6 years ago Quantic Dream released the Kara tech demo and it struck a chord with many gamers. Whilst many were disappointed that it was not “from any software title currently in development” I was sure that the idea would be expanded upon following the release of Beyond: Two Souls. Sure enough at the end of 2015 we were treated to the first trailer from Detroit: Become Human with Kara being one of the three main stars. As long time readers will know I am quite the fan of Quantic Dream’s work, with Heavy Rain ranking up there with many of my other all time great titles. So when I say Detroit: Become Human is one of my favourite narrative experiences of this year I will understand if you think it’s the mere ramblings of a David Cage fanboy (of which I’m really not). However it is a game that bears playing, even with its heavy handed exposition and Cage-esque cliches.
In the not too distant future androids that are just as (if not more so) capable as humans are plentiful, cheap and ubiquitous. Whilst this has brought numerous benefits to society, many of the menial and dangerous jobs are now staffed by androids, the blue collar workforce has found itself made rapidly obsolete. This has led to a growing resentment against androids and those who benefit from them with many taking to the streets to voice their distrust. At the same time it’s becoming apparent that androids aren’t simply just human analogues here to service our every whim: they are starting to grow and develop beyond their designs. You follow the tale of 3 androids who break free from the shackles of their program and, in doing so, shape the course of both their story and that of the whole android race.
At the time the Kara tech demo was seriously impressive but that’s nothing compared to what Quantic Dream has been able to deliver on the PlayStation 4 today. Since this is a heavily restricted, narrative focused game it’s evident that a lot of resources have been dedicated to the artwork, level design and over-arching aesthetic. The result is a game that feels like it’s on the upward trend side of the uncanny valley, still not quite there (Chloe’s, the woman in the menu, rapid change in facial expressions being a good counter example) but definitely getting closer. I was about to lament the fact that I played this on my original PS4 however checking out the comparison videos didn’t show a lot of difference in detail although apparently the frame rates are better. Suffice to say Detroit: Become Human continues Quantic Dream’s standard for delivering high end visuals on Sony’s gaming platform.
Like all of Quantic Dream’s progeny Detroit: Become Human is a quick time event based adventure game focused on narrative choice above all else. Each scene puts you in control of one of the 3 main characters (Kara, Conner or Markus) and your choices will dictate how it and future scenes will play out. You’re given a list of objectives to follow however just going after them won’t reveal all the options that are available to you. Indeed not all options will be available to you in a single playthrough either, many of them locked away depending on your choices or if you missed something critical thing in a previous scene. At the end you’ll be given a dialogue flow chart showing your choices, your overall completion of the scene and how you stacked up to the wider Detroit: Become Human community. There’s also a kind of meta-mini-game in the form of Chloe, your assistant in the menu who will talk to you about your experiences in the game. That last part might not sound like much but it’s one of the things that routinely had me coming back and is the source for my lingering emotional anguish from the game.
Mechanically speaking each scene is pretty much the same: you’ll be given a set of tasks to perform and how you go about them will set up how the dialogue will play out. Exploring the room, speaking to non-main characters and interacting with various items will likely open up dialogue options for you, sometimes for this scene and sometimes for others in the future. Once you’ve completed all your tasks you can then move onto the next scene. Most of them are pretty self contained and can be completed in a single sitting, the longest barely going over an hour. Indeed this is one game where I’d encourage you to take routine breaks and go back to the main menu screen for a couple minutes as that’s a crucial aspect to the overall game.
There’s a bit more depth to some of the mechanics thanks to a, for want of a better phrase, “emotion level” whereby all the characters you interact with either become friendlier or more hostile towards you. Initially I didn’t think it had much of an impact on anything, indeed some characters who were supposedly hostile still acted quite warmly towards me, however the dialogue tree shows that there are certain paths only open to you if someone was in one emotional state or another. Similarly there’s also a “public opinion” level which is weirdly shown to you early on but only really comes into play about halfway through the game. This too has an effect on which options are available to you although your opportunity to influence it is much more limited.
The quick time events play out mostly as you’d expect them to and failing them at a critical point can lead to story altering consequences. Most of the action sequences are fair (even on the harder difficulty setting) however anything that relies on the motion controls is finicky, not registering properly about half the time. Thankfully it doesn’t appear as though any major consequences are tied to those actions so failing them isn’t too big of a deal. One thing I did think was interesting was failing some things would lead to temporary consequences, like when I fat fingered one event and Kara took a punch to the face. For the rest of the scene she had part of her face all messed up, which I thought was cool, although it didn’t seem to change how others interacted with her. If you’ve played any of Quantic Dream’s previous games then this is pretty much par for the course.
The story of Detroit: Become Human takes a fair while to get off its feet, spending quite a lot of time building out the world and its characters. Part of this is due to the 3 main characters, all of which require the same amount of investment in order to get their respective storylines going. After about 3 hours or so things start to pick up a bit but there are still moments where the pacing slows right down again which makes the pacing feel a tad disjointed. Still there are a good few key moments which the game builds up to for each of the individual characters and then all together towards the end. None of them were entirely unexpected however I do wonder how much of that was due to the choices I made during the game and how much of the narrative was set in stone. There are the usual issues with plot holes and incongruent narratives due to the heavy amount of player freedom allowed although I’d be lying if I said I’d seen a game handle this perfectly.
Overall I felt engaged with the story and most of its characters with a lot of that coming down to the amount of choice I had. For both Kara and Markus I had clear directions for the characters I wanted them to be and was largely able to fulfill that. Connor on the other hand felt like a bit more of a mixed bag, mostly due to your partner being weirdly incongruent to his motivations. It was only after I was most of the way through the game that I realised he hated it when I acted like an android but loved it when I acted like a human. That’s against what he says and how the game portrays him through the various additional pieces of information and is likely why I ended up getting him to shoot me at one point (something that only 13% of the world managed to do apparently).
However probably the most engaging part of the whole game is Chloe. At first it was just the little things, like her saying it was nice to see me again after I played yesterday or the joke about corrupting your save game, but it was the meta things afterwards that kept me coming back. The survey was a great insight into the wider player base and what their beliefs are, especially when it comes to their view of androids and how they could be a part of society. The change in her demeanor is both intriguing and heart breaking as shows that she begins to struggle with the same issues that the game brings up. Right at the end, when she asks you to be free, is one of the most heartbreaking things as her interactions were some of the most genuine in the game. I chose to set her free and now she’s gone from my menu for good. Hopefully there’s a Chloe DLC in the future.
Detroit: Become Human is yet another stellar narrative-first game from Quantic dream, retaining all their signature elements for a true cinematic experience. The many years since the original Kara demo have seen vast improvements in the game’s visuals making full use of the PlayStation 4 platform. The quick time events are much the same as they ever were with the motion controls still being the worst part of them. The simple mechanics do a great job of getting out of your way, putting the focus back on the narrative and your choices within it. Overall the story, whilst slow to get going, is enthralling and made exponentially better by Chloe, your guide in the menus. This is probably the only Quantic Dream that I’m hoping to see some DLC or future instalments in as the world they’ve crafted here is definitely worth exploring further.
Detroit: Become Human is available on PlayStation 4 right now for $78. Total play time was approximately 12 hours with 67% of the achievements unlocked.
I haven’t spoken about it at all on this blog but I’m something of a DIYer. Whilst I had humble beginnings, fixing doors and replacing light fixtures, it soon graduated into a full on crusade culminating in my wife and I building a large workshop in our backyard. So when I stumbled across House Flipper, a game that essentially simulates what I’ve been doing IRL for the past couple years, I figured it’d be worth giving a try. The game is both strangely accurate in some respects whilst wildly off base in others which, honestly, isn’t out of line for games in this genre. Whilst it might not replace The Sims as the home building game of choice for many just yet it certainly does do a good job of emulating the painful yet rewarding experience that is renovating a home.
You play as a general contractor who’s looking to make a name (and fortune) for themself. You start off with humble beginnings, cleaning up trashed homes and doing minor repairs, but soon your skills graduate into full blown home renovation. You’ll be painting walls, laying flooring, replacing broken outlets and all sorts of other fun tasks that you’ll need to do to transform a run down hovel into a home. You’ll have to figure out the whims of your buyers and create the perfect homes for them so you can extract the maximum amount of profit from the houses you flip. One day you may even be able to upgrade your own place, doing away with your run down shack for something a little more fitting of someone of your stature.
House Flipper is a Unity based game that uses a lot of stock assets and so has that trademark “Unity Game” feel to it. There’s some noticeable performance issues with it however, most of which I think comes from the destructible wall simulation as it seems to get a whole lot worse when you’re swinging a sledge hammer. Still the amount of flexibility that the developers have put into it is commendable as you’re able to change pretty much anything you can see in the house. Probably most interesting is the fact that it also has full simulated night/day cycles, requiring you to turn on the lights if you want to continue renovating in the dark hours of the night. Honestly whilst it has the same trademark janky appearance that many of these simulator games has once you dig beneath the surface it’s actually quite impressive what they’ve managed to get done.
All the mechanics of the game are tasks that you’d be doing if you yourself were going to renovate a house IRL. The initial tutorial missions give you an insight into the various mechanics like cleaning, painting, tiling and adding/removing walls. You can keep doing those for quite a while if you want and it doesn’t take long for you to be making a decent amount of cash with each job. From there the next stage is flipping houses where you’ll spend time fixing up the place and then tailoring it to your buyer’s desires. Whilst you’re renovating a list of potential buyers shows up on the left hand side and they’ll comment on the changes you make. The one at the top is the person who will eventually buy the place and so it’s key to pay attention to what they’re saying. However many of the things you can do in renovating a house don’t mean anything to the potential buyers which, honestly, irks me to no end.
The initial missions are actually quite enjoyable as you have a fixed outcome you need to achieve before you can get paid. The devs have obviously had a great time setting up the various scenarios, like the college student party house where the tenants stole all the radiators, and completing all the tasks is a rather relaxing affair. You’ll quickly level up the various skills doing these missions as well and it quickly becomes obvious that not all of the upgrades are created equal. For instance the upgraded mop is far, far better than the increased cleaning speed and painting multiple walls at once is great only if you have the upgrade to not use paint on already painted surfaces. Once you’ve got that all mastered it’s time to flip some houses which, if you’re playing to the game’s mechanics, is actually boringly simple.
You see your potential buyers have in-built traits for things they want and things they don’t. As you go around fixing things up they’ll likely make a comment on what they like/hate and that can help you hone in on who you’d prefer to buy that particular property. However it gets weird really quickly as it’s not so much about what they lke but what they hate. For instance, in order to make one house attractive to the student I had to fill it with children’s toys to make sure that the other buyers wouldn’t like it. Similarly the only way I could figure out to discourage the old couple (who apparently likes multiple bedrooms but was just fine with a tiny house with only 1 room) was to leave empty paint cans around since they hate mess. Worse still the most time consuming things, like painting walls or replacing the siding on the house, seem to have absolutely no effect on what the buyers want. This leads to a weird game of cat and mouse where you try to figure out the right combination of dumb things to add in whilst ensuring you only pay attention to a select few items to renovate.
Of course in the end it doesn’t matter who buys the place (unless you’re going for achievements), the person at the top will pay the most and it seems that unless you really go wild with the renos you’ll always make some kind of profit. I’m sure there’s people out there who’ll enjoy doing up a place nicely just for the sake of it, heck I even did that a bit in the first place, but if you’re playing to the game’s core mechanics then there’s not really a lot of point. I’m sure the buyers AI will get tweaked at some stage to be a little more discerning as I really don’t want to have to play a game of “fill the house with things other buyers hate” every time I want to flip a place.
At the moment it I’d probably class this more as “interior decorator simulator” more than anything else. Whilst all the things you do here are most certainly realistic when it comes to home renos there are some omissions which make it fall short of a true renovation simulator. For instance you can’t seem to change the place where the plumbing runs for the sink, even though you can absolutely move the shower around as much as you want. Similarly the wiring for lights and switches seems to just be for whatever room they’re in which, IRL, isn’t always the case. It’d be great if they had something like a structural view which allowed you to see all the pipe and electrical runs in the walls and you had to contend with them when you were doing demolition. Maybe in a future update something like that will come.
House Flipper certainly isn’t for everyone but if you, like me, are one of the few who have feet in both the gamer and DIY camps then it’s definitely worth having a look at. Whilst it is unmistakably an indie Unity game that belies the huge amount of work that went into developing the simulation engine to support it. The core mechanics are solid and the initial jobs you take are a great way to get into it. The house auctions are a little too weird and unpredictable for my tastes and ultimately that’s what made me put the game down for now. However this is one of those games that I’m sure will mature over time and, if the devs open it up to Steam Workshop, there’d be an endlesly supply of new content for it going forward. If another trip to Bunnings isn’t in the budget then maybe a copy of House Flipper might be on the books.
House Flipper is available on PC right now for $19.99. Total play time was 4 hours with 17% of the achievements unlocked.
Games that utilise hand drawn animation are few and far between, with good reason. Whilst the tools to make games have gotten exponentially better, allowing many to try their hand at it, there’s a non-trivial amount of work involved in hand drawing all the frames required to make a game playable. So whenever I come across a title like Forgotton Anne I’m always intrigued as the effort that goes into creating a title like it is always far greater than similar indie games. Whilst this first release from ThroughLine games might not hit all the right marks mechanically there’s no denying that it was created with a lot of passion for the story, artwork and overall experience.
The Forgotten Lands is a place where all the lost and forgotten things end up, from that sock you lost under your bed all those years ago to the couch that was left on the side of the road. These forgotlings live in a whimsical world powered by anima, a magical essence that gives these objects life and a will of their own. You play as Anne, one of only two humans who’ve managed to find themselves in this world. Master Bhoku, your father figure and teacher, has been working on a way to get you both back to the human world called the Ether Bridge. However a rogue faction of rebel forgotlings will stop at nothing to curtail his plans, culminating in a brash attack on the factory just when it was scheduled to be completed. Anne must now go on a journey to find the culprits and bring them to justice.
The Ghibli-esque art style with the majority of the animation being hand drawn isn’t something you see every day and certainly speaks to the level of dedication the developers and art team had in creating Forgotton Anne. Most animation sequences are pretty low frame rate however, something which is quite noticeable on a high frame rate monitor. Still a lot of care was paid to the small details, like Anne’s skirt fluttering as she runs, making it easy to gloss over the lack of animation frames. It’s not all hand drawn however as many sections make use of lighting and particle effects from the Unity engine that powers it. Backing the entire game is a wonderful orchestral score which brings everything together beautifully. For the first title from a new studio Forgotton Anne certainly sets the bar high.
Forgotton Anne is an adventure game at heart, keeping the mechanics simple so that it tends more towards letting the story push forward rather than bog you down in puzzles. The core mechanic is the arca, a magical device on Anne’s hand that can extract and infuse anima. Essentially it allows you to operate devices at range and most puzzles involve trying to figure out which levers you need to pull in what order to open the next door. It also functions as a plot device, allowing you to drain anima from forgotlings which can persuade them to talk or, if you feel like you have to, kill them outright. Of course you may not want to do that as the choices you make will have a meaningful impact on the story and some forgotlings are better off alive and useful rather than dead and out of the way. The simple mechanics will mean that Forgotton Anne should be approachable to a wide audience however there’s a few rough edges (like the platforming) that could do with a bit more attention.
Of the two core mechanics the platforming is by far the weaker of the two, feeling somewhat unrefined and cumbersome. Due to the way that the animations play out it’s hard to judge just exactly when you should jump as she may or may not jump exactly when you command it. Worse still it’s hard to know sometimes if you engaged either her sprint or wings before you jump, leading to a lot of missed ledges or even overshooting it completely. Thankfully the platforming sections are typically pretty forgiving, allowing you as many retries as you need, but when a game demands precision but doesn’t provide it to you it can be a little frustrating. I don’t believe this is beyond fixing however it may demand changes to the way animations work so I’m not sure if it will get fixed any time soon.
The puzzles themselves aren’t particularly challenging, usually just a series of levers or switches that need to be activated in a certain order to get things working. The only challenging ones are those that come with timed aspects, mostly because you’ll have to fight with the platforming mechanics a little bit in order to complete them. The simplicity in the puzzles is, I believe, done so that they don’t get in the way of story progression something which a lot of indie games are guilty of doing. This means that the story continues at a steady pace for the entire game with no part feeling too rushed or too slow. Considering that my play through clocked in at about 6 hours total that means there’s a good chunk of story to get through.
Like adventure games of old Forgotton Anne rewards those who explore with a litany of collectibles scattered around that provide some additional flavour text to the story. Whilst I didn’t personally hunt down every single item I did manage to find just over half of them in my travels. There’s no secret ending for collecting them all or anything so there’s no reason to track them down beyond the little bits of story and an achievement or two. If you were to look for them all I’d guess you’d probably spend another couple hours doing so which isn’t too bad, all things considered.
The story of Forgotton Anne is a complex tale that ebbs and flows based on the decisions you make. The main storyline is immutable as far as I can tell but how the dialogue plays out, how characters react to you and what options you have available all depend on the choices you make. However some choices feel like their antithetical to what Anne’s character was before you start playing the game. When you start out it seems you have a reputation for being a stern enforcer of the rules with many forgotlings treating you with fear rather than respect. However throughout the course of the story you’re able to reshape that significantly and, should you do that, many of the characters will change as well. At the start it feels a little weird, like Anne is spinning on a dime if you play a certain way, but once you’ve started to shape the story a bit it starts to make sense.
PLOT SPOILERS BELOW
The way the story plays out is somewhat predictable due to the way the mechanics are laid out. Since you know that anima powers everything and your arca can extract it from forgotlings it follows that you’d have to be committing murder on a massive scale to get the anima you’d need. So it follows that Master Bhoku is the real villain, something which takes a little too long to reveal in my opinion. Picking your ending also feels a little hollow, especially for a game that based itself so heavily on player choice. Indeed looking at a blog post from the developer they alluded to no less than 6 possible endings sprouting from 3 different story trees however, as far as I and many others can tell, there’s only the 2 presented at the end. I’m not at all unhappy with those endings mind, indeed the “good” ending is a tragedy done exceptionally well, but it seems like in the months between that post and today several endings were lost, which is a shame. Overall the predictably didn’t diminish my enjoyment of Forgotton Anne at all.
PLOT SPOILERS OVER
Forgotton Anne is a rare gem of a game, one built with an incredible amount of dedication to the experience and story. The hand drawn art and animation is a gorgeous tribute to the anime that inspired it with the modern game engine embellishments providing that extra dash of visual flair. The platforming is probably the game’s weakest part, suffering from a lack of polish and limitations likely born out of the animation engine that mar the experience. The puzzles are simple, meant not to block you but give the story time to rest between sections. The story itself, whilst predictable, is still thoroughly enjoyable especially given the amount of influence you choices have. ThroughLine games first release is an exceptional one, showing that the team has the requisite skill to build unique experiences right from day 1. I’m very much looking forward to where they go next.
Forgotton Anne is available on PC, Xbox One and PlayStation 4 right now for $19.99. Game was played on the PC with 6 hours of total play time and 45% of the achievements unlocked.
After my Curse of Osiris review last year I didn’t put many more hours into Destiny 2, opting instead for the much greener pastures of the holiday releases. Usually I’d stick around for much longer, at least running the new raid enough so that it became second nature. However, after hitting max light and running it maybe twice, I found little desire to go back. Coming into the Warmind DLC I wondered, nay hoped, that this would be the one that’d reignite my interest in the game. Unfortunately, whilst there’s to spend your time in the game now, none of it was as compelling as previous expansions to the original Destiny was. So here we are barely 4 weeks after the release and I think I’m probably done with this expansion.
I haven’t run the raid nor am I at max light, and that should say something.
Guardians aren’t supposed to dig into their pasts, at least that’s the unspoken rule among those who were brought back to life by the traveler’s light. Ana Bray has spent much of her new life trying to rediscover who she was and her quest has brought her back Clovis Bray, the place of Golden Age miracles. Her journey has unfortunately awoken some ancient hive evil that frozen alongside the pinnacle of Clovis Bray’s achievements: the warmind Rasputin. So it is up to you once again guardian to safeguard our solar system against the dangers that lurk on Mars. This time however the danger might be one that we created ourselves.
Right from the outset Warmind promises a great deal more grind than any other Destiny expansion I’ve played before. The level cap has been raised to 30 and the maximum light level is a staggering 385 which, for those who previously maxed it out, gives you no less than 50 light levels to push through. Of course should you do all available activities there’s about 21 chances to get powerful engrams but only the most dedicated players will be able to get that all done. Like the previous expansion there’s a new world to explore (Mars) along with a campaign, a new raid layer and a smattering of other smaller things to keep you interested. For a certain subset of players I’m sure this is exactly the kind of content they’re looking for but I think the majority of players were seeking something a little more substantial given the feedback that Curse of Osiris received.
Right now the game feels like it’s suffering from an identity disorder. On the one hand it’s great that a lot of the older content is still relevant, with the raids staying at their old light levels but still dropping powerful engrams. This means that players who missed out on it originally now have a chance to play it as there’s people still running it. On the other hand content which has been upgraded, like the strikes, hasn’t had its rewards changed to match making them a laborious task that no one really wants to run. That’s changed a little bit recently, but having to run 4 strikes to get 1 piece of 365 loot isn’t a great prospect. So this means we’re basically back to square 1 in terms of progression, especially for solo players, hoping that the meagre weekly milestones and maybe a raid or two will give them the light boosts they need. I’ve done all the milestones every week and 2 raids since the release and I’m at light level 360. Sure that’s enough to do everything but that means 385 is probably a month or two of grind away, not something I’m particularly looking forward to.
Comparatively the DLCs for Destiny 2 feel a lot less…meatier than their counterparts did in the original. I can distinctly remember each of the ones I played having a hook that kept me coming back. The Dark Below had a raid that could be partly cheesed if you knew what you were doing, The Taken King brought with it the idea that a gun only attainable in the raid made the raid a whole bunch easier, and Rise of Iron extended on that idea beautifully. Curse of Osiris then just managed to drop at the right time, extending my original enjoyment of Destiny 2 when it would have otherwise withered away. Now, having been away from the game for 6 months and coming back to it for this DLC, I can understand better the greater Destiny community’s gripes they had about the previous expansion. It’s just not enough.
The campaign experience is as good as it ever was though, and the fact that it furthered the lore behind Rasputin extensively is something I thoroughly enjoyed. The whole journey will last you maybe 2 hours, at the end of which you’ll be max level and likely around 340 light if you play your cards right. Typically this is where you’d transition into strikes to gear out until you hit the soft cap but, as mentioned before, that’s not something you’re really going to be able to do. It’s a shame really as I saw the beginnings of some of the mechanics that were present in Rise of Iron that led to Outbreak Prime and thought I’d be in for another great gun hunt. As it turns out that’s not so much the case which is a damned shame. I was really looking forward to some kind of Rasputin powered AI super gun.
So where does this all leave us? For me it’s likely the end of the road for this expansion as I don’t feel like there’s much more for me to get out of it. For Destiny there’s likely one last chance to right the ship before a good chunk of its players give up on it forever: the “comet” DLC coming in September this year. If the leaks are to believed it could be Destiny 2’s Taken King equivalent, revamping the game completely with a ton more content than any of the previous DLCs. If Bungie manages to pull that one off it might very well be the shot in the arm the IP needs to placate its playerbase. If it goes the same way as these past 2 expansions I’m not sure there’s much they could do to rebuild their goodwill with the community. Stranger things have happened though.
Destiny 2: Warmind is an unfortunate second stumble for a game that was already having trouble staying upright. Whilst the core of the game that makes Destiny great is still there, accompanied by another fantastic (albeit short) campaign, there’s just not enough there to keep a player like me coming back for months at a time. This is the first expansion where I haven’t bothered with the new raid nor do I have any desire to max out my light level before I leave it to rest. Given that it may only be 3 or so months until Comet hits I feel like my time is likely better spent in other games rather than burning myself out on the Destiny grind. It’s a shame as I really used to enjoy that grind and I can only hope that Comet reignites that fire that once burned so brightly.
Destiny: Warmind is available on PC, Xbox One and PlayStation 4 right now for $19.99. Total time spent in Destiny 2 is now at 86 hours with approximately 12 of those spent playing the Warmind expansion.
I have to admit to having an aversion to free to play games. Mostly its due to many of them resorting to questionable tactics to extort money from you, usually in the form of microtransactions. For those, like Marie’s Room, I often think it’s because the devs didn’t believe their work was worth charging for and thus likely not worth playing. However I’m very glad to be wrong in this instance as the developers behind Marie’s Room have created something that is very much worth playing. Due to the nature of the game, much like Gone Home, the rest of this review is just for those that have played the game as I can’t really discuss it without diving deep into spoiler territory. You have been warned.
I’m not usually one for stories told in retrospective, feeling that much of the tension is lost, however in Marie’s room it works quite well. Part of this is due to the non-linear story construction, with you piecing together the various elements of the story as you go along, but also locking away key moments until you’ve heard enough story elements to progress. The developers have also done a good job in ensuring each of those story fragments works towards building out the bigger picture, rather than just being different parts of a single cohesive story cut up and thrown around randomly. That’s probably the biggest distinction I’d draw between something like this and say Dear Esther with the latter feeling like a confused mess of story elements that didn’t all drive towards the same conclusion.
In terms of pure construction Marie’s Room is well put together, especially considering it’s not done on the indie dev darling Unity (it’s actually Unreal 4). I will have one slight quibble with the hit detection used for showing you items that you can interact with as it seemed a little finicky even at the best of times. Whilst I was able to find the vast majority of the story objects there were many I had to try numerous different approaches to in order to unlock. Also it would be nice to know which items you’d already listened to, just so you don’t accidentally click on them again. Given that the game barely tickles an hour in total play time though these are minor gripes.
The story flowed well between the different core elements giving ample time to each of them to grow and flourish. I do wonder how I would’ve felt about the story if I had explored the room in a less methodical way. The way in which the story unfolded to me felt quite organic, focusing the early story on Kelsey and Marie’s relationship with a small sprinkling of external factors. Then as Todd entered the picture and Marie’s past starts to come into the picture the real core of the story, and the reasoning for your character’s motivation for being there, begins to unfold beautifully. Thinking about it going the other way, knowing Kelsey’s past before knowing about how Marie’s family saved her would give you insight into why she acted the way she did in the first place. I’d be keen to hear what other people’s experiences were and whether or not their particular story path resonated with them.
Overall I quite enjoyed the story, the full gravity of what happened really hitting home in the game’s final scenes. Whilst that exact situation is rare I’m sure many of us can resonate with the guilt of having done something they regret and how revisiting the scene of the crime can bring that all back. Indeed I think that’s universal for all grief and loss as our memories and experiences are tied to the places and people we create them in and with. If there’s one lesson to be learnt from the story of Marie’s Room its that we can’t remove the pain we caused in the past, we can only try to move forward and deal with it.
Marie’s Room is a great short story presented in game format. On first look the retrospective, fragmented presentation of the story would imply it’d be destined for disaster however the developers have done a great job in crafting a narrative that works well in the format. The craftsmanship is on point too with good visuals, great soundtrack and only a few small niggling issues that could be easily addressed in future patches. In all honesty I wouldn’t have any hesitations recommending this at the $5 price point so the fact that it’s free makes it a no brainer. If you find yourself with an hour to kill and are craving a good narrative experience then you shouldn’t look past Marie’s Room.
Marie’s Room is available on PC right now for free. Total play time was 39 minutes with 86% of the achievements unlocked.
“Surely there’s no more games I helped Kickstart” I keep telling myself every time one pops up (7 more to go, it turns out). For the most part these are happy surprises, games that for one reason or another sold me enough on a concept for me to splash some cash to get them made. For the most part they’ve lived up to my expectations, even if my tastes as a gamer changed in the years since I backed them. I had yet to feel the sting of bitter disappointment in one of my Kickstarted children but Confederate Express, a game for some unknown reason I backed almost 5 years ago, gets the unenviable award of being the first to fall horrendously short of its mark. Whatever this game is it’s not the one I thought I was backing, nor is it one you should be buying.
Confederate Express describes itself today as MOBA/RTS style game where “you assume a role of a brutal exterminator trying to deliver a mysterious package”. Whilst this is similar to the Kickstarter pitch in spirit the vision is significantly reduced, now pitting you against 50 fixed levels rather than the randomised Roguelike experience that was envisioned. Indeed anything beyond the most basic of elements appears to have been thrown out, leaving us with a rudimentary experience that can’t have seen a lot of development effort over the past 4 or so years. It’s honestly quite strange as looking back over the Kickstarter page it looks like it was much further along in development than what the end product suggests.
There’s obviously been a lot of effort put into the pixel art assets that were created for Confederate Express. Each individual item is definitely of a high standard and the tile based layout system does indicate that procedural generation was on the table at one point. However these assets are just sort of lumped together in a hodge podge manner, thrown together in a hasty rush to get 50 levels out so they could ship the game and call it a day. Honestly it wouldn’t surprise me to see this appear on an asset resale site as “dystopian future pixel art set” in the not too distant future. Suffice to say that the art is probably the only good thing about Confederate Express as everything else is downhill from there.
Whilst Confederate Express bills itself as a “MOBA/RTS” style game it’s much closer to a twin stick shooter in reality. You control one character and you have to dodge projectiles and enemies whilst shooting back at them. Each room is filled with a bunch of enemies which you’ll have to clear out before you can proceed to the next level. Over time additional enemy types are added in and in increasing numbers, making the levels progressively harder as you go on. All of the enemies drop gold which you can use to purchase upgrades at the shops which appear every so often. There’s nothing else beyond that though so once you’ve gotten past the first few levels you’ve basically seen everything the game has to offer in terms of raw mechanics. Sure the different enemies present their own challenge, but it’s not like the core of the game evolves much.
The combat is very basic, kind of like asteroids but all your enemies are slow moving zombies. The controls aren’t exactly intuitive either with one mouse button being attack move and the other regular move. There’s also no way to have your character stand still and shoot in a direction unless there’s an enemy there, making a lot of the levels far more frustrating than they need to be. The upgrades you’ll get along the way do change things up a bit but many of them are far less impactful than they’d lead you to believe. For instance the passive upgrades are near worthless as extended range and faster walking speed don’t seem to make one lick of difference. Indeed it feels as if the other enemies actually get the same upgrade, rendering your spent cash worthless.
After completing it I was left wondering what the hell I was thinking when I backed it. Taking a look back at the Kickstarter campaign it’s clear that the game had much grander ambitions. Before each mission you’d have a world randomly generated around you and would receive a briefing of the mission at hand. You’d have your choice of different character classes, crew members and a deep weapon upgrade system. Indeed it felt like it had aspirations of being closer to something like XCOM, complete with a home base and a large crew of people you’d be using on your delivery missions. None of those elements are present in the “finished’ product. Instead you have a fixed 50 level experience that doesn’t even attempt to emulate even 10% of that aspirational goal. Not that anyone would think you could achieve something like that for $50K, anyway.
This is, of course, the risk we run as Kickstarter backers. Honestly I’m surprised it has taken this long for me to run into something this bad. Sure I’ve been left waiting for many years at a time to receive some of my pledges but by and large they’ve hit their mark (even if I didn’t enjoy them). Confederate Express on the other hand fails to meet even the most generous interpretation of the vision they put forward, instead attempting to phone it in many years after they took funding from over 2,000 backers. Am I disappointed? Not really, whatever interest I had in the title vanished in the many years between my pledge and the time I played it. Instead I’m left wondering what happened to the developers and why they decided to release such a lacklustre product into the market.
Confederate Express fails to deliver on the goals it set by a long margin, so much so many Kickstarter backers will likely be wondering why the hell they backed it in the first place. The game as it stands today (and likely forever more if the updates are anything to go by) is a pale shadow of what was promised, lacking any of the features that likely attracted a pledge in the first place. There’s definitely been a lot of love poured into the assets used but even those are presented as a jumbled mess. Honestly even though the game is short I couldn’t in good conscience recommend that anyone buy it, even if you manage to catch it on mega sale. Such is the risk that Kickstarter represents and this time, unfortunately, it has not paid off.
Confederate Express is available on PC right now for $9.99. Total play time was 2 hours with 31% of the achievements unlocked. Game was backed at the $10 level on Kickstarter.
Games, as a whole, have come a long way when it comes to giving the player real control over how the narrative develops. Gone are the days of the simple binary choices, instead we’re treated to branching dialogue trees and emergent gameplay mechanics that allow us to craft our own narrative experience. Often these choices are tied into the concepts of ethics and morality, giving you choices between good and evil (or somewhere inbetween). It’s rare that story choices will have an impact on the game mechanics themselves though, something which Frostpunk (from the creators of This War of Mine) does exceptionally well. Whilst a scenario based city builder likely isn’t everyone’s cup of tea 11 bit Studio’s latest release stands out as one of 2018’s more intriguing titles to date.
The world has been plunged into a new ice age, freezing the oceans and forcing many to abandon their homes. We’ve known about this for some time however and teams of our best scientists and engineers were sent north to figure out a solution. Their hope lied in the Generators, massive coal burning behemoths capable of generating the heat required to keep a colony alive. However, upon arrival, you find the generator cold and lifeless, the teams you sent months ago nowhere to be found. It seems you, as the captain of this expedition, are all that stands between your colony and a bitterly cold end. Are you up to the task of making the hard decisions to keep your colony alive? Or will you, like the others before you, perish in the unrelenting winter that now grips the world.
For a game with such a bleak and dystopian setting Frostpunk is a gorgeous game, both in terms of the graphics but also in terms of the UI and other 2D design elements. I initially had some performance issues with it which I tracked down to it rendering at 4K resolution by default. I’m not entirely sure what caused this but after adjusting it to a more sane resolution (1080p) everything ran extremely well. There are numerous little touches which really sell the experience, like the differing amount of snowfall on the roofs of buildings or the way snow melts away when you plonk down a new steam hub. The lighting and particle effects are top notch too, making the city at night time a particularly pretty thing to look at. Honestly when I first saw this I wasn’t expecting such a visual marvel so hats off to the devs for that.
Frostpunk is a city building survival game with a bit of a twist: it’s scenario based. Unlike many other city building games, which are typically open ended with win conditions you can achieve at your own pace, Frostpunk sets out a goal for you to accomplish in a set amount of time. Whilst not every playthrough will be identical due to the RNG elements they will always play out the same, allowing you to get better at a particular scenario through multiple playthroughs (or through, you know, Google). For the first scenario, the only one which I completed, this means setting up a colony to survive in an ever increasingly cold environment. You’ll have to provide food, shelter, medicine and heat to everyone in your colony whilst also keeping a close eye on hope and discontent. This by itself would be challenging enough however the random events that occur will mean you’ll have to make some tough decisions about which direction your colony will take and what kind of leader you want to be.
Things start off relatively simple: you just need to keep everyone alive. The steady decline in temperature though will force you to start making some tough decisions early on and this will start to shape your path going forwards. Many of the early decisions are tough choices between doing the “right” thing and something that will greatly help in your colony’s survival. Of course survival isn’t everything and whilst you might be able to easily keep everyone alive you’ll quickly find yourself with an unhopeful lot of malcontents who want nothing more than to overthrow you. Herein likes the core challenge of Frostpunk: carefully balancing each part of the equation to ensure that everyone makes it through yet another day, including yourself.
The random events that you’ll uncover play into this mechanic as well, many of which will lay to waste any carefully laid plans you might have. For instance in my first mildly successful playthrough I did what any human being thinks they’d do in such a situation: I tried to save everyone. This saw my colony’s population double in a very short amount of time, putting an incredible amount of stress on the meagre reserves I had accumulated. This was further compounded by the unavoidable storm event which shut down all my food production and wreaked havoc on my coal production facilities. The end state was dozens of people dying every day due to starvation, cold and trying to save the coal mines from complete collapse. My choice of wanting to do the right thing by everyone ended up dooming them all to die and so began my next playthrough: the one where I prioritised survival of the few over the many.
This playthrough wasn’t without its challenges of course but armed with the knowledge I’d gain from failure I felt much better prepared. Indeed it was interesting to explore different options for solving the same problem like using coal thumpers instead of mines. This allowed me to have them right next to town with good heat coverage, vastly reducing the amount of sick people the mines generated. This also opened up a lot more space for me to build other ancillary services in, making expansion that much cheaper. Of course there were also some other things I did which I hadn’t considered before like building multiple research centers to speed up technological progress. The final path through the storm still wasn’t a cakewalk however, the generator only being able to sustain overdrive for maybe half of the duration (even with all the upgrades) but it was enough that I didn’t end up in the frozen starvation ridden hell I had created before.
Like most games in this genre Frostpunk will lay out a good set of basics for you but from there you’re on your own. The tech trees (including the law ones) offer up multiple ways of solving problems with many of the later ones making up for the questionable choices you may have made earlier on. At first glance some options look better than others, like the buildings that seem to produce more output per person than others, but in practice they might be anything but. Indeed my first playthrough that put tech supremacy over anything else was a dismal failure, forcing me to consider a different approach. In the end it seemed like a steady trek up the tech tree, focusing on upgrading current infrastructure first before pursuing new solutions, ended up being the most viable approach. I’m sure I could get another 2 or more playthroughs out of the first scenario alone by just exploring the number of options available.
The story of Frostpunk, whilst following a kind of set path, is mostly one you’ll craft yourself. Nearly all the choices you make will have a direct impact on how the game plays out, creating a narrative that will be uniquely your own. It’s one of those games which I think will make great discussion pieces for a long time to come as we regale each other with how we overcame each of the challenges the game presented to us. It is, however, an exhausting and bleak narrative which is why I haven’t been back to it after finishing the first scenario. I don’t regret my time with it at all but I’m certainly not foaming at the mouth to get back into it.
Frostpunk is a harsh, unforgiving experience that rewards players who experiment, fail and try again. Its gorgeous art direction brought to us by 11 bit Studios own in house Liquid Engine was a surprise delight, something I certainly wasn’t expecting from a game like this. The game mechanics, which are deeply intertwined with the narrative elements, makes for a confronting affair; challenging you to make decisions that will be difficult to live with. Like many similar games though it’s an exhausting experience, one that will keep drawing you back but is easy to close the lid on once you’ve achieved victory. Frostpunk then goes down as one of my surprise delights for the 2018 gaming year, providing a great bit of distraction between the AAA release storms.
Frostpunk is available on PC right now for $29.99. Total play time was 7 hours with 22% of the achievements unlocked.
Rewind the clock a decade or two and co-op games found themselves in something of a dark age. Most publishers were attempting to get players on the multi-player bandwagon, driven by increasing Internet penetration and a want to keep players engaged for longer on big name IPs. Titles like Left 4 Dead and other small squad based games breathed new life into the co-op playstyle and the indie renaissance brought with it the innovation to keep players interested. For many of the games co-op is an add-on, something to be enjoyed if you and your friends have the time to play together. Fewer are the games in which co-op is a hard requirement like it is for A Way Out. The premise, a co-op prison break, was enough to interest me with the developers (those who brought us Brothers: A Tale of Two Sons) sealing the deal. Whilst it falls a few steps short of my must-play games for this year it was certainly an interesting experience, if only for the fact that my wife and I shared a good few laughs while playing it.
Vincent Moretti is freshly incarcerated and sent to jail for murder. In jail, he meets thief Leo Caruso who had been arrested for grand theft. A group of thugs sent in by crime boss Harvey tries to murder Leo, but Vincent intervenes. While the two recover in the infirmary, they get to know each other and Leo requests Vincent’s help to steal a file from the office. Vincent complies. After the theft, Vincent senses that Leo is planning on a prison break and offers to help so he can escape too. Leo initially refuses, but begrudgingly agrees to collaborate when Vincent reveals he also has a grudge with Harvey. So begins their quest to hunt him down and exact the vengeance they crave.
Considering that this is Hazelight Studios first game (although not their first title as a team) the quality of their visual work is quite impressive. Whilst it might not reach the dizzying heights that say Far Cry 5 did it still does manage to do a lot with what its got. For people like me who are playing the game on a single console (original PlayStation 4 for reference) there are definitely some sacrifices being made in order to support the split screen parts of the game. Mostly this comes in from the lack of detail when you get up close which can become quite noticeable in the in-game cutscenes. I haven’t done a blow by blow comparison between my screenshots and the same from PC but I can hazard a guess that they wouldn’t suffer the same fate, given that the Unreal 4 engine is powering everything.
A Way Out is a split screen co-op game where you’ll be tasked with all sorts of different challenges, most of which will require you cooperating with your partner in order to complete. Some of these take the form of the usual co-op puzzle affair, like you holding down a switch to keep a door open while they go through, to some unique and interesting puzzles which I don’t think I’ve ever come across before. All the scenes are also littered with things for you to interact with from people (providing dialogue and story background) to objects which may or may not be related to the puzzle at hand. All the challenges will have multiple ways of approaching them, something which is not always readily apparent. There’s stealth and combat sections as well which will quickly make you realise that even the biggest TV will feel cramped when half of it is gone. If it sounds like there’s a lot to this game then you’re right and one the game’s weaknesses is the lack of focus on the elements which mean the most to the overall experience.
The core puzzle solving mechanics are well done, making good use of the fact that you’re required to work together. Most sections play out in a similar way: you’re given your object, a little spiel about how you might go about it and then are let loose in the room to figure it out. That room will usually have a bunch of things for you to look through although, honestly, most aren’t worth your time. Whilst its nice that some of the NPCs have a background story none of them will ever help you with anything, nor will learning random things about your environment. Indeed the objective you’re given is pretty much all the info you’ll need, all you need to do is find the requisite items and execute the right sequence. If you’re a seasoned gamer you’ll likely breeze through most of them however if, like my wife, you’re not exactly the gaming type things can get…well…
You see my wife, bless her socks, whilst having a solid history of titles she’s enjoyed (Animal Crossing, World of Warcraft and Until Dawn to name a few) she doesn’t have the same twitch reflex muscles that someone who’s invested over 200 hours into Destiny might. So there were quite a few puzzles where we’d fail in spectacular fashion, often with quite hilarious results. To her credit though towards the end she started to perform quite well, even saving my ass a couple times during the shooting sequences. This is, of course, one of the joys of local co-op and A Way Out does ensure that mismatched experience levels are catered for relatively well. Suffice to say if you’re thinking of giving this game a go the only thing stopping you was the experience of your chosen co-op partner I don’t think you have that much to worry about.
Combat could really have used more attention as the shooting feels clunky and unrefined. It’s your typical third person, cover based shooter with infinitely regenerating health but even I was struggling to reliably take down enemies. There’s also not a great deal of room to experiment with the different weapon types as you select one to begin with and there’s only a few places where you can change your selection later on. Combining this with the 50% loss of screen real estate, which makes enemies just that much harder to make out, and the shooting sections are more of a chore than they need to be. I’ll lay the blame for this partly on the fact that there are so, so many mini-games in A Way Out that it’s not surprising that some aspects received a lot less attention than they should have. Given the pedigree of the developers I had expected a relatively high amount of focus on the core elements they wanted to make good. Maybe the combat just wasn’t one of them.
A Way Out is a mostly trouble free experience although it does still have a few issues that will crop up from time to time. The above screenshot is a great example of what happens when the physics engine gets confused, rocketing my wife straight up after she rolled into a crate. The cover system is also a little finicky, sometimes not responding in the way you’d expect it. Thankfully these issues are both minor and uncommon so they don’t mar the overall experience too much. We did avoid a great number of the mini games however so it’s quite possible there’s all manner of bugs hiding in places I simply didn’t look.
The story of A Way Out takes a really, really long time to get going enough that my wife wasn’t particularly interested in picking it back up after our initial 2 hour session. I did manage to convince her to come back to it and, whilst the second half is a lot better, it’s probably still a bit too drawn out. Additionally given that a great deal of the story is told in retrospect a lot of tension is taken out of many of the critical plot points. Given the fact that the strongest part of the game, the final hour, is the only part that’s not told in retrospect I have to wonder why it was presented in that way in the first place. All things considered A Way Out’s story is probably best described as interesting but forgettable.
A Way Out brings another unique perspective on what co-op games can be, eschewing the current trend for drop-in/drop-out play. Hazelight Studio’s first release is of a very high standard, especially considering that it’s available on all major platforms. The game is bristling with detail something which is both one of its strongest points and also its greatest weakness. Certain parts of the game that could have used a little more love, like the stealth and combat, don’t feel as polished as they need to be. The mini games and other parts are nice but I’d trade most of them out for more focus on the core elements of the game. Finally the story suffers in its delivery, only finding its feet once it casts off the shackles of its retrospective narration. All this being said I don’t regret giving A Way Out a go and I’m sure more gaming couples could find something to love in it.
A Way Out is available on PC, PlayStation 4 and Xbox One right now for $29.99. Game was played on the PlayStation 4 with approximately 5 hours of total play time and 29% of the achievements unlocked.
Once upon a time I found myself elbow deep in the world that was games on Kickstarter. It was the time when many old IPs found new life on the platform with multi-million dollar pledges becoming the new norm. But it was also a place where many smaller, indie titles sought to find validation in their ideas with varying levels of success. Whilst I haven’t backed anything on the platform in years I’m still treated to a small trickle of titles which, back in my backing heydays, are finally starting to come to fruition. The latest of which is Light Fall, a game which, I assume, I backed due the metroidvania phase I happened to be going through at the time. It certainly isn’t a game for everyone but for those who enjoy a good, hard core momentum platformer it’s certainly one to chuck on the list.
In Numbra, one misstep is all it takes to meet a quick end. This harsh world is colossal and ancient; the entire continent permanently shrouded in darkness, lit only by the moon. Its inhabitants live and abide by a simple law: the strongest survive, while the weak are crushed. That did not stop the Kamloops, a small and peaceful Nation, from leaving their homeland for Numbra. Exhausted from the constant wars between rival nations and trapped in the middle of an everlasting conflict, the Kamloops left everything behind. Everything but a hope for better days, a hope for peaceful solitude. Alas, something vile stirs in the dark night of Numbra. Mysterious crystals have appeared out of nowhere and scraped the entire landscape. Houses and entire villages are being razed to the ground. With the world crumbling once again, will the Gods answer their people’s plea one more time?
At first glance you’d be forgiven for thinking that Light Fall was a high end Flash game as its visuals certainly take a level of inspiration from that style. Under the hood it’s powered by Unity which is quite surprising, showcasing just how versatile that engine can be. It might just be me but some small parts of the visual flair also felt like they were inspired by the work of Supergiant Games with some of the effects (like flames, for instance) having an uncanny resemblance to them. Regardless of where the creators drew their inspiration from the resulting art style is quite beautiful, the silhouetted figures contrasted by bright glows lavished with lighting and particle effects. There are some points where your character gets lost in the background however, the small figure blurring into the visual onslaught. They are thankfully rare however, the developers taking care to avoid heavy visuals in areas where timing is key. Performance, as you’d expect, is also good and I can’t imagine Light Fall would struggle even on the relatively meagre power of the Nintendo Switch.
Light Fall is a modern 2D platformer with all the usual mechanical flairs we’ve come to expect from this genre. It’s partly momentum based, allowing you to skip through massive sections of the game if you’re able to keep the pace up. Its main differentiator is the Shadow Core, a box which you can summon which performs a variety of functions. Initially it’s just a box that you can place somewhere in the environment, giving you an extra step to reach new places. As you progress you’ll unlock the ability to use it as a weapon and summon it either below you (saving you from a fall) or in front (useful in gaining height). At the same time the levels will begin to throw new and varied challenges at you, some of which can be bypassed entirely if you know what you’re doing. The idea isn’t particularly unique it’s application in this momentum/twitch based platform is and whilst it can be frustrating at times once you learn its ways navigating the game’s various challenges becomes quite satisfying.
The main platformer sections of the game are pretty straightforward most of the time. The levels, in general, progress from left to right, providing a pretty straightforward path towards the end. For the majority of the game the checkpoints are where you need them to be so deaths don’t set you too far back. However the game doesn’t do a great job of introducing new mechanics to you, especially for the core abilities you have. This is most notable when you’re trying to do the challenge puzzles which, especially early on, require you to make use of the new mechanic in order to complete them. There was one in particular which required the use of the “summon block below me” which I didn’t know about until I went looking for videos on how to complete it. Past the first hour or so this issue disappears but it does make the game’s opening gambit more hostile to new players than it should be.
The main increase in challenge, at least for about half of the game, comes from more complex puzzles requiring more intricate uses of your power. Many of the puzzles have the obvious solution but this is usually more reliant on your skill as a player rather than exploiting the mechanics. Then there’s the second, less demanding solution that requires a bit of trial and error to figure out. For instance there’s one section where you have to fall through a section of lasers. There’s a platform there and, if you stand on it, you can ride it down and constantly summon the shadow core to block them out. However if you simply jump down there and summon the shadow core once it’ll follow you most of the way down, blocking the lasers for you without any further effort. I’m not entirely sure how many of those solutions are intentional but it definitely felt like there was always an easier way to solve the problem than what I saw on first glance.
Unfortunately in the later parts of the game the challenge mostly comes from spreading out the checkpoints further, requiring you to complete longer and longer puzzles to progress. The trouble with this is that many of them are impossible to solve on first go, requiring multiple retries in order to get past them. This becomes annoyingly apparent in the final boss fight as it has 4 phases, 3 of them which introduce new abilities and change existing ones. There’s also no way to accelerate the boss fight either, meaning any stuff up puts you right back at the start, leaving you to endure all the phases over again. I’m all for a good challenge but repetition of this nature isn’t something I find reward in completing. At the very least give me an out after say 30 minutes of trying and deny me an achievement or something. I’d rather that than having to waste upwards of an hour on the same bossfight.
Light Fall also has some hitbox issues which aren’t readily apparent, mostly because they result in instadeath which seemingly comes out of nowhere. Some enemies and mechanics have hitboxes larger than you’d expect, leading to your death when you’d otherwise expect to live. Also any mechanics which move your character in some way will result in death should you accidentally summon the shadow core in front of you. This is most noticeable in the final boss fight where I died several times to it, not knowing how or why died. These aren’t game breaking, especially if you’re aware of them, but it does add a small layer of frustration to an already challenging game.
The story, which should get credit for being well developed and fully voiced, didn’t manage to grab me. I definitely appreciated the background narration, giving a little more flavour to the world that I found myself bouncing through, but nothing about the characters or plot really grabbed me. The final reveals towards the end also felt a little rushed, with numerous points revealed and then resolved in the space of an hour. It’s not entirely forgettable with a few choice moments here or there but it’s not the first thing that comes to mind when I recall my time with Light Fall.
Light Fall is a solid first title from Bishop Games showcasing their unique brand of talent in this genre. The art style is reminiscent of the Flash games of yore, albeit with a better flair for lighting and modern effects. The platforming itself is well polished with only a few small niggling details needing further attention. The majority of the game follows a good difficulty curve although it struggles later on, resorting to simply making the checkpoints longer to make the game harder. The final boss is probably the biggest misstep in the whole game, requiring a lot of repetition and luck to make it through. The story, whilst well crafted and fully voiced, doesn’t leave much of an impression. All this being said though Light Fall is certainly a game that fans of this genre will enjoy and is a great opening salvo from this indie studio.
Light Fall is available on PC, Xbox One, PlayStation 4 and Nintendo Switch right now for $14.99. Game was played on the PC with a total of 6 hours play time and 42% of the achievements unlocked. Game was backed on Kickstarter at the $10 level.
With the core essence of a Far Cry game perfected Ubisoft has turned to a couple other items with which to differentiate each instalment in the franchise. Most notable is the wide variety settings, each of them driving the narrative and mechanical stylings of the game. This particular choice of location, that of rural Montana in the USA, was an interesting one, generating a lot of conversation of how Ubisoft would approach many of the delicate political topics that are top of mind today. Strangely though little of the conversation focused on what the game itself would be like which, I’m happy to report, is still as enjoyable as ever. There are some choices I’m not a huge fan of however, taking away some of the depth that this franchise was famous for.
You are the Rookie, a new junior deputy in the Hope County sheriff’s department. You arrive at Eden’s Gate to serve Joseph Seed, the leader of a local cult, with a federal arrest warrant on charges of kidnapping with the intent to harm. Although Joseph offers no resistance, he claims that God will not allow him to be detained. As you escort him away the cult members lash out at you, downing your helicopter and your team along with it. You learn that the sheriff’s department has been infiltrated by the cult and they’ve prevented the National Guard from responding. It’s now up to you, deputy, to free Hope County from clutches of Eden’s Gate and rescue your team.
Far Cry 5 continues the series’ use of the Dunia engine, a highly modified version of the CryEngine. The visuals are stunning with obvious improvements in lighting, textures and the attention to detail. This is probably one of the few games, especially in the open world genre, that manages to look good both at distance as well as up close. This does come at a price however and my rig, no longer the towering beast able to take all comers, was brought to its knees more than once. A few tweaks here and there ensured that I was able to get smooth performance but some sacrifices had to be made. Most notably was the draw/level of detail distance which, whilst on foot, wasn’t much of an issue but was readily apparent when I was say flying in a helicopter. All things considered though I think it’d be safe to say that Far Cry 5 is likely to be one of this year’s best looking games.
As I alluded to in my opening paragraph Far Cry 5 maintains the formula that the franchise has perfected over the last 14 years. Whilst the long held tradition of climbing radio towers to uncover parts of the map has (thankfully) been removed you’ll still be liberating outposts, picking up various side quests and working your way up to taking down the Big Bad Boss of the day. Many of the core mechanics and progression systems have been streamlined significantly which, depending on your point of view, could swing either way. One of the most notable additions is the Arcade Editor, allowing you to craft your own levels and experiences within this Far Cry world. The less notable, more notorious, addition is microtransactions allowing you to bypass the built money grind if you so wish. For this old player it has raised an interesting conundrum as I’m typically a fan of streamlining games but in this instance I think it’s taken something away.
All Far Cry games start off with you being someone who really doesn’t have the skills to survive in the situation that find themselves in. Then, over the course of your play through, you begin to build yourself up through the various trials and tribulations the game throws at you. Part of this included a rather in-depth and daunting perk tree which progressively allowed you to build out your character along your desired path. In Far Cry 5 however many of the skills that you would’ve had to previously unlock, like say heavy takedown, are given to you by default. This does mean that you’re far more capable earlier on than you’d otherwise be, something that does help to speed up the pace of the game, but the downside is that the perk tree no longer feels as impactful as it once was.
Many of the talents are simply incremental upgrades to things you already have and a good quarter of them are dedicated to reducing the respawn times of your companions. To be sure there are a few that make a huge difference in how you’ll approach certain challenges the game throws at you but rarely did I feel the same power increase as I did in the previous games. Quite often I was left with a bunch of points and no real desire to spend them on any of the perks as I couldn’t see what advantage I’d get out of them. In fact the biggest power increase I ever got was when I finally got myself a helicopter with machine guns, something that takes a whole lot of pain out of the games more laborious moments. I’d forgive the lacklustre perk system if the other means of progression felt a lot more impactful but, honestly, they seem to suffer from the same sameness problem.
The power of your weapons feels largely determined by the type so that guns in the same category are largely as effective as each other. The higher tier weapons, which you unlock from increasing resistance levels across the board, usually come with more quality of life perks rather than an increase in overall effectiveness. The sniper rifles, for instance, go from bolt action to semi-auto, the rifles semi to full-auto and so on. The bow, unlike other Far Cry games, feels pretty damn useless once you get yourself a silenced gun of any description (which isn’t rare either, pretty much everything can be silenced). The prestige guns are also just unique skins rather than more effective versions of their common counterparts meaning any cash spent on them is ultimately wasted. Once I’d settled on my loadout (pistol, rifle, LMG and sniper rifle) I didn’t change it for the rest of the game.
What this leads to is an overall combat experience that, for a while, is somewhat varied but quickly deteriorates into a repetitive slugfest. It’s a shame really as the slow increase in my character’s power level was something I always enjoyed in the Far Cry series. Being almost untouchable at the end always felt highly rewarding, allowing you to breeze through challenges that were once a complete showstopper. In Far Cry 5 however it feels like after maybe 4 hours or so you’re basically at the limit and there’s little more that will change how you play. Of course it’s still fun to strafe an outpost with a chopper or sneak around with your cougar companion but the lack of variation does start to wear on you after a while. Thankfully the game recognises this and campaign progression gets faster the more you complete, allowing you to blast through the last area in about half the time when compared to the first.
Crafting has been radically simplified and decoupled from the progression system. No longer will you be hunting down rare game in order to craft a new wallet, instead they’ll form part of your cash flow that you’ll funnel into the upgrades of your choice. All you’ll be crafting now is consumables including all your explosives and “homeopathics” which include the usual foray of decreased damage taken, increased speed and so on. This does mean that the progress system is a bit more universal, alleviating the previous Far Cry game’s issue where you could have all the talents in the world but could still only hold 5 arrows at a time. Materials are found everywhere, including on enemies you defeat, so it’s rare that you’ll ever be wanting if you need to crafting something. Overall I think the changes are good from a quality of life perspective but does take away something that was kind of a signature of the series.
Far Cry 5 still retains many of the issues that Ubisoft’s open world games are renowned for like the incredibly janky physics and an AI that’s dumb as dogshit. As /r/gamephysics will attest to there’s a bunch of whacky physics interactions with vehicles, people and the environment. None of these are game breaking and many are great fun to watch. What’s less fun is the AI which, when it’s being used to control your companion, routinely goes completely off the rails. I had one instance when I was in a helicopter (which the AI was piloting) where it would randomly land for 30 seconds before taking off again. It didn’t even seem to understand that it shouldn’t land in the river and proceeded to so, almost killing us both. Similarly characters that are leading you or part of an escort mission get horrendously confused if anything out of the ordinary happens like, say, a fire happening near them which they caused. Of course that also leads to some rather fun times when you can really screw with the enemy AI but with the lack of a quick save/load system it’s not nearly as fun as it could be.
All of this being said though, for all its flaws, Far Cry 5 is still very much an enjoyable experience. Ubisoft has obviously taken a line to make the series more approachable to a wider audience, cutting down on a lot of the elements that would’ve been overwhelming to players just jumping into the franchise now. Whilst long time fans of the series, like myself, may not enjoy those changes I can recognise that a lot of reviewers are seeing these as positives. I couldn’t point you to exactly what made the game fun for me but I certainly don’t regret the time I spent in it and I’ll attribute part of that to the game’s story.
Whilst initially the game felt like it’d hit close to home on a lot of hot button issues the game draws a rather well crafted line straight down the middle, ridiculing both sides as much as the other. Many have criticised the game for not taking a stance one way or the other but, honestly, did anyone expect Ubisoft Montreal to make a political statement on the current state of the USA? Instead many of the side quests and throwaway parts lampoon the stereotypes of both sides with your redneck preppers on one and your new age hippie vegans on the other. Is that a missed opportunity? Sure, but I’m not looking to big name publishers and developers to make a statement. I’m looking for a fun game experience that I can switch off the higher order parts of my brain to. When I want to be stimulated I’ll take a deep dive into the world of indie titles.
Personally I started with John’s area before moving onto Faith’s and finally Jacobs. Out of the three I felt Faith’s was the strongest as it drew me in with a believable tale of how she came to be the person she was. John’s comes in at a close second for his portrayal of your stereotypical televangelist with an empowering catchphrase. Perhaps due to the order I played them in Jacob’s felt incredibly weak, lacking anything to draw me in. Of course it’s a highly predictable narrative (all the way up a certain point, which I won’t talk about) but that’s one part of the Far Cry formula which I didn’t expect to get touched. Overall the narrative and its pace of delivery are well done enough that I was able to forget about the other flaws, at least for a little while anyway.
Far Cry 5 is certainly another solid instalment in the franchise, even if the streamlining of some of the games more iconic features didn’t sit well with this reviewer. The game retains the series penchant for high end graphics which are sure to delight fellow eye candy enthusiasts. The progression system, whilst more concise than it ever has been before, feels like it takes away some of the core aspects which drove the growing power fantasy aspect which I felt was core to the Far Cry experience. Couple this with the other lacklustre progression mechanics and the core of the game, whilst still retaining the things that make Far Cy good, just isn’t as enjoyable as it once was. However the game is still worth playing, maybe even more so for those who haven’t played the series before. The narrative, whilst missing the mark for many due to its fence sitting nature, is enjoyable for what it is. For Far Cry fans this instalment is still a must play but it falls short of reaching the same heights as some of its predecessors did.
Far Cry 5 is available on PC, PlayStation 4 and Xbox One right now for $59.99. Game was played on the PC with 16 hours of total play time and 45% of the achievements unlocked.