Creating a game is an exercise in compromise. On the one hand you have your vision for what you want the game to be, whether it be a sweeping epic or a simple puzzle game, on the other you have the amount of resources at your disposal. These are often at odds with each other and the resultant product will likely not be the full embodiment of the original vision. This is fine, however, as the white whale of perfection has killed so many titles, many before they saw the light of day. Toren, the first game from the nascent Swortales, is a game that has remnants of a greater vision scattered through it which the spectre of compromise laid off to one side.
You are the moonchild, born of the night and destined to climb the Toren in search of your purpose. The sun never sets in this world, basking it in an endless sunshine. This is the will of the dragon who, for reasons unknown to you, refuses to allow the sun to set. As you climb the Toren your guide, a mysterious figure who appears to be long dead, reveals to you the secrets of this world and why you are doomed to repeat this cycle again and again until your true purpose is discovered. It is then up to you to discover the real history of this world and your part to play in its future.
Toren isn’t exactly cutting edge when it comes to graphics with the vast majority of the assets feeling like they’re a generation behind current trends. Part of this is due to the Unity engine, which has a definite stylization characteristic to it if you don’t wrangle the engine appropriately, but other things like the stiff (most likely hand cranked) animations lead more towards this coming from the studio’s inexperience. On a tablet or other portable device such graphics aren’t out of the ordinary however Toren is currently only available on PC and PlayStation 4, platforms both capable of much more than what Toren offers. On the flip side the soundtrack that backs Toren is absolutely amazing which makes me think that they paid far more attention to that than anything else. Such is the battle of compromise.
In broad strokes Toren would be called a 3D puzzle platformer as it has characteristics of both, although there are some hints of greater aspirations for this game hidden throughout half finished mechanics. To start off with you’ll be exploring and stumbling across different puzzle elements which is mostly just setting the scene for the later reveals. Later on the platforming element is introduced which starts off simply and does introduce some rather interesting elements. Finally there’s some semblance of a combat system although it’s extremely simplistic, basically only serving as another aspect to the other puzzle mechanics. All in all it’s got the makings of a much larger game that hit with the cold hard reality of deadlines and deliverables but still manages to cobble together a fairly decent game experience out of it.
The puzzles are incredibly simple, mostly just requiring you to find something and put it somewhere else. The platforming is very similar as your objective is, most of the time, clearly visible with an easy path to reach it. Toren makes the mistake of having a fixed camera for everything which means the platforming sections are an exercise in frustration most of the time as you try to figure out how your controls should be reacting given the current camera angle. This also flows onto some of the puzzles which require you to cover an emblem on the ground in salt, something that’s rather difficult to pull off when your character doesn’t react in the way you’d expect them to. Suffice to say I think it’s a passable experience although there’s definitely a lot of room for improvement in terms of mechanics and their execution.
The experience is heavily marred by its numerous technical issues, not least of which stem from the horrendous control scheme. I did the right thing at the start and plugged my controller in, as I was told to however that, for some reason, resulted in the camera always pointing upwards so I couldn’t actually see my character. Switching to keyboard and mouse made that issue go away but the default keyboard layout is nonsensical and it’s obvious that the controller was programmed first and the keyboard controls shoe horned in afterwards. Couple this with the extremely basic hit detection (which powers nearly every interaction in the game) and Toren feels like it’s lacking a certain amount of polish required to take the experience to the next level.
Whilst I’m speculating heavily here I’m quite sure that the majority of these issues stem from Toren having much greater aspirations than its final incarnation has. For example there’s a kind of inventory system in there and you’ll pick up a few items along the way. However it’s not like you have to go out of your way to find these items and they’re given to you know what to do with them. The “chainmail” for example protects you from small monsters but you get it before you even see your first monster, let alone know they can do damage to you. It feels like Toren was meant to be more of a RPG than an exploration game however it was never able to reach this goal due to the constraints they faced in implementing it. This is somewhat reflected in Toren’s short length as well, although that’s not a negative in my book.
The story is, to be blunt, frustratingly vague at the beginning although it does manage to redeem itself over the course of its 2 hour play time. It might not be original, nor very emotionally engaging, however it does manage to set everything up well enough that the final pay off is somewhat satisfying. Developing the story further however would likely require a much longer playtime, which would require even more work to accomplish, so given the bounds Toren works within it does manage to achieve an impressive amount. If you’re a story first gamer though you might not get that much out of Toren as you would say a more story focused title.
Toren is a game that’s scarred by its ambition, attempting to reach for much greater heights than it finally ended up achieving. Whilst the final product is most certainly playable, and for small sections quite enjoyable, its below par graphics, simplistic mechanics and frankly horrendous control scheme mar the better aspects of it significantly. The soundtrack is by far the stand out component of Toren although I can’t help but feel that the game would be that much stronger if some of the effort dedicated to crafting that was directed at the game play and story development. For a studio that’s never released a game before it’s a good first attempt however I hope they take the lessons learned from Toren and apply them to their future titles as there’s every opportunity for them to make a great experience if they do.
Toren is available on PC and PlayStation 4 right now for $9.99 and $14.95 respectively. Game was played on the PC with 2 hours of total playtime and 75% of the achievements unlocked.
Puzzle-platformers are the corridor shooter of the indie scene; they are the genre that nearly everyone attempts in their quest to become the next big thing. This means that, for the most part, original ideas are few and far between and often those that are truly unique fall flat on their executions in one way or another. It’s rare that any of these style of games executes all elements well, especially for indie developers who usually have to make sacrifices in one element to support another. Ori and the Blind Forest however makes no such trade offs with every aspect of the game setting a new standard for what the tried and true puzzle-platformer genre can deliver.
Ori is the child of the Spirit Tree, the great entity that provides life to the forest of Nibel. However one day Ori was ripped from the safe arms of the Spirit Tree during a storm and was lost deep in the forest. Thankfully though Naru, a creature of the forest, found Ori and raised it as her own, teaching her to gather apples and build bridges. Then one night the Spirit Tree set the skies on fire, hoping to find its long lost child and have them return home. Those cries went unanswered and the forest began to wither, the elements that supported it no longer being nourished by the spirit tree. Ori now wanders the forest alone, seeking out the Spirit Tree in the hopes of restoring the forest.
Ori and the Blind Forest is exceptionally beautiful with an amazing combination of 2D and 3D artwork that seamlessly blends together. The lavish use of glow and lighting effects elevates what would otherwise be a flat environment to a whole new level, giving Ori this kind of dream-like aesthetic that’s simply a joy to behold. Combine this with the absolutely amazing soundtrack and sound design and you have a game that’s, put simply, one of the best looking and sounding games I’ve played in a very long time. My only regret is that I didn’t play it on my new gaming PC (I was on holiday with the family and had my now aging ultrabook with me) as this beauty comes at a cost, although it was still readily playable.
At a gameplay level Ori and the Blind Forest is a puzzle-platformer with a host of additional mechanics thrown in that help differentiate it from this now crowded genre. Sure you’ll still be jumping from platform to platform a lot, trying to figure out how to use each of the abilities you have in order to get the next section, however interspersed with that are combat sections, resource decisions and a myriad of areas to explore that will reward you in many ways. This is then all backed by a three tree talent systems that’s broken down into combat, utility and new abilities that allow you to customize Ori to fit your preferred playstyle. All of these elements are blended seamlessly together so you won’t be slammed with a wall of possibilities the second you start the game. Suffice to say it’s a comprehensive list of features, something you don’t often see in indie titles.
The platforming is done exceptionally well, something I’m loathed to admit given how many times I failed on various platforming sections throughout the game. It starts off being very forgiving, with jumps being short and the punishment light, however it slowly escalates to the point where each jump needs to be almost perfectly executed in order to make them and failure will result in you going back to your last checkpoint (which you have to create yourself). For the most part everything works as advertised however there’s a few, let’s call them quirks, of how things work which can catch you out if you forget them. The one notable example I can think of is if you glide, then climb, then jump again (this all requires you holding the shift key down) you won’t then automatically glide again, something which will often result in your untimely demise.
The puzzles follow the platforming pretty closely, starting off straightforward and routine in order to introduce the mechanic du’jour and slowly ramping up the difficulty as you progress through a section. You likely won’t find yourself stuck on any one of them for too long however the time it takes you to actually solve them may vary a bit depending on how good your twitch reflexes are. Still apart from one particular section I didn’t feel like the puzzles were overly difficult or unduly punishing to the player and should you invest most of your points in one of the particular talent trees I’m sure the vast majority of the puzzles would’ve been a lot easier.
The talent tree and character progression system is also well designed giving you the choice of three different branches to choose from each of which has a specific set of benefits associated with it. It’s gated slightly in terms of further upgrades often requiring a campaign unlock to progress past them however this is more to encourage you to spend your points in the various branches rather than hoarding them for when you get that particular unlock. Indeed the levels come often enough that even after you unlock the next stage you won’t be waiting long to get that ability you’ve been lusting after and, should really want to powerlevel your abilities, there’s hidden ability point orbs all over the map to help you get across the line.
It’s not often that I can say that a game has a near-flawless execution as it’s quite hard to avoid some form of niggling issue or strange quirk but Ori and the Blind Forest has managed to attain that level of polish over its four year development cycle. Indeed apart from the one platforming quirk I mentioned earlier there’s really no other technical fault to speak of however there is one particular section of the game (the final “boss” section) which I take issue with. The instant-death punishment that sends you all the way back to the start of the section, coupled with an extremely short time to gauge what the next section requires you to do, means that you’ll likely end up dying repeatedly to things that you could simply have no way knowing were coming. It is perhaps the only black mark I will count against this otherwise exceptional game but it’s sections like that which have made me stop playing games completely in the past.
Bringing this all together is the absolutely brilliant story which, whilst simplistic, is delivered in such a beautiful way that it instantly draws you in and refuses to let go until the ultimate conclusion. I can’t remember a time when a game made me care about the main characters so quickly and then made me empathize even further with characters I either hated or found annoying. The finale is incredibly satisfying to, closing the story out and avoiding the temptation of leaving it open ended for a potential sequel. The fact that I’ve teared up several times recalling the various plot points as I write this review is a testament to the effect it had on me as it really is quite a beautiful story.
Ori and the Blind Forest is the game to which all puzzle-platformers will now be compared as it executes near-flawlessly in every aspect. The graphics and artwork are simply stunning with the dreamlike aesthetic providing an amazing backdrop for the beautiful soundtrack and foley work. The core game mechanics are rock solid, requiring you to push your own limits if you want to succeed and progress to the next stage. These characteristics would make it a great game in its own right but the story that binds everything together is what elevates this from being a great game technically to an exemplary title that will be used as the reference point from here on out. I could gush more but honestly you’ll be better served to stop reading now and grabbing yourself a copy of this absolutely brilliant game.
Ori and the Blind Forest is available on PC and XboxOne right now for $19.99 on both platforms. Game was played on the PC with approximately 8 hours of total playtime.
Indie games are typically a tradeoff between several different aspects that were once considered to be critical for a game to be successful. The typical approach is to tone down graphics, mechanics and even interactivity in favour of better storytelling. This is what attracted me to the indie scene in the first place as I find it easy to write off larger faults in the game should it be able to tell an engaging narrative. However sometimes there are little gems of indie titles that manage to do well in more than just one area, executing more than just a good story. Mind: Path to Thalamus is one such indie game, being able to deliver an experience that’s above many higher budget titles yet still retains the same aspects that make indie titles so charming.
You are stuck in a surreal and desolate world, one devoid of any other humans and that seems to react to your very presence. Some of the places are familiar, reminding you of places that you used to visit as a child, whilst others seem to have risen up from your deepest nightmares, shaking you to your very core. There’s only one thing that keeps pushing you forward: you must reach the Thalamus, no matter how painful the journey to it is. Can you suffer through the mistakes you made in order to find redemption? Are you even worthy of it? These are the questions you’ll answer as you journey towards the ever elusive Thalamus.
For an indie game Mind: Path to Thalamus is incredibly beautiful with the wide variety of different environments providing a great array of eye candy. Part of this is due to it using the Unreal under the hood, an engine that’s renowned for being able to produce great visuals, however the artwork is above that of many other indie games of similar calibre. This goes hand in hand with the soundtrack that accompanies the visuals, swelling at all the right points in concert with your character’s emotions and dropping to deathly silence, reminding you that you’re alone in this world. The screenshots I’ve taken really don’t do it justice, it’s an exceptionally well crafted experience.
The core game of Mind: Path to Thalamus is that of a puzzler, done in the now traditional indie style of not telling you exactly how everything works but giving you enough visual clues in order to be able to figure it out. The various mechanics change throughout the game however they’re introduced individually so you can get a feel for what their triggers are, how they combine and what bits and pieces of the environment you should be on the lookout for in order to be able to progress to the next section. Overall the puzzles are pretty simple, if you’re struggling it’s typically because you’re doing something the wrong way, however there’s enough challenge that they feel like an organic part of the game rather than a brick wall designed to pad out the play time.
This is probably why Mind: Path to Thalamus has such great visuals as they really are key to the overall game experience. Pretty much every time I found myself stuck on something was due to me not noticing or forgetting about a particular game mechanic, usually one that was just introduced to me not 1 puzzle ago. The last few puzzle stages kept me busy for a good couple hours as they use every mechanic to their fullest, forcing you to figure out what sequence of events you have to go through in order to unlock the next piece. It was well timed however as the final dialogue sections, which are scripted to repeat after a certain time, only did so right before the final scene showing that the developer has paced Mind: Path to Thalamus out extremely well.
For the most part Mind: Path to Thalamus runs well with no graphics glitches or broken gameplay elements to speak of. It does however seem to crash randomly on occasion, something that didn’t seem to have any one particular cause. Some sections that would crash at one point would inexplicably play through fine afterwards. They didn’t happen often however the checkpointing system seems to get confused when it happens and will send you back to the start of the chapter and not the current respawn point you’re at. It’s not a big deal, especially if you’ve already worked out all the puzzles, but it was a slight frustration when I was elbows deep in the story.
What sold me on Mind: Path to Thalamus originally was one of the trailers that showed some of the opening scenes of the game which had some extremely gripping voice acting. Whilst that same level of passion isn’t carried throughout the game the story is delivered well by the sole voice actor. Usually out of order narratives annoy me but Mind: Path to Thalamus does in it such a way that several story threads are built around you and only towards the end is the relationship between the two revealed. It wasn’t exactly an emotional rollercoaster however it was a solid story on regret, redemption and the highly illogical process we all go through when we’re grieving. Suffice to say I’d rate it above many other story-first games that I’ve played in recent memory although I wasn’t exactly in tears at the end of it.
Mind: Path to Thalamus is a fantastic example of what the indie development scene is capable of producing, from the gorgeous visuals right down to the engaging story. Whilst a story-driven indie puzzler might not be everyone’s cup of tea I feel Mind: Path to Thalamus would stand well just on its mechanics alone, with the inventive mechanics requiring more than passing glance to understand fully. It might not be a perfectly polished gem however Mind: Path to Thalamus expertly delivers on the goals it set out to accomplish and is definitely worth checking out if you’re a fan of the genre.
Mind: Path to Thalamus is available on PC right now for $12.99. Total play time was 3 hours with 48% of the achievements unlocked.
In the past the only genre of game that could get away with being intentionally difficult to play was survival horror. The reasoning there was that it built tension, mimicking the feeling of panic you would feel should you find yourself in the same situation as is on screen. However the past couple years have given rise to a genre of games, all of them from independent developers, that hinge on the idea of being incredibly frustrating to play. It’s hard to understand the comedic effect that this usually has, typically resulting in a whole bunch of emergent game play characteristics that become the game’s main attraction. Octodad: Dadliest Catch is one such game, combining incredibly obtuse controls with ragdoll physics that results in much hilarity.
You’re an octopus, one that’s managed to integrate himself into normal society to the point that everyone thinks you’re just a regular guy. Indeed even your wife and kids don’t know your secret, blissfully unaware of the chaos that seems to ensue wherever you go. There is one person though that knows who you are, a chef called Fujimoto, and he’s made it his only goal in life to reveal you for who you are and, most unfortunately, cook you up and serve you. What follows is the tale of you trying to integrate into society whilst attempting to flee Chef Fujimoto’s attempts to turn you into moderately priced sushi rolls.
Octodad reminds me of the educational games I use to play as a kid, having a distinctly cartoony style that uses heavily stylization. Initially I thought it was a Unity game as I’ve seen a couple other games with similar visual styles (kind of like how Flash games tended to look similar) but it’s actually a homegrown solution meaning the visual style is very deliberate. Whilst it’s not going to win awards I definitely like it and feel that it’s very fitting to the game. It also has the added bonus of making Octodad playable on pretty much anything which is great considering what a wide appeal the game itself has.
As I alluded to earlier Octodad relies on the unpredictability of the controls to generate the majority of the challenge. Primarily you’ll be doing things that would be considered trivial in most games, picking up an item, moving an item, walking through a hallway of precariously placed objects, however you’ll likely be unable to do that without knocking something over or accidentally picking something up. This wouldn’t be an issue however anything out of the normal will attract the attention of nearby humans and, should you continue your flailing, the jig will be up and it will be back to the ocean for you.
The controls take a bit of getting used to as you have to constantly switch between modes in order to get things done. The first mode is where you can pick up and move objects about, simple enough you say, however the controls don’t translate like you think they would. Then when you switch to the movement mode all the rules you learnt in the other mode go out the window and now you’re on an eternal quest to put your feet in the right position whilst not knocking anything over. Thankfully the devs included snap points for a lot of the main objectives as otherwise there’d be hours of frustration in order to get things to work just right.
Whilst the unpredictability of the physics engine is a feature, not a bug, there are a some unfortunate glitches which can be a tad annoying. You can get yourself into positions where the camera seems to forget where you are and no amount of movement spamming seems to bring it right (reloading a checkpoint will, however). There’s also no way to tell what surfaces you can and can’t adhere yourself to and even when you can the amount of gripping power you have seems to vary wildly depending on the situation. I will admit that the latter seems intentional to an extent but sometimes it felt like the game was punishing you for no reason in particular.
I was pleasantly surprised by Octodad’s story as whilst it’s lacking in depth it certainly isn’t lacking in heart. The subtitles for your lines are great, making you empathize with a character that, in all honesty, has no business being in the position that he’s in. It’s also acutely self aware of the absurdity of its own situation, thankfully not to the point of overdoing it like a lot of games tend to do. It’s the kind of story that I feel would be great for someone with kids as they’ll love the absurdity of Octodad’s flailing arms whilst learning a few things along the way.
Octodad: Dadliest catch is a charming indie frustration title that breaks away from many of the traditional game norms in favour of its own brand of absurdity. The game mechanics might not be complex, nor the puzzles particularly challenging, but it is a great deal of fun to play. The are some minor technical hiccups that mar the otherwise solid execution but they’re not game breaking and indeed you’d almost consider some of them part of the game itself. There’s a lot to like in Octodad: Dadliest catch and I’d definitely recommend a play through.
Octodad: Dadliest Catch is available on PC and PlayStation4 right now for $14.99 on both platforms. Game was played on the PC with around 3 hours of total play time and 13% of the achievements unlocked.
The indie dev scene seems to go through periods of obsession with different genres. In the past it was with platform puzzlers as it seemed that every other week brought to me several new titles attempting to put their own twist on the tried and true genre. More recently it seems to have shifted to survival horror as many seek to replicate the success of DayZ. So when Contrast, a platforming/puzzler from Compulsion games, I felt a distinct twinge of nostalgia, harking back to the indie renaissance that was built on games such as this. Like many from that time it’s taken the puzzler/platformer genre and placed its own unique style on top of it resulting in a game that’s quite interesting, even if it has its faults.
It’s not quite clear who, or more importantly what, you are when the game starts but all you know is that only a small girl, Didi, can see you. In fact this bond seems to be somewhat mutual as you can’t see anyone else but her and the shadows of others that are in the room with you. You and Didi seem to share a bond however as she’s always getting into mischief, usually with your assistance, much to the chagrin of her mother. Still, Didi’s mother tries hard to support her, hoping to rise to fame as a wonderful singer and actress. Everything starts to change when Didi’s deadbeat father comes back into the picture, promising to make everything right.
The art style of Contrast feels like you’re in the mind of a child with many typical elements, such as houses, having a very whimsical nature to them. It’s all heavily inspired by the art deco movement of the 1930s and 40s with many of the environments having a really distinct BioShock-esque feel to them. They do feel a little dead and empty however which I do believe was done deliberately however it means you feel compelled to not stay in one area for too long, even though the game tries to encourage you to explore. Potentially this could have been solved by adding in more light sources that had shadows walking past it which wouldn’t seem out of place and would make everything feel a little more alive.
As I alluded to earlier Contrast is a platform/puzzler that has an unique mechanic to spice things up a bit. The puzzles are all fairly basic in nature, usually consisting of getting yourself from one place to another or moving an item into another spot that’s not exactly obvious when you first start out. Contrast’s twist however is that when a wall is lit up you can “shift” into it, becoming a 2D shadow on the wall that allows you to move in ways that would be impossible otherwise. This leads to some rather intriguing puzzles where you’re always looking for where the source of light is and how the shadows you can create will help or hinder you in your goal.
There’s also a set of collectables called “Luminaries” which are hidden in various locations throughout the game. They function as an exploration mechanic as well as a kind of in-game currency to progress past certain obstacles. Their presence isn’t fully explained however, although Didi is aware of them for some reason, so the motivation to collect them really only comes about if you’re a natural explorer or you happen to see one that isn’t far out of your reach. Indeed there was only once when I didn’t have the required luminaries on me to immediately continue a puzzle and then it took me less than a couple minutes to find the requisite number.
Unfortunately whilst this mechanic is indeed novel it suffers heavily from glitchy behaviour. True flat surfaces with light projected onto them appear to work quite well however anything with a ridge or a bump in it, like the numerous columns that dot the landscape, have a tendency to shift you back out of the shadow plane. It’s hard to tell if this is expected behaviour or not as you can walk through them, some times, and you can also blast past them again only randomly. The shadow detection itself can also get a bit buggy as Dawn’s hitbox appears to be significantly bigger than the character model, leading to some puzzles either being more complicated than they need to be or being trivialized.
Indeed there were quite a few puzzles where I figured I’d be restarting from the checkpoint again only to find myself standing on air next to the ledge I was trying to jump onto. Whilst I was somewhat appreciative of this at the time it does mean that the game doesn’t function as you’d expect leading to some rather undesirable behaviour. Worst still there are many places where you can find yourself caught in the environment for some inexplicable reason and while I never had to reload to get unstuck it certainly didn’t endear the game to me when it happened.
Contrast’s story, whilst clichéd, does help to smooth over some of the more rough edges of the game. The majority of the voice actors are great with the notable exception of Didi who’s lines seem to be heavily disjointed between sentences. The music is quite good, suiting the art deco environment aptly. Whilst it might not have the depth of other indie titles it certainly has a little bit of charm to it with everyone being able to identify with the idea of giving someone a second chance.
Contrast is a unique concept, filled with brilliant ideas that are unfortunately hindered by a less than ideal execution. The story, music and scenery are all above average, crafting a whimsical art deco world that’s incredibly delightful. However the core game mechanics suffer from inconsistent behaviour and glitchy collision detection turning the otherwise novel idea of moving through shadows into a laborious experience. Lovers of indie puzzlers will find a lot to enjoy in Contrast however I think that’s the limit of its appeal, at least in its current state.
Contrast is available on PC, PlayStation3, PlayStation4 and Xbox360 right now for $14.99, $14.99, $21.49 and $14.99 respectively. Game was played on the PC with 3 hours of total play time and 68% of the achievements unlocked.
I think what attracts me most to the indie game scene is the refinement of game ideas down to their core. It’s far too typical for games to include elements from disparate genres (how many AAA games now include some form of levelling or skill tree based progression) and whilst the end result might be playable those extraneous elements usually don’t do much for the game as a whole. Independent game son the other hand, with their much more limited resources behind them, have to focus on those ideas lest the scope get out of control. Gunpoint is an indie platform puzzler that does a few things and does them well making for an enjoyable, if somewhat short, experience.
You are Richard Conway, freelance spy who’s just received his shipment of Bullfrog hypertrousers and has decided to test them out from his 3rd floor apartment. Of course since you’ve never used them before this sends to you flying out of your apartment and into the nearby corporate offices. Unfortunately for you a murder is committed nearby and the video footage places you at the scene of the crime. So begins your adventure into covering your ass and, hopefully, discovering who the real killer is.
Gunpoint is a pixel art game and does well to invoke feelings of the times when games like it were common. The story behind its creation is quite interesting as the main developer, Tom Francis previously of PC Gamer fame, put out a call on his blog for artists. He eventually settled on John Roberts as the lead artist and Fabian van Dommelen for the backgrounds and the end result is quite good. Francis also went through the same process for the background music and has achieved a similar level of success even though it’s a decidedly more modern affair.
As I alluded to before Gunpoint is a puzzler platformer with a heavy emphasis on using the environment to accomplish your objectives whilst remaining out of sight of potential enemies. Initially this is just a game of timing your moves right, ensuring that guards don’t see you and that you have enough time to accomplish your goal before they turn around. However that all changes when you’re given access to the crosslink tool, a game mechanic which allows you to rewire circuits within the building you’re attempting to infiltrate. This allows you to do all sorts of crazy and whacky things, many of which are emergent thanks to the rather free form nature of Gunpoint’s play.
In the beginning you’re given unfettered access to the entire building, allowing you to rewire anything to anything. Of course if the whole game was like this it would be a little too easy so eventually it’s broken down into different circuits which you need to unlock in order to be able to control devices on it. This necessitates using a little strategy in order to get guards to open doors for you or just to set them in motion so you’ll be able to sneak past them or take them out without risking being shot. This is probably one of the few games where I find one-shot kills acceptable although that’s probably more due to the great auto-save system more than anything else.
The upgrade system in Gunpoint takes on a dual focus with each successful mission granting one point to upgrade your innate abilities as well as a stack of cash which you can spend on upgrades. However like most games which incorporate upgrades which have potentially game changing consequences Gunpoint’s levels don’t strictly rely on you having anything of them, meaning the game can be completed without them. Indeed I didn’t spend much money at all on upgrades initially and only when I was granted a ludicrous $8000 bounty did I bother spending my cash. Even then at the end I barely used any of the additional abilities I had been granted although the upgrades to the jump charge speed and height were somewhat useful.
The story is a light-hearted affair as it doesn’t take itself too seriously (even if you choose the less silly dialogue options) and doesn’t really deal with a serious subject matter. For the style of game it fits quite well and the story sequences, which are told through walls of text, don’t distract from the main game. If you’re feeling adventurous you can also find extra bits and pieces of the story scattered around the levels in optional objectives which aren’t completely necessary but do add a little more flavour and back story. Overall it’s good but lacks any kind of depth so don’t expect a heavily story driven experience.
Gunpoint is a great puzzler experience that focuses heavily on the game play, allowing the player a degree of freedom that is rare in today’s titles. It’s quite likely that no two playthroughs of Gunpoint will be the same as the amount of emergent behaviour that is possible within each small level is quite extraordinary. It’s let down somewhat by the not-so-useful upgrade system and light on story but the heavy investment in the game play more than makes up for these shortcomings. It’s an intriguing title, one made even more interesting by the fact that it was made by a former game critic, and should you be looking for a good distraction between longer games then you really couldn’t go past Gunpoint.
Gunpoint is available on PC right now for $9.99. Total game time was approximately 2 hours with 50% of the achievements unlocked.
I’ve often wondered what the world of experimental indie games looks like to someone who doesn’t have a long history with games. Whilst the average age of a gamer is pushing past 35 there’s still got to be a good chunk of people who didn’t grow up in the golden age of gaming which means that many of the conventions relied upon in these games would simply be unfamiliar to them. Usually this is done in aid of getting out of the way of the user’s experience (tutorials are by far the worst immersion breakers, bulldozing through the 4th wall) and it’s something I appreciate although I recognise how this might be of limited appeal to others. MirrorMoon EP is one such game, relying on your sense of curiosity and exploration to uncover the vast world that it encompasses.
I am slowly learning to travel in space.
Time is a meaningless variable that slips through my fingers.
Stopping requires a lot of energy while moving feels almost like staying still.
Breathing is hard inside this machine.
I need to stay calm.
And with only that to go on you’re dropped on a mysterious moon, one that has a strange relationship with another nearby celestial body.
MirrorMoon EP feels visually similar to other minimalistic exploration games like Kairo favouring texture-less environments with solid colours covering every surface. As I alluded to earlier I believe that this is done in order to focus you on the gameplay above everything else and indeed since the control mechanism doesn’t allow you to sight see particularly well (more on that later) it does feel like MirrorMoon EP is doing its best to get out of your way. As a fan of minimalism this works quite well for me, especially when I find myself agape at some of the scenery which is nothing more than a couple light shafts arranged in a particular manner.
MirrorMoon EP is an exploration puzzler and the first world you find yourself upon serves as an introduction into the numerous mechanics that are built into it. Your viewpoint is locked however so whilst you’re in first person mode you can’t look up or down, nor even to your left or right. Instead you have to move yourself around like your entire body is encased in concrete, fixing your vision firmly forward. This, coupled with the incredibly small sizes of the world, means that your sense of location and direction is severely limited however you’re able to unlock a large set of tools that will help you find your way around and some of them are quite novel.
As the name of MirrorMoon EP alludes to you’ll quickly find out that there’s another “moon” nearby that, once you’ve discovered the right tools, you’re able to interact with. Initially it doesnt’ make a whole lot of sense, the first one allows you to rotate it around to see different features, however it becomes apparent that the moon you’re manipulating is in fact a duplicate of your own. Then using the tools you have disovered by randomly bumbling about you can then use it to guide yourself, allowing you to unlock more and more secrets. Eventually you’ll solve the puzzle and be treated to some more vague on screen text but after that you’re given access to the real game and it’s quite something.
This is your console for exploring the vast space that is contained within MirrorMoon EP. Like pretty much everything else in the game details on how it operates is scant but after clicking around you’ll eventually figure out what everything does. The screen with numerous dots all over it is a map of all the other moons you can visit and each of them contains an unique puzzle for you to solve which, once completed, will allow you access to a glowing orb. Should you be the first person to find that orb then you’re granted with a special privilege.
You get to name that moon.
Now with the massive number of planets available I get the feeling that they’re all procedurally generated so some of them are going to be amazing and others are going to be quite dull (I believe I visited one that was completely dark and the orb was right in front of you). The names are also persistent and you’ll be able to tell if someone’s named a planet by the name being something other than THX/89 or something of a similar format. I managed to haphazardly visit another person’s planet without realising it but soon after found myself seeking out all the planets I could in order to solve them before anyone else did.
Whilst is a pretty novel and interesting mechanic it unfortunately gets boring quite quickly as whilst the planets are usually different in some way a lot of the time it’s just a jumble of various mechanics mashed together procedurally. Once you’ve seen a dozen or so planets you’ve likely seen them all and so what initially seems like something with infinite replay value quickly fades into repetition. I do like the idea though and for some people I’m sure this would be infinitely interesting (kind of like Kerbel Space Program in a way) but for me I just couldn’t be bothered after a while.
Now I’ll have to admit some fault here as whilst I managed to complete the first “side” easily (and got the achievement to that effect) I haven’t yet been able to figure out how to finish side B in order to get a complete understanding of the story. It does seem quite interesting, especially with the references to the “anomaly” and how the machine interacts with space and time, however the intentional vagueness of both the game and the story have curtailed my efforts to dig up any substantial meaning from it. I could just Google it, like I did for Kairo, and I probably will if I don’t find out anything more soon.
MirrorMoon EP is an interesting game, one which is heavily shaped by your own experiences with it. The unapologetic, minimalistic nature of it will definitely be a turn off for some however the heavy focus on the game play to the exclusion of nearly everything else is something that MirrorMoon EP pulls off exceptionally. Unfortunately I feel like it’s replay value is somewhat limited due to its procedural nature and the intentional vagueness of both story and gameplay may have lead to me giving up on it prematurely. Still MirrorMoon EP stands out as yet another shining example of the indie exploration/puzzler genre and is definitely worth looking into.
MirrorMoon EP is available on Steam and OUYA right now for $9.99. Total game time was around 2 hours with 40% of the achievements unlocked.
It’s been a rough few months for Microsoft’s gaming division with them copping flak from every angle about nearly all aspects of their next generation console, the Xbox One. I’ve tried to remain mostly neutral on the whole ordeal as I had originally put myself down for both consoles when they both released but that changed when I couldn’t find a compelling reason to get both. Since then Microsoft has tried to win back the gamers it alienated with its initial announcements although it was clear that the damage was done in that respect and all this did was helped to keep the loyalists happy with a choice they were never going to make. Since then it’s been all quiet from Microsoft, perhaps in the hopes that silence would do more to help than anything else they could say at this point.
However a recent announcement from Microsoft has revealed that not only will Microsoft be allowing independent developers to self-publish on the Xbox One platform they’ll also be able to use a retail kit as a debug unit. Considering that traditionally development kits were on the order of a couple of thousand dollars (the PlayStation3 one was probably the most expensive I ever heard of at $20,000 on release day) this announcement is something of a boon for indie developers as those looking to do cross platform releases now don’t have spend a significant chunk of change in order to develop on Microsoft’s console. On the surface that would seem to be a one up on Nintendo and Sony but as it turns out Microsoft isn’t doing something truly notable with this announcement, they’re just playing catch up yet again.
Sony announced at E3 that they’d allow indie developers to self publish on the PlayStation4 however you’ll still need to get your hands on a development kit if you want to test your titles properly. This presents a barrier of course, especially if they retain the astronomical release day price (I wouldn’t expect that though), however Sony has a DevKit Loaner program which provides free development kits to studios who need them. They also have a whole bunch of other benefits for devs signing up to their program which would seem to knock out some of the more significant barriers to entry. I’ll be honest when I first started writing this I didn’t think Sony had any of this so it’s a real surprise that they’ve become this welcoming to indie developers.
Similarly Nintendo has a pretty similar level of offerings for indies although it wasn’t always that way. Updates are done for free and the review process, whilst still mandatory, is apparently a lot faster than other platforms. Additionally if you get into their program (which has requirements that I could probably meet, seriously) you’ll also find yourself with a copy of Unity 4 Pro at no extra charge which allows you to develop titles for multiple platforms simultaneously. Sure this might not be enough to convince a developer to go full tilt on a WiiU exclusive but those considering a multiplatform release after seeing some success on one might give it another look after seeing what Nintendo has to offer.
Probably the real kicker, at least for us Australians, is even despite the fact that indies will be able to self publish on the new platform after testing on retail consoles we still won’t be able to see them thanks to our lack of XBLIG. Microsoft are currently not taking a decisive stand on whether this will change or not (it seems most of the big reveals they want to make will be at Gamescon next month) but the smart money is on no, mostly due to the rather large fees required to get a game classified in Australia. This was supposed to be mitigated somewhat by co-regulation by the industry as part of the R18+ classification reforms and it has, to some extent, although it seems to be aimed at larger enterprises currently as I couldn’t find any fee for service assessors (there was a few jobs up on Seek for some though, weird). Whilst I’m sure that wouldn’t stop Australian indie devs from having a crack at the Xbox One I’m sure it’d be a turn off for some as who doesn’t to see their work in their own country?
I’m getting the feeling that Microsoft has a couple aces up its sleeve for Gamescon so I’ll hold back on beating the already very dead horse and instead say I’m interested to see what they have to say. I don’t think there’s anything at this point that would convince me to get one but I’m still leagues away from writing it off as a dead platform. Right now the ball is in Microsoft’s court and they’ve got a helluva lot of work to do if they want their next gen’s launch day to look as good as Sony’s.
Stripping away certain aspects of a game is the norm for independent developers as your limited resources constrain what you’re able to accomplish. Whilst on the surface this sounds like it would make for an inferior game often it results with a game that makes incredible use of its bare essentials, creating an overall experience that’s on par with much larger titles. Then there are those that eschew nearly all aspects of traditional games in order to focus on a single aspect. Notable entries include games like Gravity Bone, Thirty Flights of Loving, Auralux and, I’m most pleased to say, the new exploration game Proteus.
Like other exploration games Proteus is one where the narrative is primarily driven by your curiosity. Upon starting the game you’ll be greeted with your own little island (which I assume is procedurally generated so each one is unique). There’s no voice telling you to walk to it, nor any other indication that you should even go there, but of course there’s that little voice at the back of your head telling you to proceed forward. Should you do so the next hour of your life will be dedicated to exploring a world that undergoes wild amounts of change and, eventually, so do you.
Proteus is unique in terms of graphical style, straddling the boundaries of pixel art and early 3D first person shooter games. What I found particularly interesting was despite the bare bones nature everything was instantly recognizable, from the various types of plants and animals to the various bits of other miscellanea that covered my island. I’ll be honest and at first I just thought it was the developer being lazy but the more I played the more I began to appreciate the simplicity as that kind of refinement doesn’t exactly come easy.
There’s no real game mechanics to speak of, the whole point of Proteus is simply for you to explore the island that it has created for you. Whilst the island isn’t particularly huge there’s definitely enough to keep you interested, especially with all the various animals that react in different ways to you approaching them. There’s also a weather system that changes from time to time which, again, changes the island. But this is all just a lead up to the best part of Proteus and it only happens at night.
What could be considered plot spoilers follow:
I remember seeing this for the first time very clearly. The sun had gone down and little lights began to appear everywhere. Up until then I had wondered what the overall point of the game was as whilst it was cool to explore a procedurally generated island there wasn’t much more to it; no purpose, no story. But then the lights began to move in a strange way, they seemed to be all moving towards a single point on the island. Curious I walked towards it and they began to speed up with more and more lights appearing out of nowhere to join them.
The lights began congregating at one location, forming into a kind of vortex centered on a point in the middle of island. I walked towards it and they spun faster still, swarming around me until they erupted in a blinding flash of light. Afterwards I saw it was day time once again but the island had changed. New life had sprung up around me and the world looked very different. I realised then and there what had happened, I had been transported forward in time to the next season.
And so this process repeated itself several times over, each time when night fell I would wait anxiously for the lights to reappear in order for me to advance to the next stage. Eventually winter came to my island and it instantly became a desolate wasteland, home to no perceptible life. I wandered my island aimlessly looking for a sign, something to show that was still alive but alas there was none. I again waited for night to come but the lights never appeared so I kept exploring, hoping that I’d find the solution to a problem I felt I had created. It was then that my slow descent into the clouds began and eventually my eyes closed and my island journey came to an end.
Proteus wins my praise for the simple fact it went from a slightly confusing experience to an incredibly magical one by the use of simple mechanics that forced me to build my own narrative. If Auralux is the essence of real time strategy then Proteus is the essence of an exploration game as it does away with pretty much all extraneous elements in favour of the exploration mechanic. It’s short and bittersweet and definitely not for everyone but if you’re a fan of creating your own narrative or exploring games that strip away all things in favour of one aspect then Proteus is definitely worth a look in.
Proteus is available on PC right now for $9.99. Total game time was approximately 1 hour.
2012 was the year I decided to ramp up my game reviews significantly, aiming to get at least one done per week. I got pretty close to that goal managing to get through a grand total of 48 games last year, well over the double previous year’s tally. I have to say that I really enjoyed the whole experience as I often found myself going outside my comfort zone in order to find something to review and the number of indie games I’ve played this year is more than all the years prior put together. Now that 2012 is firmly in the rear view mirror it comes time for me to reflect on all the games that I’ve played and crown one of them Game of the Year 2012.
As always here’s a list in chronological order of the games I reviewed during 2012:
Now people who’ve been here a while (and have read my Guide to Game Reviews on The Refined Geek) will know that my review scores tend towards the infamous 7 to 10 scale rather than 0 to 10 but from time to time I’ll venture below that curve for games that really deserve it. Notable mentions that did this include Lone Survivor, I Am Alive and (drum roll please) this year’s winner of lowest score received: Dear Esther. My review of that game was probably one of the most controversial reviews I’ve ever written as I had people telling me I simply “didn’t get it” all the way up to saying that it wasn’t fair for me to judge it as a game because it wasn’t. Sadly nothing of what anyone sad to me could change the horrific experience I had with Dear Esther and it gives me an undue amount of pleasure to give it the Wooden Spoon as worst game of 2012.
Whilst 2011 saw me give a notable mention to Gemini Rue for being a stand out indie game of that year I can’t feel like I can do the same this year: there’s just so many deserving titles and unlike Gemini Rue nearly all of them got the praise they deserved. Indeed the reason I found out (and subsequently played) so many indie titles this year was because of the attention they were receiving in the larger video games press and if it wasn’t for a few kind words from some of my trusted sources many of these indie games might not have seen a review here. Whilst I’ll stop short of giving an award to the indie game scene (because that’s incredibly lame) I will say that I’m looking forward to what the indie scene brings forth in 2013 and beyond.
One game that I’d like to give an honourable mention to, since it is by far my most played game of 2012 by a long shot, is Defense of the Ancients 2 (DOTA 2). Whilst I starting playing it back towards the end of 2011 I really didn’t get that into it until just after I wrote my initial review of it but after then my play time in it snow balled considerably. This was helped a lot by the fact that a cadre of my competitive gaming friends joined along with me which fuelled my addiction to it to perilous heights. Today I’ve played over 600 games and ranked up well over the same amount of hours playing, watching and talking about DOTA 2 and Valve deserves an extraordinary amount of credit for making this game what it is today. It’s not my game of the year since it’s more like a meth addiction than anything else, but that doesn’t detract from its accomplishments.
I’ll be honest, choosing my game of the year (even with the beautiful hindsight granted by having a big list of games I’ve played right there to look over) was tough. Whilst there were a lot of good games there were no amazing stand outs like there was the year previous. Going by review scores the best game of last year for me was Journey and whilst I was very tempted to give it that honour, like IGN has done, I couldn’t shake this feeling in the back of my head that there was another game that was more deserving but I couldn’t figure out which one to pick. The answer came to me, funnily enough, in the middle of a New Years eve party in the early hours of the morning and I still agree with that decision today.
My Game of the Year for 2012 is To The Moon.
If for the simple fact that I’m fighting back tears right now isn’t proof enough that this game had a massive impact on me To The Moon is one of those games that eschewed game play in favour of telling a beautiful, gripping story. Sure the game play was flawed and the disjointed pacing was one of the reasons that it didn’t score better than Journey but if just thinking about it can cause that kind of reaction in me then I know it had an impact that few games have had. I could continue gushing about it for hours if I wanted to but you really need to experience it for yourself as it’s an incredibly personal experience, one that will stick with you for a long time.
I had debated whether or not to continue my 1 review per week deal this year as whilst I thoroughly enjoyed the experience and opportunities it has granted me (2 games this year were sent to me for review, a 100% increase on last year!) it does take a fair bit of time to get through them. However considering the amount of DOTA 2 I’ve managed to fit in the past year I figure that cutting back on that in favour of more games will see more deadlines hit more frequently meaning more regular reviews for you, my readers. I won’t make any grandiose promises about reviewing more games this year than last but I’ll guarantee I’ll try my hardest to get one out a week and continue to pillage the vast reaches of all game genres and developers.
P.S. What was your game of the year? I’m really keen to know.