Often the origin tale of a developer can be just as interesting as the games they develop. Long time readers on here will know that I’ve got a soft spot for Wadjet Eye Games who’ve been responsible for publishing some of the best pixel-art adventure games in the last couple years but they’re also a developer themselves having released numerous titles previously. Their first ever game was called The Shivah, initially done as a entry into a monthly game contest, but quickly became their first commercial title. I unfortunately never even heard of it at the time, most likely because I was deep in the throws of my World of Warcraft addiction at the time, but they’ve since remastered it and released it as The Shivah: Kosher Edition and they provided me with a copy for review.
You play as Russell Stone the lone rabbi of a small synagogue in New York city. It’s not the easiest of times for Rabbi Stone as his congregation has been steadily shrinking and the bills keep piling up. Just when he was about to pack everything in he gets a knock at the door: the police want to see him about something. As it turns out a former member of his congregation left him a large sum of money in his will, more than enough to keep the synagogue open. Puzzled as to why this strange windfall has come his way rabbi Stone sets out to find out the reasons as to why this money was left to him and the circumstances in which came.
Whilst I never played the previous version looking through the various guides and reviews of the previous edition of The Shivah shows that a lot of work has gone into revamping the visuals with every aspect being redone. The difference is quite stark with every scene now having a lot more detail, fidelity and lighting effects. It’s the kind of thing that I’ve come to expect from every game Wadjet Eye publishes and I’m glad that their in house titles are no different.
The Shivah is an adventure game where you’ll spend the majority of your time clicking on things, reading through text and figuring out where to go next in order to progress the story. Whilst I can’t comment on its previous incarnation it does feel like this was the part was left pretty much as is as the mechanics are quite simple and barring a couple of the challenges you’re not likely to get stuck at any one position for long. I think this is telling of its origins as an entry to a game challenge contest as many games done in a similar fashion eschew elaborate puzzles due to the constrained development time.
Whilst there’s an inventory system it’s thankfully kept to the bare minimum, mostly serving as another point of reference for solving the other puzzles. I must admit that playing The Shivah I felt like I’d been spoiled by more recently releases in the genre with many implementing a clue system to record pertinent details. The Shivah has this for a few things but there were a couple times where I found myself forgetting a name and having to scramble around the game looking for it again. The notable lack of feedback for some turning points, like in other games where a clue being added to your journal was a good indicator that you could progress, can also leave you wondering what else you need to do. Thankfully most of the time you can get past that by simply travelling to another location but I did manage to get myself caught up in my own head a couple times.
The story is interesting, running you through the trials and tribulations that religions face in the modern day and how the rigorously devout deal with them. Whilst I was a little sceptical as to it being of any interest to me the way The Shivah deals with people compromising on their ideals and how others react to that is quite intriguing. I might understand the plight of the modern day Jew but I’m very familiar with people holding one stance publicly yet doing something else privately and the way The Shivah deals with such hypocrisy has a very real feeling about it.
With it being a rather short game though it’s hard to deeply empathize with any of the characters and whilst some of the scenes can be confronting on an emotional level it certainly didn’t elicit emotions of the same level as say To The Moon (although to be fair few do). The Shivah does get a lot of bonus points for having a story that changes depending on your actions though as how you resolve the situation will greatly depend on how you conduct yourself. Thankfully getting all of them isn’t too difficult so there’s no need to keep a treasure trove of saves lying around and the auto-save function ensures that you’ll have all the chances you need to get the ending you want.
The Shivah: Kosher Edition is a short but sweet experience from Wadjet Eye games, capturing the essence of what led to the publisher’s creation and showing how remastered games in this genre should be done. It’s a simple title, one that’s aptly suited to the iOS platform that this version is available on, and whilst the replay value isn’t high if you’re a fan of Wadjet Eye style games then you’ll definitely enjoy The Shivah.
The Shivah: Kosher Edition is available on PC and iOS right now for $4.99 and $1.99 respectively. Game was played on the PC with 2 hours total play time and 60% of the achievements unlocked. A copy of this game was provided to The Refined Geek for the purposes of reviewing.
Prior to the release of Batman: Arkham Asylum you’d be hard pressed to find anyone who’d heard of Rocksteady Studios. Primarily this would be because they only had one title to their name before that, Urban Chaos: Riot Response, which wasn’t badly received but at the same time you’d struggle to find anyone who’d played it. Their following two instalments using the Batman IP however catapulted them to fame and their success led to them being acquired by Time-Warner shortly before the release of Arkham City. However the most recent instalment in this series, Batman: Arkham Origins comes to us not from the venerable Rocksteady but instead Warner Bros Games Montreal, a development house that’s familiar with the series (as they worked on the Wii-U port Arkham City). Combine that with the Joker no longer being voiced by Mark Hamill and fans of the series were decidedly nervous as there was no telling how this game would pan out.
Arkham Origins takes place long before the world that was established in the previous two games, going back to the beginnings where Bruce Wayne is just beginning his journey as the caped crusader of Gotham City. He’s been at it long enough to attract the attention of some of the city’s more nefarious criminals and this has resulted in Black Mask, a notorious underworld dealer who’s eluded conviction due to the numerous businesses he runs, putting a bounty on Batman’s head. He has also invited 8 different assassins to go after the bounty including many of Batman’s long time rivals. Of course Bruce can’t sit idly by and potentially let others be put in danger for his sake and so begins a long Christmas eve spent putting the beat down on Gotham’s worst.
Visually Arkham Origins is a small step up from its predecessor with the primary limitation of them progressing any further being the fact that it’s still being released on the current console generation. In all honesty though it still looks fantastic with all of the environments having an incredible amount of detail in them. I’m also somewhat thankful for this as my PC hardware is starting to get a little long in the tooth and whilst Arkham Origins looked great there were times when it began to noticeably slow down. However that wasn’t a frequent occurrence, even in the outdoor scenes where you could see far off into the distance.
Just like the 2 Arkham titles before it Origins keeps the core game play and style the same whilst adding in additional challenges, enemies and tactics to keep it feeling fresh. You’ll still spend most of your time beating the every loving crap out of various different types of enemies, the challenge ratcheting up every so often with the introduction of new types of enemies requiring different techniques to take them down. However you still have the option of being a silent predator at times, swooping through an area and taking out multiple enemies without being seen. Finally the core puzzle mechanics make a come back, albeit with a new mode to make things a little more interesting.
Combat, as always, is fast paced and meaty with every hit you land having a really satisfying feel to it. I always seem to start off feeling rather uncoordinated, getting my combos interrupted all the time by just not noticing the incoming attacks, but it doesn’t take long before I’m hitting huge multipliers and laying waste to everyone. One thing that has always irritated me is the initial lack of a way to take out large groups once you’ve knocked them all down as whilst you can do a ground take down on them all too often that results in you losing your combo string as it seems you can’t counter whilst in the middle of one. Later on of course you’ll unlock some better ways of dealing with them and after that combat starts to feel a lot more fluid.
However one criticism that I’ll level at it, and this has been true of all of the series, is that as you progress through the story the number of different things you can do during combat start to become a little overwhelming. Pretty often you’ll find yourself facing a knife wielder, a guy with a riot shield and probably a tough enemy that needs to be stunned before you can do anything. These require no less than 3 different methods of taking them out and when combined with the dozen or so quick fire gadgets you end up having to remember so many things that you’ll eventually just settle on a couple. They all become somewhat moot however with the introduction of the shock gloves and then all you have to focus on is getting enough charge in them so then you can lay the smack down on everything around you.
The stealth sections feel like they have remained largely unchanged although this could be primarily due to the fact that I didn’t invest many points in that skill tree until very late in the game. They’re still fun and somewhat challenging, especially the ones that have unique mechanics like the Deadshot encounter, but if you were looking for a markedly different or revamped experience you’re not going to find it. There’s also the possibility that I just wasn’t paying attention to some of the prompts and missed some new opportunities but I didn’t really have any problems accomplishing anything (unlike say in the Mr Freeze battle in Arkham City).
The detective mode/puzzles remain largely the same albeit making use of some of the new mechanics granted to you by the various gadgets that weren’t present in the previous titles. There’s also the addition of the crime scene mode which you use to reconstruct crimes to figure out details about how they happened and to track down the people responsible. For the most part it works well however it’s not made entirely clear when you have to move to a new section to continue the investigation, or what the expected behaviour is, so at first it was a little confusing. Still since it’s largely the same mechanic it still functions well even if it doesn’t feel as fresh or different as other aspects of the game are.
However the real problem with Arkham Origins is that whilst it retains the essence of what made the Arkham series so good it’s also marred by numerous bugs and glitches, many of them that are completely game breaking. The screenshot above depicts one of them where upon using certain abilities with knock back you can cement enemies in a wall or other object. They then become unreachable and whilst I was able to dislodge them after trying every gadget I had (I eventually found I needed to get them on an edge and then attempt to stun them so they’d fall backwards out of the box) it was an incredibly frustrating experience. This is not to mention one part in the Penguin’s ship where all the external doors just simply refused to work, making the opening noise but not allowing me through. This broke my trust with all the game mechanics so I spent the vast majority of the game wondering if I had completed a challenge successfully or if I had just encountered another game breaking issue. I’m not alone in thinking this either as my searches into the issue revealed the list of bugs is scarily long and even after it’s been out for this length of time there’s no patch in sight.
This, combined with the fact that Arkham Origins isn’t too much different from City in terms of overall play style, is probably the reason why there’s been such an abysmal reaction to it. I did my best to avoid any reviews prior to playing it however I unwittingly found out that Destructoid gave it 3.5 out of 10 and whilst I don’t agree with that score overall I understand the reasoning that went into it. Whilst I feel that Arkham Origins isn’t a bad game overall it is certainly the weakest of the series, showing very clearly that Warner Bros Montreal has a lot to learn before they can deliver a title that can be considered on par with the rest of the Arkham series. Whether or not they’ll get the chance to do so in light of the current reaction to Arkham Origins though remains to be seen.
As for the story I felt like it was a great introduction into the relationship between Batman and the Joker as whilst their relationship has been explored in depth in other mediums it was great to see how the rivalry began. The bucket list of other characters thrown in as assassins was unfortunately less well done as it just felt like a convenient way to throw them in without needing a coherent reason for them to be there. This was only exacerbated by the fact that they either had long, drawn out encounters (like Enigma) which just weren’t that fun to pursue or they were so short (like Anarchy) that you really didn’t have time for them to develop.
Should we judge Batman: Arkham Origins without the knowledge of the titles that followed it previously it would be easy to heap praise on it. The combat is engaging and satisfying, the exploration into the relationship between the Joker and Batman is intriguing and the world is filled with detail that few games manage to achieve. However it’s lineage set a high bar for it to live up to and the fact that it’s not different enough from Arkham City, combined with the numerous game breaking bugs, means that Arkham Origins is the weakest of all of the titles. I certainly enjoyed my time in it but there’s no mistaking that the developers behind it have their work cut out for them if they want to live up to the Rocksteady brand.
Rating: 7..0 / 10
Batman: Arkham Origins is available on PC, Xbox360, PlayStation 3 and WiiU right now for $59.99, $78, $78 and $78 respectively. Game was played on the PC with 13 hours of play time and 26% of the achievements unlocked.
I remember sitting in one of my university classes, it was Game Programming Techniques which I was giddy with excitement to be in, and being proposed a simple yet poignant question: how many of you have tried to code a game? The room was filled with students who had spent much of their past few years at university coding but out of the dozens of people there only a few raised their hands. The answer as to why was the same for all of us, we simply did not know how to go about it. Fast forward to today and thanks to tools like GameMaker and Unity it’s possible for anyone, even non-coders, to be able to create a production quality title. Lilly Looking Through is a great example of how these tools enable people to create, without the necessary background in flipping bits.
Lilly is just like any other ordinary kid, letting her curiosity run wild as she ventures around her own little world. One day though something strange catches her eye, a piece of cloth that appears to move with a life of its own. However she can never seem to get close to it, the devious strip of cloth always flitting away at the last possible second. Then suddenly the cloth seemingly takes a dark turn, snatching up Lilly’s brother Ro and whisking him away faster than Lilly can run. What follows is Lilly’s journey to get her brother back, taking her through all sorts of wonderful and whimsical worlds.
Lilly Looking Through has a decidedly Dinsey-esque feeling about it, with the backgrounds all being lovingly hand drawn. It reminded me of the many similar types of games I used to play as a kid like The Magic School Bus and Mario is Missing, albeit with the additional twist of all the animation being done using 3D models. The developers behind Lilly Looking Through should be commended for blending the two elements seamlessly as traditionally it’s usually very obvious where the distinction lies, something that I find quite distracting. The background music is also quite enjoyable, being a great backdrop to the sumptuous visuals.
At its core Lilly Looking Through is a 2.5D point and click adventure game albeit without the usual trimmings of an inventory system and the requisite try this item with every other item to see if you can progress. This is quite typical of the indie scene where general mechanics are left to one side in favour of other things and, in all honesty, it’s refreshing to play a game that doesn’t have a cornucopia of things to do in it. Thus the majority of your time in Lilly Looking Through will be spent solving puzzles and drinking in the scenery you find yourself in.
The one twist in Lilly Looking Through’s puzzle mechanics is the use of her goggles you pick up early in the game. These allow you to switch between two different times in the same world, allowing you to accomplish things that would otherwise be impossible. It’s by no means an unique or innovative mechanic but it does do its job well by making you think about how to use the two different worlds effectively. The rest of the puzzles build off this mechanic, playing on the notion of time passing and setting up things accordingly.
For the most part the puzzles are challenging, encouraging you to look at the scenery around you and figure out how everything interacts in order to unlock the next section. Indeed my favourite puzzle of the lot (shown below) required you to initially play around to figure out what everything did and only then could you approach it scientifically. However the puzzles that rely on understanding colour theory are, to be blunt, unintuitive and just frustrating. I have a basic understanding of how colours mix together but I know that there’s a major difference between mixing paint and mixing light and trying to figure it out intuitively just doesn’t work. It would be ok if this was just a single puzzle but the last few all rely on the colour mixing mechanic.
The story is also pretty simplistic and whilst I’m not adverse to an absence of dialogue (indeed games like Kairo are a powerful experience) it did feel somewhat hollow. I think much of this stems from the fact that Lilly Looking Through is heavily focused on the visual aspect of the game, and in that respect it does well, however it’s just not enough to carry the game on its own. Don’t get me wrong I think it’s still a great little story, especially if I’m guessing right in that their target demographic tend towards the younger generation, but it really is the bare minimum to keep it moving forward.
Lilly Looking Through is a gorgeous little game, one that rewards the player for being inquisitive with a visual display that is quite impressive. The early puzzle mechanics are fun and enjoyable however the later stages that assume some knowledge of colour theory unfortunately let it down, leading to a frustrating experience that feels more like luck than anything else. Still I think it’s a great little game, one that is probably best played by your youngest relative while you watch from the sidelines.
Lilly Looking Through is available on PC and iOS right now for $9.99. Game was played on the PC with around 2 hours total play time.
I think what attracts me most to the indie game scene is the refinement of game ideas down to their core. It’s far too typical for games to include elements from disparate genres (how many AAA games now include some form of levelling or skill tree based progression) and whilst the end result might be playable those extraneous elements usually don’t do much for the game as a whole. Independent game son the other hand, with their much more limited resources behind them, have to focus on those ideas lest the scope get out of control. Gunpoint is an indie platform puzzler that does a few things and does them well making for an enjoyable, if somewhat short, experience.
You are Richard Conway, freelance spy who’s just received his shipment of Bullfrog hypertrousers and has decided to test them out from his 3rd floor apartment. Of course since you’ve never used them before this sends to you flying out of your apartment and into the nearby corporate offices. Unfortunately for you a murder is committed nearby and the video footage places you at the scene of the crime. So begins your adventure into covering your ass and, hopefully, discovering who the real killer is.
Gunpoint is a pixel art game and does well to invoke feelings of the times when games like it were common. The story behind its creation is quite interesting as the main developer, Tom Francis previously of PC Gamer fame, put out a call on his blog for artists. He eventually settled on John Roberts as the lead artist and Fabian van Dommelen for the backgrounds and the end result is quite good. Francis also went through the same process for the background music and has achieved a similar level of success even though it’s a decidedly more modern affair.
As I alluded to before Gunpoint is a puzzler platformer with a heavy emphasis on using the environment to accomplish your objectives whilst remaining out of sight of potential enemies. Initially this is just a game of timing your moves right, ensuring that guards don’t see you and that you have enough time to accomplish your goal before they turn around. However that all changes when you’re given access to the crosslink tool, a game mechanic which allows you to rewire circuits within the building you’re attempting to infiltrate. This allows you to do all sorts of crazy and whacky things, many of which are emergent thanks to the rather free form nature of Gunpoint’s play.
In the beginning you’re given unfettered access to the entire building, allowing you to rewire anything to anything. Of course if the whole game was like this it would be a little too easy so eventually it’s broken down into different circuits which you need to unlock in order to be able to control devices on it. This necessitates using a little strategy in order to get guards to open doors for you or just to set them in motion so you’ll be able to sneak past them or take them out without risking being shot. This is probably one of the few games where I find one-shot kills acceptable although that’s probably more due to the great auto-save system more than anything else.
The upgrade system in Gunpoint takes on a dual focus with each successful mission granting one point to upgrade your innate abilities as well as a stack of cash which you can spend on upgrades. However like most games which incorporate upgrades which have potentially game changing consequences Gunpoint’s levels don’t strictly rely on you having anything of them, meaning the game can be completed without them. Indeed I didn’t spend much money at all on upgrades initially and only when I was granted a ludicrous $8000 bounty did I bother spending my cash. Even then at the end I barely used any of the additional abilities I had been granted although the upgrades to the jump charge speed and height were somewhat useful.
The story is a light-hearted affair as it doesn’t take itself too seriously (even if you choose the less silly dialogue options) and doesn’t really deal with a serious subject matter. For the style of game it fits quite well and the story sequences, which are told through walls of text, don’t distract from the main game. If you’re feeling adventurous you can also find extra bits and pieces of the story scattered around the levels in optional objectives which aren’t completely necessary but do add a little more flavour and back story. Overall it’s good but lacks any kind of depth so don’t expect a heavily story driven experience.
Gunpoint is a great puzzler experience that focuses heavily on the game play, allowing the player a degree of freedom that is rare in today’s titles. It’s quite likely that no two playthroughs of Gunpoint will be the same as the amount of emergent behaviour that is possible within each small level is quite extraordinary. It’s let down somewhat by the not-so-useful upgrade system and light on story but the heavy investment in the game play more than makes up for these shortcomings. It’s an intriguing title, one made even more interesting by the fact that it was made by a former game critic, and should you be looking for a good distraction between longer games then you really couldn’t go past Gunpoint.
Gunpoint is available on PC right now for $9.99. Total game time was approximately 2 hours with 50% of the achievements unlocked.
I’ve often wondered what the world of experimental indie games looks like to someone who doesn’t have a long history with games. Whilst the average age of a gamer is pushing past 35 there’s still got to be a good chunk of people who didn’t grow up in the golden age of gaming which means that many of the conventions relied upon in these games would simply be unfamiliar to them. Usually this is done in aid of getting out of the way of the user’s experience (tutorials are by far the worst immersion breakers, bulldozing through the 4th wall) and it’s something I appreciate although I recognise how this might be of limited appeal to others. MirrorMoon EP is one such game, relying on your sense of curiosity and exploration to uncover the vast world that it encompasses.
I am slowly learning to travel in space.
Time is a meaningless variable that slips through my fingers.
Stopping requires a lot of energy while moving feels almost like staying still.
Breathing is hard inside this machine.
I need to stay calm.
And with only that to go on you’re dropped on a mysterious moon, one that has a strange relationship with another nearby celestial body.
MirrorMoon EP feels visually similar to other minimalistic exploration games like Kairo favouring texture-less environments with solid colours covering every surface. As I alluded to earlier I believe that this is done in order to focus you on the gameplay above everything else and indeed since the control mechanism doesn’t allow you to sight see particularly well (more on that later) it does feel like MirrorMoon EP is doing its best to get out of your way. As a fan of minimalism this works quite well for me, especially when I find myself agape at some of the scenery which is nothing more than a couple light shafts arranged in a particular manner.
MirrorMoon EP is an exploration puzzler and the first world you find yourself upon serves as an introduction into the numerous mechanics that are built into it. Your viewpoint is locked however so whilst you’re in first person mode you can’t look up or down, nor even to your left or right. Instead you have to move yourself around like your entire body is encased in concrete, fixing your vision firmly forward. This, coupled with the incredibly small sizes of the world, means that your sense of location and direction is severely limited however you’re able to unlock a large set of tools that will help you find your way around and some of them are quite novel.
As the name of MirrorMoon EP alludes to you’ll quickly find out that there’s another “moon” nearby that, once you’ve discovered the right tools, you’re able to interact with. Initially it doesnt’ make a whole lot of sense, the first one allows you to rotate it around to see different features, however it becomes apparent that the moon you’re manipulating is in fact a duplicate of your own. Then using the tools you have disovered by randomly bumbling about you can then use it to guide yourself, allowing you to unlock more and more secrets. Eventually you’ll solve the puzzle and be treated to some more vague on screen text but after that you’re given access to the real game and it’s quite something.
This is your console for exploring the vast space that is contained within MirrorMoon EP. Like pretty much everything else in the game details on how it operates is scant but after clicking around you’ll eventually figure out what everything does. The screen with numerous dots all over it is a map of all the other moons you can visit and each of them contains an unique puzzle for you to solve which, once completed, will allow you access to a glowing orb. Should you be the first person to find that orb then you’re granted with a special privilege.
You get to name that moon.
Now with the massive number of planets available I get the feeling that they’re all procedurally generated so some of them are going to be amazing and others are going to be quite dull (I believe I visited one that was completely dark and the orb was right in front of you). The names are also persistent and you’ll be able to tell if someone’s named a planet by the name being something other than THX/89 or something of a similar format. I managed to haphazardly visit another person’s planet without realising it but soon after found myself seeking out all the planets I could in order to solve them before anyone else did.
Whilst is a pretty novel and interesting mechanic it unfortunately gets boring quite quickly as whilst the planets are usually different in some way a lot of the time it’s just a jumble of various mechanics mashed together procedurally. Once you’ve seen a dozen or so planets you’ve likely seen them all and so what initially seems like something with infinite replay value quickly fades into repetition. I do like the idea though and for some people I’m sure this would be infinitely interesting (kind of like Kerbel Space Program in a way) but for me I just couldn’t be bothered after a while.
Now I’ll have to admit some fault here as whilst I managed to complete the first “side” easily (and got the achievement to that effect) I haven’t yet been able to figure out how to finish side B in order to get a complete understanding of the story. It does seem quite interesting, especially with the references to the “anomaly” and how the machine interacts with space and time, however the intentional vagueness of both the game and the story have curtailed my efforts to dig up any substantial meaning from it. I could just Google it, like I did for Kairo, and I probably will if I don’t find out anything more soon.
MirrorMoon EP is an interesting game, one which is heavily shaped by your own experiences with it. The unapologetic, minimalistic nature of it will definitely be a turn off for some however the heavy focus on the game play to the exclusion of nearly everything else is something that MirrorMoon EP pulls off exceptionally. Unfortunately I feel like it’s replay value is somewhat limited due to its procedural nature and the intentional vagueness of both story and gameplay may have lead to me giving up on it prematurely. Still MirrorMoon EP stands out as yet another shining example of the indie exploration/puzzler genre and is definitely worth looking into.
MirrorMoon EP is available on Steam and OUYA right now for $9.99. Total game time was around 2 hours with 40% of the achievements unlocked.
I’ll have to be honest when I say that when a game comes at me out of no where I have a tendency to shoot them down. All those hours spent shuffling through the Steam store looking for games to review has shown me some pretty oddball titles and after a couple not-so-great experiences I’ve come to cast a skeptical eye in their direction. Just because a game tries something new or different doesn’t necessarily make it good and whilst I (and many others) might deride the generic indie 8bit styled platformer puzzler which has become the norm these days developers of such titles do seem to have better hit rates. Still after a boozy night I, along with a close mate, watched a good hour long Let’s Play of Papers, Please and I can say this unique game gets a lot of things right, especially when it comes to forming a compelling narrative.
Congratulations, the screen reads, the October labor lottery is complete. Your name was pulled. For immediate placement report to the Ministry of Admission at the Grestin Border Checkpoint. An apartment will be provided for you and your family in East Grestin, expect a class 8 dwelling. With that you’re thrown into your new job as an admissions officer for the border to Arstotzka with little more than a handbook to guide you through all the rules, regulations and potential threats that might cross your path. Whilst these rules appear to be easy to apply at first they become increasingly blurry as you learn more about the people coming through the border and the greater geopolitical landscape.
Papers, Please has that familiar pixelart style reminiscent of old adventure games. It makes use of a decidedly dreary color palette done obviously to create that oppressive Soviet-esque feeling that permeates throughout the game. One thing that really stuck with me in the game was some of the foley for the various things you do, just routine things like stamping and moving paper around, I’m not sure exactly why it did although it could be that with everything else being so dark and drab those sounds seemed so much more joyful than they really were. That’s probably the only thing that marks the game as being from this generation as otherwise it wouldn’t be out of place was it released 15~20 years ago.
The basic premise of Papers, Please couldn’t be anymore boring: you’re a border agent charged with verifying documents before granting people access to your country(indeed my wife asked me if I was “Playing DMV” when she first saw me fire this game up), Arstotzka. Essentially this entails taking the documents given to you by immigrants, checking them over for errors and then, based on the evidence you have in front of you, deciding on whether or not to let them in. In the beginning it’s rather simple as you’re only required to verify obvious things like the dates being current and the details on various documents matching each other but as time goes on the rules start to get rather complicated and there’s all manner of things that could be wrong that you probably won’t notice the first time around.
Indeed thanks to watching an hour or so of someone else playing Papers, Please I was able to breeze through the first couple days without much of a hassle. That started to change however as other documents started being added to the mix as any additional document was always a chance for something to be out of line. Worst still is that when you’re introduced to a new mechanic, such as seals potentially being forged, you’ll instinctively scrutinize that aspect very closely in the beginning (and the game will usually throw you an example of the new rule as the first immigrant of the day to test you out) which will lead to you missing things in other areas. I can’t tell you how many times I let someone through only to find out that I’d missed something as obvious as their gender not being correct, giving me a citation.
Of course this would be a rather hollow exercise if you didn’t have some kind of motivator pushing you to cycle through as many of these as you could and Papers, Please gives you one that works beautifully but is also incredibly dark. You’re the sole income provider for your family, tasked with paying the rent and providing them with heat and food. For each applicant you process successfully you’ll receive 5 dollars and in order to keep your family happy you’ll need to process at least 10 of them a day. That sounds easy right? Well you have a time limit and when that clock starts flashing you start wondering if you’ve done enough and that’s when you start making mistakes. Of course there are opportunities for you to supplement this income should your moral compass be flexible enough to accommodate it.
This is where Papers, Please starts to shine as whilst the mechanics are solid enough to carry it on its own (there’s a reason why the developer included an Endless mode) the narrative that drives it is by far some of the most compelling and depressing that I’ve encountered in a long time. Whilst the choices seem arbitrary initially, like whether or not to admit someone based on what another person has said, you’ll quickly find out that your actions have consequences with many of them not being a simple case of if I do X now Y will happen later. Indeed even if you try your hardest to avoid any kind of conflict you’re likely going to find yourself being pushed into a corner where you’ll have to make a choice that you don’t entirely agree with but will have to do if you want to keep on playing.
PLOT SPOILERS AHOY!!!
When I first started playing Papers, Please I decided that I’d be a by the book kind of guy, ruthlessly applying the rules as they were given to me so that there was no conceivable way I could get into trouble with anyone. This works, for a while, until I got into the uneasy position with The Order where they gave me a truckload of cash. Of course being by the book I denied the second agent from getting in and of course a couple days later I find myself in jail. No worries I thought, just let him through and then I can go back to being the guy I wanted to be, and so I did but that was just the beginning of my moral compass turning south as from that point I started to make more and more compromises until I got to the point where I was just doing everything I could to survive and that’s when things started to get really hairy.
I found myself weighing up bribes and how many violations I had remaining for the day to see what I could get away with in order to make the maximum amount of profit. Whilst I tried to keep myself as moral as I could, like hanging onto a watch for a guy when he said he’d be back for it with all the required paperwork, if there was an opportunity for me to make money I’d take it. This reached a fever pitch when I was told I’d be audited soon as I knew that’d be the end of me so suddenly my objective of just surviving turned into a no holds barred approach to get me and as much of my family out of there as soon as I could. Thinking back over it I’m really quite surprised how quickly I changed from being a cold, uncaring border agent to someone who’d do anything as long as the price was right, even though I couldn’t point you to a time when everything changed.
My god, is that how it happens for people doing this in the real world? I don’t even want to think about that…
YARRRR PLOT SPOILERS OVER!!!
Papers, Please is a true gem of a game, one that could have easily been considered a top notch title based on either its core mechanics or its driving narrative. The combination of both produces an intoxicating game that draws you into its dark world and refuses to let go, forcing you to rethink how you’re playing it and to question your moral compass, whichever way it points. I could go on but honestly its a game where your experience with it will be quite unique as you navigate your way through the moral hazards, political traps and unrelenting drudgery that is the world of Papers, Please.
Papers, Please is available on PC right now for $9.99. Total play time was approximately 5 hours with 23% of the achievements unlocked. Glory to Arstotzka.
Since my review of the original The Walking Dead from Telltale games I’ve found myself far more involved in the IP. I’ve watched all the TV episodes and whilst it isn’t my favorite show out there it still ranks up there as one of those shows that I’d say is recommended watching. Of course I understand that while they share the same source material the games are far more true to the originals and whilst I haven’t had the chance to read through them I can definitely attest to the incredible amount of character development that happens in The Walking Dead series. 400 Days is an episodic DLC for The Walking Dead, serving as an introduction for the story that will come with season 2. Now I’m not usually one for DLC but The Walking Dead stands out as one of the best episodic, story focused games out there which made this hard to pass up.
400 Days gives you a brief introduction into 5 different story lines that all within a short time frame of each other. They serve as the character’s origin stories, ostensibly the ones that will be used as a basis for season 2, and since you’re playing through them you have a certain amount of control over how their characters develop. All of them come with baggage, both from before the outbreak and after, and how you deal with that will determine how they play out in the future. This rings true to the rest of the series which was highly reactive the choices you made, even the ones you thought were of no consequence at the time.
Considering this is just a DLC it comes as no surprise that there’s been no dramatic changes to the art style or general game mechanics. It still feels very much like you’re playing a game that’s taking place in a comic book as style that works incredibly well, seemingly taking the idea of authenticity to its utmost conclusion. The voice acting has remained top notch as well with all the lines delivered with the expected emotion and gravity befitting the situation happening on screen. It shouldn’t be surprising really as this is essentially the 5th time they’ve done this and every time Telltale games have shown they can deliver.
Unlike the previous installments which followed Lee and Clementine’s quest to stay alive in a hostile world 400 days instead gives you the option of picking which story arc you’d like to investigate. Whilst I’m sure that many will do pretty much as I did, going from left to right, there’s no right or wrong way to play through them. They do intertwine however which means that it’s up to you to form part of the narrative through deducing the links, however they’re not exactly subtle so I don’t think anyone would miss them. Each of the stories are unique and provide you the opportunity to shape their character in some way and with a few cases you can (I suspect) radically change their behavior.
Mechanically it plays essentially the same as The Walking Dead did with the addition of a couple more mechanics that feel like they are there to test the waters for the next season. You’ve got your usual adventure game mechanics of clickable items which you can then interact with however since this is essentially just a bit of background story for each of the characters there’s really no puzzles to speak of. There’s a few challenges but the NPCs tell you exactly what to do so unless you deviate from that then there’s really nothing to threaten you. You could almost consider the mechanics unnecessary as they are as basic as you can get however I do appreciate them as they help to break up what would otherwise be a monotonous experience.
Thankfully it looks like Telltale has taken some of the lessons learned with previous releases and applied them to this one as my experience with 400 days was completely bug free. The worst thing that can happen in story focused games like this is game issues breaking immersion and The Walking Dead had enough of them that I had a couple occasions where I just stopped playing because of it. Hopefully this trouble free experience translates well onto season 2 as that was probably the only negative thing I can remember about The Walking Dead.
Of course that’s all second to the incredibly confronting stories that 400 Days manages to tell in its short play time. Every single one of the story lines will force you to make a hard decision, some a choice between two that neither of which you can completely agree with. Some of the things you’ll do thinking they were the right thing to do, or were simply the only way you could react given the situation, will put you on a path that you don’t agree with. How you deal with that will impact on how the character reacts later down the track and, if the foreboding is anything to go by, how the story of season 2 shapes itself.
400 days fits right in with the rest of The Walking Dead series, providing a little taste of what’s to come in season 2 and giving you the opportunity to shape the story before it starts. If you enjoyed the previous series then you’re sure to like 400 days as the same game play and story telling is there, it’s just the people you’ll be following is different. If you haven’t played any of them then I’d strongly recommend you do as they’re one of the stand out story first titles in recent memory and if 400 days is anything to go by season 2 will continue on with that tradition.
The Walking Dead: 400 days is available on PC, PlayStation 3, Xbox360 and iOS right now for $4.99 on all platforms. Total game time was 2.5 hours with 88% of the achievements unlocked.
It’s nigh on impossible to miss the hype that’s been surrounding The Last of Us, the latest game to come out of Naughty Dog studios who’s been responsible for other PlayStation 3 exclusive hits like the Uncharted series. I tried my best but it the sentiment among the reviewer crowd was hard to miss: this game was shaping up to be everyone’s game of the year. However the interesting part about it was that it wasn’t something like revolutionary game play or top end graphics that was sending the review scores northward, it was the confronting story. I had been sold on the game since I saw the short gameplay demo that was released last year and had already lined myself up to play it despite it being a survival horror so all that was left was to fire it up and see if my impressions of it lined up with the hype that surrounded it.
You play as Joel, a single father who’s been working hard to provide for his daughter Sarah. Everything seems to be good in your world, heck she even manages to scrounge up enough cash to buy you a watch for your birthday, but soon an epidemic starts to sweep the nation, one that enrages people and turns them into vicious beings that attack anything when sighted. Tragedy befalls Joel, turning him into a bitter person and he then spends the next 20 years in a quarantine camp, finding work as a smuggler who gets things into and out of his camp. His world is shaken up after he seeks revenge against someone who’s wronged him only to find himself tangled up with a rebel group who’s only request is that he smuggle a girl to one of their camps.
Her name is Ellie.
With this current console generation coming to the end of its life the games are taking full advantage of the hardware platform that’s available to them and Naughty Dog’s expertise on the PlayStation 3 shines through in The Last of Us. All the environments you’ll explore are incredibly detailed, showing the world in glorious ruins. It’s a testament to Naughty Dog’s skill that all of this runs without a hitch as well with the game remaining buttery smooth even during intense action scenes. What I did like though was the distinct lack of environment porn, I.E. scenes that were deliberately designed to make you gawk at the rendering engine. Sure there were a lot of impressive moments but I never felt like any of them were created specifically as screenshot bait, they were just emergent based on the great level design and detailed environments.
The Last of Us is a survival horror game where resources are scarce and death almost certain should you not play your cards right. Now traditionally I’m not a big fan of these titles as they tend to do things that violate my rules for being a good (but also challenging game) and The Last of Us is no exception to this. It’s made up for somewhat by the inclusion of other mechanics that allow you to negate some of the more annoying aspects of survival horror game play through the use of skill and simple curiosity but there are still some issues that remain unresolved that I will take the game to task for. However I do understand that this is part of the survival horror schtick and is probably considered a great example of the genre so I’m more just trying to make my biases known so you don’t feel the need to lambast me in the comments.
There’s 3 main mechanics that drive the game play of The Last of Us. The first is good old fashioned 3rd person combat which has been tweaked with a stealth mechanic that you’ll make good use of if you don’t want to be reloading the game every 5 seconds. The second is a form of simplistic puzzler/platformer where you’ll have to solve a puzzle in order to progress to the next stage. Lastly there’s a customized RPG like system of crafting, upgrades and upgrades that allows you to improve your character and create consumables that you’ll undoubtedly being making heavy use of throughout your play through. None of these are particularly unique, and indeed I’d argue that the the gameplay isn’t the strongest characteristic of The Last of Us, but they do make for a challenging game.
You’ll spend the vast majority of your time exploring the environments that you’re in for bits and pieces that you can use to craft items to help you along. You don’t have to do this but the less you do it the harder the game will get for you as, no joke, that piece of rag you picked up 2 hours ago could be the very thing that saves your ass. It can get a little laborious though as pretty much every section you go through has to be inspected with a fine tooth comb to make sure you didn’t miss everything and, once you get past a certain point, you might stop doing it because you’ve managed to max out your inventory. However even if you do manage that there’s still another reason for you to keep searching: for the other upgrades.
There’s 2 ways to upgrade your character with the first being through “supplements” that affect Joel. For the most part they just make the game easier, giving you more health or decreasing the time it takes to heal for instance, but some of them can make the difference between life or death like the ability to save yourself from a clicker attack with a shiv. If I’m honest most of them apart from the Shiv Master one didn’t really impact on the game that much, usually just giving you a little more leeway with which to accomplish the same things. I also found that the supplements were scarce enough that I could just drop them into skills to max them out so the choice is usually based around your play style and what seems to be hampering your progress the most.
There’s also the upgrades to your weapons which can improve things like reload speed, clip size and fire rate. There’s unfortunately no way to upgrade the damage of any particular weapon which means they’re just as effective when you first get them as when you last fire them which, honestly, gave me the shits. The awful aiming coupled with the relative ineffectiveness of shots that hit anywhere but the head means that most of your weapons feel like they’re having no impact whatsoever with the exception of the shotgun and shorty (which are only close range, not so great for things that want to bite you). The upgrades make up for this somewhat by allowing you to fire and reload more rapidly but when you don’t have a lot of ammo (and you can’t carry that much even if you save every bullet) it’s kind of a moot point. Even upgrading the bow, something which is typically super bad ass in any survival game, doesn’t increase its usefulness that much, especially against moving targets.
Which brings me to the combat of The Last of Us which is quite typical of the survival horror genre. There’s 2 modes that you’ll be playing in: stealth and out and out firefights. Now the former is actually quite well done as the environments are strewn with little nooks for you to hide in and wait patiently for your prey to walk by so you can snag them and choke them out silently. You also have the rather awesome ability to “concentrate your hearing” which essentially enables a wall hack that allows you to see where enemies are. They have to be walking or talking for it to work, which becomes something of an issue later on, but it’s enough so that you can get a feeling for where they all are before you strike. Of course one mistake means that your prey will alert everyone else and then you’ve got two choices: run or start shooting.
This is where I feel The Last of Us starts to fall down a bit as the guns don’t feel effective at all unless you get a headshot and lining one of those up while under fire is nigh on impossible. The human AI is smart enough to not run blindly around corners where it knows you’re hiding (and it will try to flank you) so you can’t do the usual rounding up and then gunning them all down sort of thing that’s possible in other 1st/3rd person shooters. With the wonky controls of the PlayStation3 the only effective guns I found were the two I mentioned earlier although they still suffer if not aimed somewhere near the head. Of course the stealth aspect of The Last of Us means that there’s opportunity to flank people out although the AI has a rather terrible habit of suddenly figuring out where you are when you pop your head out to start shooting at them.
The same applies to the infected as the AI behaves very differently when you’re near them, to the point where sometimes they’ll make a beeline straight for you even when they’re not supposed to be aware of your position. There’s ways to counteract this, of course, but I don’t like the feeling that I’m making up for the shortcomings of the AI by bugging it out with other game mechanics. I remember one particular challenge (starting the generator in the basement so you can use the card reader door) where after causing a ruckus I’d run to a dark area to hide so I could then plan my escape. Should I not place a bomb somewhere else that then gets triggered by an infected a bloater would then, inexplicably, find me even though I was nowhere near that particular spot. The bloaters also appear to have eyes despite them apparently not being able to see and don’t get me started on the one-hit-kill nature of the clickers which requires 75 supplements to avoid.
The Last of Us is also not bug free either as I had several times when triggers simply failed to load, locking me in the current section being unable to progress until I reloaded from the checkpoint. Additionally the checkpoint behaviour isn’t reliable as manually restarting it often means restarting from a point faaaaaaaaaar behind your current checkpoint, meaning it’s better to just die rather than try to reload it. There’s also the rather irritating feature of spawning enemies in rooms that you’ve already looked in and cleared, ones that don’t have any entrance path to them (like on the second story of a house). For the most part they’re manageable but when you’re dealing with the 100 other stressful things the game throws at you this can be enough to stop you playing.
But the thing that Last of Us is receiving so much praise for isn’t it’s gameplay it’s the detailed and very confronting story that drives you through it. Credit where it’s due for the voice and motion capture actors for portraying it so well as I’m quite intolerant of bad performances in either aspect but the people behind The Last of Us do a top notch job. Whilst I won’t put a plot analysis here (that’s something for the spoiler section below) suffice to say that the story evokes heavy feelings of empathy, sorrow and strong cognitive dissonance over how your characters play out. The Last of Us is one of the few modern games where you have absolutely no control over how the story plays out, something that I enjoy but may frustrate some players.
MAJOR PLOT SPOILERS FOLLOW
I felt a deep sense of empathy for Joel, despite his obvious character flaw of not wanting to care about anyone (from fear of getting hurt). With that in mind the ending felt like the one that I wanted to happen, because fuck anyone trying to hurt Ellie, however in doing so I had to bear the costs associated with doing that. The final scene between Joel and Ellie was probably one of the most painful things I’ve ever had to watch as it’s clear that Ellie knows Joel is lying, as evidenced by her simple reply that echoes her initial character before it’s developed over the course of the game, but she’s accepted he has his reasons for doing so. Whether he’ll ever reveal them to her is something that’ll be left up for discussion (or possibly a sequel, although bonus points to Naughty Dog for not leaving us dangling) but it’s almost at the point where it doesn’t matter.
Whilst Ellie’s fate was somewhat expected (although I question its validity, it’s not like we can’t do brain surgery without killing people) I had more expected Joel to be the tragic hero, especially considering the origin story of the first couple hours. His survival was somewhat counter to what I expected which I was glad for and ultimately it enabled the hollow hollywood ending which is what The Last of Us is being widely acclaimed for. With that in mind the lack of a choice system, one with a lot of games shoehorn in at the end to give the player some sense of control over the ultimate ending, is a smart move by Naughty Dog and something I commend them for.
PLOT SPOILERS OVER
The Last of Us is an exhausting experience physically, mentally and emotionally. It’s one that will test your limits of what you think is right and wrong, making you question what ideals you would compromise when faced with the same situation. Whilst I might not enjoy some of the gameplay mechanics due to their survival horror roots I can’t deny the gripping story that’s well portrayed by the actors involved. Whilst there are many that would recommend getting a PS3 just to play it I won’t count myself among them however should you already have one it’s certainly one of the exclusives that shouldn’t be missed, no matter what kind of gamer you are.
Rating: 9.5/10 (includes +1.0 reviewer’s bias to counteract for the fact that I routinely rate survival horror badly)
The Last of Us is available right now on PlayStation 3 for $78. Game was played on the Hard difficulty with around 17 hours of total play time and 7% of the achievements unlocked.
With indie games there’s usually a tradeoff to be made between game mechanics and story telling. This is not to say you can’t have both, indeed there have been many good indie games that have demonstrated exactly that, more that a game with a limit amount of resources needs to pick one to focus on lest both aspects suffer from a lack of attention. I tend to prefer those that focus on story first, mostly because developing new game mechanics is fraught with risk, but I’ve begun to enjoy those that bring new and innovative game mechanics to their chosen genre and The Swapper does just that.
The Swapper takes place in the furthest reaches of space aboard the space station Theseus. It begins oddly for you, the unnamed protagonist, seemingly trapped inside an escape pod that’s then launched to the surface of the planet you were orbiting. Thankfully you land at one of the ground bases that were established earlier and are able to make your way down to one of the teleporters to get yourself back up there. Before you do that however you discover an incredible device, one capable of producing clones of yourself and, should you desire, swap your consciousness into them. Why such a device exists and why you were sent to the surface still remain a mystery to you but upon returning to Theseus it becomes clear that there’s a lot more to this story than you might first think.
In terms of graphics and art style The Swapper is unique in that much of the assets and textures are actually hand crafted from clay rather than created digitally. This gives everything a rather strange level of stylized realism that’s not disconcerting but definitely gives it an unique vibe. Some of the areas have a distinct Trine feel to them (most notably the garden areas) although the whimsy was replaced with a sense of foreboding loneliness, even after I had made contact with others. The soundtrack is also quite amazing with sounds ranging from a quiet space ambiance to sorrowful tracks that seem to rise and fall at the perfect moments. They also get bonus points for muting all the sounds when you’re in the vacuum of space something far too many game developers forget to do.
The Swapper is a puzzler at heart, one that introduces an unique (as far as I can tell) mechanic to make some decidedly challenging puzzles. They all center around “The Swapper”, a device that allows you to create up to 4 clones of yourself and, should they be in line of sight, swap to them. The clones mirror your movements perfectly unless they’re blocked by terrain or other obstacles which means that many of the puzzles will be spent figuring out where to place them perfectly so that when you move towards your final goal everything falls into place. That’s how it starts initially at least and it doesn’t take long for them to start throwing more obstacles in your way that make the challenges so much more intriguing.
The first spanner in the works is the addition of blue and red lights. Blue lights block your ability to create clones in the region that they illuminate but you can still swap to them should you be in line of sight. Red light stops you from swapping with clones you’ve created but you can still create them. Initially they’re just put in locations that means you’ll have to maneuver yourself around in order to do the swaps you need but eventually they’re positioned so that even just getting all your clones in the right spot requires some lateral thinking. They even start overlapping lights creating lovely purple areas where you can’t do anything which makes for some really annoying puzzles.
Things start to get all sorts of whacky when they introduce gravity reversal into it. These are in the form of little floor panels that allow you to swap the direction of gravity for your character or the clone that’s on them. Since it’s not global this means you can have clones in differing forms of gravity and should they run over another gravity changing panel it will swap for them as well. When I first encountered this I didn’t think much of it, the earlier puzzles certainly weren’t very challenging, but the last few were really quite challenging. Of course once you get into the right mindset they start to become a bit easier as you recognise the tricks they want you to use but the first one of them had me second guessing myself for a good 20 minutes.
Facepalm Games also gets a lot of brownie points for including a map and teleport system that allows you to traverse the ship quickly. This is good because The Swapper is one of those games where progress is determined by how many puzzles you’ve solved and, should you miss a few, you could find yourself needing to backtrack to find them so you can get enough orbs to continue. They also cheerfully highlight any areas with unsolved puzzles something which is an absolute godsend that I hope I see replicated in other indie puzzlers. Needless to say they’ve put a lot of effort into taking out the crap in order to focus better on the story and mechanics which I’m sure we can all appreciate.
Surprisingly there were no game breaking bugs to report, nor any minor quibbles that I took issue with. Due to the style of game there is a bit of room for emergent game play to occur which can lead to puzzle solutions that probably weren’t intended and that could lead to some frustration for players. I know that when I found a couple ways of doing things my thought process was locked into solving them in that way and the actual solution didn’t rely on those quirks at all. This becomes less of an issue as the game progresses as the latter puzzles really only have one way of doing them but should you find yourself caught in a thought loop remembering this fact could save you a lot of time.
The story of The Swapper is incredibly engaging being told through snippets that you find on consoles, via communicating with the Watchers and through the crazed ramblings of the only other person you come into contact with. Usually this kind of fragmented telling gets to me but this had a definite structure to it, guiding you through the various pieces of information to form a story that’s really quite incredible. The fact that it all ties together neatly at the end also deserves praise as it would be far too easy to leave this open ended, begging for a sequel.
The Swapper is an intriguingly curious game, one that combines a unique puzzle mechanic with an engrossing story to form an experience that is truly like no other. Everything about it, from the art to the soundtrack to the gameplay, all have their own distinct feel about them and the fact that they all merge together in one seamless package makes the result so much greater than the sum of its individual components. It’s one of those games that really demands to be played rather than explained, even if you’re not a fan of the puzzler/indie genre.
The Swapper is available right now on PC for $14.99. Total game time was 4.5 hours with 0% of the achievements unlocked.
My previous post on games and female protagonists sparked an interesting conversation among my friends as we tried to recall all the games we’d played that had either a female lead character or at least one that played a major role in the game’s story. Even though we play a fairly broad range of titles the number of strong female characters we could name was dwarfed by their male counterparts, something that seems particularly odd now that 45% of all gamers are women. Thankfully that seems to be changing (albeit slowly) as games like Remember Me are becoming more frequent, even if they have to fight for their very existence.
You awake in an all white cell, your memory being wiped clean as part of the intake process for the prison you’re being kept in. A doctor approaches you and starts asking you rudimentary questions, trying to figure out just how much of yourself remains after your treatment. It seems that you’re somewhat resistant to the Sensen’s memory wiping ability and need to be sent elsewhere for further treatments. However whilst you’re on your way to what appears to be your final doom you’re contacted by a man called Edge who helps you escape. The world you’re then thrust into however is a dark and terrifying one that’s under the control of the Memorize corporation. Not directly however, but simply because their technology allows anyone to forget the most painful moments of their life turning them into memory junkies. Edge wants you to fight them and you can’t fight the compulsion to do so.
Remember Me is pretty much what I’ve come to expect from current generation console titles as it’s able to make full use of all the hardware power that’s available to it. The game incorporates all the modern effects: high amounts of motion blur, high resolution textures and it’s own glitchy overlay whilst also keeping its frame rate at a solid 60 fps. I will take slight issue with the lip synching as, outside the cutscenes, it’s either done extremely poorly or just not at all. It’s really the only let down in the whole audio/visual experience as pretty much everything else is spot on.
The game play of Remember Me is a mix of beat em up style combat, logic puzzles and an unique mechanic whereby you remix someone’s memories in order for them to do what you want them to. Whilst the fundamentals of each of these core mechanics will be familiar to most long time gamers they all have their own twist to them that makes them unique to the Remember Me world. By far the most intricate of them all is the combat system which you can heavily customize to suit your style of play. The logic puzzles and memory remixing are somewhat simplistic by comparison but are still an enjoyable part of the overall game play.
Combat follows the Arkham Asylum/Arkham City model of beat em up where you spend the majority of your time attempting to land combos whilst enemies throw themselves at you. It’s a little more nuanced and is reminiscent of fighter game combos where you must hit every button at the right time and in the right order to pull it off. However the combo aid at the bottom of the screen helps a lot and it’s also far more forgiving than any fighter game I’ve ever played. The really cool thing about the combat system though is the customization allowing you to change how the combo works and what benefits landing it will give you.
You have 4 types of “pressens” which are mapped to the buttons on the controller. The first is the damage one which, as its name implies, will increase the damage dealt by that particular strike. Regeneration ones will give you health upon landing a hit and cooldown pressens reduce the time between the use of your special abilities (more on those later). The final one is the chain pressen which inherits all the pressens that came before it making it a powerful tool for creating combos that are truly crazy. There’s also the twist of pressens having more effect the further along in the combo they are which, when you’re dealing with an 8 hit combo, can make a pressen that felt useless suddenly become really viable. You can also chop and change between the pressens during combat, allowing you to adjust your fighting style to the challenges at hand.
You’ll be doing this more often than you think as whilst towards the end you’ll have enough pressens and combos available to you to cover any situation initially you’ll either be short of either of them at any given time. My original 8 hit combo felt like the perfect fit for pretty much any situation but when you’re surrounded by 8 enemies at a time it became incredibly hard to land and thus needed to be reworked into a 5 and 3 hit combo respectively. There’s also certain types of enemies that will require you to build a combo just to take them down especially if their death relies on using one of your special abilities.
Augmenting your regular punches and kicks are s-pressens, special abilities that allow you to deal with the varying challenges much easier and quicker than you could do otherwise. They’re unlocked gradually, always as part of the game throwing a new type of enemy at you that basically requires that s-pressen to take them down, and how you use them is really up to you. They also rely on focus, shown as the white/blue bar above, which is generated whenever you hit or are hit by someone. In the beginning they’re quite cool and feel like the ultimate get out of jail free card but eventually their effectiveness starts to drop off and their use becomes something of a necessity.
This is probably where Remember Me starts to struggle as ramping up the difficulty involves nullifying the abilities that have been granted to you whilst throwing ever increasing numbers of enemies at you. It’s something that the whole games industry is struggling with at the moment, the idea of providing challenge whilst keeping the player engaged, but simply throwing more bodies or removing player options is most certainly more towards the anti-fun part of the spectrum and should honestly be avoided. Of course you could argue that due to its hack ‘n’slash nature Remember Me implies that this is how the challenge will be ramped up but I find that a poor excuse for a game that incorporates such a nuanced combat system in the first place. I don’t pretend to have a solution to this, indeed even the game designers I know say that this is something that the best struggle to achieve, but it’s definitely one of those things that will count against a game in my view.
The memory remixing puzzles are quite awesome as they play on the idea of small changes having big impacts on how something would play out. Whilst the outcomes are relatively fixed, I.E. there’s no emergent behaviour possible in any of them, the different outcomes are quite varied and the difference between a successful remix and a failure can be something as simple as doing something too early, or too late. There’s also a ton of red herrings in all of them, things that when modified won’t do anything at all, which keeps you second guessing your decisions right up until everything falls into place. I can’t really talk about it much more without spoiling the crap out of some of the puzzles but suffice to say it’s really good despite the fact it didn’t feature as prominently as I thought it would.
Outside of the memory remixing there’s a bunch of puzzles that make use of Remembranes, fragments of memory that you purloin from other people in order to move forward. They start off as being easy timing puzzles, usually involving you avoiding detection from robots that move in a predictable pattern, but they eventually graduate into riddles that unlock codes forcing you to decipher the ramblings of a man who was driven insane. They’re a small part of the game however and you could usually stumble through them without thinking about it too hard although I will admit I got caught on the second to last puzzle involving the hominus/m3morize/evolutio words.
One point that bears mentioning is the strange, strange world that Remember Me exists in. Now I’m not talking about the major plot points that drive the story that revolve around the Memorize memory technology, more that whilst the developers have strived to create a world that feels alive they’ve in fact created one that’s just simply weird. There are robots everywhere, and I mean everywhere, but apart from the patrol robots not a single one will react to you, not even ones that are in places where you’re not supposed to be (despite being a wanted criminal). They’ve obviously been put there to make it feel like the city is alive in some way without them having to code in a lot of people (which do exist, but are few and far between) but instead it creates this weird atmosphere where you’d expect them to react to you but they don’t. You’d probably be better just leaving them out because having them there just creates this extremely odd atmosphere.
Remember Me’s story is quite gripping once you get over the stumbling block of Nilin implicitly trusting Edge and doing everything he asks. They touch on this very point with the inter-chapter monologues that help to bridge over some of the more glaring plot issues, but it essentially leaves Nilin without any particular motivation for a good chunk of the game. It does morph into a much more rich and detailed story towards the end however, even though quite a lot of things are still left unclear, and the last couple hours were intense enough for everyone in my house to stop what they were doing in order to watch everything to the end. It’s definitely far above what I’ve come to expect from these kinds of games and Dotnod Entertainment should be commended for making a strong female lead, even if there’s a few rough edges.
For a new IP Remember Me does incredibly well, showcasing some incredibly refined game mechanics with a top notch story that combine to produce a well rounded and highly polished game experience. It still has some teething issues, something which is not uncommon to games trying out new ideas, but it manages to pull the majority of them off without sacrificing other aspects of the game. A strong female lead is also a welcome addition something which hopefully won’t be considered a controversial choice for too much longer. I thoroughly enjoyed my time with Remember Me and would recommend it for anyone seeking out a fresh experience that’s unlike anything else that’s come before it.
Remember Me is available on PlayStation3, Xbox360 and PC right now for $79, $79 and $49.99 respectively. Game was played on the PlayStation 3 on the Errorist Agent difficulty with around 8 hours of total play time and 39% of the achievements unlocked.