With the holiday season rapidly approaching there’s no shortage of AAA titles to sink your teeth into. It’s at this time of year that people’s allegiances to franchises, developers or publishers becomes clear as they will likely be the deciding factor in what you play, less so the game’s review scores or objective quality. For smaller developers it’s a tough time of year with few even daring to attempt a release within the few months before the holiday rush begins. Comcept and Armarture Studio, both established but small time developers, seem to have no such qualms and recently released ReCore out to the public. Much of the fanfare surrounding this game comes from the designers who brought us Metroid Prime series being involved in the ReCore’s creation and, I believe, the hope for a similar experience.
ReCore is set some 200 years in the future where a disease called the Dust Devil Plague has ravaged humanity. Earth is fast becoming unfit to sustain human life and so an ark project was commenced to resettle humanity elsewhere. Before the first colonists were to arrive however an army of Corebots, autonomous machines that are capable of doing the necessary work to make the new planet habitable, were sent ahead of them. The planet, dubbed New Eden, would then be terraformed over the course of 200 years before the first batch of colonists would arrive. You play as Joule, a kind of care taker sent ahead of the first colonists to ensure that everything is running as expected and New Eden is ready to accept the fleets of colonists that are about to arrive. However you’re awoken from your cryosleep far too early and discover that the world is nothing like you expected it to be.
The dystopian setting of ReCore would lend itself to a drab, muted colour palette but instead you’ll find yourself in a vivid, Borderland-esque world of colour. The style is obviously influenced by the underlying engine (Unity) having that same kind of feel that many games developed on the platform share. It’s certainly one of the better done Unity games out there but the graphics are certainly a few notches below what I’ve come to expect from current generation games. Indeed the engine choice is worth mentioning due to the fact that it’s only available on 2 platforms (Xbox One and PC) with Unity usually being the top choice if you’re targeting 3 or more. Regardless it’s still a decently pretty game, even when you’re in the depths of cave or enjoying the numerous vistas it presents to you.
Where ReCore comes a little unstuck though is in the lack of focus in the mechanics that it throws in front of you. ReCore bills itself as a third person platformer and most of the puzzles and challenges are built around that idea. It also incorporates RPG elements in the form of a levelling system for both you and your companion, loot that drops freely from mobs, chests and bosses and gear upgrades created through a rudimentary crafting system. Combat is a rudimentary 3rd person shooter, lacking any kind of cover mechanics but retaining the now traditional infinitely regenerating health system. The best way to describe it would be as a 3rd person, single player version of Borderlands with platforming thrown in the mix. For some that’s likely to be a draw card however the game quickly runs out of steam as you plough through it with many of the initially interesting mechanics becoming tedious and repetitive after a while.
Combat is a great example of this. Your enemies will be one of 4 different colours and you’ll have to change your weapon’s colour in order to do the most amount of damage to them. Then once you’ve done enough damage to them you can extract their cores through a quick time event, netting you some materials you can use to boost up your companion. However if you do choose to do that you won’t get any of the other type of crafting material, so you have to know what you need before you go venturing out. The problem with the combat system is that none of the fights really play out any differently, most of them consisting of you running away while you get pot shots in and your companion does a good deal of the heavy lifting. Combine that with the core extract mechanic which does not change at all over the course of the game and you’ve got a recipe for very repetitive combat that is not engaging at all. This wouldn’t be so bad if you could clear areas out but all enemies will respawn anew if you leave the area. Suffice to say combat isn’t ReCore’s strong suit.
ReCore does commit what I deem to be the unforgivable sin of showing you things you can’t get to yet, forcing you to re-explore places you’ve already been to once you unlock that particular upgrade. Indeed the worst aspect about this is that you can’t bring all those upgrades with you, ReCore limiting you to 2 bots you can bring with you at any one time. This, again, necessitates you going back and forth to your home base to make sure you’ve got the tools you need to complete a particular section. At the very least the actual platforming is done relatively well, allowing you to explore vast swaths of the world if you know how to exploit the mechanics well enough. For some this might be enough to save the game since so much is built around it but for me it just wasn’t enough, the numerous jumping puzzles just feeling tedious more than anything.
The upgrade system is a little hit and miss as whilst you and your companion level up the main character’s level doesn’t really seem to affect much of anything. The game informs you that Joule’s gun has levelled up but there’s no abilities or upgrades unlocked because of it. Crafted upgrades for your companions will require them to be a certain level however which does provide a modicum of progression but I feel like it should’ve been extended to Joule as well. As it stands the only way to really feel like you’re getting anywhere is to seek out the blueprints for you companions upgrades and that will mean grinding dungeons repeatedly to unlock all the chests since most of them can’t be acquired in a single hop through.
ReCore can only be had through the Windows Store currently and thus it’s a Windows Universal App, bringing with it all the challenges that the platform currently has. Purchasing the game was a bit of a nightmare requiring me to dig through regional settings and other internals Windows settings so that the store would actually let me buy the damn game. I also had a few occasions where the game started up without sound and would only restore it if I alt-tabbed and the switch-to back to it. That’s not to mention the numerous issues it had with being alt-tabbed in the first place, something which I think all gamers feel is a based requirement for any modern game. Thankfully the game itself ran error-free once I got in but the initial experience didn’t endear itself to me.
The story is ReCore’s redeeming feature however the core game just never gives it enough opportunity to shine. Even though I only managed a meagre 5.5 hours in the game I still felt like I’d been playing for far too long, the little snippets of story here and there just not enough to sustain me through the drudgery of the core game. The characters are believable and voice acted well, your companions each have their own distinct personalities and the larger world that’s built up is intriguing, begging you to find out more. It’s a shame really as I’ve played many games to conclusion just because of their story but unfortunately for ReCore it simply wasn’t enough.
ReCore captivated me initially on concept alone, the fact that Metroid Prime people were working on it wasn’t even factored into my decision to buy it. Initially it was a great experience, the various mechanics and progression systems giving me a lot to sink my teeth into. However that rapidly descended into a repetitive experience, the core things that made it great done over and over again until they sucked all the fun out of them. Overall I’d say ReCore was a competent but confused game, one that could have been a lot better if it focused on a few core aspects rather than the smattering it ended up with. I wanted to like Recore, I wanted to play more than I did, but I just couldn’t be bothered to spend anymore time with it when there were so many more promising games on the horizon.
ReCore is available on PC and Xbox One right now for $39.99 on both platforms. Game was played on the PC with 5.5 hours of total play time and 64% of the achievements unlocked.
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.
Truly unique game mechanics are a rarity. This is not because of any lack of imagination on the part of game developers, far from it. More it’s to do with the fact that there have been so many games made that it’s almost inevitable that a mechanic has been explored before. So often game developers combine different mechanics, hide them cleverly or just rely on the story to carry things along. SUPERHOT however brings with it the novel mechanic of only moving when you do, putting you in a kind of eternal bullet time movie. It was this mechanic that made it a Kickstarter success (full disclosure: I backed it at the $75 level) and the resulting game is much more than just an extended version of their prototype.
You get a message from your friend. It’s this game, superhot.exe, and it’s amazing. He sends you a crack for it so you can get in on the action. It’s interesting but in the end it’s just you, no plot, no nothing. Just killing red guys. Still you can’t seem to draw yourself away from it, going back again and again, playing through the various scenarios it throws at you. Things start to get weird after an unknown entity starts talking to you, warning you that you don’t know what you’re doing. Will you play on? Or will you quit while your mind is still free?
SUPERHOT retains the minimal, low poly aesthetic that featured in the original game and accompanying marketing material. The environments are all stark white, lacking in any real detail apart from a few objects strewn here or there. Your enemies are bright red, easily distinguishable against the plain background. Other than that there’s not much to say about SUPERHOT’s graphics as they’ve been done to focus your attention, rather than be a distraction. Considering how hectic things can get, even though the game doesn’t move unless you do, this visual simplicity is something I’m sure all players will be thankful for.
At it’s core SUPERHOT could be considered a simplistic FPS, one where a single shot takes down all enemies (and you, if you’re not careful). Of course what changes it from being a rudimentary FPS to the novelty that it has become is the fact that time only moves when you do. So whenever you shift sideways, look around or perform an action the game will advanced forward. This means that you have an almost unlimited amount of time to plan your next move, choosing the best course of action possible. Each level you clear is played back to you, showing your superhero like fighting skills in real time. In the end SUPERHOT ends up being more like a FPS puzzler as each level is a game of optimization and understanding what actions happen when.
The core time mechanic would, on the surface, make the game incredibly easy. However whilst the game freezes while you contemplate your next move you are not an omnipotent being and, as such, you don’t know everything that’s happening around you. Whilst most of the time it’s easy enough to figure out what you need to do there are numerous puzzles where enemies spawn behind you, meaning you’ll probably have to die a few times before you know exactly what to do. Also the AI isn’t dumb and will attempt to lead you when shooting which can see you running into their bullets rather than away from them. Indeed whilst the first few levels are a breeze SUPERHOT quickly becomes a much harder game than you’d first expect it to be.
Most of the levels are done well, giving you enough opportunity to flex your FPS and prediction skills whilst punishing your mistakes. Some levels are far more strict than others, really only having one solution that you need to execute perfectly. One issue that I have to point out though is that the AI doesn’t react in the same way to the same situation every time which makes some of the more difficult levels pretty frustrating. The very final fight, for instance, required a good chunk of luck for everything to go perfectly. In the first 10 seconds an AI deciding to pick up a shotgun or simply run directly at you could be the difference between barely making it through and not having a chance at all. All that said however the challenges are beatable but they can be a little frustrating at times.
The story, whilst somewhat basic, is presented in an interesting way. Most of the dialogue is presented to you through a DOS-like terminal at the start of the game, taking the form of a chat between you and someone on the other side. Eventually it takes over the main game, using the SUPERHOT flashes. It’s best described as a psychological thriller, one which makes you question what is real and what is not within the game world. It ends rather predictably but then again I wasn’t expecting massive narrative development from a game that’s only a couple hours long. Suffice to say for a game that rode to fame on its mechanics the story was well above my expectations but SUPERHOT isn’t a game you’ll play for the narrative.
SUPERHOT sets the bar for Kickstarter games priding themselves on innovative game mechanics. The minimal visual aesthetic is purposefully done to focus your attention on what matters most, casting all visual distractions aside. The core “time only moves when you do” mechanic is done well, transforming an otherwise rudimentary platformer into an intricate puzzler. The story is above par for these kinds of games, even if it is somewhat predictable towards the end. Overall SUPERHOT is an excellent game that makes great use of its core mechanic,
SUPERHOT is available on PC right now for $24.99. Total play time was 2 hours with 36% of the achievements unlocked. The writer was a backer of the project on Kickstarter at the $75 reward level.
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.
I’m not one to talk about my most anticipated games but long time readers will know that I’ve been hanging out for The Witness. Braid was one of the most amazing titles of its time, demonstrating that it was possible for an independent developer to make a game that would delight and enthral thousands of people the world over. So when I heard he was working on another title of his own making, his magnum opus that would consume his entire Braid fortune, I was sold instantly. The screenshots and tentative pieces of game play only drew me in further and made me excited for its release early on the PlayStation4. However that day came and went but here we are, 2 years later, and I’ve spent the last week playing through it. Whilst it may not evoke the same level of feelings in me that Braid did it’s hard not to respect the craftsmanship of The Witness, a true masterpiece from one of the leaders of the indie game developer community.
The Witness starts without a lick of dialogue or even a starting screen. Instead you’re placed in a long corridor, a bright light at one end beckoning you to come forward. What you find when you open that door is a bright and vibrant world, one that seems to be locked behind a series of line drawing puzzles. These puzzles strictly adhere to the idea of “show, don’t tell”, guiding you through their mechanics slowly so you can feel your way around them. What happens in this world is up to you however as you are given no direction, no purpose and, above all, no restrictions bar the puzzles in front of you.
Visually The Witness feels like a cross between the cartoonish stylings of games like Team Fortress 2 and the low-poly look that’s quite trendy among the indie scene currently. The resulting visual landscapes feel like something out of a dream, lovely and beautiful to look upon but strangely devoid of detail when you get up close. The wide and varied landscape of the island means that you won’t be wanting for lack of visual variety as there’s everything from a wide desert to a swap to a snow capped mountain top for you to explore. Of course this simplicity belies the breadth and depth of the game world, something which I feel will only be fully revealed to players who invest dozens of hours into this game.
Mechanically The Witness is easy to explain at a high level although as the mechanics pile on things start to get extremely complicated. Essentially the base puzzle is drawing a line from one end to another, simple right? Well how about having to solve a maze whilst going through certain points? Or possibly having to separate different coloured blocks into 2 sections that don’t overlap? Those are just some of the simpler mechanics and, as you progress, you’ll begin to find that the puzzles cross-pollinate with each other. So a solution you’ve learnt in one puzzle might be needed to figure out another or, and this is where it gets really tricky, you’ll need to figure out how both of those mechanics combine in order to solve it.
In the beginning this process of mechanic discovery is incredibly rewarding. Each of the puzzle sets has its own language, a way of expressing to you the player what you need to do in order to solve it. For all of the mechanics these are shown in a tutorial like puzzle which demonstrates it in the most simple way possible and then progressively introduces new variables which give you the bounds of how it works. I can clearly remember after stepping out of the first area finding what looked like a secret path that was blocked by a puzzle that, on first look, was completely impossible. However after finding a tutorial near by it became clear what I needed to do and I was able to unlock my first secret, something which I had literally no idea what to do with. Still knowing that I had uncovered something that would be used later was pretty cool and kept me playing for a while longer.
Probably the most inspired part about The Witness, and this is mildly spoilery (skip to the next one if that bugs you), is that the very world you live in is actually a puzzle. I was fooling around in the desert puzzle area when I noticed that, from a particular angle, parts of the scenery looked like one of the puzzles I could solve. Sure enough by clicking on it I was greeted with an actual, solvable puzzle, one that has the most satisfying noise when you first discover it. Knowing this is both a blessing and a curse however as from then on you will be forever questioning what is part of a puzzle and what isn’t. Of course that adds yet another layer of complexity onto an already complex game and this, unfortunately, is where the wheels started to fall off the experience for me.
After I spent a good hour or so on solving the desert puzzle I was keen to dig into a new challenge, one that would engage a different part of my brain. Sure enough I found it however after a while I started stumbling across a symbol I hadn’t seen before and couldn’t figure out how it worked. So, of course, I went searching for other puzzles but it would often come to a point where I’d find yet another mechanic which I wasn’t familiar with. Now I’m the kind of player that hates leaving things unfinished and having to trudge around the whole island to find the right mechanics didn’t really enthuse me. So I did what anyone would do in that situation, I looked the mechanic up on the Internet.
While I’m sure that’s tantamount to heresy for The Witness purists the fact of the matter was that, after spending 8 hours stumbling around solving puzzles I was still coming across new mechanics and, frankly, I was getting bored. Whilst the mechanics are novel and inspired the fact of the matter is that it always boils down to getting a line from one side to the other. So sure, there’s different things to think about, but you’ll be staring at the same grid again and again for hours on end. It was at this point I felt I just wanted to see the ending and hopefully dredge up some semblance of a story out of the game that had barely uttered more than a handful of paragraphs at me.
However if there’s story in The Witness it’s buried so deep in all the secrets, recordings and imagery that you’re really going to have to enjoy exploration and puzzles to find it. After playing The Talos Principle I was incredibly excited for the prospect of a deep narrative in The Witness, one that would pull me along through the puzzles. What I found instead were quotes and snippets from famous scientists and, if the people I’ve been reading on Reddit are to be believed, a strung out metaphor about the development of The Witness game itself. Honestly this was my biggest disappointment with The Witness as Braid managed to do so much more with less. Perhaps someone will post a synopsis that changes my mind someday but after 10 hours of searching I’m still left wanting.
The Witness is an absolutely beautifully crafted game, both from an aesthetic point of view and the novel craftsmanship of its puzzles. It’s amazing to see how such a simple idea, drawing a line from one point to another, can be given such mechanical complexity. Taking that one step further and including the very world itself as part of the mechanics is an inspired achievement, one that blew me away when I finally figured it out. However the repetitive nature of the puzzles, coupled with the lack of narrative to drive you forward through those puzzles, makes it hard to keep coming back after a while. The Witness is most certainly a testament to Jonathan Blow’s dedication to perfection in all things he sets out to create however it falls short of acquiring the “must play” status that his seminal title did. Overall I believe The Witness is certainly worth playing, just maybe not to its ultimate conclusion.
The Witness is available on PC and PlayStation4 right now for $29.99 on both platforms. Game was played on the PC with 10 hours of total play time and 50% of the achievements unlocked.
I always have a slight feeling of cognitive dissonance when it comes to narratives that are player controlled. On the one hand I love that it allows me to imprint myself upon the character, crafting them into the person I want them to be in the game’s world. On the other hand however I sometimes feel like doing that runs contrary to what the true nature of the character might be, especially when I’m operating on imperfect information about said character. Oxenfree, the first title from Night School Studios (who count former Telltale Games and Disney staff among them), falls somewhere in the middle but still provides a great player driven narrative experience.
Oxenfree puts you in control of Alex, a teenager on the cusp of adulthood who’s heading out to an end of year rager with a bunch of her friends. Among them are your best friend Ren, his current crush Nona, a girl who used to date your brother Clarissa and your newly minted step-brother Jonas. The night starts off normal enough with everyone engaging in a rousing game of “Truth or Slap” however things start to quickly come unraveled as Ren beguiles you into investigating some of the island’s more paranormal features. From then on the night changes from being one of drunken revelry into a fight against a paranormal force.
The visual style of Oxenfree harks back to a time of pre-rendered backgrounds with simple 3D visuals layered on top of them. The backgrounds have a kind of textured paper look about them, as if they’re part of an arts project. The character models are quite simplistic, obviously done in that way to blend in more seamlessly with the backgrounds. However unlike the games which this art style pays homage to Oxenfree makes heavy use of lighting and visual effects, both in terms of aesthetics as well as forming part of the plot mechanics. Overall, from a visual perspective, Oxenfree is very well crafted and is done in a way that amplifies the story rather than distracting from it.
In terms of gameplay Oxenfree is primarily focused on the narrative and the dialogue choices you make as a player. You’re usually given 3 different options when responding, each of which can direct the story in a certain way. The main puzzle mechanic comes in the form of a radio which you tune to different stations, either to listen in for clues or to resonate with objects which will cause something to happen. There’s also some other puzzles which range in the form of simple to nigh on impossible although thankfully the latter, even if failed completely, will not stop you from progressing the narrative.
Oxenfree gets credit for keeping the story linear in nature whilst giving you the freedom to explore should you choose to do so. Too often I’ve played similarly styled games which lock core story elements behind inordinate numbers of puzzles, detracting from the narrative. The puzzle mechanics might be simple but they’re enough to keep you engaged through the times when there’s less dialogue about. One criticism I will level at them however is the “improved” radio which just doubles the number of frequencies you have to cycle through. Honestly that just adds tedium as you have to scroll through far more things in order to find the right frequency.
Oxenfree’s narrative deals with a lot of heavy subjects and does so through the lens of a teenage coming of age story. The paranormal aspects, whilst being downright scary in their own way, are used more as a mechanic to explore these issues rather than just being a license to do whacky things. You, as Alex, have quite a lot of control over how the story develops and this can radically change how you feel about the characters and, most interestingly, how they feel about each other. I really can’t say much more without wading into spoiler territory but suffice to say that Oxenfree delivers a solid narrative that deals well with issues that the video game medium is still coming to grips with.
Oxenfree is a powerful narrative driven game, one that shows how simplicity in all things but story can still add up to a great experience. The visual style pays homage to simpler times where pre-rendered backgrounds were a tool to get around the limitations of thte day. The mechanics are simple and do their best to get out of the way of the story. The story is what makes Oxenfree worth playing, both from the core story aspect as well as the level of control that the player is given over shaping it. For those who love a good story, or just a decent thriller, then Oxenfree is definitely worth a play through.
Oxenfree is available on PC and XboxOne right now for $19.99. Game was played on the PC with around 3 hours of total play time and 38% of the achievements unlocked.
Ah the post christmas drought, where everyone is still reeling from the barrage of AAA titles that were released just in time for the holiday season and nothing else is scheduled to come out for weeks. Often this is the time where I catch up on titles from the previous year that slipped my grasp but this time around I managed to do much of that over the christmas break. So I wandered the Steam Winter sale (something which is incredibly disappointing when half of the titles are already in your library) and came across Hocus, a curious little game whose puzzles take inspiration from the mind bending drawings of M.C. Escher.
The principle of the game is simple, you have a red cube and you need to get it into the little red ditch. Of course it’s not as simple as clicking on it however as the path to get to the goal isn’t as straightforward as it might look. Instead you’ll have to figure out which pieces cross where, how your perspective is being twisted and which parts of the impossible drawing are real. It’s a mind bending exercise in throwing away your preconceived ideas of geometry and figuring out just how all the bits and pieces actually fit together, something that can be a quite complex challenge once you’re in the thick of it.
Whilst Hocus most certainly started out as a mobile game I really have to commend the amount of work the developer put into the steam version of their title. The game has been fully reworked to make use of the PC platform rather than just being a straight port dump like so many others are. This goes hand in hand with the beautiful minimalistic stylings, both in terms of the game itself and the background music. This just seems to be the start for Hocus too as the developer has promised to deliver a level editor in the not too distant future.
In terms of actual game play Hocus is most certainly a satisfying challenge, providing you with numerous puzzles to try your wits against. The difficulty curve isn’t entirely linear though as some puzzles, even though they look complex on first glance, are by far the easiest. Indeed it was the seemingly simple puzzles which presented me with the most grief, probably because they really only had one true solution. Hocus’ puzzle design also fits the mobile platform better than the PC, due to the fact that it starts to feel a bit repetitive after a longer session.
Hocus is a great puzzler, one that benefits greatly from the developer’s commitment to the game and the community that has cropped up around it. The minimalistic stylings are a perfect fit for this kind of game, focusing you directly on the challenge at hand. The puzzles themselves are no trifle either and are sure to provide a challenge for even the most non-linear thinkers among us. If you’re looking for another time killer for your phone or just enjoy a good non-Euclidean styled puzzler then Hocus is definitely a title you should check out.
Hocus is available on iOS and PC right now for $0.99 and $1.99 respectively. Total play time was approximately 1 hour.
Even with my 1 per week review schedule there are still some games that manage to slip by. My little notepad with games I’ve flagged to review lists no less than 30 titles which I didn’t manage to get to in their year of release, some of them which received wide critical praise. Every so often though I get a chance to go back through that list and pick one lucky title to play through. On a whim I installed The Talos Principle before a recent trip down to the coast, figuring I might have a couple hours spare to see what everyone was talking about. Now, 18 hours of solid game time later, I’m incredibly glad I did as The Talos Principle really isn’t the kind of game you’d expect from the same development team behind the mindless shooter Serious Sam.
You awake to find yourself in what looks like a courtyard of a ruined castle. A disembodied voice booms, announcing itself as ELOHIM: your creator, protector and guide through this world. Should you do your tasks diligently, he says, you will be granted eternal life alongside him. The trials he has set out before you are curious ones and the various terminals dotted around the landscape contain data that seem to speak of a world beyond this one. ELOHIM only has one restriction which he has placed upon you: the grey tower that extends into the sky must not be climbed. Will you be his diligent servant and attain eternal life? Or will you defy your god and seek out what truth lies atop the tower?
The Talos Principle certainly has a nice aesthetic to it, even if the environments are somewhat barren of detail upon closer inspection. The various worlds you’ll be solving puzzles in are certainly something of a contrast to the mechanics that reside in them. The worlds often being somewhat decayed, like they’d been there for centuries, whilst the puzzle mechanics are things straight up sci-fi. You’ll probably be spending the better part of 3~4 hours in each section (more if you’re going for stars) and so they do start to feel a touch monotonous after a little while. However you don’t need to 100% complete a section to get to the next one so you can always mix it up a bit if you’re seeking more variety.
From a raw mechanics perspective The Talos Principle is a puzzler, requiring you to collect various “sigils” which are trapped behind gates or located somewhere inaccessible until the puzzle is solved. In the beginning you only have one tool at your disposal however each section comes with additional mechanics to ramp up the challenge. The Talos Principle is also not hard and fast when it comes to solutions either, allowing you to make use of some emergent game play in order to solve a puzzle in unintended ways. Many of the mechanics that you’ll learn early on, like the fact that 2 jammers can be taken pretty much anywhere, will come into play again and again. How you learn these tricks though can be an exercise in frustration as they seem incredibly obvious once you’ve figured them out.
However the “game” part of the Talos Principle is really just a medium for the much larger part of the game: it’s story. Whilst I won’t dive into details yet (I’ll save that for the spoiler section below) suffice to say that the game’s expertly crafted story, which is woven into nearly all aspects of the game, is what will keep driving you forward. Indeed if The Talos Principle was just the mechanics described above it’d be another puzzler in the vast sea of that genre however it’s the story which elevates it far beyond that. There are few games in which I’ve worked so hard in order to unlock all the endings and apart from one of them I’m very glad I did.
The puzzles are mostly rewarding exercises in figuring out how to exploit all the mechanics you have at your disposal in order to open the requisite gates. The beginning puzzles for each new mechanic start off easy so you can get a feel for them without a mountain of frustration. However they quickly ramp up to the point where you have to constantly question your approach to solving them. So many times I would be attempting to solve the puzzle in the way I thought it should be solved before realising that was what was stopping me from solving it. The Talos Principle is also probably one of the most devious and deceptive games I’ve ever played in that respect, playing upon the player’s assumptions in order to make the puzzles far more challenging than they really are.
That’s probably one of the most genius aspects of The Talos Principle as just as you think you’ve got them figured out they’ll throw another curve ball at you. When you figure out some puzzles actually involve other puzzles it feels revelatory, until you realise that knowing that can send you down so many wrong paths it’s not funny. Indeed you can never quite know when knowledge granted to you is going to be a blessing or a curse. Considering the game’s underlying philosophical theme, which forces you to question the very reality you find yourself in, that seems quite fitting. Even if I sometimes cursed them for leading me astray.
MAJOR PLOT SPOILERS FOLLOW
I liked that, early on, you’re given a pretty good sense of what the world is and what led to its creation. Of course the nuances of the world are much harder to figure out like who ELOHIM is, who that mystery voice is in the terminals and just why exactly you’ve come to be in this world. Discovering all those facts, intertwined with various bits of philosophy and legend, give you clues towards what the ultimate truth is. For me the puzzles were simply a means to the end, hoping to find the next tidbit of information that could lead me to a better understanding of the world I now found myself in. The philosophy parts felt like a bit of a cheap shot sometimes, the voice in the terminals needling you on any inconsistency (although doing the same to it was incredibly satisfying), but it does make for some good thought provoking discussion. Still since this is a video game there is obviously one “correct” answer when, in reality, that very concept is something that should be up for debate too.
Of the three different endings my favourite was by far the transcendence one as that feels like the fulfilment of your original purpose which now leaves you to define your own. The first and easiest ending definitely felt unsatisfactory, at least from the point of view of an outside observer. I have to admit I judged the gray sigil ending incorrectly, figuring it would have you taking over as ELOHIM, but knowing what I know now becoming one of his messengers seems like the a fate that no one should choose. Perhaps this is something that’s explored in a bit more depth in the story DLC, something which I unfortunately haven’t had the time to play. Still overall The Talos Principle does an exceptional job in telling its story, even if 2 of the endings felt a little lacklustre.
PLOT SPOILERS OVER
The Talos Principle is an absolute gem of a game, expertly weaving a deep and enthralling story into a mechanically complex and rewarding puzzler. The core game is a great example of a physics based puzzler, taking inspiration from many similar titles but creating its own unique experience. Behind this though is a story which has you questioning nearly all aspects of existence, from what it means to be a person through to whether or not you can really empirically prove anything. For a game which I had only thought would get a few hours of my time The Talos Principle did an amazing job of sucking me in and ensuring I could not leave until I had completed its every challenge. For that I commend it and sincerly regret not getting to it sooner.
The Talos Principle is available on PC right now for $9.99 ($49.99 usually). Total play time was 18 hours with 68% 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.
Exploration games fit into two major categories: those that guide you along a pre-determined path, allowing you to wander off to your heart’s content, and those who simply drop you in a world and let you have at it. For the purists the latter is more desireable as you’re free to uncover the world as you see fit. However for those looking to tell a story the former is a much better approach as it gives you control over what parts of the story are revealed when. Cradle, though indicating that it was a more of a unguided adventure, fits into the latter category, guiding you along a predetermined path whilst revealing its story to you.
The year is 2076 and the advances in science have been numerous. Age and death have been conquered as people can now transfer their consciousness from their physical form into synthetic bodies, granting them immortality. However this technological marvel brought with it a terrible plague as some people rejected the technology at a fundamental level, causing them to violently explode. You, however, have no knowledge of this, waking up in a yurt in rural Mongolia without any memories of who you are. So begins your journey to rediscover who you are, why you found yourself in this place and what part you have to play in its future.
Cradle is a decidedly pretty game, especially from a game studio whose entire team consists of four people. It has a muted aesthetic which helps with the kind of post-apocalyptic feel that permeates most aspects of the game. On first look it reminded me of the numerous games that have been built on the Unreal engine but in fact it’s built on Unigine, a relatively unknown platform. Suffice to say it’s definitely capable of producing some top quality visuals although there were a couple unexplained slowdowns from time to time.
As I alluded to earlier Cradle is a guided exploration game, plonking you in a seemingly huge world to explore and discover. The world is littered with remnants of its past like articles, brochures and books, all of which will help you in understanding the world you now find yourself in. Interestingly Cradle wants to make you think it’s an unguided adventure however, should you play it as one, you’ll likely run up against numerous obstacles as many things have to be done in a very specific order. Additionally there’s a rather peculiar mini-game which you either need to complete, or fail at least once and then skip, several times over in order to progress the story further. Overall once you get past the idea that this is supposed to be an unguided adventure Cradle starts to come into its own, despite some of its more glaring faults.
You’ll spend the vast majority of the game travelling between two main points in the game: your yurt and what appears to be a nearby amusement park. Whilst the core of the story will be revealed to you by following the path that the “hint” system (which it really isn’t, it’s really an objective tracker) sets out for you there’s quite a lot more that’s revealed in all the various artefacts that are scattered around the place. Thankfully most of these things aren’t giant walls of text that have become common in games like this, making it a little easier to digest the wealth of information at your disposal.
The mini-game, which you’ll have to play several times over, is honestly quite confusing when you first play it. The rules are simple enough to understand but their implementation is just a little confusing. It’s not entirely clear on whether using the blocks you need to reach the goal for other things, like making bombs or platforms, will actually consume that block. After a couple tries though it’s easy enough to get the hang of it and, thankfully, should you fail once you can simply skip the game entirely. I can see why the developers included this minigame, it’s good to have a break from all the reading/talking/walking from time to time, however it wasn’t what I’d call one of Cradle’s standout features.
Whilst the whole “I’ve lost my memories and need to figure out who I am” trope might’ve been done to death the backstory of Cradle was interesting enough that I was able to let it slide. Your relationship with the woman you find, whilst feeling a little stilted thanks to the rather flat voice acting by the main character, develops rather well as both your backstories are fleshed out together. The game does feel like it ends somewhat abruptly as the main character seems to know something the player doesn’t but it does at least wrap up most of the loose ends. There is some rather lively discussion going on in Cradle’s community forum about the various aspects of the ending and, honestly, it was actually kind of nice to trawl through it and figure out what I thought the ending really meant.
Cradle is a beautiful game, both in aesthetic terms and the story it crafts. Whilst you’ll spend your time in a small area you’ll quickly find it brimming with details, building up the world which your small slice of post-apocalyptic paradise resides. The mini-games and the flat voice acting are Cradle’s two major failings however they’re both quickly forgotten as you dive deeper into the narrative that developers has crafted. For lovers of the exploration game genre there’s plenty to love in Cradle and for a first game from an indie studio it does credit to the talent at Flying Cafe.
Cradle is available on PC right now for $12.99. Total play time was approximately 4 hours with 44% of the achievements unlocked.