Given my last 2 reviews have been for MMOs you can probably guess that I’ve been a little strapped for time to get around to playing other titles. It even got to the point where I was playing Destiny and WoW in the same night, something which I knew wasn’t going to be particularly sustainable if I wanted to keep my 1 review per week cadence going. So I went in search of some shorter titles and stumbled across Donut Country, another Annapurna Interactive published title, which seemed to be charming and, thankfully, quite short. Whilst I might have been drawn in by the game’s brevity the visual style, kitschy dialogue and simple mechanics made it far more enjoyable than I was expecting.
Racoons have moved into the quiet town of Donut County, taking over the local donut shop. Every time someone orders a donut however a mysterious hole shows up at their house, devouring everything in sight. The hole is piloted by none other than BK, one of the new racoon residents, who’s doing so in order to get enough points to get his hands on a sweet new drone. However once he falls into one of his own holes he finds the citizens of Donut Country trapped 999 feet below the surface and they’re understandably quite mad about his recent shenanigans. What follows is the story of how the town became swallowed up and their journey to get back out.
The single developer behind Donut County, Ben Esposito, set himself a few constraints when designing the game’s visual style: no lighting effects, textures or gradients. Whilst those rules aren’t adhered to 100% they are the driving force behind the games minimalistic aesthetic. The result is a kind of flat, cartoon like environment filled with bright, solid colours which is really quite charming. Indeed whilst there’s a lot of games with a similar visual style I’m actually struggling to come up with one that’s exactly like it as most games won’t go so far as to abandon the use of textures, nor even simple gradients. As someone who’s worked as a sole developer on a couple projects I can definitely appreciate setting yourself boundaries and working within them; sometimes there’s really nothing as liberating as working within a strict ruleset.
The game’s mechanics are simple: your a small hole which grows bigger as it consumes things (kind of like a reverse Katamari Damacy). There are a bunch of small challenges which will require you to get a little inventive with how you use a few mechanics but other than that the game play doesn’t deviate too much. That being said it’s kind of fun to try and figure out which things will fit and which ones don’t as sometimes you can get away with getting bigger things in if you know how to position them right. That being said this is a physics based game so there’s many opportunities for things to go pear shaped, with items flinging themselves wildly across the level and getting stuck in areas that you won’t be able to reach. Of course you’re only a restart of the level away from fixing that so it’s not that much of an issue.
The story is a simple affair, seemingly reflective of the developer’s own conversational style (as evidenced in their Gamasutra interview here). It’s a lighthearted commentary on their experiences in Los Angeles and it issues they want to touch on certainly come through. Overall though there’s not much to write home about, it’s simply there to set the scene for the various puzzles and to tie the whole thing together.
Donut County is a fun little distraction, combining simplistic art work with lighthearted dialogue for an interesting experience that’s really like no other. It’s exactly what you’d expect from a game idea that was born out from Peter Molydeux; something completely left of center that pays little heed to the creed and conventions of modern game design. After chewing my way through too very heavy game experiences over the last couple weeks I was incredibly glad to cleanse my palate with something a little lighter. So if you like me are experiencing a little fatigue with the AAA barrage that comes this time of year then Donut County is most likely the game for you.
Donut County is available on PC and PlayStation 4 right now for $12.99. Game was played on the PC with 104 minutes of play time and 55% of the achievements unlocked.
One of the secrets behind the Nintendo Wii’s wild success was how it was able to tap into one of the largest markets that had been largely ignored for decades: non-gamers. The games industry might eclipse other entertainment but it’s still doesn’t have the same level of penetration among the wider community. So when my non-gamer friends recommend games to me it’s always worth looking into as the design, objectives and mechanics are completely different than those I regularly play. That’s how Florence, an interactive story from the developer Moutains and published by Annapurna Interactive, made its way to me. I’m very glad it did too as the short experience is a great example of how simple mechanics, good story building and a wonderful soundtrack can come together into an emotional experience.
This review is mostly for people who’ve already played the game, so SPOILERS BELOW.
Florence follows the tale of a relationship between the protagonist (from whom the game draws its name) and Krish, a street performer. Whilst there are some bits of dialogue scattered throughout the game most of the communication is nonverbal, done through mini-games and graphic novel styled panels. The game has 20 chapters, each of which focuses on a different part of Florence’s life. You don’t have any real influence over how the story plays out, I believe, but you are able to put your own touches on some things, like a childhood painting that reappears in a couple scenes. This creates a narrative that, whilst guided by what you’re seeing on screen, is largely built out of your own imagination as you fill in the gaps between scenes. That’s what makes Florence’s story feel so personal to us all because, in the end, it’s us who’s building out her story.
The visuals are a simple, whimsical style reflective of our protagonist’s love of watercolour paints. The colours are usually solid with dark pen outlines, something that certainly felt reminiscent of a time when I used to dabble with them. Colour (and the lack of it) is also used to draw your attention to things or to reflect the mood of the characters on screen, with high tension moments taking on sharper, more aggressive tones and times of emotional lows reflected in the colour draining away. This is then all backed by an absolutely wonderful soundtrack by Kevin Penkin. This makes Florence an absolute joy to play just from an audio-visual experience which is then amplified tenfold by the narrative.
Florence starts of with a deliberately slow pace initially, reflecting the monotony of everyday life that everyone finds themselves in at some stage in their life. Then everything starts to pick up dramatically as a single event changes everything, in the case of Florence that’s meeting Krish. From there it’s a wonderful tale of seeing their young love blossom as they get to know each other at a much deeper level. The game mechanics start to come into play wonderfully at this point, like the conversations initially starting off difficult with lots of puzzle pieces but then, at its climax, turning into a single piece that just fits. Honestly I would’ve been quite happy with Florence if it just kept along that trajectory and never explored any of the more challenging aspects of being in a relationship. However I feel the developer wanted to explore relationships in a more realistic way, which is why the second half of Florence is dedicated to the breakup and how Florence recovers after.
For me personally this is where Florence started to really hit home. Not so much from the relationship perspective (although I’ve been there, but I’ve also been extremely lucky with my dear wife) but more in rediscovering something of yourself that you’d left behind and how sometimes tragedy is what leads you to rediscover that. That, I feel, is something universal to the human condition; we’re all pushed to pursue certain things in our lives and quite often a piece of ourselves might get left behind. Even when others recognise it in you and try to bring it out it can be hard to take the leap to begin the process of rebuilding yourself. The ending then is somewhat bittersweet, Florence has discovered how to be true to herself but only through gaining some emotional scars. Perhaps that’s why it’s stuck with me because it feels so true to life.
Florence is one of the best examples of a game that has universal appeal. The barrier to entry is low with it being available on iOS and Android and the mechanics being simple and easy to understand. The story it tells is one that I feel anyone can take something away from, whether it’s being stuck in a routine life, the joy of a new relationship, the pain of a breakup, rediscovering a lost passion or the process of rebuilding yourself up from your lowest point. On top of all of this it’s simply a wonderful audio visual experience with its whimsical art style and gorgeous backing soundtrack. Florence is hard to pass up because it asks so little of you yet gives so much in return, especially for lovers of a good story.
Florence is available on iOS and Android right now for $4.49. Game was played on Android with about 45 minutes of total play time.
Maybe I’m getting older or maybe I just have less time but walking simulators fill a perfect niche for me. Their short play times, slow pace and (typically) well crafted stories make them a great escape from my usual diet of non-stop work and rage-inducing DOTA 2 matches. It’s also been quite some time since I got to play one, the last being Event towards the end of last year. So when a friend mentioned that I should look into What Remains of Edith Finch, a game from the same developers who brought us The Unfinished Swan, I was instantly intrigued. Like all walking simulators it’s certainly not for everyone but, if you like a gripping (albeit tragic) story, then it’s definitely up your alley.
The Finches are an unfortunate family, one that appears to be pursued by a curse that befalls nearly all of them to untimely deaths. You play as Edith Finch, returning to your ancestral home for the first time in many years. What unfolds from there is the story of how your family came to be in this place, the stories of their deaths and why you left. Much of the family’s history had been hidden from you as a child, your mother refusing to discuss anything. However with her death she had relinquished to you a key, one that unlocked the many tragic tales that befell your family.
What Remains of Edith Finch is built on the Unreal Engine 4 and whilst it does a good job of hiding that “Unreal” feeling there are a few telltale signs that give it away. The visual aesthetic fits in between realism and fantasy which is tied in heavily to the story’s themes. The visuals excel in the wide open spaces, with lovingly crafted vistas sprawling out before you. Up close the lack of detail in some areas becomes apparent but, for the places you’re meant to explore in depth, you can definitely see the extra effort that’s been put in. Overall I’d say that What Remains of Edith Finch’s visuals are above par for the genre, even if they’re not a selling point.
As is expected for this genre What Remains of Edith Finch’s mechanics are simple in their execution. Typically you’ll be locked inside a room or area which you need to find one clue or dialogue trigger. You’ll be rewarded with additional dialogue and story development the more you explore although, thankfully, the game keeps red herrings and dead paths to a minimum. All of the flashback sections have their own little twist on story telling, blending in different story telling elements to make each of them unique. Beyond that there’s not much I can say without spoiling certain story elements but, if you’re a fan of the walking simulator genre, then I’m sure what I’ve described appeals to you.
Knowing that all of the flashbacks would result in that family member’s death ignited something of a moral conundrum for me. In order to progress the game I had to do as the game requested but this, essentially, meant I was condemning them to their fate. Like when you were the child swinging over the cliff it was obvious what the outcome would be. However if I did nothing I could go no further and morally speaking they had already died, so I wasn’t changing anything. I guess the feeling came from the deep engagement I had with the game and the sense that I should have some form of control over the outcome, even if it’s already set in stone.
Whilst, overall, I think that the tragic tale of the Finch family was told well I didn’t like the fact that the narrator was killed off in the end. Sure, I understand that this is part of the “Finch Family Curse” motif the developers are going for but it just didn’t seem necessary to the overall plot. Perhaps my feelings about this come from the sense of loss that the game instils in you, wanting the stereotypical Hollywood ending to soften the blow, so to speak. Of course how you react to the story will be unique to you and there is no right or wrong way to feel when the credits begin to roll.
What Remains of Edith Finch well executed tale of tragedy, taking you through the history of family that has been forever surrounded by death. It’s visuals straddle the line between realism and fantasy, echoing the story. As you’d expect the mechanics are simple and unobtrusive, focusing you on the story. The dialogue and story elements are well paced and delivered excellently, ensuring that you’ll want to complete this game in one sitting. The genre suggests that this game is likely not for everyone but, if you’re a fan of a good story (even if it’s a sad one) then What Remains of Edith Finch is worth your time.
What Remains of Edith Finch is available on PC, PlayStation 4 and Xbox One right now for $19.99. Game was played on the PC with a total of 2 hours play time and 56% of the achievements unlocked.