The idea that PlayStation Vita lacks games has been a stubborn one, seemingly weathering thick and thin, holding fast in certain gamers’ collective consciousness despite Sony’s continued efforts to chip away at its massive staying power. By now the “no games on Vita” premise is quite nearly a falsehood, and though Murasaki Baby isn’t some left-field juggernaut the likes of which everyone must play (Vita’s main example is Persona 4 Golden), it’s certainly enough to knock some sense into the minds of those still turning a blind eye. The game’s art style alone conveys its uniqueness handily, and you could argue that gameplay is an equally eccentric component for much of its duration.
The game’s premise isn’t overly complicated, and as Baby’s caretaker beyond the fourth wall, it’s your task to guide her to her mother to the best of your ability. Though screenshots suggest a standard platforming structure, reality couldn’t be further from the truth. Baby’s world is gloomy, twisted, and bizarre, and demands varied inputs that only the Vita can entertain. Be prepared to tap, swipe, and double-touch your way to victory, all in the name of a small girl whose mouth is situated squarely above her eyeballs. Somehow this is endearing, and I don’t want to question it lest I mistakenly change my mind. It simply is.
Of course, a smoky, Seuss-like land of monsters and fantastical beasts is no place for a child, and developer Ovosonico has cleverly implemented an alternative to witnessing Baby fall prey to such whimsical atrocities. As caretaker, your main goal is to protect Baby’s balloon. If the balloon pops, so do Baby’s hopes of reuniting with mom, and it’s back to the nearest checkpoint you go. Luckily, guiding Baby is as simple as pressing a finger to the Vita’s touch screen to hold hands, and though you can influence the speed or intensity of her movements, you’ll want to keep in mind her limitations. I felt genuinely sorry the first time I sent her face-planting against a nearby shrubbery, but as the game progresses you learn to control your overzealousness. It’s completely possible to detach yourself from the game’s emotional grasp and jerk Baby around as you laugh maniacally, and the results can be amusing. For the sake of what the title hopes to achieve, though, I recommend saving such behavior for a second playthrough.
With brilliant art, premise, and presentation, Murasaki Baby occasionally stumbles executing some of its gameplay mechanics and challenges. Nothing in the game is broken, but I felt a distinct difference in the challenge and overall cohesiveness presented by various metaphorical roadblocks across the game’s strange, rickety black-and-white world. For example; in every situation, your goal is to protect Baby’s balloon, but also guide Baby properly. Thanks to the Vita’s multi-touch capabilities, you can actually use one finger to deftly maneuver the balloon through fire and brimstone (sometimes literally), and the other to gently walk Baby to her destination.
Though sometimes hilarious, these scenarios proved frustrating just as often. To me, they clash a bit with the mood of the gameworld as well. The protective response that Murasaki elicits is all but lost when Baby flops into a boiling pit, and how could it not be? Your brain is smart enough to remove itself from your imaginary parental role before overwhelming dread and guilt set in. I’m not suggesting the game be easier, either — perhaps just less hectic at times. Few individual sections of Murasaki Baby prove problematic, but chaining them together is developer Ovosonico’s real challenge.
Overall, though, the developers do a nice job stringing up Murasaki’s uniquely grim-yet-sanguine package, and by the time I’d run through its near-200-minute duration, my immediate inkling was to play again. Not for the whimsy or atmosphere this time, but for the fun of it. That in itself is a noteworthy accomplishment.
The game takes advantage of Vita-isms in other ways too, especially the rear touchpad. A quick swipe at a given time will swap out an area’s backdrop dramatically, while a tap induces an odd or curious altercation to a unique facet of the environment. In one instance, a tap turn’s Baby’s balloon to stone (much to her chagrin), which can then be used to solve weighted puzzles. Elsewhere, a massive onscreen ogre pounds the ground upon tapping, destroying an impasse that would otherwise render you stuck. Part of the game’s great happiness is making these discoveries, and as you progress you begin to wonder just who is experiencing more awe and wonderment: the small child onscreen, or the grinning buffoon on the couch. I admit without reservation that in my case, it was the latter.
Murasaki Baby isn’t flawless, but enjoying its unique brand of slightly-gothic playfulness is more of a conscious decision than something that’s forcibly imposed. If you are susceptible to its charms, though, you’re going to have a very nice time indeed. Just don’t slam Baby into walls until you’ve completed the game at least once.
Griffin Vacheron is an Associate Editor for CraveOnline. You can follow him on Twitter @novacav.
Copy provided by publisher. Murasaki Baby is exclusive to PS Vita.
