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.
There were a lot of games I wanted to check out after doing several tours of the indie area at PAX. Unfortunately most of them aren’t available yet, at least the ones I wanted to play anyway, and so after I got home I did the usual scroll through Steam looking for something that caught my interest for this week’s review. Thankfully the Steam Summer Sale was in full effect and many titles that I had passed over (mostly due to price) were on sale and so I quickly filled my library with several games I had been meaning to play. Dust: An Elysian Tale was one of these titles and I wasn’t really sure what to expect from it but I have to say I was pleasantly surprised.
You, playing as Dust, awaken in a meadow in the middle of a forest. You’re then approached by a strange floating sword who calls itself Ahrah, followed closely by a small flying creature called Fidget who claims to be the sword’s guardian. Whilst they don’t provide you any clue as to who you are or how you got to here they direct you to the local town of Aurora in the search for answers. The town is overrun with monsters however and after dealing with them the town’s mayor asks that you track down their leader in order to get the attacks to stop. This begins your journey to find out who you are and what your real purpose is.
The art style of Dust is quite spectacular as it manages to feel like you’re playing inside an epic Disney animated movie. I’ll admit that it was a little off-putting at first, mostly because I felt like it was going to be skewed towards being a kids game, however I found myself becoming more and more impressed with it as I progressed through the game. Mostly this was due to the added environmental effects like snowstorms on high peaks but there were also very atmospheric set pieces like the haunted mansions. Overall though being able to capture that Disney like feeling, both in terms of visual style and storytelling, is something the developer behind Dust should be commended for.
Dust is a 2D hack ‘n’ slash platformer where you’ll be put up against massive hordes of enemies which you’ll be able to dispatch readily. I’m not usually a fan of these kinds of games, I usually get bored with them as the combat starts to feel repetitive, but Dust manages to keep things fresh by gradually introducing new abilities to you as the game progresses. There’s also some rudimentary RPG elements included as you’ll gain experience and levels by defeating enemies and completing quests. There’s also an inventory system, which thankfully needs no management whatsoever, and a crafting system that will allow you to create some of the most powerful gear in the game. All of these elements bind together quite well providing a game experience that’s very different from anything else I’ve played in recent times.
The combat frustrated me at first since the tools I had at my disposal were quite limited. However after the introduction of the Dust Storm ability, essentially projectile based attacks that your companion Fidget shoots which you then amplify, made it far more enjoyable. At the same time though it felt like it trivialized the encounters somewhat, even playing on the Tough difficulty level, although this is countered by the fact that anything can drop your health to almost zero (but not zero if you’re above say 40HP, giving you a chance to heal). In fact you can play Dust as a button masher for the majority of the game, it’s only later when enemies start requiring certain abilities, like parrying or using special abilities to kill them, that some form of strategy starts to enter in the equation.
Although this seems to go to the extreme towards the end of the game where (seemingly) every enemy gets the ability to parry you making continuing combos and using your special abilities (which has an energy bar) very frustrating. Indeed it gets even worse when I started to notice that they could parry whilst seemingly incapacitated and, randomly, my attacks would simply fail to connect with them for no reason in particular. It’s a drastic uptick in challenge, I’ll give them that, however it feels more like a hacked in solution to ramping up the difficulty than anything else. Perhaps utilizing some of the non-combat platforming abilities as augments to the combat would’ve been a better way to do it as there are several of those introduced after you get all your combat abilities.
The platforming is relatively easy as all the jumps you’ll be required to make can be done without the use of your Dust Storm (which allows you to move a little further in the air than you would be able to otherwise) and the use of randomly moving/disappearing platforms is kept at a minimum until towards the end. It’s to your advantage to explore everywhere you possibly can as well since there’s treasure chests and keys scattered everywhere which usually contain a bunch of gold and health items. You’ll be struggling for keys initially as they’re just as hard to find as the chests themselves but I found that towards the end I had more than enough to open every chest I came across, even without purchasing them.
One thing that did irritate me about the platforming in Dust was the fact that early on you’ll be shown areas that look like there’s a route to get to them but you have no way of getting to them. Of course later on in the game you’ll unlock the required ability to traverse the obstacle and, should you want to return to that area, you’ll be able to make your way through there. I really don’t like it when games do this as I’m not someone who likes going back to retrace their steps every time I get a new ability. It just doesn’t feel like progress to me and instead makes me feel like I’m missing out on something whenever I see an obstacle I can’t yet tackle. It might increase the play time for some but, honestly, I don’t believe that most gamers are judging games by the number of hours it takes to complete anymore.
The RPG elements serve their purpose, giving you that lovely thrill of leveling up every so often that brings with it new levels of power. Since you only have control over 4 of your stats, and can only level up one of them at a time, the progress granted to you through levels doesn’t feel anywhere near as impactful as the upgrades you get from gear. I can remember getting a really good piece of armor before I was probably supposed to have it which made me near invincible against the enemies I was facing but up until that point I still felt like a glass cannon in battle. In fact the only upgrades that feel like they’re making any difference are the ones to defense. Even the 2x attack ring I got towards the end seemed to make little difference to the time it took ti dispatch enemies which was a little disappointing.
The crafting however feels rather well done as instead of forcing you to constantly reload sections to farm up the required materials you can instead sell one of them to a vendor who will then proceed to sell them back to you and restock them periodically. This means its advantageous to sell one of your materials to them whenever you pick it up as the vendor will stock up on it over time so when you need it, to craft that amazing item blueprint you just picked up, it’ll be there for you. This was my primary source of items as whilst I got a couple good drops most of them came from crafting and whilst I didn’t manage to catalog all the materials (some of the earlier ones just didn’t drop for me at all) I had more than enough to craft most of the things I wanted to.
I was honestly surprised by the story of Dust as whilst it’s rated at E (Everyone 10+) and starts off with some rather shaky premises the characters undergo some serious development, to the point where you really start to care for them. Dust also pulls no punches when it comes to dealing with real topics like death and betrayal, something that I did not expect given its very Disney like qualities. Dust does lose a little sheen by doing the cliched screaming for a sequel at the end but I’d be lying if I said I wasn’t looking forward to another installment of this game and the stories it contains.
Dust: An Elysian Tale goes down as one of the bigger surprises for me of this year, seamlessly combining beautifully evocative artwork with a hack ‘n; slash 2D RPG. It has its flaws, although they’re surprisingly few for a first time game developer, and could deal with difficulty ramping better. That being said however the issues melt into the background as you blast your way through hordes of enemies and revel in the deep story line. I’d highly recommend a playthrough, especially for those who love the Disney art style.
Dust: An Elysian Tale is available on Xbox and PC right now for $15. Game was played on the PC on the Tough difficulty with 8.6 hours played and 50% of the achievements unlocked.
I have a love/hate relationship with the new wave of hardcore platformers that have swept through the game scene recently due to the indie game developer revolution. Initially I find them quite fun, as I did with Super Meat Boy and They Bleed Pixels, but usually towards the end when the difficulty starts to ramp up and my total play time sky rocket despite progress slowing to a crawl I tend to get frustrated with them. None of them have matched up to the Nintendo Hard hell that was Battletoads but ramping the difficulty up to insanity in the later levels might be part of the fun for some, but it certainly isn’t for me. No Time To Explain is another instalment in the indie platformer genre and despite my history with them the videos were intriguing enough to make me want to play it.
No Time To Explain drops you in a nondescript house with you casually minding your own business. Not long after a good chunk of your house is blown away by some unknown force and then suddenly someone who looks strikingly similar to you appears. “I’m you from the future. There’s no time to explain!” he exclaims at you before he’s snatched away by a giant alien crab who’s intent on taking him, you, away. You then find yourself in possession of a weapon capable of dealing untold amounts of damage whilst also functioning as a partial jetpack to get you over any obstacles in your way. It’s then up to you to rescue yourself from whatever dangers you find yourself in.
Whilst I’ve described some games in the past as being Flash-like due to their styling and choice of colour palettes No Time To Explain is in fact a flash game brought to you as a standalone executable thanks to Adobe’s AIR framework. This means the graphics are pretty much what you’d expect to see from any browser based flash game. This isn’t necessarily a bad thing, indeed for No Time To Explain the cartoonish presentation is what makes it so hilariously awesome, but there’s a certain standard that flash games seem to hit and never get passed no matter how long is spent on it. It’s probably a limitation of the platform more than anything although I can’t really comment since the last time I looked at ActionScript I got scared and decided to stick to C#.
Whilst Not Time To Explain starts off as a kind of soft core version of Metal Slug where you basically just wailing on random things with your giant beam weapon the core game mechanic is actually that of a physics based platformer. Your gun, whilst unleashing torrents of destruction where ever you aim it, also has something of a kick to it. Pointing it in the right direction can send you soaring up into the clouds or launch you across wide gaps at incredible speed. The trouble then becomes figuring out what the right angles, amount of force and then how to correct your trajectory whilst you’re up in the air.
At the beginning this is relatively easy as your landing zones are huge and there’s nothing that will kill you brutally should you get your timing wrong. Soon after however there will be spikes coating surfaces, bottomless pits to fall in and jumps/obstacles that seem to be next to impossible to cross the first time you see them. Thanks to the decent auto-save system though you’ll be able to fine tune your strategy rapidly without having to go through everything from the start again. I have to say that this was a welcome change from the Super Meat Boy way of doing things where one particular obstacle could block you for ages simply because it took so long to get there in the first place.
Each section is capped off with a boss fight which usually involves aiming your laser at whatever is moving and then waiting for it to keel over. This is perhaps where the save system is a little too good as there’s not a whole lot of challenge in the majority of the boss fights when you can literally stand in one section the entire time and simply wail on them until they die. Of course you can make it interesting for yourself (and speed up the process) by dodging the incoming bullets and positioning yourself better but that’s not technically a challenge the game provides. There was one boss fight where the quick save system didn’t apply which was a refreshing change but there were bigger issues at play there.
The Drill Squirrel boss is the first one where you can actually “die” in the sense that should you get injured at a specific point you’ll be sent back to the start of the fight rather than respawned where you were last standing. This is fine in and of itself however the fight is completely and utterly broken should certain things happen. Easy ways to replicate this are: be in the pit when he does his laser eyes at you or be on the same platform during said event. Once you’re past that the next section, where the pits fill with lava and fiery columns spew up from the ground, simply won’t happen and the drill squirrel will get stuck in the ground. This isn’t the only bug either, should you get bounced into a wall by him during the second phase you’ll get stuck in there as well but at least the game recognizes it and restarts you from the start.
No Time To explain is an awesome platformer title, combining some of the twitch aspects of its more insanely difficult brethren with mechanics that make the platforming enjoyable rather than a chore. For the most part it works well with many of the times I got stuck being down to me not getting the puzzle rather than game breaking bugs. However there are still some teething issues that need to be worked out, especially with that one particular boss, before I could say it was a trouble free experience. I also have a small gripe over the price since it’s rather short (and is available a lot cheaper direct from the developer) but it is on sale right now which kind of renders that complaint moot. Overall I quite enjoyed No Time To Explain and after reading through the developer’s blog I have to say I’m interested in their future titles and hope that their recent Greenlight success will give them the capital to see it through.
No Time To Explain is available on PC right now for $9.99. Total game time was approximately 2 hours.
Way back in the day, before I had a decent Internet connection and Steam, I was something of a handheld gaming fiend. I can remember my GameBoy fondly, it was a giant device in my little hands and I had but one game to play on it: Nigel Mansell’s World Championship Racing. I kind of skipped the next couple generations of handhelds though (unless you count playing the demo unit at work) but I did have a PSP for a long time, one that was modded to heck and back. I even bought my wife a Nintendo DS as a present which is still loved to this day but more for its utility value than a gaming platform. The end result of this is that while I was aware of Scribblenauts I never really bothered to check it out. That is until it became available on Steam late last year.
Scribblenauts Unlimited puts you in control of Maxwell, a rooster helmeted kid who’s been bestowed with the incredible power of being able to bring any object to life through the use of his magical notebook. Like any kid with unlimited power Maxwell, accompanied by his sister Lily, goes a bit crazy and starts creating all sorts of mischief. That is until an old man curses both of them and tells them that it can only be lifted should they use their powers to help out others. Strangely enough Maxwell seems unaffected by this curse but his sister starts turning to stone. Therefore its up to Maxwell to do good deeds in order to collect Starites, the only things capable of healing Lily.
When I first started up Scribblenauts Unlimited it’s art style reminded me heavily of the flash games of yesteryear as it has similar colour palettes and animation styles. This seems to be purely coincidental however as whilst 5th Cell has a history of mobile/casual game development they haven’t made a single flash game although some of their recent titles were apparently inspired by them. The simplistic art style combines well with their sound design which incorporates a lot of subtle background music, universal voice acting (ala The Sims) and hilarious sound effects.
Scribblenauts Unlimited is a 2D puzzler that has a rather unique game play mechanic: you can create nearly any object you can think of by simply typing it out. So unlike most puzzlers where you either have to get a combination of items/switches/things right or search around for hours looking for the appropriate key or whatever you’re instead presented some kind of problem from a someone/thing walking around and then its up to you to come up with the most appropriate item to solve it. Since you have literally tens of thousands of items to choose from it’s usually easy to find something to get the job done, but that’s not where the fun comes from.
One of the situations I can remember was a group of kids had lost their ball in an old man’s yard and wanted me to get it back for them. Easy enough I just walked over there to pick it up however the old man intervened and took the ball away from me. It’s obvious then that they want you to distract the old man so you can get the ball but I figured there was a better way. I gave myself a grappling hook and shot the ball and dragged it back to me, completing the mission. This also had the hilarious consequence of also triggering the old man to retrieve it which confused the physics engine and sent me flying across the map.
You can also add adjectives to almost any object in the world which can significantly change their properties. Whilst I usually used this for hilarious effect, like creating a Bacon Narwhal or a Flying Supersonic Armoured Stegosaurus, it also made some of the puzzles incredibly easy. For instance when a kid was getting attacked by a bully all I did to solve the puzzle was add “friendly” as an objective to said bully and he turned from giver of wedgies to nerd lover. It also ends up making some rather weird objects, like if you write “psychic glasses” you get a pair of glasses that has a crystal ball stuck on the front of it.
While the default Maxwell is more than capable of completing all the puzzles you’ll probably find yourself wanting to get around levels faster, especially as they start to increase in size. Most of the time I’d draw myself up a Fast Jetpack (adding fast to it doubles the speed) in order to get around better although I graduated to my supersonic flying stegosaurus after I realised they had dinosaurs coded in. It would be nice if you could use the inventory system to set up a default set of items for you as any time you reset the level you’ll lose everything, even the costumes Maxwell is wearing. In fact the whole inventory seems pointless as it’s just as fast to type things out as it is to use them from there. That’s probably a hangover from its DS origins, though.
From a technical perspective Scribblenauts Unlimited is solid with the only real problems coming out of the physics engine getting into weird edge cases like the aforementioned grappling hook incident. In terms of the game play though it does get repetitive really quickly as whilst you can make all sorts of hilarious combinations it starts to wear thing after you’ve made several things that are on fire or made Cthulu fight Zeus for the 100th time. It does play well in small bursts though which, again, I think is due to its DS origins and its concurrent release on the WiiU which is arguably more aimed towards casual players.
There’s also a rudimentary story but it’s really only that, serving only to provide a kind of backdrop with a moral that can be summed up as “be good to one another”. I’m not saying its bad, just incredibly simplistic and considering it really only comes into play at the start and the end means that there’s no character development at all. Of course this is a game that sacrifices story in favour game play so I won’t judge it too harshly based on that but it’s something that bears mentioning.
Scribblenauts Unlimited is one of those games where the emergent game play is what makes it so much fun and the puzzles just seem to be catalysts to bring on all sorts of unintended behaviour. It really is a lot of fun to solve puzzles in completely unintuitive ways, especially if the solution simply makes no sense. It does start to wear thin quite quickly however and would probably be far better positioned as an iOS title since it lends itself so well to short bursts of game play. Still it’s technically sound, very enjoyable and both visually and aurally pleasing so it’s probably worth a look in if you’re looking for a break from more traditional games.
Scribblenauts Unlimited is available on PC, WiiU and Nintendo 3DS right now for $49.99, $78 and $58 respectively. Game was played on the PC with 5.5 hours total playtime and 50% of the achievements unlocked.
The simplicity of 2D platformer games must be really liberating for developers, especially small time independent ones. I say this because it seems that I’ve played a lot of games this year that fit into that genre and the amount of innovative game ideas that I’ve seen has really surprised me. These were the titles I grew up on and they were, for the most part, usually a small variation on the original Duke Nukem idea. One thing I didn’t expect was the introduction of stealth based game play something which has traditionally been contained to 3D games. Mark of the Ninja blends stealth along with puzzle solving and platforming to form a pretty unique game experience, one that doesn’t really have anything that I can directly compare it to.
Unlike most ninja games which take place in feudal Japan Mark of the Ninja is set during present day. You, an unnamed ninja, were receiving your first tattoo which would grant you special powers when you passed out. A short while later a fellow ninja, named Ora, wakes you up as the ninja stronghold is under attack by a security agency headed by a man named Karajan. After rescuing your fellow ninjas as well as your master, Azai, you’re then sent on a mission of vengeance against Karajan for the atrocities that he committed against your clan.
Mark of the Ninja has a style to it that’s reminiscent of all those flash animations of yesteryear but there’s a level of refinement about it that many of those lacked. The cut scenes for example feel like they came straight out of a professional animation house and wouldn’t be out of place in any cartoon you’d see on a Saturday morning. There’s also incredible amounts of detail everywhere from the interactive area which is littered with all sorts of things to the backgrounds which are done exceptionally well. This blends exceptionally well with the music and foley which provides a very detailed soundscape to compliment the impressive art work.
Mark of the Ninja is primarily a stealth game and its implementation in the 2D, platformer world is quite an interesting one. For starters unlike most 2D games Mark of the Ninja includes a line of sight mechanic which forms a big part of any stealth game. This means that you’ll spend the vast majority of your time walking between shadows, dodging guards where you can, so you can either sneak up behind guards and dispatch them quickly or just move on leaving them none-the-wiser. If it so pleases you though you can go toe to toe with every guard you meet however and there are some sections which will be far easier (and quicker) should you choose to do that.
Initially you start off with only a few tools at your disposal, namely your sword and bamboo darts that can be used to take out lights and other fixtures. As the game progresses you unlock additional abilities and equipment that allow for a much wider range of actions, enabling you do things like terrify your enemies by laying spike traps or dangling corpses from the room for all to see. All these options will mean that your play through is almost guaranteed to not be the same as anyone else’s as there just so many ways to go about doing the same thing.
Indeed that seems to be the whole point of Mark of the Ninja. Whilst it is primarily a 2D stealth platformer it also has many elements of a puzzler/exploration game as there are many rewards to be found by simply taking the least obvious path. I can’t tell you how many times I found artefacts/scrolls by going in the wrong direction or moving blocks in random ways. If you’re persistent enough too the most laborious of challenges can usually be circumvented by finding a path that leads around it or simply puts you behind the guards that were blocking your path. Mark of the Ninja then is a game that rewards the player for being curious but thankfully forgoes punishing you severely if you don’t.
The upgrade system bears mentioning as how many upgrades you can afford depends directly on: how many challenges you complete, your overall score and how many of the hidden scrolls you uncover. For each of these there are a potential 3 tokens up for grabs giving you a total of nine for each level. These can then be spent on various upgrades that either give you new abilities/equipment or upgrades to the ones you currently have. Depending on what you get this can completely change the way you play the game, especially if you combine these upgrades with one of the costumes which will grant you several benefits (usually at the cost of one particular trait).
This is usually the point where I mention any bugs or glitches that detracted from my game play experience but I’m pleased to report that there doesn’t seem to be any. Sure there were times when my character acted in a way I didn’t expect but its hard for me to blame the game for that as I get the feeling it was more me fat fingering the keys rather than the game engine wigging out on me. I did have some rather awkward checkpoint moments where it’d place me into locations that I hadn’t yet explored when reloading (which was actually great sometimes) putting me in rather precarious situations but it was nothing I couldn’t handle.
The story of Mark of the Ninja is also quite well done, especially considering it forgoes the usual ninja setting and instead brings the whole ninja idea into modern day. Whilst I didn’t really feel the levels of emotions like I did for things like To The Moon it certainly didn’t suffer from issues like poor voice acting, irrational characters or glaring plot holes like plagued other titles I’ve played recently. I will admit that I’m yet to finish it (I believe I’m on the second last mission) so I’m not sure about the ultimate conclusion but from what I’ve heard from my other friends they weren’t disappointed with it, so it has that going for it at least.
Mark of the Ninja effortlessly combines all the best aspects of 2D platformers with stealth game play to form a game that makes you feel like the ultimate ninja whilst still providing an incredibly satisfying challenge. The graphics are superbly done, the sound track excellent and above all the core game play is immensely satisfying. I could go on but really for a game that’s asking price is so low compared to its quality I’d rather just recommend you go out and play it since it’s really worth a play through.
Mark of the Ninja is available on PC and Xbox360 right now for $14.99 and an equivalent amount of Xbox points. Game was played on the PC with around 6 hours of total game time and 43% of the achievements unlocked.
The number of games that find success on one platform and then spread to others has trended upwards significantly over the past couple years. If I was to hazard a guess as to why this is I’d have to say that the tooling available is probably the primary reason as many of the games that make the transition are Xbox Live Arcade titles. For that we can thank the Microsoft XNA framework which does a lot of the heavy lifting for the developers meaning that the only thing holding back a cross platform release is reworking the UI/controls for a different platform. That’s still a challenge which is why you don’t see every single XBLA game instantly on the PC but even a modicum of success will usually mean a PC release not long after. Insanely Twisted Shadow Planet is one such title having found wild success late last year and then debuting on the PC this year.
Insanely Twisted Shadow Planet (I’m going to abbreviate this to ITSP from now on) takes place in a far off galaxy in a solar system inhabited with a highly advanced race of aliens. Everything seems peachy until a tangled black mass rockets through their home system, eventually crashing into their sun. Instead of being instantly vaporized however it appears to take over the sun itself, forming a kind of Dyson Sphere around it. Then it launches several other replicants of itself at all the planets in the system that perform much the same function as the original asteroid did. You then take it upon yourself to rid your solar system of this menace, jumping in your hilariously stereotypical UFO and heading out with nothing much more than a scanner and a vendetta.
Right off the bat ITSP sets itself apart from all the other 2D puzzlers I’ve played recently by having some incredible cinematic direction. Whilst games like Unmechanical did the majority of their story telling through the game itself ITSP does quite a bit in some incredibly well directed cutscenes. Indeed the initial plot summary I gave you above all takes place within one such scene and everything about it, from the choice of artwork to the awesomely epic soundtrack, just made it feel like it was ripped directly from a high budget animated movie. That artistic style continues on throughout the game and it’s probably one of the most enjoyable things about ITSP.
ITSP brands itself as a “multi-directional shooter” however I feel like it’s far more appropriately classified as a 2D puzzler with shooter aspects. While you will spend a good amount of time firing at all the various enemies that will try to get you in all sorts of random ways the majority of your time will be spent solving some kind of puzzle. They’re not mutually exclusive things either as quite often you’ll be force to try and solve some kind of puzzle whilst under fire from all directions making what would be a simple encounter much more challenging. The two core game mechanics blend well together making for both exciting and challenging game play.
Initially you start off with just a few simple tools with which to complete your tasks. The first tool you’re given is a scanner which allows you to investigate objects in ITSP and then get a visual cue as to what you need to do in order to interact with it. This is extremely helpful as if you get stuck on at a particular stage you’re usually only a couple scans from working out what the intended solution is. Of course there are still some puzzles that are non-obvious even with those little clues but suffice to say that it serves well as a built in hint system that doesn’t feel like the answers are being handed to you on a plate.
As you progress on the tools you have at your disposal increase with every passing section leading to more and more complicated puzzles. In all I believe there were a grand total of 8 different tools at your disposal each of them with a unique ability that unlocks another section of the ITSP map. You’ll often find yourself flying past obstacles that you can scan but don’t yet have the tool to access it giving you a kind of foreboding as to what is to come later on.
The puzzles are, for the most part, quite well done as there’s a good balance between challenge and progression. Indeed if you’re struggling with a particular puzzle or boss fight then its usually because you’re not understanding the mechanics properly or you’re going about it in a really odd way. There are some challenges that are far less fun than others (I’m looking at you, rocket in a maze where you can’t hit the walls) but I didn’t often find myself stuck on a particular section for long which made the game feel a lot better paced than some other games in similar genres.
ITSP does have a few glitches that I believe are worth mentioning however. So to the developer’s credit they included a map that helps you navigate your way around ITSP, which is good. However should you go into said map whilst you’re holding something in the claw tool or holding a key down you will drop said object or that key you were holding down will stop working. It’s not game breaking but it is rather annoying when you’re in the later stages of the game where you’re required to drag an item along with you all the time and there’s not a lot of light so you have to keep checking your map to make sure you’re going in the right direction. Yes I know that you can use the power wheel thing to get a direction queue but that has the unfortunate side effect of changing whatever tool you had equipped at the time which can be deadly if you do it at the wrong time.
The physics are also a little wonky for some of the challenges, the most notable being the one above. Again it’s not game breaking but trying to get those damn crystals into the holes (or indeed anything that requires a little precision) is fraught with difficulties. ITSP does have a rudimentary snap-to system which works for something but not others and the crystals in the ice stage appear to be one of the things it doesn’t work for. It might make sense when you’re using a controller however I don’t know anyone who’s played this on the Xbox so I’m not completely sure of that.
The boss fights are equal parts fun and challenging with each of the bosses being unique in their own weird way. The one above was probably the most challenging boss fight of the lot as one mistake or slip up could easily see your ship ruined long before you had enough time to react. They were a very good way to break up the relative monotony of flying around, solving puzzles and looking for hidden stashes and it’s something that a lot of similar games forego because they simply can’t be worked in well. ITSP however does a very good job with them and they were definitely my favourite combat challenge.
ITSP’s story is a simple affair when taken on face value and really I’m not sure if there’s much more depth intended by the developers. Sure there are many themes that you could say are explored (invasion, uprising, etc.) however since there’s no real backstory or explanation behind the vast majority of things that happen within ITSP I can’t say that I was playing it for the plot. Thankfully it doesn’t matter that much as the game play and cinematic quality of ITSP carries it without the need for an in depth storyline.
ITSP was one of those unexpected gems that I came across by chance when I was in a hurried state looking for the next week’s game review. It’s cinematic cut scenes are a joy to watch, it’s game play is fun and varied and there are only a few issues that detract from it overall. Its short length also make for a good Sunday afternoon distraction that doesn’t drag on unnecessarily. If you’re a fan of 2D puzzlers or shooters or just enjoy a well crafted game then I can’t recommend ITSP enough as it really is just damn good fun.
Insanely Twisted Shadow Planet is available right now on PC and Xbox360 for $14.99 and 800 Microsoft points respectively. Game was played entirely on the PC with around 3.6 hours of total game time.
I’ve mentioned in the past that whilst I may have been playing survival horror games for a long time I’m not exactly their biggest fan. Sure some of the most memorable moments I’ve had whilst gaming have been in survival horror titles but they are very much the exception for me rather than the rule. Still I like to revisit the genre from time to time to see if there’s been any innovative changes that capture my attention much like the Nemesis did in Resident Evil 3. The latest survival horror game to cross my path came care of the latest Humble Indie Bundle and is called Lone Survivor. Thanks to my past wins with the Humble Bundle titles I figured it was worth a look in and gave it a full play through on the weekend.
Lone Survivor takes place in what appears to be a post-apocalyptic world ravaged by a virus outbreak. You, only referred to as You for the entire game, finds himself as the lone survivor of this outbreak having a really fuzzy memory of the events leading up to this point. You start off in an apartment complex and whilst you don’t know much about it you do know that the place you currently live in is not yours. The game then follows your quest to get out of the apartment complex and hopefully escape the town entirely.
Like many recent indie releases Lone Survivor’s graphics are of the pixel art form, paying homage to the gaming roots that many of my generation will be familiar with. Additionally whilst all of the art is done pixel by pixel there are a lot of modern effects laid over the top. Indeed the engine feels like its more modern as unlike other pixel art games I’ve played recently it was able to scale itself out fully and play in full screen windowed mode. Whilst this isn’t a big factor in the core game it does show that this game is very well coded which is surprising considering the majority of the work on it was done by a single person.
Now I know I shouldn’t judge a game by its name but you’ll quickly find that whilst you character thinks he’s the lone survivor in this world there are in fact a lot of other people around. Whilst its debatable whether or not most of them are actually there since your character seems to flit between fever dreams there are at least 2 other people around who don’t appear to be part of them. There’s also the monsters, of varying types, that wander the landscape and if the assesment of You is anything to go by they are the final forms of humans who were infected by the virus.
I will level some criticism at Lone Survivor’s choice of showing you the monsters extremely early on in the piece. After seeing them the anxiety about what you’re coming up against is gone and instead you’re just left with another challenge to face. In fact apart from 1 all the monsters are shown to you in an initial safe setting, allowing you to get comfortable with how to deal with them before you have to. I may not enjoy survival horrors as much as the next guy but the good survival horror comes from tension and knowing what I was coming up against long before I had to took away any real sense of urgency.
The core game play is divided into two sections: point and click adventure and a simplistic combat system. The first aspect, a traditional point and click (although “move and X” is probably more appropriate here) is your standard affair sending you all over the place to gather up items in order to progress to the next stage. Quite a lot of this aspect is optional as the required items to progress are rather easy to come across and if you’re good at the combat you won’t need to be hunting around for food to restore your health. Indeed since there’s a not-so-secret mechanic to get you both unlimited food and ammunition this side of the game is somewhat moot but can be rewarding if you like hunting out all the little extra pieces hidden around the game.
Combat is similar to that of other point and click style games like Gemini Rue. You have a revolver which you can shoot at enemies and you can aim in 3 different directions: low, mid and high. Capping enemies in the head means they go down slightly quicker and shooting at their feet makes them back off for a little bit. Realistically the enemies are just organic progression blockers serving as another puzzle for you to solve. Given that you have essentially unlimited ammunition there’s really no point to not waste every enemy you come across since you’ll be back tracking a lot, especially if you want to seek out all the items.
It’s not said to you explicitly until you finish the game but there is a kind of score being tracked whilst you make your way through Lone Survivor. Now a little Googling will find you ways to improve said score but I felt kind of cheated when I found this out as if you play the game without doing any research on it you’ll be completely unaware of it until the end. Those optional things you can do then seem to take on a whole lot more importance rather than just being an ancillary part of the game. I hate to say it but the inclusion of achievements, if the game was integrated well into Steam say, might have made me feel more compelled to actually do these things without having to reveal the hidden score. Maybe I’m just feeling bitter because my score was pretty terrible, but I feel my criticism is valid.
I can usually put aside technical faults of a game if the story is good but for Lone Survivor I can’t feel I can make that concession. The disjointed nature of the story and the complete lack of relatability of the main character didn’t really make me feel anything for those people in the story. Since the whole thing seems to flit between what appears to be reality and fever dream sequences I can’t help but feel there’s some deeper meaning to it that I’m just not getting. It’s not the same as I felt with Braid though where speculating about it was an area of intrigue, I’m more than happy to leave this one alone.
Lone Survivor is a game that is equal parts good and bad. The combination of pixel art graphics with modern tweaks makes the game visually pleasing and the coding behind it feels top notch. I also enjoyed the choice of music for the opening and closing scenes as it seemed to be quite fitting for the scenes in question. However the game fails to be an actual survival horror with there being unlimited resources at your disposal and the threats in the game really posing little danger to you. There are some satisfying moments in it like when you figure out how to make coffee or complete a puzzle without having to backtrack for ages but apart from that I didn’t find much else to like in Lone Survivor.
It’s very possible that my gripes are the result of my bias against the survival horror genre and I can’t not recommend the game because of that. Since it’s part of the Humble Bundle the cost to trying it out is exceedingly low, especially when you get so many other great games bundled along with it. For me personally though I don’t believe I’ll ever play through Lone Survivor again to see the alternate endings as I just don’t feel that there’s anything else in it for me. Whether it works for you though is an exercise that I’ll leave up to the reader as I don’t feel my rating can truly reflect the game’s experience, even if I adjust for my internal biases.
Lone Survivor is available right now on PC for any price you wish through the Humble Indie Bundle. Total game time was around 4 hours with the Blue ending and a rating of F.