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.
Time waster style games were once the bastion of Flash games hosted on sites like Newgrounds. Since the introduction of smartphones they’ve slowly transitioned themselves away from the web and instead found a comfortable home on everyone’s mobile device. Thus it seems kind of odd these days to play a time waster style game on the PC as they’re no longer the platform of choice for this genre. Still when deciding on whether or not I should get Hook on my mobile or my PC I opted for the latter, if only because I rarely find time to play games on my mobile these days. Interestingly though Hook seems simple enough that it can service both platforms without needing to make any concessions with either.
Hook has a very simple premise: you have to pull all the wires back without any of them colliding with each other. You do this by pushing a trigger that initiates the pulling and, if you done everything in the correct order, it’ll slide all the way back. Other than that there’s not a whole lot more to speak of and the base game comes with a grand total of 50 levels to make your way through. If you’re a power gamer this won’t take you much longer than an hour to accomplish although I’m sure if you got this on the mobile you could stretch out that play time over the course of weeks if you were so inclined.
Hook, like many other minimalistic puzzlers, has a very clean and simple aesthetic. I’m sure part of this was an artistic choice but later on it becomes obvious that the lack of distinction between visual elements is actually a key element of the game play. The background music is similarly simplistic, swelling and fading as you solve puzzles or make a mistake that triggers the level to refresh again. I’m sure some would like the option to change the colour palette but in all honesty I don’t think I’d bother.
As I described before the mechanics of Hook are pretty simple, pull all the wires back without any of them colliding with each other. The puzzles start out pretty simple, literally just clicking any of the buttons in any order will solve them, but after that new mechanics start getting dropped in every 10 puzzles or so to spice things up a bit. Most of these additional mechanics come in the form of ways to block off paths however there’s also a few that break the line, forcing you to retrace the paths again. It would be easy enough to brute force the puzzles however if you make one mistake (or 3 in the later ones) the puzzle refreshes, forcing you to restart from the beginning.
There’s a pretty simple algorithm you can use to beat every one of the puzzles contained within this game although executing it may be a little easier said than done. What you first need to do is find the line that can be moved first, usually one without anything blocking it. Then you need to block off all other paths so that only it gets moved. Then from there it’s simply an iterative process to eliminate the rest of them. Using this process I was easily able to breeze through all 50 puzzles in just over an hour, something that many other reviewers have been able to do. This is probably one of those games that could benefit immensely from a level editor and Steam Workshop integration as I’m sure the community would be able to come up with infinite puzzles that would be orders of magnitude more difficult than the default set.
Hook is a great little puzzler with an unique mechanic. The puzzles, whilst not especially challenging, are rewarding enough that I felt compelled to blast through them all in one sitting. It’s shortness is something of a detraction, especially considering that the addition of a level editor and a way to share user created levels would ensure a near endless supply of content. Still for the asking price I don’t think anyone will really mind the lack of content as $1 for 1 hour of entertainment is pretty good by anyone’s standards.
Hook is available on iOS, Android, Windows Phone and PC right now for $0.99 on all platforms. Game was played on the PC with a total of 1 hour playtime.
With game creation now within the reach of anyone who has the time to dedicate to it the differentiators usually stem from the strengths of their creators. Many come from a writing background, pouring themselves into the creation of a brilliant narrative that flows through the game. Others develop wild and intriguing mechanics, some that allow the players to develop their own story within a world they create. Few however find their strength in the art and graphical fidelity as out of all the things that make a game it is by far the most costly and time consuming to create. Homesick is one of those rare few indie games that brings with it astonishing visual quality that even rivals recent AAA titles.
You wake to a world that’s cold and unfamiliar. The world is barren, bereft of nearly all life and seemingly cold despite the sun’s unrelenting rays punching down through every crack and crevice. As you explore though you see remnants of the world that once was, little reminders that show people were here…once. However you struggle to make sense of the world, the books and letters are all written in code and try as you might there’s little sense to be made of them. You know one thing though, you must get out. You must find your way into the light.
I would forgive people for thinking that Homesick was simply a demo project for a new engine as it’s honestly by far the best looking indie game I’ve ever seen. The attention to details is astounding from things like the rooms with wallpaper peeling off to the fully working (but out of tune) piano. Looking at Barrett Meeker’s (the creative director) history in animation and effects it’s not hard to see why as he’s worked on such titles like Scott Pilgrim vs. the World. If I hadn’t taken these screenshots myself I would’ve written them off as carefully crafted renders but the game really does look this good when you’re playing it. Of course there were some sacrifices made for this beauty, namely the extremely simplistic animations and accompanying sound effects, but it’s hard to deny that the graphics are anything but amazing.
Homesick is your (now) bog standard walking simulator where you’ll move forward at a relatively slow pace that encourages you to take in your surroundings, look at everything and essentially be a tourist in the game’s world. Each room has a set of puzzles that you’ll need to figure out in order to progress and, interestingly, they all share the same end goal. However that doesn’t detract from the challenge at all as figuring out how to accomplish said goal can sometimes involve a myriad of steps, not all of which will be obvious at first glance. Once you finish a section it’s off to the dream world which will allow you to progress to the next section.
The Kickstarter for Homesick described the puzzles as “hard, yet fair and sensible” and for the most part that rings true. The game provides absolutely not tutorial to speak of so for the first 10 minutes or so you’re on your own to figure out how everything fits together in this world. Thankfully whilst all the rooms are interconnected they’re not dependent on each other, meaning that each new puzzle is self contained and does not require any backtracking. There is a couple times where you can miss an important clue which will get you stuck (hint: make sure you look at all the filing cabinets carefully) but other than that you should be able to work things out eventually. My favourite by far was the blocks puzzle but I won’t say much more lest I spoil the fun.
Whilst the game is extremely pretty it does suffer from a few areas that could’ve used a little bit more polish. For some reason there are certain places where I’d get a lot of slowdown, usually when turning past a corner in some of the first rooms. There’s a couple other places where this happens too which leads me to believe there’s some unoptimized geometry hiding somewhere. There’s also a couple glitches that require a game restart to overcome, like an issue (which was said to be fixed but still happened for me) where holding a certain item would overwrite your entire inventory. Thankfully I didn’t lose too much progress but it was still a frustrating experience.
The story of Homesick is what you make of it as for the vast majority of the game you really have no clue about anything. Once you unlock the ability to decipher the riddles you can go back through the entire game and read everything which does give you a good sense of the world before your time in it. With games like these, ones where much of the story is locked behind globs of text hidden everywhere, I find it hard to get emotionally invested in the story and Homesick was no exception. I do admit that when I started to slowly unravel the code of the world I was a little excited but that wasn’t enough to drive me to slowly walk back through everything just so I could read some things.
Homesick is a stunner of a game with graphics that will remain unchallenged by the indie scene for a long time. Once you dig beneath the surface though what remains is your typical walking simulator game, with all the requisite puzzles and hidden pieces of text to flesh out the world. Whilst it’s worth playing for the graphics alone I really can’t say that there was much more that drew me in, mostly due to my resistance to reading large walls of text after I’ve slowly trotted my way through everything. Still I’m sure fans of this genre will find a lot to love and would not hesitate to recommend it to all the indie fans out there.
Homesick is available on PC right now $14.99. Total play time was approximately 2 hours.
PC ports of mobile games have mostly been of low quality. Whilst many of the games make use of a base engine that’s portable between platforms often those who are doing the porting are the ones who developed the original game and the paradigms they learnt developing for a mobile platform don’t translate across. There are exceptions to this, of course, however it’s been the main reason why I’ve steered clear of many ported titles. The Silent Age however has received wide and varied praise, even after it recently made the transition to the PC and so my interest was piqued. Whilst the game might not be winning any awards in the graphics or game play department it did manage to provide one of the better story experiences I’ve had with games of this nature.
You’re Joe, the lowly janitor of the giant research and development corporation Archon. For the most part your life is pretty mundane except for the wild and wonderful things that your partner in crime, fellow janitor Frank, tells you about. One day however you’re called up to management and, lucky for you, it’s good news! You’re getting promoted, taking over all of Frank’s responsibilities because you’ve shown such dedication to your job (with no pay increase, of course, you understand). When you go down to inspect the place where you’ll be doing your new duties however you notice something strange, a trail of blood leading into one of the restricted areas. Following that trail starts you on a long journey that will eventually end with you saving the world.
The Silent Age comes to us care of the Unity platform however you’d be forgiven for thinking that it was an old school flash game that had been revamped for the mobile and PC platforms. It shares a similar aesthetic to many of the games from the era when Flash reigned supreme with simple colours, soft gradients and very simple animations. On a mobile screen I’m sure it looks plenty good although on my 24″ monitors the simple style does lose a little bit of its lustre. Still it’s not a bad looking game by any stretch of the imagination but you can tell which platform it was designed for primarily.
Mechanically The Silent Age plays just like any other indie adventure game with your usual cavalcade of puzzles that consist of wildly clicking on everything and trying every item in your inventory to see if something works. The puzzles are really just short breaks between the longer dialogue sections which, interestingly enough, are all fully voiced. There’s a small extra dimension added by the time travel device, allowing you to travel to the past or future at will, but it’s nothing like the mind bending time manipulation made famous by some other indie titles. Other than that there’s really not much more to The Silent Age something which I ended up appreciating as it meant there wasn’t a bunch of other mechanics thrown in needlessly. It’s pretty much the most basic form of an adventure game I’ve played in a while and that simplicity was incredibly refreshing.
The puzzles are pretty logical with all of them having pretty obvious solutions. There’s no real difficulty curve to speak of as pretty much all of them felt about on par with each other, although there were a few puzzles that managed to stump me completely. Usually this was a result of me missing something or not recognizing a particular visual clue (a good example being the pile of wood in the tunnel under the hospital, it just looked like background to me) so that’s not something I’d fault the developer for. Some of the puzzles were a little ludicrous, requiring a little knowledge about how some things could potentially interact, but at least most of them wouldn’t take more than ten minutes or so of blind clicking to get past. Overall it wasn’t exactly a challenging experience which I felt was by design.
The PC port was a smooth one as pretty much everything in the game worked as expected. The 2D nature helps a lot in this regard as there’s a pretty good translation between tapping on the screen and using a mouse cursor but I’ve seen lesser developers even manage to ruin that. There was one particular problem which caught me out several times however which was that my mouse, if it strayed outside the bounds of the main window, would not be captured. So every so often I’d end up clicking on my web browser or whatever else I had open on my second monitor at the time, closing the game down. A minor complaint, to be sure, but one that’s easily fixed.
The story of The Silent Age is one of the better examples I’ve come across recently, especially for a mobile title. Whilst it’s not exactly the most gripping or emotionally charged story I’ve played of late it does a good job of setting everything up and staying true to itself internally. Of course whenever you introduce time travel into a story things start to get a little weird depending on what model of causality and paradox resolution you ascribe to and The Silent Age is no exception to this. However they manage to stay true to the rules they set up which is more than most high budget films are capable of. Overall I’d say it was satisfying even if it wasn’t the most engaging story.
The Silent Age is a succinct story told through the medium of video games, one that manages to avoid many of the pitfalls that have befallen its fellow mobile to PC port brethren. The art style is simple and clean, reminiscent of Flash games of ages gone by. The puzzle mechanics are straightforward, ensuring that no one will be stuck for hours trying every single item in their inventory to progress to the next level. The story, whilst above average for its peers, lacks a few key elements that would elevate it to a gripping, must-play tale. Overall The Silent Age was a solid experience, even if it wasn’t ground breaking.
The Silent Age is available on PC, Android and iOS right now for $9.99, $6.50 and $6.50 respectively. Game was played on the PC with approximately 2 hours of total play time and 71% of the achievements unlocked.
Many games have sought to catch some of Telltale’s success by emulating their trademark brand of story-first games. For the most part this comes in the form of copying the core mechanics, usually with regards to the dialogue choices and the quick time based action sequences. Few however have attempted to emulate the cel-shaded comic book style as most of them have their own art direction that they want to pursue. D4: Dark Dreams Don’t Die appears to be an almost blow for blow recreation of the Telltale style, down to the art direction, however the similarities really are only skin deep. Whilst I admit I decided to play this to lambaste it for its almost shameless imitation the actual experience was something I didn’t expect, a rare occurrence for this humble writer.
You are David Young, former detective with the Boston Police Department and recent widower to his beloved wife; Little Peggy. The tragic incident that took his wife away left him with an amazing gift, the ability to travel back in time to see the past as it happened. He can’t do this at will though, only through the use of objects that hold some significance to the past, but those mementos are what he needs to achieve his real goal: to find “D”. Before she died Little Peggy told David to look for D and so David left the BPD to pursue this elusive character in the hopes he can unravel the mysteries behind her murder.
As I alluded to earlier D4 emulates the Telltale style of games by using cel-shading to make everything look like a cartoon. Like most games that make use of this stylization it works well for the most part however every so often the 3D world just doesn’t interact well with with it, leading to some rather weird moments. Probably the biggest stand out of this is the incessant bubble gum blowing that the main character does which just looks silly, especially when his lips don’t move the whole time he does it. It also doesn’t look too great up close, something which becomes painfully apparent when the game zooms up on a character’s face for whatever reason. Overall though the visual quality feels above average, even if I include the venerable Telltale games in the mix.
Like nearly all games of a similar style D4 is an adventure/puzzler, putting you in various cordoned off rooms with dozens of objects to interact with to solve the current objective in order to progress to the next section. It may not seem like a lot at first however once you get to the end, which displays your completion level, it becomes clear that there really is quite a lot hiding in every room of D4. These additional objects are usually things that will flesh out the backstory of the various characters in D4 whilst some will unlock non-gameplay impacting collectibles like new clothes for the characters. There’s also a quick time event based combat system which gets engaged during high tension moments, something which most gamers lament but actually felt relatively well implemented. Finally there’s skerricks of a RPG style progression system in the game in the form of stamina (used when you interact with objects), life (lost when you fail a quicktime event) and vision (used to identify things you should interact with) all of which can be improved with the right clothing or finding a certain collectible. This all adds up to a game which, if you so wish it, has quite a lot of replayability about it or can simply be played from start to finish for the story without a care for the rest of it.
The puzzles are pretty straight forward since there’s no inventory to speak of, meaning that they can all be solved by simply clicking on enough things and stumbling through the right dialogue options. If you’re paying attention you can skip quite a lot of the fluff however doing so can rob you of important pieces of backstory that help to flesh out your character’s motivations and those of others around him. For the most part though if you take the typical “click on all the things” approach that most of these kinds of games encourage then you’re likely to stumble across all the pertinent plot points without too much worry. Even if you miss them you can go back and replay the episode again which won’t take long if you know exactly which buttons to press.
Mechanically D4 plays well for the most part however the quick time detection seems a little off at some points as the achieved “sync rate” can be a little random. I’ve had times when I completely fumbled it and got 100% whilst other times I’ve done it perfectly (or so I thought) and gotten 50%. This mostly happened on the diagonal ones so I figure there’s something a little wrong in the detection algorithm for that particular quick time event. There’s also almost no way to tell how to “stay in character” with the dialogue options in order to get 100% sync as most of them seem in line with what David would say, just some are more or less dickish than others. There might be some kind of hint or mechanic that I didn’t fully understand that makes this a lot clearer but unfortunately for me I just didn’t figure it out.
D4’s story starts out incredibly weak as it has a really confusing blend of elements (supernatural powers, a detective with amnesia, a person who acts like a cat for some inexplicable reason) that don’t seem to gel well together. However over the course of the first 2 episodes that come with the initial game most of them start to make sense and the story really starts to pick up as you uncover more clues to the events that happened prior to the game. Like most episodic games it feels unfair to judge the game based on just a fraction of the whole story but D4 at least has one of the stronger foundations on which to build upon so it will be interesting to see where the developers take it from here.
It would be so easy to write off D4: Dark Dreams Don’t Die as a simple Telltale clone however the game comes into its own over the course of the first two episodes. Sure it may not be the graphical marvel that many other games might be, nor is its quick time event system completely satisfactory, but it does provide a rather enjoyable experience. Whilst the director doesn’t know how many episodes the story might have suffice to say there’s easily enough build up for at least a full season and hopefully those episodes are forthcoming sooner rather than later. If you’re a fan of the Telltale style of games then you won’t be disappointed with D4: Dark Dreams Don’t Die.
D4 : Dark Dreams Don’t Die is available on PC and XboxOne right now for $14.99 and $19.95 respectively. Game was played on the PC with a total playtime of 3 hours with 42% of the achievements unlocked.