What to Swallow”–is never strayed from.Īny kid raised on ’80s videogames is no doubt familiar with the sound of Crystal Castles.
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The majority of the tracks, notably “Untrust Us,” “Good Time,” and “Alice Practice,” have been floating around for at least a year now, with newer material like “Through the Hosiery” and “Reckless” not exactly breaking free from the established template.
If you can buy into that world, this is an album that flirts with brilliance.įor anyone following Crystal Castles’ blog-splattered exploits, nothing on the band’s self-titled debut will be a huge shock. This isn’t music made by humans, but characters–the kind found in grainy fantasy cartoons and garage-sale videogames.
That ambiguity might be a cheap press stunt, but the alternate, optimistic read is that Kath’s and Glass’ personal details don’t matter anyway. While there are two presumably real people in the Toronto-based “band” (Ethan Kath produces, Alice Glass sings), almost everything about them personally–including their names, their past, and how they came to be–is fabricated. Like She-Ra and unicorns, it’s best to think of Crystal Castles as an imaginary force.
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