Playdead’s Limbo inspired an entire sub-genre of atmospheric puzzler platformers. It’s one of the few games that many will finish in a single sitting; its succinct and engaging game play cementing you to your seat until it’s finished. It’s been quite a while since Limbo was released however and many have been eager for Playdead’s sophomore release. Inside was teased 2 years ago and, like all good hotly anticipated releases, was met with numerous delays before being released this year. Of course the release brings with it the question of whether or not Playdead can live up to their previous accomplishments and, perhaps, even exceed them.
On first blush it would seem that Playdead was hoping to ride out much of the nostalgia and hype that they generated with their seminal title. Once again you find yourself in control of a lone, young boy making his way through a dark and dangerous wilderness. However where Limbo’s world was allegorical Inside’s is more literal, everything seeming fare more real than its predecessors did. You’re given just about as much instruction as you were in Limbo, leaving you to figure out what the controls are and how to interact with your environment. Once you’ve got that down you’re then left to explore this dark world and all the dangers that it contains.
Inside utilises a muted colour palette with a highly stylized aesthetic reminiscent of games like Team Fortress 2. Where Limbo used their own custom engine to produce the trademark monochromatic visuals Inside instead uses Unity with a specially developed temporal anti-aliasing filter. This is what gives Inside it’s smoothed, cinematic quality that eliminates most of the jaggies that would otherwise be present. It also, as the developers point out, has a nice side-effect of giving everything a stochastic effect which adds that slight dreamlike quality. The resulting experience is quite honestly exceptional, bringing that Limbo-like effect to the modern day.
Like its predecessor Inside is a puzzle platformer, pitting the young boy against a myriad of challenges which will require you to figure out how best to tackle them. None of the mechanics it uses are new or inventive however they’re all tied into the theme of Inside in some way. There will be much dying, retrying and going down dead ends to try and find the various secrets scattered throughout the game. Inside is very much of the ethos of “Show, don’t tell” with the game giving you clues and hints about what it wants you to do next. It’s also a linear experience with there being one and only way to progress to the next section. It’s simple and unoriginal but Playdead made their name in defining this sub-genre and the quality of craftsmanship in all aspects of the game belies its mechanical simplicity.
What Limbo and Inside both do exceptionally well is inspire feelings in the player. There are numerous moments in Inside that inspire sheer terror or that horrible sense of foreboding should you step one foot out of place. As someone who’s typically not a fan of horror or its sub-genres it was genuinely refreshing to see this done right. This, coupled with the drip feed of information about the world that’s given to you, gives you a driving sense that this is all building to something but you can’t be sure what it is. Then comes what I think is the game’s pinnacle moment and what cements it as another brilliant title from Playdead.
PLOT SPOILERS BELOW
The moment is, of course, when you transition from the scared boy to the blob. The entire premise of the game up until that point is you existing in a world that is hunting you, one that you should be afraid of. That all changes when you become the blob, the world now fears you, and what you might do to it. Instead of the world and its people fighting you they assist you (for the most part), trying to ensure their own survival just like you were before. The fear and tension is gone, replaced by a kind of excitement. You are now in control, even if that means you’re a strange amalgam of body parts that moan in the most horrendous way whenever you move.
Which leads us to the story. I’m firmly in the camp of the boy being controlled directly by the blob, sent on a direct mission to free it from its prison. Of course how you interpret either ending is up to you, that’s the beauty of how the story is told, but that’s the only explanation I’ve seen thus far that fits well with the events as they unfolded. Regardless of what explanation you take as true it’s hard not to appreciate the final ironic climax, the purpose of Inside being only to get outside. Inside’s story is definitely an intellectual rather than an emotional one.
PLOT SPOILERS OVER
Inside has done what many would think would be impossible: improve on the formula set by a classic and bring it into the modern age. The aesthetic retains that same Limbo-esque feeling whilst modernising it significantly, likely setting the precedent that many games will follow for years to come. The gameplay, whilst standard affair for the genre, is well polished and all done in aid of telling the story. The overall narrative, shown to you rather than told, is certain to keep people talking about it for years to come, the ultimate meaning hidden behind many clues, red herrings and good old fashioned speculation. Inside is a game that is thoroughly worth the time to play and, if you can manage it, in a single session on a lazy Sunday afternoon.
Inside is available on PC, Xbox One and PlayStation 4 right now for $19.99 on all platforms. Game was played on the PC with 2.9 hours of total play time with 29% of the achievements unlocked.
Mirror’s Edge came at a pivotal time in gaming history. The industry was leaping forward in ever greater strides with game budgets soaring and consumers ever more willing to shell out for the latest and greatest titles. However it was the time when the yearly game cycles began to take hold, the same titles regurgitated year after year and original IPs were few and far between. The Indie Renaissance was still some years away and so gamers were hungry for titles that were a break away from the norm. It wasn’t a breakout success however, generating good but not great reviews. Still the success it had led many to believe a sequel was inevitable but DICE was tight lipped on the franchise for a long time.
It wasn’t until 5 years later that we’d find out that Mirror’s Edge would be returning and it would still be another 3 after that before we’d be able to play it. Mirror’s Edge Catalyst was initially envisioned as a prequel title however it’s current incarnation sees it as a reboot of the franchise. It’s a much broader scope game, expanding on the free running concept by dramatically increasing the area you’re able to move about in and adding in some additional mechanics to keep it interesting along the way. Whilst rebooting the franchise at this point makes some sense, not many will go back to play an 8 year old game, it does lay waste to the narrative that many fell in love with.
Mirror’s Edge Catalyst retains that same stark white base and vivid colour scheme that was popularised by the original title. This is then amplified by the significant improvements in lighting and environmental effects that the current generation of consoles allows, highlighting the contrast even further. The environments are quite lacking in detail however with flat textures covering nearly every surface. It’s an aesthetic that does its best to get out of the way however it can be visually confusing at times (more on that a little later). Still there are many great screenshot worthy moments, some of which I’ve included here.
Catalyst retains the base characteristics that drew many of us to its predecessor: the free running through large, open environments with numerous obstacles in your way. Layered on top of this is the usual open-world smattering of side quests, collectables and hidden areas that can be unlocked for various bonuses and whatnot. There’s also a levelling system now, meaning some abilities are locked behind level gates and talent trees requiring you to do some additional work to unlock them. Gone for good though is the ability to use weapons something that was awkwardly implemented previously (some would say for good reason). At a structural level Mirror’s Edge Catalyst feels like a bolder, more ambitious version of what the original was but it’s difficult to say that a lot of these things are outright improvements.
The core mechanics are still solid so getting from point A to B, especially if you do it flawlessly, gives you that same exhilaration that its predecessor did. There were numerous times when I found myself gliding elegantly past all obstacles, enjoying the continuous momentum and slight wind noise in my ears. The additional mechanics open up the world a bit more, however since they’re gated to specific campaign missions it can be a bit of a let down to find out that you need them to get to a certain area. The much more open world does make it a bit more interesting, especially when you’re trying to run and hide, however the actual area you can explore is far smaller than the game would have you think. You can test this by simply trying to run in one direction and you’ll often find yourself hitting a wall in under a minute or two.
I don’t remember combat being particularly enjoyable in the original and Catalyst doesn’t do much to improve on the system. The addition of the focus meter, filled when you run and depleted as you get shot, encourage you to move around more than straight up fighting. However when it comes time to fight you’ll often find yourself with basically no where to go. So then you have to engage in the unfortunately awkward and repetitive combat, using specific moves to take down each of the different types of enemies. Until you unlock some of the higher finishing moves and extra damage bonuses this can take quite some time. In the original this tedium could be broken up a bit by snagging a weapon or two but without that option you’re unfortunately locked into the monotony of grapples, kicks and punches.
I’m sure open world fanatics will find a lot to love in the ample side missions and collectables that are strewn around Glass (the city in Catalyst) but for me they became an exercise in frustration. The time trails and courier missions can almost never be done in the first half dozen tries as any mistake costs you the valuable seconds you need to make it to the end. This means a 1 minute running mission will probably take you at least 10, especially if you don’t have all the upgrades that unlock the game’s various short cut routes. I’ll admit that some of this stems from my dislike of being shown things that I can’t get and having to go back to them later on, but I do feel like there’d be a better way to craft these kinds of missions to make them more attractive.
The stark colour scheme of the original Mirror’s Edge enabled the developers to use red as an indicator of where you should go. That’s still used in Catalyst, however the objects aren’t permanently red, they’re highlighted so by your “Runner’s Vision”. This works fine about 80% of the time however sometimes if you take a wrong turn, change your mind halfway climbing up something or even just randomly you’ll lose that highlighting completely. When you’re in the middle of escaping from something this usually means your death or it can mean many seconds of frustration as you rapidly click R3 to try and get it to come back. This is definitely one case where its predecessor did a far better job with visual cues and is my biggest gripe with Catalyst.
The story is very middle of the road, not terribly bad but so forgettable that 6 weeks on from playing it I’m struggling to come up with any memorable moments. Sure it provides the backdrop for some awesome things to happen (like the below screenshot) but it doesn’t do much more than that. I’m not pining for the previous story to make a return, there wasn’t much to write about home there either, however a stronger narrative could have made some of the more glaring issues fade into the background.
Mirror’s Edge Catalyst is a moderately successful reboot of the classic title, broadening the scope of the game significantly whilst keeping much of the core in tact. The same stark colour scheme which has since been used in numerous other titles returns successfully, draped in current generation flair. The open world vision might not be entirely to my liking but the extra space to free roam is a welcome addition. The parkour mechanics remain solid, however the progression and combat systems are questionable additions. The story does little to tie everything together but at least does nothing to break it apart. Overall Mirror’s Edge Catalyst is a good-but-not-great title, one that can be enjoyed and then lent out to other curious friends.
Mirror’s Edge Catalyst is available on PC, Xbox One and PlayStation 4 right now for $89.99, $99.99 and $99.99 respectively. Game was played on the PlayStation 4 with 12 hours of total game time and 46% of the achievements unlocked.
Games, like all creative endeavours, are aspirational things. They all have a goal; some to tell a great story whilst others challenge you with mechanics and puzzles. One of the key things that I’ve come to judge games on is what their ambition is and how close they get to achieving it. Great games do this effortlessly whilst lesser ones struggle to realise the vision of their creators. Unravel unfortunately falls into the later camp, proudly announcing its intentions early on in the game but failing to evoke the kind of emotional response it was looking for. It is, however, one of the more beautiful and mechanically inventive games of recent memory.
You are Yarny, an adorable little creature woven out of red yarn. You find yourself in the home of an elderly lady, one filled with photographs and memories of years gone by. However it seems her most prized possession, a photograph album, has long since faded, its little woven decorations missing. So you take it upon yourself to explore the places where these memories were formed and to find those mementos of times long since past. Along the way you’ll encounter many challenges, all of which you’ll overcome using the one thing at your disposal: your yarn.
Unravel is an absolutely gorgeous game, having the same kind of “small person in a huge world” feeling that Little Big Planet did so well. The environments are incredibly detailed and are slathered in modern effects like depth of field, realistic weather and volumetric lighting. Whilst there’s some slight stylization here and there everything else aims to be far more realistic from the detail on the wood textures to the small flecks of rust on a metal bucket. All of this is amplified significantly by the beautiful original soundtrack. In terms of sheer craftsmanship there are few games, especially in the same genre, that can hold a candle to what Unravel’s team has created.
Mechanically Unravel is a 2.5D platformer, often putting you in a situation where the exit is just out of reach or hidden behind another obstacle. The novel mechanic comes from Yarny who is tethered to a specific point and only has so much length which can be used. All the other mechanics flow on from this principle, like being able to swing between points or building little yarn bridges which you can use to pull things across gaps. Like most platformers there’s also numerous secrets to be found, requiring either exploration or a keen understanding of the mechanics to unlock. It might not sound like much of a twist on the standard platform formula but it’s enough to keep things interesting over its 6 hour duration.
The puzzles start out being easy enough, usually just requiring you to pull something in one direction or get up enough momentum to leap across a gap. Where they start to get tricky is when the length of yarn you have is barely enough to make it, forcing you to optimize how you use it. For the most part this is obvious, untie knots you don’t need and find the shortest path possible, however some times it requires finding the other yarn stash which might not be immediately apparent. Probably the most frustrating ones are the timed, twitch based platforming sections which will inevitably require several tries to complete. I’m honestly not a fan of these kinds of challenges as they seem more anti-player than anything else, eliminating the skill requirement and requiring you to do it multiple times in order to progress.
Unravel also has some pretty rough edges, almost entirely brought about by the troubles that come from physics based game play. Objects will simply not behave themselves sometimes, often leading you to get stuck on a puzzle because something didn’t do the thing it was supposed to do. Quite often when you jump towards an anchor point Yarny will either not target it or will target another one. There’s also some puzzles which, if done in a certain way, will stop you from progressing leaving you with no option but to restart the entire level. Finally there are a few places where you can simply fall through the world completely, again requiring a restart. None of these issues will stop you from completing the game however they can add in enough frustration to warrant putting it down for the day.
At the beginning Unravel states, explicitly, that they’ve included a lot of mature themes in the game as that’s what they believe makes a good story. True to their word those themes are in there however they’re explored implicitly, dribbled out to you in the form of a few photographs in each level. It’s a story that everyone can relate to, sure, however Unravel is not a game that’s driven by its story. Instead it’s a beautiful platformer, one that relies on its mechanics to drive everything forward above all else. In that respect whilst it’s admirable that the Unravel team aspired to deal with issues that other games leave at the door it’s done in such a hand wavy fashion that I can’t really give them much credit for it.
Unravel is an exceptionally beautiful game, one that is complimented strongly by its inventive mechanics. The graphics and accompanying soundtrack are stunning being far above the average for other games in this genre. The platforming mechanics are done well with the additional yarn mechanic working pretty much how you’d expect it to. The experience is marred by the usual bevy of issues that come with physics based game play, not to mention a few glaring issues that will need patching sooner rather than later. The story, which is highly asiprational in nature, is too ethereal in nature to be of much impact, even if some of the themes will resonate universally. Still overall Unravel is a game that’s worth the short time it asks of you and is sure to delight those who find charm in Yarny’s cuteness.
Unravel is available on PC, XboxOne and PlayStation4 right now for $29.99 on all platforms. Game was played on the PC with 6 hours of total play time and 62% of the achievements unlocked.
Tomb Raider’s reboot of 3 years ago was a successful one, reinvigorating a franchise that had been sidelined by newer IPs in the same genre. Indeed it was the first Tomb Raider game I had played in many years as the bug ridden Underworld was simply unplayable. The reboot was enough to spark my interest in the IP again and since the sequel was announced about a year later I’ve been eagerly awaiting the next instalment. The (thankfully short) timed exclusivity to the XboxOne was a little annoying, since I had to dodge more reviews and articles than I usually do, but finally last week I spent a good chunk of time playing through the latest Tomb Raider.
Rise of the Tomb Raider begins about a year after the events in the preceding instalment. Lara, after witnessing many supernatural occurrences on the island of Yamatai, seeks out answers in her father’s research notes. There she finds his white whale: the lost city of Kitezh which supposedly holds the key to immortality. Her quest sends her to Syria where she seeks out the lost tomb of an ancient prophet linked to the legend of Kitezh. It’s there however that she comes face to face with an organisation called Trinity: an ancient order dedicated to seeking out the supernatural and taking it for themselves. Lara is undeterred however and travels to Siberia where she believes the lost city of Kitezh resides.
The production values of Rise of the Tomb Raider are exceptionally high with every aspect of the game above the standard I’ve come to expect for AAA titles. Visually it is incredibly impressive with the environments being rich and detailed, ranging from wide open valleys to deep cave systems. There’s no one thing I can point to that really makes it so well crafted, more it’s the numerous small details like the trails you leave in snow or the way Lara’s gait changes after she’s had a fall. Unlike the previous instalment (which suffered from inflated expectations due to it following Crysis 3) Rise of the Tomb Raider felt impressive from the very start, a rare achievement in today’s torrent of AAA titles.
Rise of the Tomb Raider retains the same core game play that its predecessor did, being a combination of 3D platformer, 3rd person shooter and semi-open world exploration. The platforming functions pretty much the same as the last one did, giving you the same leeway when it comes to grabbing ledges or landing that jump perfectly. The 3rd person shooter mechanic functions largely the same although the upgrade system allows you to unlock some rather cool abilities that can change it dramatically. The semi-open world stylings mean that there’s much more to the world than just the campaign missions and, should you go exploring, you’re quite likely to be rewarded for your efforts. Overall it’s not a massive change from the previous Tomb Raider game and honestly, with the extra layer of polish this game has, I don’t think that’s a bad thing at all.
The puzzles and platforming sections are frequent but are, for the most part, easy enough to understand and complete without being too frustrating. In the beginning, with a limited number of mechanics at your disposal, it’s pretty easy to see how things need to be done. The difficulty starts to ramp up when you’ve got several other potential mechanics at hand, some of which aren’t explained as well as they could be. Still there was only one time when I find myself reaching for a walkthrough guide as all the other puzzles could be solved in a manageable amount of time. The platforming was a little less satisfying however as, whilst you have some leeway, it can be a little finicky about when it will pull you right or just let you fall to your death. Once you’ve worked out the quirks though (like not hitting jump if Lara is still shimmying across something) you can make up for those little quirks.
Combat, again, feels largely the same with the game favouring head shots and thus any weapon that allows you to make them rapidly. The bow once again is the stand out weapon especially once you get the skill which does automatic head shots on up to 3 targets at once. Similar to its predecessor though there comes a time when the enemies start wearing helmets and you’ll have to land several consecutive head shots to take them down. This time around however it doesn’t feel as cheap as it did before as the increased number of stealth options provides much more opportunity to take out the heavy hitters before dealing with the rest of them. Overall the combat feels a little more streamlined with a little bit more variety on the side, should you wish to make use of it.
The skills, upgrades and crafting system is back with a few improvements to keep the pace of the game up. You can now craft arrows, other special ammo and healing on the fly if you have the required materials to do so. The mechanic of finding parts for major upgrades is still around and if you want those weapons you really will need to go exploring to complete them. The skills are interesting as early on I went for the additional XP traits something which meant that I was levelling up maybe every 20 minutes or so. Probably about halfway through the game I had all the skills I could ever want and so from there I was just unlocking things that were mildly interesting. It certainly helped to keep driving me forward as there was always a sense of progression but it did seem like I was maybe completing things a little faster than was probably intended.
Like its predecessor there are few rough edges on Rise of the Tomb Raider although none of them are particularly game breaking. You can quite easily glitch yourself through terrain if you roll, jump or sprint near say a set of stairs or similar. I had more than one occasion where I found myself stuck in between trees or falling forever when I jumped into a particularly cramped area. There’s also the aforementioned finicky-ness of the platforming system but once you know its limitations it’s a little easier to work around. Thankfully though many of the combat related issues are long gone although some of the enemies do seem to do wildly different amounts of damage during the same encounter.
Rise of the Tomb raider brings a much more developed and polished plot, one that dives further into the backstory of Lara and the Croft family. Thankfully the torture porn has been dialled back somewhat, instead focusing more on the trials and tribulations of Lara trying to come to grips with her father’s past and the impact it’s having on her current situation. The introduction of a big bad “thing” in the form of Trinity is a not-so-subtle hint there’s going to be several sequels to come but they at least function decently as an antagonist. Indeed they’ll likely be the focus point of the next instalment as they go after the next supernatural artefact that they’ll use to take over the world. The supernatural themes are better done this time around be less wrought and more subtly woven in the larger narrative. Indeed it seems that the writers behind this instalment in the Tomb Raider franchise have matured significantly since they wrote the last plot.
Rise of the Tomb raider accomplishes what many sequels don’t: improving on their predecessor whilst still retaining the core aspects which made it great. The production value is extremely high with attention paid to every little detail. The game play is as solid as ever with several streamlining changes that keep the pace of the game up for its entire duration. It might not be the picture of perfection with a few rough edges still poking through but overall the experience is so well polished that it’s easy to write off those few moments. For both fans of the Tomb Raider IP and those who just love a good action game Rise of the Tomb Raider is well worth the asking price.
Rise of the Tomb Raider is available on PC, XboxOne, Xbox360 and PlayStation4 right now for $59.99, $99.95, $79.95 and $79.95 respectively. Game was played on the PC with 12 hours of total play time and 22% of the achievements unlocked.
The Trine series has captured many people’s attention over the years, mostly thanks to the incredibly inventive physics based game play. It’s been a long time between drinks for the series what with the previous installment, Trine 2, being released almost 4 years ago. This can be partly attributed to Frozenbyte focusing some of its efforts on their iOS platform Splot, however most of the long development time has been spent on Trine 3 itself. Indeed when you hear that Trine 3 incorporates 3D into the mix, after the last 2 being 2D platformers, you can get a feel for why it stayed in development for so long. However Frozenbyte’s ambition may have been its undoing as it’s clear that Trine 3 fell short of its ultimate goal.
Once again our heroes: Amadeus, Pontius and Zoya, are trying to live their lives as they were before the Trine started interfering with them. Amadeus was finally spending time with his family, taking them to see the giant turtle migration. Pontius continued to be a hero of the people, ensuring that no thief or neerdowell went unpunished. Zoya continued her quest for treasure, tracking down a giant emerald. However, just like always, the Trine showed up at the most inopportune time to whisk them away on an adventure. Little did they know that this one would take them to the heart of the Trine itself and the darkness which lied within.
Trine 3 makes use of Frozenbyte’s own custom engine and, whilst I’d warn most indie developers about doing that, what they’ve managed to create is, put simply, absolutely stunning. Trine 2 managed to have some great vistas however, due to the 2D nature, they were always somewhere off in the background. With the inclusion of 3D in Trine 3, and the addition of the vastly improved artwork, Trine 3 is yet again another step up from its predecessor. The art style and direction is retained, with vibrant colours and effects everywhere, along with the great soundtrack and voice acting. Indeed Trine 3 feels like a AAA title in almost all respects as there are few indies who can produce such quality work.
The core of Trine remains largely the same with the platforming, puzzle solving and emergent, physics based game play all making an appearance. The abilities of the three heroes are largely the same as well although the game has been radically simplified when compared to its predecessors. Amadeus can summon just one box, Pontious’ abilities have been reduced to a charge and slam and Zoya’s arrows are merely garden variety now, although she can now attach things together through the use of her grappling hook. The talent system is completely gone and progression now comes in the form of collecting shiny triangles which you’ll use to unlock further story and side missions. All in all Trine 3 feels like a far more streamlined game, one that would be far more welcoming to newcomers to the series.
The introduction of 3D changes the core platforming and puzzle mechanics significantly as now you have a whole extra dimension to contend to when attempting to solve the puzzles. It’s not true full 3D in all aspects however as it seems, for simplicity’s sake, that there are some constraints on your movement. If you jump off a wall in one direction you’ll essentially be locked to moving in that direction. For things parts of the environment that spin or move this can lead to some unpredictable behaviour as mistiming your jump means you move in a completely different direction to the one you intended. The same rules seem to apply to using the grappling hook as well, locking you into one direction to swing across (I.E. you can’t say, swing around in a loop). I’m sure I’m not explaining this well enough but once you play Trine 3 you’ll see what I’m getting at.
Combat feels largely the same, being one of the few times that you’ll use Pontius for something. You’ll be able to complete most combat sections by just mashing buttons and jumping around randomly however some of the later fights do require a bit more finesse. The only really challenging combat encounters are the boss fights (of which there are 2 from memory) and the various side quests which lock you into a single character requiring you to figure out how to best use them in combat. For long time fans of the series this will feel largely in step with previous games in the series as combat was always something of an also-ran, a curious distraction to break up the platforming and puzzle solving.
The emergent gameplay is as rampant as ever with most puzzles having numerous unintended solutions. Most of these are born out of their basis on physics, allowing you to exploit various things in order to make the puzzle think it’s solved. One of the most egregious things you can exploit is, yet again, the wizard’s ability to move boxes and other objects around. Whilst you can’t box surf like you once could you can, say, jump off a box and then lift it up with blazing speed, launching you far above whatever obstacle was in front of you. It’s certainly not as crazy as previous Trine games were but you can still pull off some rather crazy feats if you put your mind to it.
Emergent gameplay does have a dark side however, coming in the form of glitches and unintended behaviour. You’ll more than likely come across your fair share of glitchy enemies, puzzles that don’t work for whatever reason or deaths that don’t feel like they’re entirely your fault. There’s nothing in there that I’d consider game breaking, indeed most of the time you can work your way around whatever glitch you’re stuck on, however it does mean that some of the puzzles are far more frustrating than they need to be. Some of the glitches are hilarious too, like when enemies clip through the floor and then rocket back out. I guess when you think in terms of the overall Trine series Trine 3 is the least glitchy of the lot, which is saying something.
The story is where Trine 3 falls down, not for the content mostly, that at the very least retains it’s mostly passable qualities, the real issue comes with its length. You see Trine 3 was Frozenbyte’s most ambitious game getting triple the budget of its predecessor. Whilst this is most certainly reflected in the quality of the game it still wasn’t enough for them to finish the game in the way they wanted to. Thus the game ends at what feels like the first third of the story, leaving you on a cliffhanger that feels like it should’ve been somewhere in the middle of the game rather than at the end of it. This is what has led to much frustration from the wider gamer community, something which Frozenbyte has acknowledged and provided some insight on. In my mind the quality of the game they’ve created isn’t in question however it’s obvious that Trine 3 has fallen far short of their vision.
Trine 3 is an absolutely stunning game, one that keeps true to the Trine roots but unfortunately fell prey to the sin of ambition. The artwork, soundtrack and cinematography are still top notch, showcasing production values that I’ve come to expect from the series. The core mechanics and gameplay are still there, just streamlined a bit in order to reduce friction. However the game is clearly only a third of the creator’s original vision, with numerous levels and story left undeveloped, never to be explored by us gamers. It’s really quite unfortunate as parts of Trine 3 we’ve got are just incredible but that quality has obviously come at a cost. Hopefully this isn’t the death of the series as it would be a real shame to see it go just as Frozenbyte was reaching its peak.
Trine 3 is available on PC right now for $21.99. Total playtime was 4 hours with 64% of the achievements unlocked.
In my review of Cradle (which I meant to get out last week, apologies!) I noted that I’ve found two distinct types of exploration games. Some are guided, wanting to gently push you towards some goal, others are more free form, wanting you to roam and discover your own story. With Cradle more in the guided camp it was serendipitous that Submerged came right after I finished it as it takes the opposite approach, plonking you in a wide open area and letting you have at it. Whilst my preference for these types of games still tends towards the guided Submerged is a decent little exploration game, even if it errs on the simplistic side.
You are Miku, a determined young girl who’s come to this sunken city in the hopes of finding help for you brother, Taku. He is gravely injured, suffering from a might slash across his chest that threatens to take his life. You must explore this city, clambering through ruined buildings and scaling crumbling towers, looking for supplies to restore Taku to health. You can’t help but feel you’re being watched however as this wild city seems to have eyes on every corner. Still you push forward, your love for your brother driving you forward.
Submerged runs on the Unreal 4 engine and, whilst it’s not going to bring your PC to its knees with the graphics, it does have a great style and aesthetic. It’s one of those games where it’s best visual moments are the ones when you’re in a wide open space, the sprawling ruined city laid out before you. Up close it starts to lose its magic as there’s a lot of repeated asset use without a lot of variety. Still there were numerous times when my wife would peek over my shoulder and exclaim “Pretty!” at my screen so that has to count for something.
The core game play of Submerged is one of exploration as you’re set free in a ruined city to look for supplies, secrets and upgrades for your boat. You could say that there was a platforming aspect to Submerged as well, since you have to scale buildings and ferret your way through their innards, however it’s quite limited in nature. Thankfully you don’t have to stumble blindly through every building to find what you need as your telescope can highlight things on your map for you. Other than that there’s really not much else to speak of in Submerged as it really is quite a simple game.
Whilst you’ll be scaling great heights there’s no threat to falling off and having to start over as the platfroming is strictly controlled. You can’t accidentally let go form a platform, leap to your death or walk off the edge to fall down onto another platform. This does mean that there’s really no tension in any of the climbing sections however, unlike nearly every other platform game I’ve played. At the same time it is kind of nice to switch off and just meander through these sections and it does give you something of an incentive to explore a little more. Still if you were looking for a platforming challenge Submerged isn’t the game you’re looking for.
Submerged behaves pretty much as expected however there are a few little quirks that I feel bear mentioning. There’s obviously something a little off about the day/night cycles as, whilst they seem to work fine, the sun and moon don’t move in a smooth motion. Instead they seem to move in fast increments, something which is readily apparent when there’s long shadows cast on a building. Additionally some of the visual clues for climbing, like the vines and whatnot, aren’t exactly clear on what you can and can’t climb on first blush. A wall covered in small vines? Climbable. A wall covered in large vines? Not climbable however you can climb pipes which are roughly the same size. Of course once you figure these quirks out it’s easy to spot them but it does make for some frustrating moments.
In terms of story Submerged opts to tell it primarily through the use of hieroglyphics that are revealed to you when you complete an objective. Whilst it’s a novel approach I can’t help but feel that it was done mostly in the aid of easing the localization of Submerged more than anything, kind of like why The Sims speak gibberish rather than an actual language. Thus the story, whilst a little touching at some points, lacks any real depth or development that would draw you in. The history of the city is somewhat interesting however the fact that you only have a few pictures to go on means that there’s really not a whole lot to explore, in story terms.
Submerged is a decent experience with a wide open world to explore through stress free platforming. The above average visuals and soundtrack, combined with the relatively low challenge, do make Submerged one of the more relaxing experiences I’ve played in recent memory. However that simplicity and lack of challenge means there’s not much to really draw you in as the story, whilst serviceable, does little to draw you in. Overall whilst I’d recommend giving Submerged a go if you’re into exploration type games there’s just not a lot in there for the general gaming populace.
Submerged is available on PC, XboxOne and PlayStation4 right now for $19.99 on all platforms. Game was played on the PC with 2 hours of total playtime and 30% of the achievements unlocked.
Sometimes a game is responsible for the creation of a new genre. The most often reference example of this is the MOBA genre, one that was spawned out of the DOTA mod for Warcraft III, but there have been numerous other examples before and after it. One often less talked about example is Limbo as it spurred on so many titles in a similar vein that I think they bear classification under the same banner. Feist is one such game, using the same silhouetted aesthetic and platform mechanics to produce a short but eminently sweet title that’s been a long time coming.
You are a small little ball of fuzz in a giant forest, one that’s filled with many other fuzzy creatures. Many of these creatures are much bigger than you and, unfortunately, this has led to you and your mate’s capture. You are left to rot in a cage hanging from a tree, the big fuzzies wandering off into the distance with your mate in tow. They’ve underestimated you however as you quickly manage to escape from your prison and begin your pursuit, hunting the big fuzzies down one by one. It’s not going to be easy though as this forest is riddled with traps and creatures that are out to make a meal of you…or worse.
Drawing the comparison to Limbo is easy because, well, compared side by side you’d be forgiven for thinking they were made by the same developer (or at least, the same artist). The minimalistic visuals, mostly done in silhouettes, with the white pinpoints for eyes piercing through the darkness are a trademark of these kinds of atmospheric platformers. Since platformers live and die by you being able to distinguish what you can and can’t jump on this visual style can be a little frustrating however after a while you get good at figuring out what you will and won’t collide with. This visual style is accompanied by some quite incredible music, something which I’ve really come to appreciate in titles like this.
Feist is a 2D platformer with the main gameplay mechanic being your never ending quest to get from the left of the screen to the right. Whilst there’s only a few minor hints to guide you along at the start the controls will likely be familiar to you, allowing you to run, jump and interact with various objects that are scattered around. Unlike previous titles however Feist relies more on emergent gameplay than scripted events, meaning that it’s quite likely that your solution to the problem isn’t the only one available.Indeed many of the achievements encourage you to engage in behaviour that’s born out of this style of gameplay, something which you don’t usually see in games of this type. Overall whilst it’s not revolutionary in terms of mechanics or style Feist does manage to carve out its own little niche, one that it’s quite comfortable in.
One of the more interesting things Feist does that others don’t is combat. Much of the emergent gameplay comes from you doing battle with the various enemies that you’ll come across and how they interact with each other. Many of the enemies can’t be fought head on instead you have to lure them into traps, use the environment to crush them or, and this is great, use other enemies to fight them for you.This leads to all sorts of interesting behaviours with enemies sometimes running amok amongst each other whilst you just quietly go about your business. Other times it’s a fierce battle between you and a single enemy, testing your rock throwing prowess and stick weilding skills.
As with any physics based game though there are quirks that make themselves known from time to time, usually in the form of your character dying or getting flung off screen because of some strange interaction. Most of the time this comes in the form of getting crushed by something even though you weren’t fully under it, like when you’re next to a boulder and you get crushed even though you weren’t fully under it. For the most part this seems like a design decision, erring more towards the unforgiving side, however it can be frustrating when you get crushed by a log that only one of your little spines seemed to be touching. Apart from that Feist, which uses the Unity engine, runs absolutely brilliantly without nary a hiccup or crash to be seen.
Feist’s story comes without a hint of dialogue, told entirely through small cutscenes that happen between levels. As such there’s really not a whole lot of depth to it, in fact unless you read the achievements you wouldn’t really know what your ultimate goal was. Still since this is a game that is priding itself more on the atmosphere and physics based gameplay it’s hard to fault it for a lack of story development. This is also why its short play time, on the order of 2 hours or so, isn’t so much of a negative either as the story really didn’t need much more time to develop.
Feist may take inspiration from from other games in its genre but it manages to define it’s own space; one that’s filled with emergent gameplay, gorgeous visuals and a superb soundtrack. The combat mechanics and platforming combine together to make for a game that’s challenging enough for gamers like me but approachable enough that a wider audience won’t be turned away. It’s short timeframe and rudimentary story might be a turn off for some but it helps to make Feist a short and succinct experience that doesn’t overstay its welcome. Whilst Feist might not spawn a genre of its own like its predecessors did it does manage to create a great experience none the less.
Feist is available on PC right now for $14.99. Total play time was approximately 2 hours with 30% of the achievements unlocked.
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.
Ever since games realised that they were no longer beholden to the Euclidean world we exist in the number of games based around messing with that idea has increased exponentially. The seminal title for this genre is, without a doubt, Portal which has then spawned a series of spiritual successors that have taken the idea of a non-Euclidean world to its logical extremes. They provide a special kind of challenge as they’re typically not the kind of puzzle game that you can simply bash your head against and get a solution to a problem, instead forcing you to think outside the realm of what would typically be possible. Parallax is the most recent entry into this genre, sporting an extremely minimalistic style and, as expected, mind bending puzzles.
There’s no story to speak of in Parallax, you’re simply unceremoniously dropped into a stark black and white world with a text box hover over a platform that says “Goal”. From there it’s up to you to figure out how to get to that place, usually through the use of the portals that bridge your current world to that of another where the only thing in common is the portals between them. I guess you could derive some meaning of the journey between two worlds that are inverses of each other, although even I’d struggle to find the imagery to support that one. Suffice to say you’re in a world that doesn’t function like you’d expect it to and you have to find your way to a portal at the end of a puzzle.
I’ve played my fair share of minimalist games in the past but Parallax really takes this to a whole new level. Everything is either one of two colours (which, if you so choose, can be something other than just black and white) lacking any kind of texture or lighting. I’m sure part of this is for aesthetic reasons, which in view isn’t misplaced at all, but it’s also definitely done from a game play perspective as the extremely similar environments do add another level of complexity in figuring out just where the hell you are. This is also what helps the game install down to a paltry 100MB, something I haven’t seen since the good old days of gaming when CDs were just starting to become popular.
As I mentioned in passing before Parallax is a non-Euclidean styled puzzler that has you making your way from point A to point B using all sorts of weird and whacky physics. There’s no combat or enemies to speak of but you’re never far from falling off the edge of the puzzle to your doom or potentially getting zapped by one of the laser traps. The puzzles start off relatively simple, only requiring you to understand which portal to go through and which way to point it, but it quickly raps up to add in relative gravity, timed switches and boosters that launch you great distances. It might not be as complicated as Antichamber but it does a pretty good job of emulating many of the things that made that game great.
The puzzles are for the most part challenging, often requiring you to experiment a little bit in order to figure out what the sequence of events is that is required to get you to your goal. Checking my achievements I managed to get just over half of the puzzles done in the “perfect” amount of moves, most of which I was able to do on either the first or second try. Don’t let that number fool you though, some of these puzzles took upwards of 15 or 20 minutes to solve, and some of them I simply lucked out on figuring out the developer’s logic before getting stuck in a downward spiral of doubt and black and white surfaces. The puzzles towards the end are truly mind boggling with the particular one below completely disorientating me numerous times over, forcing me to find a reference point to try and centre my brain again.
Probably my main complaint with Parallax is the amount of back-tracking that many of the puzzles put you through. Quite often you’ll find yourself all the way to the point where you’re flicking that one switch that you need to hit to open up the puzzle only to find yourself having to undo everything you just did in order to access that last door. Sure I get that that can be a challenge at times, especially given how easy it is to lose your bearing in this game, however when you’re doing it for the 5th time in a hour it really starts to grate on you and the pay off just doesn’t feel as good as it could be. Some of them are done well, like the one where the alternate world has numerous boosters all through it and you have to switch the laser gates around to access different sections, but the majority of them are just irritating.
The minimalism also starts to get boring after a certain point. Whilst many lamented the idea of Diablo 3 having such pretty and bright colours it’s hard to argue with the logic: we’re simply not wired to deal with the same kind of monotonous environment time and time again and so visual variety drives engagement. Parallax does a good job of this with the different environments however the stark black and white does make it a rather easy game to put down, as I found myself doing multiple times. Perhaps changing it up every so often ala Lyne could help to alleviate this.
For those who’ve been seeking a game that bends the rules of physics as well as it bends your brain it’s hard to go past Parallax, a great first entry from Toasty Games. It’s scope might not be as large as the big name titles that have come before it however Parallax manages to an incredible amount with the minimalistic stylings it branded itself with. The puzzles could do with some work however, forcing you to retrace your steps all too often adding tedium where there needn’t be any. The style also gets boring after the 3rd hour or so and, whilst you can change up the colours a bit, it doesn’t go far in alleviating the visual boredom. Suffice to say though I think it’s worth a play, even with those few caveats hanging over its head.
Parallax is available on PC right now for $9.99. Total play time was 3.9 hours with 69% of the achievements unlocked.