There are two distinct types of stealth games. The first are the ones built around the mechanic, designed in such a way that stealth permeates throughout the game. The second, and sadly much more common, is where stealth is added on as a mechanic at a later point. The difference between these two types of stealth games couldn’t be more stark, with the latter feeling out of place. The former however usually results in a much better experience as stealth is an incredibly hard mechanic to get right, if your game isn’t built around it. Aragami thankfully falls into the former camp, nailing the stealth mechanics beautifully.
You are an Aragami, a spirit of vengeance summoned by Yamiko, a young girl who has been imprisoned by the Kaiho. Her captors are adepts of the light, able to control it with deadly effects. Yamiko tells you that the Kaiho are oppressors of her people and have imprisoned her Shadow Princess along with her. It is then up to you Aragami to free her and take down the Kaiho army to free the shadow realm from oppression. How you go about this however is your choice, although sticking to the shadows is likely a wise choice.
At first glance you’d be forgiven for thinking that Aragami was coming from Telltale as its visual style is very similar. It’s based on the Unity engine however (not Telltale’s aging game engine) and the look is generated by good old fashioned cel shading. Overall the visuals are simple and clean, with little extraneous detail thrown about. Performance on my current rig was perfect, as you’d expect, however I think it’d run perfectly fine on current generation smart phones with little change. The only complaint I’d have is that it starts to get a bit repetitive after chapter 7 or so. It does get better towards the end though as the environments get a little more varied, however.
Aragami, as I mentioned before, is a stealth game. You’re put in an area, given a goal to reach and are left up to get to the other end. Combat is non-existent as one hit from any threat will instantly kill you however you are able to dispose of your enemies, if you deem it necessary. Whilst you’ll initially have to rely on your wits to get through each level you’ll find scrolls that grant you talent points along the way. These will give you a smattering of different abilities to deal with the various situations that the game presents you with. The puzzles are pretty basic however, varying little beyond disabling barriers. Mechanically it’s a simple game but the difficulty comes in how you choose to play it.
Like most stealth veterans I immediately chose the no-kill, complete stealth route. Surprisingly though this is probably the easiest (or second easiest, possibly) route to choose as all you have to contend with there is making it through in one piece. So for the next chapter I attempted to kill everyone which proved to be a much more challenging task. Not only do you have to avoid being spotted you also have to ensure no one finds the corpses you leave behind. I eventually gave up doing it as it always seemed like someone would stumble across the bodies, no matter how well I thought I had cleared out a particular area.
Of course doing that becomes a lot easier if you invest a few points in the right talents, one of which allows you to completely remove bodies. There’s enough scrolls about the place that you could easily max out most of the useful talents in a single play through. Of course there’s a few quality of life ones you probably want to go for first, like the one that reveals where all the scrolls are. Others like the invisibility one are quite useful for just blazing through otherwise laborious sections, something that becomes a life saver later on in the game. There’s definitely a good amount of replayability in Aragami because of these talent choices, something which I’m sure the completist crowd will enjoy.
Aragami is mostly mechanically sound, however there are a few quirks which can trip you up if you’re not careful. It’s clear there’s certain places you’re not supposed to be able to shadow step to, but you can if you get the angles right. Things like tree branches, leaves or other semi-odd geometry provide ample places for getting yourself stuck or completely bypassing an otherwise mandatory challenge. Additionally the invisibility power, with its upgrade to make you apparently completely silent, doesn’t seem to work that way 100% of the time. There were a couple times I ran past someone only to have them alert the entire place I was there. Whilst I can understand that happening if I ran directly into them I can remember not even being near them when it happened on more than one occasion. Overall these issues aren’t massive, but are annoying when they happen.
The lack of variety in the layouts and mechanics does start to wear on you after a while. Around the halfway point I found I could really only play a chapter or two before getting bored. Towards the end things started to get a little more interesting but the first 3 hours or so felt like they dragged on quite a bit. Since the game announces to you just how many things you’re going to have to do (get 5 talismans! yay!) it instantly makes you feel like you’re on an extended fetch quest. Couple that with trying to find the scrolls and you’re probably not going to enjoying yourself that much. Indeed I think the middle couple hours could’ve probably been removed without much impact to the game or narrative.
The story is, unfortunately, quite mediocre. It’s clear pretty early on what the twist is going to be which is only made worse by the weirdly out of place dialogue. The writing wouldn’t be out of place in say, a modern anime or something similar, but Aragami seems to want to be taken seriously. However that’s just not possible with the way the main characters interact with each other. Towards the end things start to work out a little better but since there’s really no build up it’s all quite hollow. It also appears that there must’ve been a big rewrite of the story at some point as the final lines, which allude to the game’s previous name Twin Souls: The Path of Shadows, reveal information that had not been spoken of or alluded to at all. Considering this is Lince Works’ first game I’ll give them a pass, for now.
Aragami is a competent stealth platformer with beautiful cel shaded graphics and a great backing soundtrack. Taking the notion that the no-kill, full stealth route is the hardest and turning it on its head is a great twist on the regular stealth idea. Aragami is however let down by its repetitiveness and lacklustre story, a mistake many first time indie game developers make. Still for those of us who enjoy a good stealth-first game there are few titles like Aragami and fewer still from indie developers. If you’re looking for something to bridge the gap between the next bout of AAA releases and need a stealth fix then Aragami might just be for you.
Aragami is available on PC and PlayStation 4 right now for $19.99. Game was played on the PC with 5 hours of total play time and 67% of the achievements unlocked.
The question of “Are games art?” has been asked long before the indie renaissance. However it comes up more frequently now that more games attempt to explore the idea. Indeed there are many games that take their inspiration from various other forms of artistic expression, reinforcing the idea that at least some games could be considered art. Bound draws inspiration from the abstract art movement and modern dance, combining them into a kind of surreal platformer. I have to admit to putting this one on the back burner for quite some time due to its release being so close to many AAA titles. Whilst I don’t think this needs to be on everyone’s must-play lists I am glad I went back and played it as it is one of the more interesting experiences of last year.
You play as the unnamed princess of a blocky, abstract world. There is a monster that is destroying you mother’s kingdom, wrecking havoc on everything. Your mother charges you with finding the saviour, the only one who can save your world from this monster. All of this however is just a retrospective view of the real world, a surreal reflection of the events that happened in your childhood. The metaphors used throughout this game are your way of dealing with those events and what that means for your future is up to you to decide.
Bound is visually stunning; its utilisation of simple geometry and low-poly modelling at a grand scale giving it a style that’s not like any other. The environment reacts to your every move with your footing shifting uneasily at your feet and a sea of cubes undulating around you. It takes some getting used to as the twitchy environment is reminiscent of other games where that would form part of the challenge. Bound instead takes a much more relaxed approached to platforming and so the jittery terrain is simply a visual aspect, nothing more. Surprisingly even with the extremely busy visuals Bound manages to stay at a near constant 60fps even on my last gen PlayStation 4 hardware. As someone who has the hardware to see the difference I can say it’s most certainly appreciated.
At a game play level Bound is a relatively simple platformer with generous edge detection that will stop you from falling off the edge (most of the time). Initially most of the challenge comes from figuring out what you can interact with and what you can’t. This stems primarily from the busy visuals which make it hard to discern one thing from the other. There’s rudimentary combat, insofar as you having to perform certain dance actions to protect yourself from various threats in the world. Other than that Bound focuses heavily on the audio-visual experience, reminiscent of similar titles like Journey or ABZU.
The platforming is pretty straight forward once you’ve figured out the basics. The edge/hit detection is pretty generous, often saving you from an otherwise fatal fall. However it’s not complete foolproof and the princess will fall to her doom if you do mess up badly enough. There are, of course, the standard set of issues that come with 3D platforming such as it being really hard to judge distances. It also doesn’t help that the camera controls get taken away from you every so often, sometimes locking them in a position that’s not at all conducive to playing properly. There’s also some secrets to be found around the various worlds of Bound however with the jittery terrain it can be a little hard to find the clues to get at them. I only found one in my play through and I was pretty sure I was looking in all the right spots.
Bound’s short length mean that it’s biggest flaw, it’s repetitiveness, isn’t too much of an issue. After 2 levels or so you’ve basically seen everything the game has to offer mechanically and all that’s left is the audio visual experience. Don’t get me wrong, that was enough to carry me through to the end of the game, however it does mean that the developers idea of playing this all the way through in one sitting is probably a little ambitious. Sure you could do it, but I don’t think it would improve your overall experience of the game.
The story of Bound is one of reflection, an abstract representation of a woman’s childhood. In the beginning it’s not completely clear what’s going on, mostly due to the heavy use of metaphors and surreal visual imagery. However it starts to make a lot more sense as more real world scenes are revealed to you. Since the majority of this story is told abstractly though it’s hard to empathise with the characters beyond a rudimentary level. This means that the ending, which is driven by a single choice by you, is somewhat hollow in its execution. Compared to the audio and visual aspects of the game it’s a little bit of let down honestly and a well executed story could have taken this game from good to great, no question.
Bound is an interesting foray into the ever blurring lines between games and art. The combination of surreal, abstract art with modern dance makes for an experience that very few games even come close to providing. It is however very rudimentary at a game play level, the platforming providing little challenge apart from the usual tribulations that come from 3D platformers. The repetition and hollow story mean that Bound fails to achieve the same greatness that similar titles have making it a good, but not great, game. If these kinds of games appeal to you the Bound is certainly worth playing however, for your run of the mill gamer, it’s probably best left to the Let’s Play crowd.
Bound is available on PlayStation 4 right now for $29.99. Total play time was approximately 3 hours.
Like many of my peers I spent many of my afternoons loitering around a Games Workshop store. The displays of intricately painted models tempting me to spend my meagre retail earnings on that next model to round out my army. I was rubbish at painting though, often just playing with unpainted models or enlisting my more talented friends to do the work for me. Once I was hooked into PC gaming however I left the models behind, but the love for the Warhammer universe was still very strong. So when I heard about Space Hulk: Deathwing I was incredibly excited as it’d been far too long since my last dip in this universe with Warhammer: Space Marine. However Deathwing falls appallingly short, so much so I couldn’t be bothered playing beyond the first hour.
You are a Librarian of the Deathwing force, the most secret and feared arm of the venerable Dark Angels chapter. You have stumbled across an ancient craft known as a space hulk, likely teaming with relics and technology from a forgotten age. It’s your charge to investigate the space hulk and to uncover the secrets locked away within its walls. This won’t be an easy task however as it is infested by armies of Tyranid genestealers, eager to tear into space marine flesh. Your powers as a psyker however give you an advantage few others have, allowing you to decimate hordes of enemies with a single thought. You are the blade of the Emperor space marine and it is time to cut through the blasphemers.
Deathwing does a great job of capturing the Gothic feel that Warhammer 40K games are renown for. The bigger environments do a great job of selling that feel with high cathedral ceilings dripping in banners and other Gothic imagery. It does have that Unreal engine vibe to it though which does make the graphics feel a step or two behind current generation titles. Since I came into this game past its initial few patches I didn’t have any performance problems to speak of, the game running fine even in high action scenes. That being said however any performance problems encountered are surely in the realm of poor optimisation or porting issues as I don’t think it’s that graphically intense.
This is where the positives of Deathwing stop however.
Taking inspiration from the tabletop game Deathwing puts you inside a massive ship laced with corridors punctuated by massive rooms. You’ll be given an objective to walk towards but you’re also free to explore the ship to find secrets. Along the way you and your squad will be set upon by the Tyranids that infest the ship and it’s your job to take them out. You’ll do this using your various bits of weaponry and psyker powers. Overall it has a very Left 4 Dead kind of feel, pitting you and a couple team mates against a horde of enemies. You’d think this would be great, the game format and IP are both exceptional in their own right, however this implementation is anything but. Indeed it commits probably the worst sin you can make with the Warhammer 40K universe.
It makes being a Space Marine boring.
The combat is just simply not enjoyable at all. Walking through hallways your radar will ping up with enemy activity and, inevitably, you’ll be jumped by something. These enemies aren’t varied nor are they smart so you’ll just sit there killing one after the other. Unlike Left 4 Dead or other similar games there’s no sense of tension at all so it’s just long periods of plodding along that are broken up every so often by holding the trigger down. This is made worse by the fact that you have a limited amount of sprint, meaning that exploration takes forever. It’d be ok if the rewards were worth it but from what I can tell they’re only cosmetic. Even the one end part of the mission, where I was supposedly set on by a “massive horde” turned out to be nothing more than me standing at a ladder and whacking at genestealers for 5 minutes.To top it all off your AI companions, whilst having some interesting banter, are as dumb as they come. Whilst this isn’t unexpected it’s yet another thing that detracts from the small amount of fun you might derive from playing Deathwing.
You’ll get upgrade points after each mission, up to a total of 4, for your performance in the mission. According to other reviews there’s only enough points to max out one of the talent trees and no way to go back and play through again with your now unlocked powers. Considering that the only interesting abilities appear to be at the end of the trees this seems a bit short sighted, severely limiting the game’s replayability appeal. Not that it really matters though as I doubt anyone who buys this game will play it more than once. The 3 talent points I got were invested in getting a psyker ability upgrade which, upon using, appeared to simply be a fire variant of the storm ability I already had. Not the most enthralling upgrade, if I’m honest.
I tried to play more, I really did, but there was simply nothing in Deathwing that kept me coming back. Many other reviewers have praised how true to the lore Deathwing is but that does little to make the game enjoyable. By contrast Space Marine did a great job of making you feel like an unstoppable war machine whilst still providing challenge. Deathwing instead makes it so a handful of genestealers could take you out whilst your brothers sit there and watch. I had really low expectations on Deathwing going in and even then I’ve been left disappointed.
Space Hulk: Deathwing does exactly what it shouldn’t: taking the idea of the venerable Space Marine and turns it into something mundane. The only commendable feature is the graphics, which do a great job of capturing the gothic feel of the Warhammer 40K universe. Apart from that all you’re left with is mediocre combat with confused AI partners at your side. Maybe this game gets a lot better past the first hour, I don’t know, but the fact of the matter is I honestly couldn’t bring myself to find out. I tried multiple times over several days but every time I just gave up, I was just not interested at all. Perhaps lore fans will find something to love here, but I certainly didn’t.
Space Hulk: Deathwing is available on PC, Xbox One and PlayStation 4 right now for $39.99. Total play time was 65 minutes with 17% of the achievements unlocked.
This time of year lends itself to catching up on things that may have otherwise passed you by. For this humble game reviewer it means looking back at those titles I missed, looking for something to fill the usual holiday lull. Quite often I’ll find something that I regret not playing on its release, the most obvious of which was The Talos Principle. Hyper Light Drifter was one game that I passed on multiple times: first when it found success on Kickstarter and secondly when I saw it released on Steam. When I saw it come up again during the Steam Winter sale I figured, with nothing else better to play, it was time to give it a look in. I’m glad I did too as it hearkens back to games of yesteryear, and not simply because of its graphics.
I’d usually give you a brief summation of the starting plot here but I don’t think I could rightly do that here. Hyper Light Drifter is very much a game of “show, don’t tell” and to explain the opening scenes would be reveal too much of the story. Indeed the entirety of the main plot is told through pictures and simple in-game cut scenes, leaving the interpretation of what’s actually going on up to the player. So I’ll leave the usual plot analysis until the end but I’m more than happy to discuss the various theories about the game in the comments.
Hyper Light Drifter takes the traditional approach to its pixelart visuals, favouring a more authentic recreation of the styles of games long past. Numerous new wave pixelart games favour high definition versions of pixelart graphics which, technically, aren’t faithful to what was possible during the period. Hyper Light Drifter retains much of the other aesthetic elements, such as limited colour palettes and fixed lighting, which were also present in titles from this generation. There are some elements I’m not quite sure are completely true to the era, like the overlayed glitch effects, but I’m no purist by any stretch of the imagination. It’s one of the few games that’s built on GameMaker Studio that doesn’t look like every other title built on it, a testament to the amount of effort put into honing Hyper Light Drifter’s visual aesthetic.
Hyper Light Drifter takes after classic games like Zelda: A Link to the Past and other top-down adventure games. There’s a large map with distinct sections that you’re able to walk around at your leisure, although some parts are locked off until you complete certain actions. There are various upgrades scattered around, some of which can only be obtained through defeating certain bosses or completing challenges. Where it differentiates itself is through the combat which is much more twitch focused and relies heavily on precise timing by the player for certain moves to be pulled off perfectly. Honestly it was hard to shake the “Zelda set in a sci-fi landscape” feeling when I was playing it, a feeling that it seems many other fellow reviewers share. In my opinion this is the best way to utilise a player’s nostalgia: use it as a basis to create something new and interesting rather than beating them over the head with it.
Combat has an almost Dark Souls kind of feel to it; where the real boss of the game is yourself. I can’t tell you how many times I died just because I wanted to do something fast rather than taking my time with each enemy. Indeed none of the regular enemies are that complicated and most have really obvious telegraphs that you can pick up on quickly. However, if you’re like me, you’ll want to try and kill as many as you can as quickly as you can. This will often lead to you making mistakes and, of course, your inevitable demise. Once you get a feel for the enemies, and have a couple upgrades under your belt, the combat becomes both challenging and rewarding. This is then most expertly demonstrated in Hyper Light Drifter’s standout feature: the bosses.
The bosses of Hyper Light Drifter aren’t going to win any awards for originality but they are the most enjoyable aspect of the game. Nearly all of them are multi-phased, meaning that you’re unlikely to one shot any of them. It’s refreshing to see that many upgrades, like the projectile deflecting upgrade for dash and the sword, working on bosses as well. This leads to some interesting approaches to bosses and, of course, far more interesting ways to die to them. Overall the bosses themselves aren’t particularly challenging (I don’t think I was stuck on any particular one for long) but they are hard enough to ensure that you feel somewhat accomplished when you do finally beat them. The final boss is by far the coolest out of the lot and makes for a fitting finale when you finally get to face it.
The upgrade process is done well, consisting of finding little upgrade parts all over the map which you can then spend how you wish. There are some must have upgrades, like the aforementioned projectile reflecting ones, whilst others can probably be left behind (like the unlimited dash upgrade, you get 3 dashes by default). There’s also 5 additional weapons you can find scattered around the map which are mostly a matter of preference. Sure some of them help in certain situations, like the rain gun, but I stuck with the normal blaster for the most part. If you fancy yourself something of a completionist then there’s also numerous sets of armour around the map, each of which bestows a certain unique bonus to you if you’re wearing them. I myself didn’t go after them and didn’t struggle at all.
My main gripe with Hyper Light Drifter would have to be the lack of visual clarity. It’s a very busy game with highly detailed environments however it’s not completely clear what’s say, navigable ground, a drop into a bottomless pit or just part of the background scenery. Whilst the punishment for falling off the edge is low (1 health bar and being sent back to your last safe location) it can become somewhat frustrating when you’re searching for secrets. The forest map is the worst for this, its visual cues for “hey there’s something over here” often confused with your run of the mill props for the area. Further this means that some of the visual story telling is simply lost unless you really know what you’re looking for. It’s a shame because in certain aspects, like the above screenshot, it’s done brilliantly but in others it’s simply a visual mess.
Much like Dark Souls again Hyper Light Drifter’s story is told mostly through vague allusions to events with drips and drabs of text around the place explaining some points in a little detail. This means that the events of Hyper Light Drifter are very much up for interpretation and you’ll find many fan theories out there to explain events. Whilst the game play is more than sufficient to keep you engaged throughout the game’s duration it would have been nice if there was a little more of the story built into the main narrative. This is one of the cases where the lack of direct storytelling doesn’t harm the overall game that much and a troll through the forums after finishing it was a rather rewarding experience.
Hyper Light Drifter is a prime example of nostalgia done well; using the past as inspiration for a new experience that captures many of those feelings many of us felt all those years ago. The visual style is very true to the time, eschewing the current norms of high definition pixelart for a more traditional aesthetic. The combat is approachable yet challenging, ensuring that all players approaching this game will find reward in it. The bosses are by far the best aspect of Hyper Light Drifter, conjuring up many memories of the times I spent beating similar bosses back in my younger days. The only faults I can level at Hyper Light Drifter are its lack of visual clarity and direct storytelling, things that don’t detract too heavily from the core game but could definitively be improved. Overall Hyper Light Drifter is an exceptional title, one that I now wish I hadn’t passed on all those times.
Hyper Light Drifter is available on PC, Xbox One and PlayStation 4 right now for $19.99. Game was played on the PC with approximately 5 hours of total play time and 13% of the achievements unlocked.
There are some games I play for all the wrong reasons. Sometimes it’s to reaffirm certain biases (although there have been titles that have changed my mind) but other times I just want to play something horrendous to remind me of how good some games are. Here enters the developer Spiders, a French developer who routinely puts out B-grade games that always aspire well beyond their station. Their two previous titles, Bound By Flame and Mars: War Logs, both tried ever so hard but failed in almost every account. The Technomancer, set in the same universe as Mars: War Logs, again aspires to be an AAA title but fails in such a delightfully horrible way.
You are Zachariah Mancer, a young cadet aspiring to join the ranks of your fellow Technomancers. Your quest begins as you are initiated fully into the rank of lieutenant by journeying to an old settlement dome with your master, Sean. There you learn of the secret that Technomancers have kept ever since their founding: your powers are born out of genetic engineering that caused mutations in your body. Such a secret would see all the Technomancers enslaved like the rest of the mutants are and you are sworn to keep the secret. However one colonels obssesion with learning the secret forces your hand, pitting you against the very corporation that has been your home since birth.
The Technomancer’s graphics are a generation behind in most aspects, lacking any of the graphical enhancements that many games of this generation now have as standard. The environments have a decent amount of detail in them but it’s all relatively low poly work. The lighting effects help to hide the more egregious faults but they aren’t enough to wash away that previous gen feel. Considering other games that use the same engine (like Unravel) seem to do a lot better in this department it does make you wonder just what modifications Spiders made to the engine and if it was really worth the development time.
The Technomancer is a mostly standard RPG affair; taking inspiration from other, better games in this genre and attempting to make its own special version of it. There’s 3 different fighting styles, each of which roughly equate to something from the RPG holy trinity. Each of them has a talent tree to match with an additional 4th talent tree for your Technomancy (read: electricity) spells. There’s also an additional 2 talent trees which are used for further character customization, focusing on what gear you can use and what ancillary abilities (like crafting) you have. There’s a mediocre crafting system which appears to be half done which coupled with the mediocre loot system makes for a repetitive and lacklustre gearing experience. You can also bring along 2 companions with you as well, each of which will mimic one of your fighting styles. Honestly there’s a surprising amount of stuff in The Technomancer but, unfortunately, that’s probably why it has so many issues.
Combat is unintuitive, confusing and worst of all unreliable. I can’t tell you how many times I’d appear to hit an enemy with my staff only to have it whiff through them completely without a hint of why. No damage meter saying “Miss!” or “Dodged!”, just the sound of my staff sailing through the air like it wasn’t touching anything. The combat is a half hearted attempt at recreating the Dark Souls system but unfortunately fails miserably. It doesn’t help that most of the stats appear to be totally meaningless, like when I had 140% disruption but still wouldn’t disrupt enemies when hitting them. Maybe there’s an explanation somewhere about how these stats work but they’re not explained in the game at all, not even in the stats spreadsheet that lists all these things off. So in the end you’re left to simply flip the coin at most encounters, hoping the RNG swings in you favour this time around.
Loot and crafting are similarly disappointing. The loot you’ll get will be all the same based mostly on which chapter you’re in although it seems that old areas have a high chance of yielding old loot when you revisit them. Strangely it seems like there was supposed to be more variety to this since there are some named items in the game but no where near enough to build a full character out of. Worst of all is the fact that you’ll be flooded with mats, most of which become entirely useless once you move up to the next level of crafting. Previous Spiders games allowed you to combine lower mats into higher ones, and indeed there’s text in the game that implies that this can be done, but there’s no way to do it. This wouldn’t be so bad if the system to sell the mats wasn’t so annoying to use, requiring a single click to increase the quantity you want to sell. This means that if you want to sell 200 mats, you’ll click 200 times.
Questing is also pretty unrewarding with nearly all the quests simply awarding XP and maybe some serum (cash). There are some multi-part quests which span chapters, something which you would think would lead to some awesome quest reward. Unfortunately that never happens which is a real disappointment, especially for the more involved side quests. This wouldn’t be so bad if there were amazing items that you could only buy from vendors but there aren’t and so you’re just left with a pile of serum and nothing else to show for it.
Worst of all is the endless retreading of ground you’ll do throughout the game. Sure you’ll visit new areas as the chapters roll on but the vast majority of the game takes place in the first town, Ophir. This wouldn’t be so bad if it wasn’t for the fact that enemies will respawn pretty much every time you traverse through there, necessitating a laborious 10 minute trudge to get to where you’re going every time you go there. There’s no fast travel system to speak of either, so once you’ve finished what you needed to do you’ll have to walk (and likely wade through respawned enemies, again) back to your rover to return home. I can understand that creating new levels is one of the most expensive things developers will have to do (something even legendary developer Bioware got raked over the coals for) but setting more than half the game in one area is just…boring.
As always I could forgive the majority of this game’s sins if the story was passable but, frankly, it’s not. Whilst it is interesting to see the world that was set up in Mars: War Logs continued in The Technomancer there’s just not much about it that is captivating. This is probably not helped by the fact the lines are delivered in a flat and lifeless way by pretty much all of the voice actors involved and the poor quality of the lip syncing with the character models.
Realistically all these issues are symptomatic of one thing: trying to do too much with not enough resources. All of the ideas that are implemented in The Technomancer are solid however their execution is sorely lacking. It smacks of a development team that simply didn’t have enough people or time to get the things done that they wanted to. With the average game completion hovering around 26 hours or so they could have easily cut it in half and still had a great length RPG on their hands. Instead however Spiders chose to try and pack as much in as they could and the overall quality of the game suffered as a result. Whilst this should be unsurprising (since this is kind of their thing) if Spiders ever wants to drag themselves out of the B-grade hell they’ve found themselves in they’re going to have to change the way in which they approach building games.
The Technomancer is another unfortunate swing and miss for Spiders, once again aspiring to the greatness that it never achieved. Whilst The Technomancer has all the trappings of an AAA RPG none of them are implemented well or fully, leaving the resulting experience feeling half-baked at best. To be sure though this is Spiders’ best effort to date but the mistakes that they’ve made before still seem to haunt them even to this day. I can really only recommend this if you’re as twisted as me and like playing a train wreck from time to time, just to remind you how good most games are these days.
The Technomancer is available on PC, Xbox One and PlayStation 4 right now for $45, $57 and $57 respectively. Game was played on the PC with 14 hours of total play time and 40% of the achievements unlocked.