One of the many reasons I keep doing these reviews is that I enjoy charting the journeys of the various developers that I come across, especially the smaller indies. For some they create an IP and expand on it, like Frozenbyte with Trine or Moon Studios with Ori and the Blind Forest, whilst others like Supergiant Games continually experiment, almost reinventing themselves with each release. Carlos Coronado, who previously brought us Mind: Path to Thalamus, falls into the previous camp having experimented widely over the many years he’s been a game developer. Whilst I wasn’t able to experience one of his previous titles due to it being VR only when I saw Koral, a casual puzzler with a strong environmental message, I was very interested to see what he’d be bringing to the table.
Koral is a self-described love letter to the ocean, created by the developer whilst he was onboard a sail ship in a marine sanctuary in Northern Catalonia. The game’s core is quite simple: you’re an ocean current that can bring life back to the reefs that have been devastated by humanity’s impact on them. Along the way you’ll be peppered with facts about why many coral reefs are currently under threat and some of the positive actions that have taken place to restore them. When it’s all said and done the game will likely only take you a couple hours to get through, maybe one more if you’re looking to 100% it.
The puzzles aren’t particularly difficult although they do get awfully repetitive as they all share the same core base mechanic: explore to find the little light things and then bring them somewhere to unblock the way forward. The challenge ratchets up mostly through adding in more ways to hide the lights from you or by adding a timer to certain challenges. None of them would be out of reach of even beginner games I feel but there are definitely some that felt a little more tedious than others just because they had an arbitrary time limit placed on them, forcing you to do them over again if you fail.
The pacing could also be a little tighter as there’s numerous long sections where there isn’t any music or something particularly interesting happening on screen. Part of this is probably due to the game’s creation (more on that in a sec) but still I feel like these games live and die by their pacing, tying together the various visual and auditory components together so the game effortlessly flows between stages. Perhaps I’ve been spoiled too much by games like The Turing Test which showed me just how great a game like this can be when all those disparate elements come together well.
Probably one of the most interesting parts of the game for me was the credits when it was revealed that quite a bit of this game was created with assets from the Unreal store, including the music. I mean, it shouldn’t really be a surprise that all those kinds of assets are available on there, but it certainly demonstrated to me just how far that ecosystem has come of late. As time goes on it seems the barriers to creating something worthy of playing are getting lower and lower which, whilst it has increased the incidents of shovelware and asset flips, does mean that creators are now free to focus on the much more important aspects of game development.
Koral does exactly what its developer wants it to do: it shows his love for the ocean and the want to preserve it for all to enjoy. It’s construction might not be the best, suffering from slight pacing issues and repetitive puzzles, but it still manages to get its message across. Perhaps most interestingly for me is the amount of things that went into it that were already prebuilt, I honestly would not have guessed that any of it wasn’t created for this game directly had the developer not mentioned it in the credits. So, in summary, Koral is a great distraction even with its rough edges.
Koral is available on PC and Nintendo Switch right now for $16.95. Total play time was 2 hours with 59% of the achievements unlocked.
Yeah I know, I have a type.
Take some kind of high concept, wrap it in an intriguing art style, throw in a few interesting puzzle mechanics and back the whole thing up with a semi-decent soundtrack and you’re almost guaranteed to get a look in from me. Part of my penchant for these kinds of games was born out of my time being consumed by other things but over time I’ve grown to quite like the genre and all the weird titles it seems to produce. Vane, as you’ve likely already guessed, fits that description almost perfectly and was the second title to come to me via the new Steam recommendation engine. I’m glad to say that this time around it was bang on the money, directing me to an incredibly surreal and intriguing experience that I had not come across before.
In a ruined desert, a strange golden dust transforms a free-spirited bird into a determined young child. You are not the only one to have undergone this transformation however and the world around you is littered with evidence of a world that was once far more than what it appears to be today. Your transformation sets in motion a chain of events that will reshape the world, hopefully for the better.
Vane’s art-style is quite unique with its direct influences coming from the Team Ico games of old. That’s combined with a weird glitchy aesthetic, which gives it this strange sci-fi overtone. Indeed the styling of the world is equal parts fantastic and high-tech, giving you this feeling the environment is stuck between the fantastic and the real. Given I’ve played far too many low-poly indie games of late it’s nice to see a developer take a different angle with it instead of simply using the aesthetic as a way to get out of needing to texture too much. There were a few poorly optimised areas, mostly the larger open areas when the heavy particle effects were going, but other than them the game ran perfectly smooth.
You’ll encounter a wide variety of puzzle mechanics whilst playing Vane as it starts off as a kind of walking-simulator-esque experience as you soar around the desert looking for places to land. From there the game evolves into a kind of puzzle platformer, requiring you to explore the level to figure out how it works, look for where you need to transform and so on. Later on the game then adds in what I’ll call the “rebuilding” mechanic which appears to reconstruct the destroyed world around you. It makes for an interesting progression in terms of mechanical complexity, gradually ramping up the challenge over the game’s short length.
None of those mechanics are well introduced unfortunately, making figuring them out a rather laborious endeavour of trial and error. There’s hints around, of course, but it can be hard to tell when the game is trying to nudge you in a direction or if it’s just something that looks like it should be investigated. Vane isn’t the first game to suffer from a problem like this and it’s one of the more challenging elements to get right; making exploration worthwhile by challenging the player and not just filling the world with random rubbish to seek out.
I’d probably be a bit more lenient on Vane if it weren’t for the absolutely god awful controls that it has. Flying is honestly a major chore and it’s far too hard to perch on something, especially considering that’s one of the core mechanics. Indeed I managed to spaz out the physics engine multiple times by flying too close to something and it not being able to figure out if I should land, bounce off or do something else. This continues with the controls on the ground which feel far more wonky than they really should be. This is most aptly demonstrated in the part of the game with a procedurally generated level, often resulting in you getting stuck on geometry or sliding around randomly as the game tries to figure out how to place you. For a game that gets so much right to get a basic thing like controls so utterly wrong really perplexes me.
The story is interesting, even if it’s so hand wavy in what it shows that you could really make anything out of it. It’s obvious that you find yourself in the ruins of a once prosperous world, one that’s ravaged by what appears to be a never ending storm. However from there everything is pretty much up to your interpretation. On a hunch I just checked and there are 2 different endings although really it seems either of them are as about as satisfying as the other. All this being said I don’t think that the story of Vane was the developer’s overall focus and, whilst it’s somewhat interesting to contemplate, it’s not really the main thrust of the game.
Vane is a weird dichotomy of excellent craftsmanship in some respects and down right negligence in others. The art of Vane’s world is an eclectic mix of old world fantasy with sci-fi overtones all built up beautifully in low poly detail. The puzzle mechanics grow organically throughout the game, ramping up the challenge gradually. However the lack of any direction with the puzzles coupled with the absolutely trash controls means that the game experience is far more frustrating than it needs to be. I’ve dealt with vague puzzle mechanics before, and I can somewhat forgive them, but controls that are that wonky just makes everything worse. Hopefully future titles from Friend & Foe Games don’t incur this penalty as what they’ve built here has the makings of something truly awesome.
Vane is available on PC and PlayStation 4 right now for $28.95. Game was played on the PC with a total of 2.7 hours playtime with 39% of the achievements unlocked.
Free to play used to be a taboo word for me, usually indicating that the game was some microtransaction infested hell hole that would do little more than soak up my time in an effort to get to my wallet. More recently though it seems a lot of developers, including a non-zero number of really talented ones, are choosing to release their games for free with no other strings attached. To be sure most of them are usually pretty short and light on other features you’d see in big name titles but I doubt most of them would lose many players if they’d asked for a dollar or two. Such is the case with BirdGut, a bizarre hand drawn platformer that is equal parts fun as it is weird and obtuse.
A bee hatches in the hive, but something’s wrong. Born different from the others, the bee is exiled from the hive and forced to survive the world on its own. That is, until a bird attacks and eats it. Inside the bird, all of the bugs that it eats are brainwashed and put to work in fantastical, mechanical factories that exist in the place of its organs, except for the outcast bee, whose very disability prevents them from being brainwashed. The bee takes it upon itself to destroy the massive bird from the inside out, and free all the enslaved critters within.
BirdGut’s visuals are all hand drawn in a greyscale colour palette. Honestly the amount of effort that went into putting these visuals together is quite phenomenal, even for a less than 2 hour game. Each of the screens is its own little unique world, filled with all sorts of random detail. The animations are buttery smooth too, something you don’t see often with hand drawn games. This is all then juxtaposed with ludicrousy that this is all supposedly taking place inside a bird’s digestive system, something you’re reminded about in the most weird and unusual ways. It was this weird styling that first attracted me to the game as it’s rare enough for a game to be done this way and rarer still for it to be free.
The main game mechanics are puzzle platformer based with all the usual tropes making a showing in BirdGut’s short play time. You’ll start off slow, just needing to jump your way past a handful of obstacles, and will gradually move up to more complicated maneuvers, many of which will require semi-precise timing to pull off. The game’s simplicity negates many of the opportunities for emergent gameplay to occur so if you find yourself struggling against a particular challenge it’s quite likely that you’re approaching it the wrong way. Other than that there’s not much more to the game other than trial and error.
That of course means that the main increase in difficulty comes from the lengthening of time between checkpoints and the game exploiting that relentlessly. The later platforming sections consist of minutes long timed encounters that will take you at least a couple tries to get past as there’s no way of knowing what obstacles are coming up before you hit them for the first time. I’m not a huge fan of these “fuck you player” kinds of moments as it just punishes you for not knowing something that you had no way of figuring out. That being said it’s not like these challenges waste a ton of time but it still feels like a kick in the pants every time you have to repeat the same section again.
BirdGut’s story is lighthearted and tongue in cheek, with some sparse bits of dialogue providing some comic relief between the longer puzzle sections. It’s not particularly deep but I didn’t expect to be so it did its job of providing a little bit of background whilst I stumbled my way through the various platforming puzzles.
BirdGut was a surprisingly fun distraction that I still can’t believe is free. The hand drawn visuals alone warrant a small entry price and the decent platforming with the lighthearted story make it all worth playing. Is it perfect? Absolutely not but even at $5 I’d say I got my money’s worth with it. So if you’re in the market for something quick, concise and a little weird then BirdGut is likely to fit the bill.
BirdGut is available on PC right now for free. Total play time was 88 minutes with 50% of the achievements unlocked.
I am…truly at a loss to set the scene on this one.
In my regular dive through the dumpster that is the Steam new releases page I came across KIDS and, given that it was free, I figured it was probably worth the price of admission. What followed was a surreal 20 minute experience that could be a commentary on how we interact with each other or some kind of weird ASMR tech demo.
Suffice to say it’s the first game where I’ve felt that screenshots aren’t going to be sufficient to demonstrate the rather bizarre mechanics it brings to bear.
There’s not much to say about it from an art style or graphics point of view, it’s just hand drawn black and white sketchbook art. The sound design does stand out though with all the animations being accompanied by some great foley work. There’s nothing quite like hearing the footsteps of a few onscreen figures slapping around before it turns into an ungodly stampede of the buggers trampling across your screen.
Mechanically it’s like 2D walking simulator as all you need to do is click in places to make things happen. Given that it’s only 20 minutes it’s really worth just going and playing it to see them for yourself but some choice moments are: moving through what I assume is someone’s digestive system, throwing countless figures into bottomless pits and starting a mexican wave of claps.
Like I said before, truly bizarre.
KIDS feels like the kind of game you used to find on places like Newgrounds or Albino Black Sheep. It’s a surreal experience that doesn’t really have a premise or a story to tell but it’s intriguing all the same. If I didn’t think it’d horribly scar children in some way I’d say it’d be a great little title for the iPad as the interactivity had a very tactile feel to it, even behind a mouse. In all honesty I have no idea if this game will appeal to you but for 20 minutes of your time I don’t think that’s a huge investment to find out either way.
KIDS is available on PC right now for free. Total play time was 19 minutes.
Sometimes I just want to play something dumb.
That’s partly the reason I keep playing Call of Duty; it’s the definition of “turn off your brain” kind of entertainment. But this also extends to experimental games their either throw convention to the wind (like the entire frustration game genre) or just those whose premise is silly enough to entice me. So is how I came across Snakeybus, a new take on the game which made Nokia phones the brand to have back when I was in high school (errbody wanted that snake action). You probably won’t play it for long, nor will you have to try especially hard to get most of the achievements, but it was pretty much exactly what I needed: a silly, short game that provided some good distraction between the myriad of AAA titles that have been banking up on me.
The premise is simple: you pick up passengers, deliver them to a destination and based on the number you deliver your bus gets longer. Initially this poses no challenge but you’ll quickly end up with a bus so long that you’ll be tripping over yourself in no time. So begins the challenge of figuring out strategies to ensure that you can make your way around the map without running into yourself whilst still being able to pick up and drop off passengers. Unlocks come fast as they’re just based off the number of times you play any level or some random currency that you get awarded far too much of. In a nutshell this is a game that does what says on the box and doesn’t make any attempt to stop you from playing it out as quickly as you want.
Snakeybus has simple graphics and each level has its own unique style. The initial level is kind of what you’d expect for your run of the mill indie title, but the later levels include one with cel shading, an outrun styled Miami and even a rotating space structure. At the time of writing performance was unfortunately pretty poor given its simplistic graphics although it appears that the developer has been feverishly at work attempting to rectify the problem, netting everyone a 20%+ performance improvement. The game could also use some more and varied sound tracks to go with it as it becomes repetitive quite quickly, even when you’re only spending a few short minutes in each session. Overall Snakeybus’ graphics are passable which, honestly, is exactly what you’d expect.
The core mechanic is pretty fun and quickly becomes quite the challenge, even in levels where you’d expect to have quite a lot of freedom to move around. Strategies in one level will likely not work in others as their layout will dictate what you can get away with. The above screenshot for instance is all about managing which side of the road you’re using because, if you don’t and snake around everywhere, you’ll have no room to move. Other levels though, like the space one, work best if you weave around like you’d do in the original snake game. Honestly I originally just tried to make sure I took the longest route I possibly could before working out that each level had its own strategy.
Of course part of the attraction of games like this is unintentional shenanigans you can get up to with a less-than-great physics engine implementation. The below screenshot is just one example of me getting into a situation which honestly should have been game over but the physics engine couldn’t really figure out if I was stopped or not. So instead it ended up with this weird tangle of buses all on top of themselves, seemingly flitting in and out of existence before righting themselves again. This cuts both ways of course as there were many times when my bus was only just barely stopped and the game cut me off. Whilst this is technically an issue really it doesn’t detract from the game play. In reality it’s a core part of it.
Snakeybus is the kind of title you play when you don’t want a game that asks too much of you. It’s B-grade implementation, OK graphics and numerous rough edges are all part of the charm of games like this. Sure every single part of the game could be done better but it doesn’t need to be. Snakeybus exists to explore the core game mechanic and little more beyond that. In that mission it succeeds in spades, providing a fun little distraction that you’ll likely play for a couple hours before putting down for good. In the end it’ll come down to whether or not you’re willing to part with a few dollars for something as silly as this. For this old gamer it was very much worth it.
Snakeybus is available on PC right now for $14.50. Total play time was 92 minutes with 88% of the achievements unlocked.
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.
I never reviewed Adventure Capitalist but boy, did I put a lot of time into that game. It started when I met up with some friends of ours when we were on holiday and one of them kept whipping their phone out every so often to check up on their progress. I had avoided the game up until that point but, with time to kill between things, I installed it and instantly fell prey to the clicker genre. So it was that every spare moment was filled with me spinning it up, checking on my progress and buying upgrades so I could reach that next level. I’ve since then avoided everything to do with the genre, not wanting to fall into that same trap once again. Cheeky Chooks however managed to fly under the radar, seemingly being a farm management simulator on first blush but is really a clicker at heart. Thankfully it’s one that can be completed in a reasonable amount of time and is completely free of microtransactions. With it being free to play I’m not quite sure what Trilum Studio’s play is here, but it’s at least a fun distraction whilst we’re in the middle of a lul in big name releases.
The premise of the game is simple: you’re an aspiring chicken farmer with a small space to start pursuing your dream of raising chickens. You’ll get a set amount of cash to start you off and you’ll build out your farm from there. Once you’ve exhausted your initial cash reserves though you’ll need to rely on selling eggs to make enough money to upgrade your farm. The mechanics follow the usual affair, your base income determined by the number of chooks with multipliers for “egg quality” that come from various sources like rare chooks or buildings that provide a small benefit. This has to be balanced with the chooks’ happiness, so you’ll also have to provide them with various items to ensure that they can happily lay eggs in your little chook pen.
Cheeky Chooks is visually quite simple with most models being highly stylized, devoid of textures and utilizing a very simple muted colour scheme. That simplicity flows through into the menu systems and other UI elements as well, having an almost childlike feel to them. The sound track and foley work is equally simple as well, giving the whole game a very minimalistic feel. Overall it’s quite nice and given that I feel like the game is designed to either be played in short bursts or left on in the background the visuals fit that idea well.
The game starts off with a pretty decent tutorial, walking you through the main mechanics before setting you off on your own. There’s a list of missions for you to do, most of which will help in pushing the farm towards the next level. Whilst you can likely progress without achieving all of them you’ll likely hit most of them by default and others you’ll want to get anyway in order to get certain achievements or just make your life a little easier. Annoyingly the Legends missions will always be highlighted after a certain point and, unfortunately, there’s no way to get rid of it since it’s tied to a specific event that has since passed.
Certain missions are pretty pointless to overall progression though, like the one requiring you to max out the level on a certain number of buildings. As you can see from my nearly completed farm below achieving those meant spamming lots of low level structures so that they could be upgraded cheaply. The game does increase the cost of each subsequent structure as you place them but the upgrade costs remain the same regardless of how many are placed. Sure, if you were truly min/maxing, I could see reasons for using the other buildings in order to jack up the egg quality but for the most part that doesn’t seem necessary. I think I could’ve completed the game in half the amount of time I played if I hadn’t stayed logged in, having the game on in the background whilst I watched videos on my second monitor.
The game was developed in collaboration with the RPSCA to be an educational tool for kids, teachers and parents which is a commendable feat. In that regard it succeed for the most part although nothing can replicate the true horror that is cleaning out a chook cage. That also explains why it’s a free to play game that’s devoid of microtransactions, something which is usually par for the course for these kinds of games. It’s also not an endless game either (although you can play for as long as you want) and given that they’ve only had a single event so far there’s no much reason to come back once you’ve blasted through all the achievements. Of course if you just like ambient clucking in the background and seeing numbers go up then you might get more out of it than I did.
Cheeky Chooks is a simple, straightforward game that many will be able to find several hours of enjoyment in. Whilst it is most definitely a clicker game the more nefarious mechanics that are typical in the genre are nowhere to be found. Instead what you have is a light-hearted take on what it’s like to raise chickens, something which hopefully will have an impression on those who play it. If you just want something simple to pass the time then there’s really not much reason to not give Cheeky Chooks a go.
Cheeky Chooks is available on Android and PC right now for free. Game was played on the PC with a total of 5 hours playtime and 100% of the achievements unlocked.
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.
It’s no secret that I’m a bit of a sucker for eye candy. Sure I’ve played (and enjoyed) my share of games that have gone for substance over style but I’m far more likely to enjoy something if it’s visually pleasing and manages to get all the usual trappings in as well. However that penchant for visual flair can easily lead you astray as judging a game by its screenshots is the same as judging a book by its cover. That, dear reader, is how I ended up playing NUMERIC, a bargain basement platformer that suckered me in with semi-decent visuals, tricking me into thinking there was actually a game underneath it to be played.
NUMERIC has a story but it’s so ham fisted in its implementation it’s barely worth mentioning. It’s clear that English is a second language for the developer, as the description of the game on Steam will attest:
After a long sleep, the Model “98” finds itself in an abandoned place away from the usual house. There is little left in the memory, in addition to the memory of old friends. Where are they? What happened, why is everything so empty and lonely around?
With no story to drive the game along there’s only 2 things left for it: the visuals and the gameplay. One of those is above average, but that won’t be enough for the astounding lack in the other two.
So visually NUMERIC has a lot going for it. It manages its own spin on the current low-poly aesthetic that’s all the rage with indies these days. If I had to hazard a guess though the majority of those assets have come from the Unreal Marketplace and all of them have been dumped directly into the game’s files. That means for a game which has barely an hour of gameplay in it and a handful of environments the entire package clocks in at a whopping 6GB; not something you’d expect given its low-poly nature. NUMERIC does make good use of modern lighting effects to make for good screenshot bait but, beyond that, there’s really not much more to it. Honestly I should’ve expected as much when I was trawling through the new releases section of Steam, but a man can dream can’t he?
The core game play is 3D platforming, with all the usual pitfalls coupled with a distinct lack of any refinement or inspiration. You simply have to get to the end of the level, usually through hitting a few switches to unlock doors whilst avoiding a few obstacles. The game will always trigger a cutscene whenever you’re triggering an action which is skippable but, honestly, after the first time we’ve seen it there’s no reason to trigger the cutscene again to remind us of what is happening. Worse still the hit detection is very unreliable, often failing to trigger multiple times until you figure out where the hitbox for the switch your or character is. Couple that with level design that isn’t exactly well thought out and you’ve got a bunch of levels which can be finished in obviously unintended ways and others which are just exercises in frustration as you work you way around the developer’s mistakes.
NUMERIC then comes to an unceremonious end with a screen that says “Thanks for playing The End 2018” not even trying to attempt to close off the loose jumble of threads it thinks counts as a story. I would be kinder to the developer if this was their first title but it’s not, they’ve got no less than 3 titles for sale on Steam, all of which were released this year. Looking at the others it’s clear that they’ve found their formula and are running with it, hoping to churn out title after title until they hit on something. Whilst admirable it doesn’t lend itself to developing quality titles and won’t do them any favours when it comes to standing out of the torrent of games that are released on Steam every day. What they’re producing isn’t as egregious as some of the asset flip titles I’ve seen, but its close.
NUMERIC does the very bare minimum to be counted as a game, luring in visually driven idiots like myself in the hopes of finding something worth playing. Whilst they’ve managed to make some good looking visuals with the help of marketplace assets that’s where the substance stops. There’s nothing about this game that warrants playing it, nor even watching a stream of it on Twitch or a Let’s Play on YouTube. The fact that the developer is churning out title after title should tell you a lot about the motivations behind this game’s creation and none of them should compel you to spend money on this game. You’d think I would’ve learnt my lesson after Elementium, but alas, it seems I’m a slow learner. Hopefully you’ll head my words and let this one pass through to the keeper.
NUMERIC is available on PC right now for $1.99. Total play time was 54 minutes that I’ll never get back again.
I’m not usually a fan of reaction based games, mostly because they do a great job of highlighting just how bad I am at them. Sure there’s a sense of accomplishment once I get there, but it often feels like I’ve either brute forced my way through or just lucked out. However seeing people master games like that can be quite entertaining, like watching Rocket League pros juggle a ball like it’s nothing. Ballistic falls along similar lines for me, being incredibly frustrating to play but would definitely make for good watching should someone decide to take the time to master it.
There is a vague notion of a plot in Ballistic, you being some kind of weapon of mass destruction set out to stop someone from capturing a planet (or something along those lines). What you are is a giant geodesic ball that can roll along any surface, shooting itself in any direction at incredibly high speed. Anything you come into contact with is instantly obliterated and that includes any innocent bystanders who happen to be in the way. That sets up the premise for the game: wreck a bunch of things and then find the teleportation pad to take you to the next level. Like many skill/twitch/reaction based games it’s a simple concept that’s incredibly difficult to master.
Ballistic uses the Unreal Engine 4 which means that, at a base level, the graphics aren’t bad. They’re quite simplistic, consisting mostly of highly glossy surfaces and geometric shapes, which is fitting given the Outrun-ish theme it seems to be going for. When you’re moving everything turns into a glorious blur of neon but, when you inevitably hit something you get an up close look and things aren’t as great. All the people models have to be store bought assets as they simply don’t fit the aesthetic of the game at all. The other various models (like the guns and whatnot) fit a little better but they’ve obviously been designed to not be looked at too closely. For more skilled players this might not be an issue but for someone like me, who seemed to spend more time still than blasting past, it was hard not to notice it.
The challenges the game presents you are usually pretty simple. Most of them will be a variation on move here, kill this thing and then find this other thing to complete the level. Sounds easy in theory but wrangling the ball to do what you want it to do is a challenge all in of itself. You have a couple controls at your disposal: roll, which allows you to move whilst you’re flat on a surface. Boost which pushes you in the direction of the camera and bullet time allowing you to more precisely aim your shots. You’d think that with these tools it’d be relatively easy to navigate your way around however it’s akin to trying to play billiards in three dimensions more than anything else. In order to get to a certain point you’ll have to estimate your current momentum, what you can add via boost and your time in flight before you hit there. Doing all these things whilst you’re blasting past everything at a million miles an hour is quite the challenge.
That being said once you get a handle on how things all slot together you can more accurately place yourself than you would otherwise. Mashing the boost button the second you leave a surface is most certainly the wrong thing to do, often leading you into unrecoverable situations. Nor is attaining maximum speed the solution to everything as once you get past a certain point the amount of influence you have over where you’re going is diminished significantly. In the end the challenge that Ballistic provides is one of balance: you have to figure out the right mix of everything to achieve your objective. Suffice to say it’s not the easiest game around, one that’s barely deserving of the “casual” tag it’s got itself on Steam.
Ballistic is an extremely challenging momentum based skill game, one that this writer would likely recommend for fiends who enjoyed similar games like Rocket League. The retro soundtrack is what attracted me to it in the first place and, unfortunately, the game play wasn’t enough for me to stick around for too long afterwards. Make no mistake, this is a challenging game, one that will reward those who take the time to master its momentum based mechanics. If, like me, you were seeking something a little less intense though it might be the wrong thing for you. For a specific subset of gamers Ballistic’s challenges will provide the kind of intense action they crave however, for this old gamer, I think I’ll leave my play time with it where it stands.
Ballistic is available on PC right now for $12.99. Total play time was 1 hour.