Poinpy analysis – vertical format

Ojiro Fujimoto has returned to demonstrate that the simplest concepts can offer great depth, also in mobiles and, of course, also in vertical format. Downwell’s creator has again collaborated with returning digital (and now also with Netflix) to bring to mobile his new title turning (hehe) to the idea of his first game, although in the case of Poinpy the Premise is as terrifying as adorable: without forgetting the verticality, we will have to be ascending while we flee from a terrifying monster that will only let us live if we prepare the zumito that fits him at all times.

Moppin moves away from a more gloomy, flat and dark aesthetic to move on to such colorist design that is inherent in the game’s own essence, because here we always give us clues about what we will find along the way, both fruits and enemies, and even a multitude of shots or lianas that will help us reach the top.


In Poinpy we will always leave from the ground, and start with a tutorial that will only allow us Before our feet play again. They will quickly be giving us more and more jumps (up to 10 in total, not counting equipment) so that the time in the air is even greater and we can accumulate more and more fruits.

However, as already happened with Downwell, here the identity and what makes Painpy a brilliant platform game is the permanent feeling of flow, and that is something that is not achieved only from jumping in jump. It should be noted that, at the time of falling on an enemy, vessel and even certain bubbles that fly over the stage, we can recharge jumps, so playing well with all these elements, in addition to rebounds in the looks or the skimpads/lianas/lianas/ cannons that we will find, you can get the rewarding reward of finish a while.

The truth is that Poinpy, in addition to being an arcade of platforms, is also a decisions game, dozens of them, and constantly during each game. Only before starting, we have the possibility of choosing between many objects to equip us that will complete a long etcetera), although the most important decisions we will have to take within each ascent. Does the culletazo use to fall on an enemy that I don’t even see on the screen considering that I will return to the point of origin with one more jump, or do not risk stepping on the ground and lose what I have in this time in the air? Will the shot of this cannon reach the vessel or will I stay in the stake? Do I try to reach that bubble or priority to reach the transition between scenarios, which usually recharge some jumps?

The decisions are these and a few more, but Poinpy gets that, far from supposing a burden within our desire to throw out the brain, it stimulates us while presenting all its elements on the screen with an honestly admirable clarity. The new Fujimoto is plagued with small and brilliant ideas that serve to refresh the arcades and dignify the mobile games a little more, although perhaps, when Netflix terminates the kidnapping, it can also be played on other platforms.