I gotta admit, my backlog of games I want to play ran out a while ago. Sure there’s a few titles on there that I could catch up on but most of them have some barrier to entry (looking at you, Metro Exodus) which I can’t be arsed getting around. So I’m left to scour the Steam releases each week, hoping to see something that catches my eye. Unfortunately the pickings have been slim and so I’ve resorted to playing things that are somewhat interesting but usually not what I’d typically find myself playing. APE OUT, whilst having most of the trappings that you’d usually assume would be right up my alley, was just missing that extra something to keep me coming back. The concept and execution are both extremely well done however so it’s not for a lack of craftsmanship, more it just doesn’t have the mechanics I’d seek out in this kind of game.
You’re an ape in a laboratory and you’ve decided it’s time to get out. Of course the lab can’t have what appears to be a super-intelligent ape running about the shop so they’ll do anything they can to stop you. Of course you’re quite a bit bigger than them and can easily paint the walls with their corpses should they get in your way. Your goal is simple: find a way to escape without getting shot to bits. All this happens whilst a wild jazz soundtrack plays in the background.
Visually APE OUT is very striking with its top down perspective, lack of texturing and use of vibrant colouring. Whilst this does make it rather easy to distinguish foes from furniture the top down perspective could use a little work as quite often pillars get in your way when it feels like they shouldn’t. There has been a lot of attention given to making the visuals feel as chaotic as the background track with numerous overlays, changing colours and other weird and wonderful VFX making for a kind of visual bonanza I haven’t really come across before. I honestly would expect no less from the crazed mind of the great Bennett Foddy (you know, the one behind QWOP and Getting Over It).
The soundtrack deserves its own mention as it’s a reactive mish mash of jazz percussion. Each playthrough will have a slightly different track due to the generative nature of the backing track, even down to things like events on screen driving which part of a drum kit gets played. Each of the albums has its own theme so all those different samples do work together to produce something coherent but it’s still very chaotic. I’m not really a fan of jazz but I certainly appreciated the effort that went into building up the engine that drove APE OUT’s wild soudtrack.
The objective of each level is simple: just get to the other end. You’ll be met with a wide variety of enemies, themed to the current album you’re playing. The levels themselves aren’t particularly big but it’s never going to be as simple as just legging it from one side to another. Curiously you can do it without killing a single person as there’s an achievement to that effect. How you’d do that for some sections is beyond me though as there’s situations where I couldn’t see an easy route around flattening a few folks.
For the most part the combat feels fair as the enemies telegraph their moves and the AI isn’t particularly smart in how it approaches you. Of course when you’re cornered by more than a couple of them things start to get real tricky fast and many of the special types of enemies are designed to make simply crushing everyone more challenging than finding a way around them. Even with the short levels though I found the enemies to get repetitive pretty fast and I think that’s probably what made me give up in the end. I mean sure, part of it was also the difficulty of it, but since there’s no real progression system or anything else to keep you coming back (bar the new levels) I didn’t really feel like the challenge was worth it.
APE OUT is a finely crafted game that I just didn’t find myself enjoying all that much. The visuals, soundtrack and mechanics are all on point, delivering the exact game experience that it set out to achieve. However I felt that it was mostly a game for the speedrunner/Twitch crowd, something that people would love to watch but not necessarily play themselves. That’s why after just a paltry 36 minutes with it I decided to call it quits, lest I give this game a score that’s much further below it’s true value. If you favour that kind of reaction based, beat ’em up gameplay then you’ll surely enjoy APE OUT but for me it just didn’t hit the mark.
APE OUT is available on PC and Nintendo Switch right now for $21.50. Game was played on the PC with a total of 36 minutes play time and 4% of the achievements unlocked.
The “frustration game” genre has developed a cult following over the last 5 years or so. Born out of the democratisation of game development tools these games are typically the spawn of newer developers looking to try their hand at making games. Not knowing how or not wanting to adhere to conventions they stumble about and end up creating experiences that are defined by their awkward, frustrating nature rather than being derided for it. There are, of course, those who set out to deliberately craft them and none are more infamous than Bennett Foddy who brought us flash games like QWOP, GIRP and CLOP. Getting Over It is his first ever full release and, in staying true to his previous accomplishments, is a brutal mishmash of awkward controls and punishing gameplay.
The game is an homage to a flash game called Sexy Hiking which was released some 16 years ago. You are a man in a cauldron called Diogenes and, armed with a rock climbing hammer you make your way up a mountain covered in various detritus. At any point in the game however you can make a wrong move and plummet all the way back down to the start. There are no checkpoints, no way to solidify your progress so you can continue from there. You will fail, sometimes spectacularly, and you’ll have to do what you did once again…and again…and again.
Getting Over It has all the trappings of what Foddy describes as “b games” which are akin to their b grade brethren from the silver screen. The game appears to be made almost entirely out of assets taken from the Unity store, all of them loosely cobbled together to form the level you’ll play through. There’s a surprising amount of attention to detail put into it however like the use of various different sound effects for different surfaces, your character’s utterances which are dependent on your actions and the inclusion of numerous physics enabled objects, typically done to throw you off your game. If I had to put it in one sentence I’d describe it as a beautifully put together trash pile.
The objective of the game is simple: make your way to the top of the mountain. To do this you have to wrangle your hammer in various ways to overcome the objects in front of you. The mechanics are pretty simple, the hammer will grip most surfaces and your character is strong enough to rotate themselves around an attachment point, but the controls don’t respond how you’d expect them to. The character’s arms are somewhat bound by realistic physics however things change dramatically with momentum and, depending on where his arms are positioned vs where your cursor is things might not go how you expect them. Honestly it’s hard to describe just how unintuitive the controls are as you’re better off just playing it yourself to see what I’m getting at.
Getting Over It does a good job of slowly introducing harder and harder puzzles to you although the difficulty curve takes a sharp spike up the further you progress. Quite often you’ll find yourself progressing without really understanding how you got there and, when you inevitably fall back down, will struggle to redo the section you just did. You’ll start to work out what strategies work for you however and eventually you’ll have a good idea of how to keep on moving forward.
That is until you reach here.
This corridor seems to have broken me and many others attempting this game. Whilst there are numerous strategies for getting through it I couldn’t get any of them to work reliably for me. Sure, I did make it past that point once, however I instantly catapulted myself off the top, sailing gracefully back down to the bottom. It was honestly so soul destroying that I couldn’t do anything but laugh for the next 5 minutes, my anguish best expressed in tears of laughter rather than sadness. I did make it back up there eventually but fell back down again not too shortly afterwards. It was then I decided to put the game down and watch a speed run on YouTube.
Indeed the stats show that this is pretty much typical for anyone playing this game. Half of people playing this game give up before they’ve played 1.3 hours and the average total play time is a meagre 3. Beyond that the minority who’ve managed to complete this game once average a total of 11.7 hours, or some 10x the amount of time I’ve spent in the game. Honestly I’d had my fill by then and am quite happy to say the game has beaten me. I’ve got much more interesting things to do with my life than continue to slam my head against this wall.
Getting Over It With Bennett Foddy is exactly what you’d expect from a game like this. It’s a horrifyingly awkward, frustrating game to play and it delights in tormenting you whenever you should fail. It is rewarding when you manage to complete a section but if you’re like me that doesn’t happen often enough to justify the continued time investment. There are some who will delight in this kind of no-holds-barred challenge and to them I commend you. For me though whilst it was a hilarious distraction it’s not something I’d recommend unless you knew what you’re getting into and even then I’d urge caution.
Getting Over It With Bennett Foddy is available on PC and iOS right now for $7.99. Game was played on the PC with 1.6 hours of total play time and 0% of the achievements unlocked.