The biggest problem with having a game you really enjoy is that it sucks up all the oxygen for other titles. For me currently that’s The Division 2, a game that I will definitely review in the near future, but between it, our new baby and work I’ve had little time to look at many of the other top tier titles that have been released of late. So once again I turn to the indie scene, looking for more casual experiences that don’t ask much of my time but hopefully provide a good experience nonetheless. Feather, from Melbourne based developers Samurai Punk, fit the bill perfectly with its simple visuals, great music tracks and stress free mechanics.
The premise of the game is simple: you’re a bird and there’s a big island you can explore. As you fly around it you’ll find different things you can interact with, most notably the large circular totems that, when flown through, change the music to a new track for you to fly around to. There are no objectives, no enemies to fight or even an end to the game; it’s just simply a place to explore with a handful of different songs for you to enjoy. When we’ve been inundated with numerous games overflowing with mechanics, many designed to keep us coming back or to spend more money on microtransactions, it’s nice to have something that is as simple as it looks.
The graphics are a very low poly affair with little to no texturing, just plain solid colours. This simplicity is augmented slightly by the implementation of some more complex lighting effects and the inclusion of a full day/night cycle for the island. I played this on my now 3 year old XPS, which happens to rock a Geforce 970M, and initially had some issues with the frame rate not being the greatest. Granted it’s not as powerful as the desktop equivalent I have in my gaming rig but it was a little disappointing to see it struggle with something so simple. It may just be how the default configuration was set up as it does have a very high DPI monitor and running the game again on my home rig showed no issues.
The flight mechanics of Feather are pretty great; simple enough to be approachable yet there’s a few subtle things thrown in that you’ll need to master if you really want to explore the island fully. Climbing high and diving down will allow you to approach speeds that you won’t be able to normally and using space bar to hover is a necessity if you want to explore the underground cave system. Unfortunately other players (who will drop in you session from time to time, ala Journey) don’t seem to be as masterful of the controls and so interaction with them can be a little hard. I often found myself and another player going in circles trying to look at each other.
You’re probably not going to spend too long in Feather as even exploring at a leisurely pace would see you get around the island in under an hour or so. That’s likely to make the $15 asking price a little high for some, especially with no plans for the game to grow beyond currently what it is today. This is certainly one of those titles that could benefit from integration with the Steam Community Workshop as there’s already a solid fanbase who love the game for what it is. I don’t usually gripe about price and playtime but it’s sure to be a key deciding factor for many.
Feather is a fantastic, if a little short, experience. The simple premise and it’s solid execution make it a great distraction, something to play if you’ve got a bit of time to spare and don’t want something that asks much of you. However its greatest attributes may be the thing that drives some players away, not wanting to spend their money here when there are many other greener pastures to farm. Still I enjoyed my time with Feather and hope that the concept helps Samurai Punk delve further into developing titles like these.
Feather is available on the PC and Nintendo Switch right now for $14.50. Game was played on the PC with 27 minutes total play time and 100% of the achievements unlocked.
Playdead’s Limbo inspired an entire sub-genre of atmospheric puzzler platformers. It’s one of the few games that many will finish in a single sitting; its succinct and engaging game play cementing you to your seat until it’s finished. It’s been quite a while since Limbo was released however and many have been eager for Playdead’s sophomore release. Inside was teased 2 years ago and, like all good hotly anticipated releases, was met with numerous delays before being released this year. Of course the release brings with it the question of whether or not Playdead can live up to their previous accomplishments and, perhaps, even exceed them.
On first blush it would seem that Playdead was hoping to ride out much of the nostalgia and hype that they generated with their seminal title. Once again you find yourself in control of a lone, young boy making his way through a dark and dangerous wilderness. However where Limbo’s world was allegorical Inside’s is more literal, everything seeming fare more real than its predecessors did. You’re given just about as much instruction as you were in Limbo, leaving you to figure out what the controls are and how to interact with your environment. Once you’ve got that down you’re then left to explore this dark world and all the dangers that it contains.
Inside utilises a muted colour palette with a highly stylized aesthetic reminiscent of games like Team Fortress 2. Where Limbo used their own custom engine to produce the trademark monochromatic visuals Inside instead uses Unity with a specially developed temporal anti-aliasing filter. This is what gives Inside it’s smoothed, cinematic quality that eliminates most of the jaggies that would otherwise be present. It also, as the developers point out, has a nice side-effect of giving everything a stochastic effect which adds that slight dreamlike quality. The resulting experience is quite honestly exceptional, bringing that Limbo-like effect to the modern day.
Like its predecessor Inside is a puzzle platformer, pitting the young boy against a myriad of challenges which will require you to figure out how best to tackle them. None of the mechanics it uses are new or inventive however they’re all tied into the theme of Inside in some way. There will be much dying, retrying and going down dead ends to try and find the various secrets scattered throughout the game. Inside is very much of the ethos of “Show, don’t tell” with the game giving you clues and hints about what it wants you to do next. It’s also a linear experience with there being one and only way to progress to the next section. It’s simple and unoriginal but Playdead made their name in defining this sub-genre and the quality of craftsmanship in all aspects of the game belies its mechanical simplicity.
What Limbo and Inside both do exceptionally well is inspire feelings in the player. There are numerous moments in Inside that inspire sheer terror or that horrible sense of foreboding should you step one foot out of place. As someone who’s typically not a fan of horror or its sub-genres it was genuinely refreshing to see this done right. This, coupled with the drip feed of information about the world that’s given to you, gives you a driving sense that this is all building to something but you can’t be sure what it is. Then comes what I think is the game’s pinnacle moment and what cements it as another brilliant title from Playdead.
PLOT SPOILERS BELOW
The moment is, of course, when you transition from the scared boy to the blob. The entire premise of the game up until that point is you existing in a world that is hunting you, one that you should be afraid of. That all changes when you become the blob, the world now fears you, and what you might do to it. Instead of the world and its people fighting you they assist you (for the most part), trying to ensure their own survival just like you were before. The fear and tension is gone, replaced by a kind of excitement. You are now in control, even if that means you’re a strange amalgam of body parts that moan in the most horrendous way whenever you move.
Which leads us to the story. I’m firmly in the camp of the boy being controlled directly by the blob, sent on a direct mission to free it from its prison. Of course how you interpret either ending is up to you, that’s the beauty of how the story is told, but that’s the only explanation I’ve seen thus far that fits well with the events as they unfolded. Regardless of what explanation you take as true it’s hard not to appreciate the final ironic climax, the purpose of Inside being only to get outside. Inside’s story is definitely an intellectual rather than an emotional one.
PLOT SPOILERS OVER
Inside has done what many would think would be impossible: improve on the formula set by a classic and bring it into the modern age. The aesthetic retains that same Limbo-esque feeling whilst modernising it significantly, likely setting the precedent that many games will follow for years to come. The gameplay, whilst standard affair for the genre, is well polished and all done in aid of telling the story. The overall narrative, shown to you rather than told, is certain to keep people talking about it for years to come, the ultimate meaning hidden behind many clues, red herrings and good old fashioned speculation. Inside is a game that is thoroughly worth the time to play and, if you can manage it, in a single session on a lazy Sunday afternoon.
Inside is available on PC, Xbox One and PlayStation 4 right now for $19.99 on all platforms. Game was played on the PC with 2.9 hours of total play time with 29% of the achievements unlocked.
Sometimes a game is responsible for the creation of a new genre. The most often reference example of this is the MOBA genre, one that was spawned out of the DOTA mod for Warcraft III, but there have been numerous other examples before and after it. One often less talked about example is Limbo as it spurred on so many titles in a similar vein that I think they bear classification under the same banner. Feist is one such game, using the same silhouetted aesthetic and platform mechanics to produce a short but eminently sweet title that’s been a long time coming.
You are a small little ball of fuzz in a giant forest, one that’s filled with many other fuzzy creatures. Many of these creatures are much bigger than you and, unfortunately, this has led to you and your mate’s capture. You are left to rot in a cage hanging from a tree, the big fuzzies wandering off into the distance with your mate in tow. They’ve underestimated you however as you quickly manage to escape from your prison and begin your pursuit, hunting the big fuzzies down one by one. It’s not going to be easy though as this forest is riddled with traps and creatures that are out to make a meal of you…or worse.
Drawing the comparison to Limbo is easy because, well, compared side by side you’d be forgiven for thinking they were made by the same developer (or at least, the same artist). The minimalistic visuals, mostly done in silhouettes, with the white pinpoints for eyes piercing through the darkness are a trademark of these kinds of atmospheric platformers. Since platformers live and die by you being able to distinguish what you can and can’t jump on this visual style can be a little frustrating however after a while you get good at figuring out what you will and won’t collide with. This visual style is accompanied by some quite incredible music, something which I’ve really come to appreciate in titles like this.
Feist is a 2D platformer with the main gameplay mechanic being your never ending quest to get from the left of the screen to the right. Whilst there’s only a few minor hints to guide you along at the start the controls will likely be familiar to you, allowing you to run, jump and interact with various objects that are scattered around. Unlike previous titles however Feist relies more on emergent gameplay than scripted events, meaning that it’s quite likely that your solution to the problem isn’t the only one available.Indeed many of the achievements encourage you to engage in behaviour that’s born out of this style of gameplay, something which you don’t usually see in games of this type. Overall whilst it’s not revolutionary in terms of mechanics or style Feist does manage to carve out its own little niche, one that it’s quite comfortable in.
One of the more interesting things Feist does that others don’t is combat. Much of the emergent gameplay comes from you doing battle with the various enemies that you’ll come across and how they interact with each other. Many of the enemies can’t be fought head on instead you have to lure them into traps, use the environment to crush them or, and this is great, use other enemies to fight them for you.This leads to all sorts of interesting behaviours with enemies sometimes running amok amongst each other whilst you just quietly go about your business. Other times it’s a fierce battle between you and a single enemy, testing your rock throwing prowess and stick weilding skills.
As with any physics based game though there are quirks that make themselves known from time to time, usually in the form of your character dying or getting flung off screen because of some strange interaction. Most of the time this comes in the form of getting crushed by something even though you weren’t fully under it, like when you’re next to a boulder and you get crushed even though you weren’t fully under it. For the most part this seems like a design decision, erring more towards the unforgiving side, however it can be frustrating when you get crushed by a log that only one of your little spines seemed to be touching. Apart from that Feist, which uses the Unity engine, runs absolutely brilliantly without nary a hiccup or crash to be seen.
Feist’s story comes without a hint of dialogue, told entirely through small cutscenes that happen between levels. As such there’s really not a whole lot of depth to it, in fact unless you read the achievements you wouldn’t really know what your ultimate goal was. Still since this is a game that is priding itself more on the atmosphere and physics based gameplay it’s hard to fault it for a lack of story development. This is also why its short play time, on the order of 2 hours or so, isn’t so much of a negative either as the story really didn’t need much more time to develop.
Feist may take inspiration from from other games in its genre but it manages to define it’s own space; one that’s filled with emergent gameplay, gorgeous visuals and a superb soundtrack. The combat mechanics and platforming combine together to make for a game that’s challenging enough for gamers like me but approachable enough that a wider audience won’t be turned away. It’s short timeframe and rudimentary story might be a turn off for some but it helps to make Feist a short and succinct experience that doesn’t overstay its welcome. Whilst Feist might not spawn a genre of its own like its predecessors did it does manage to create a great experience none the less.
Feist is available on PC right now for $14.99. Total play time was approximately 2 hours with 30% of the achievements unlocked.
Games aspire to be many things but rarely do they aspire to emulate another medium, especially a physical one. The burgeoning genre of cinematic style games and walking simulators have their visions set towards emulating the medium of film but past that the examples are few and far between. You can then imagine my intrigue when I first saw Tengami, a game that seeks to emulate a pop-up book, lavishly styled to look like it was set within feudal Japan. It’s an ambitious idea, one that could easily go south if implemented incorrectly, but I’m happy to report that the whole experience is quite exceptional especially when it comes to the sound design and music.
Tengami is probably the first game in a long time where I can’t sum up the opening plot in a single paragraph as whilst there’s some skerricks of story hidden within the short poems between scenes there’s really not a lot in them. As far as I can tell you’re searching for the blossoms to restore your cherry tree back to life although what your motivation for doing so isn’t exactly clear. Still the environments provide enough atmosphere and presence to give you a kind of motivation to move forward, if only to see more of the paper-laden world you’ve found yourself in.
The art style of Tengami really is its standout feature, done in pop-up book style using real paper textures that the devs scanned in. Initially it had a bit of a LittleBigPlanet feel to it, with the real world textures and 2D movement in a 3D world thing going, however it quickly moves away from that and firmly establishes its unique feel. All of the environments look and feel like they’re straight out of a pop up book, complete with the stretching and crumpling noises when you move various elements around. Tengami is simply a joy to look at and fiddle with, evoking that same sort of feeling you got when playing around with one as a kid.
Coming in at a very close second is the original soundtrack done for Tengami by David Wise. The music seems to swell and abate at just the right times and the score is just incredible. I’m more than willing to admit that my love of the soundtrack might stem from my interest in all things Japanese but looking around at other reviews shows that I’m not the only one who thoroughly enjoyed it. I’m not sure if he was in charge of the foley as well since the soothing sounds of waterfalls, the ocean or just the breeze on quieter sections was just beautiful. If you’re playing Tengami on a mobile device I would wholeheartedly recommend you do so with a pair of headphones as otherwise you’d really be missing out.
With all that focus on the art and sound it would be somewhat forgivable if Tengami was a little light on in the mechanics department but thanks to its unique pop-up book style it’s actually quite an innovative little title. As you make your way through the world you’ll encounter parts which can be folded in and out of existence, between two planes or between different states. It’s like a pop-up book that’s able to exist in a higher dimension, able to shift elements in and out as it pleases. It’s quite intuitive and for the most part you’ll be able to quickly figure out what you need to do or, at least, stumble your way through by trying every option.
The puzzles are pretty straightforward, often only a couple slides or folds away from being completed. The challenge ramps up gradually as you progress through every scene and towards the end they actually start to become quite challenging. However the one fault here is that new mechanics aren’t introduced in a logical fashion and, if you’re like me and know a little Japanese, you can find yourself trying to solve a puzzle in completely the wrong way. The hint system (and the full official walkthrough) are enough to make sure that you won’t be stuck at these for too long but it’s still a mistake that a lot of these minimalist type games make.
The only drawback to Tengami’s incredible design and polish seems to be its length as the game is incredibly short, clocking in at just over an hour and a half for my playthrough. This is not to say that I would’ve preferred for them to cut corners on other things in order to extend the play time, far from it, more that the focus is on quality rather than quantity. For some this can be a turn off, especially when you consider the current asking price, but for me the price admission was well worth the short time I got to spend with it.
Tengami is a beautifully crafted experience, recreating that tactile feel of a pop-up book in a new medium and elevating it with impressive visuals and an incredible soundscape. It’s a short and succinct experience, choosing to not overstay its welcome in favour of providing a far more highly polished experience. As a game it’s quite simple, and suffers a little due to its minimalist practices, but overall it’s a great experience one I’m sure multitudes of players will enjoy.
Tengami is available on PC, iOS and WiiU right now for $9.99, $6.49 and $9.99 respectively. Game was played on the PC with 1.5 hours of total playtime and 100% of the achievements unlocked.
Growing up as a gamer my gaming intake consisted predominately of platformers. The reasoning behind this is simple, the hardware at the time wasn’t capable of doing much more, and thus most games developers went the platformer route in order to make the most of their chosen platform. As the power of PCs and consoles started to increase and things like real 3D were possible the platformer started to take a back seat to other genres that had, up until then, played second fiddle to the platformers. The genre has experienced something of a resurgence in recent times with the independent developers rebooting the platformer genre for modern times. Limbo is one such title, and one that I feel I should have played earlier.
Without any hint of explanation of who you are, what your motivations might be or even what the controls are you are placed in control of what appears to be a small boy. His only defining features being the glowing eyes that pierce through dark world that he exists in. You then being your journey to nowhere, navigating your way through numerous obstacles many of them designed with a single purpose in mind: killing you in the most gruesome ways possible. Indeed the dark world that this boy finds himself in seems to be some kind of semi-futuristic place that’s hell bent on ensuring that the kid never makes it to his final destination, wherever that might be.
For a game with such simple graphics and limited colour palette the atmosphere that Limbo generates is nothing short of staggering. There’s little music or sounds to speak of, leaving the only constant sound being the soft wind and your footsteps. It’s strangely engaging, not exactly something I expected but taking a step back I can see a similar style in games like Silent Hill. The elements that are included then are done so deliberately and elegantly, giving you the feeling that the game’s creators spent an incredible amount of time on the all the little things that make up the Limbo world.
Whether intentional or the game play of Limbo has a sense of dark comedy about it. Whilst you’ll try your best to make sure that the little bugger makes it through each section safely it is inevitable that you’ll end up killing him in some of the most hilarious ways possible without even thinking about it. For me the first time was simply cratering him when I misjudged the distance to the floor below, his limbs flying off in opposing directions and the little glowing orbs blinking out. As the game progresses the ways in which you can die become more and more ludicrous, to the point where you’ll meet your end at the hands of fantastical futuristic contraptions.
On the flip side though I can see people playing Limbo as something of a survival horror rather than the dark comedy that I played it as. There are some moments that, if played with the lights off and late at night, would definitely give you a bit of a scare. Granted its nothing like the original Resident Evil series, something which gave me nightmares for a week after playing it through in one sitting, but the atmosphere alone is enough to set some people on edge. Maybe my view of Limbo as a dark comedy is just a coping mechanism I developed so as not to get attached to the little guy…
The core game play of Limbo is that of a classic platformer mashed up with modern day physics puzzles. Neither of these aspects are terribly complex with the platformer sections being relatively forgiving and the physics resembling all other games that utilize the Box2D physics engine. Still many of the challenges will having you engaging in a good helping of trial and error to see which solution works best. There are also many ancillary challenges available for those achievement junkies that will test your problem solving skills more rigorously should the core of the game not prove challenging enough.
Thinking back on my play through of the game it’s interesting to remember how the environments changed from the dark, foreboding forest at the beginning to some kind of futuristic factory belonging to a mad scientist. As far as a plot goes that’s about all you’ll be able to get out of Limbo (save for a couple moments in the game and at the end) and what it means is left as an exercise to the reader but looking at the title you can probably guess what the changing scenery is a commentary on.
Limbo is one of those games that just simply begs to be played at least once and all in one sitting. It’s a short game, something that can be easily knocked over in an afternoon, but for a game of this type that short length works well in its favour. Whilst there’s little plot to speak of the story telling that Limbo achieves without a single line of written or spoken dialogue is quite an achievement and is one of the reasons why it has received such critical acclaim. Limbo then is a game that I believe anyone who calls themselves a gamer should play, just because it’s such an unique experience. One that is unlikely to be repeated at any time in the near future.
Limbo is available on PC, PS3 and Xbox360 right now for $9.99, $15 and 1200 Microsoft Points respectively. Game was played entirely on the PC with 3.3 hours played and 23% of the achievements unlocked.