This is the last week I go Steam new release diving, I promise.
I mean I’m sure there’s a ton of gold in there somewhere but the process for discovering new titles that are worth playing couldn’t be worse. Valve has made something of an attempt with their discovery queues but they rarely recommend anything new and I’ve yet to hear of a viable alternative (and no, I’m not going to try and put something like that into Completionist, that idea died when Valve killed the data I relied on). So it’s up to us, dear gamers, to churn through the hundreds of games released every week to try and hone in on something that might take our fancy. This week it’s The Free Ones and whilst I’m not about to throw it under the same bus as Elementium or NUMERIC it’s certainly not going to make any must play list anytime soon.
The Free Ones puts you in control of Theo, a captive who’s been working as a slave in the mines for most of his adult life. One day however a mysterious glove finds its way to him, accompanied by a note telling him that they can make him free. Soon after he comes across a group of escaped slaves, living on a nearby island away from the watchful eye of their captors. There he learns of their plan for escape and agrees to help them. What follows is a tale of his journey to regain his freedom and grant it to those who’ve known nothing but slavery their entire lives.
Graphically The Free Ones isn’t anything to write home about, being about a generation and a half behind the trend. The environments are definitely not made to be explored in detail and that’s by design, you’re meant to swing on through as fast as possible in order to get to the next section. This wouldn’t be an issue if there was a little more love given to the parts that you can’t blow past, like the cut scenes or some of the slower sections. It’s at this point that it becomes painfully clear just how basic most of the assets and other elements are which in this day and age is a big detractor from the overall experience. Couple that with extensive asset reuse and you’ve got a relatively bland, repetitive visual experience. Considering that it was only in development for 1 year and 8 months I can see why better visuals took a back burner to other things.
The one sentence overview of The Free One’s core mechanics is that it’s a momentum based 3D platformer akin to similar games like A Story About My Uncle or Valley. The main part is the grapple hook, allowing you to latch onto wooden objects in the environment and pull yourself towards them. This allows you to build up some momentum and fling yourself across the map. The challenge starts to build up as the things you’re able to grapple to start moving, forcing you to figure out how best to latch onto them in order to gain the greatest momentum. There’s also numerous challenges based on threading the needle through various tight spaces which aren’t particularly forgiving if you don’t hit the mark. There’s also a bunch of collectibles to get, ones that are only collected if you land back on solid ground, something which will provide an extra layer of challenge to those seeking it. Achievement hunters will also love the no death and time limited runs but I personally didn’t find them compelling. At a mechanical level I think The Free Ones is implemented well but it’s not the kind of challenge I’d typically seek out for myself.
For me the game excels in the large, open environments where you’re able to fly past large areas in a single go. It’s a pretty great feeling when you get on a roll and manage to clear a section or two without stopping, even if there is a couple desperate moments where you’re searching for the next thing to latch onto. The tighter, closed in environments are much less satisfying mostly because there’s usually a lot more that can go wrong, requiring a lot more attempts to clear a section which can be a little frustrating. This is made worse by the fact that the hit detection in the game isn’t as polished as I’d like, leading to a lot of furious clicking as I plummeted down to my death.
Indeed this lack of polish is present through all of the game and it becomes painfully apparent in the late stages of the game. There were numerous times when I fell through the world or got out of bounds, sometimes triggering a respawn and sometimes others requiring a checkpoint restart. There’s also a lot of sections where you can end up in places that the developers didn’t intend you to be, like on some of the levels with trains and the islands that surround them. If you manage to get on one of them accidentally you can walk around it but it’s pretty clear that the developers didn’t intend anyone to be on them. Similarly latching onto train tracks is a real hit and miss affair as there were times when it made the “clang” noise indicating I’d latched on while I fell back down to my death. Of course this is the product of only 2 full time devs so this lack of polish is somewhat expected and it’s not something a couple more months in dev would’ve fixed.
Unfortunately the story can’t make up for the game’s faults as it’s rudimentary, predictable and oddly paced. It’s pretty standard in terms of your motivation (I need to get out of here to get back to my real life) and follows the well trodden story path along that. The pacing is odd in that the characters go through wild swings of emotional development over what appears to be a couple days. If they’d broken the sections up a bit more and given it time to develop it’d be a bit more believable but as it stands today it just doesn’t have enough investment for the emotional outcomes it presents.
As a standalone game The Free Ones isn’t anything to write home about, as it doesn’t really excel in any particular category. The so-so visuals wouldn’t be out of place a generation or two ago, even for games that came from similarly sized development teams. The core game play works well enough although the lack of polish is quite noticeable, especially towards the later sections of the game. Finally the story does nothing to tie this all together nor make up for the more egregious missteps that the game makes, instead serving as another reminder that the game is decidedly mediocre. Compared to what I’ve been playing recently it was definitely a step above but that’s not saying much. I’m sure fans of these kinds of games will find something to like here but in all honesty if you haven’t heard of The Free Ones you really don’t need to worry about missing out on it.
The Free Ones is available on PC right now for $14.99. Total play time was 3.2 hours with 44% of the achievements unlocked.
It is rare to find games that manage to blend all of their components together into a cohesive whole. Even the most well resourced project will still suffer from the pains of integrating everything together, often leading to one or more parts just not feeling right. Games that do manage to do this however set the standard for those to come, showing that mechanics, story and sound can all be joined together to become greater than any one component. Such is The Turing Test, a near perfect combination of all its elements that makes for one of the most enthralling gaming experiences of this year.
You play as Eva, a pilot put into hibernation in orbit around Europa to act as a safe guard for the ground team on Earth. You are awoken to find out that your station AI, Tom, has lost contact with the ground team and needs you to re-establish contact with them. Upon landing you find that the entry to the base has been reconfigured in such a way that Tom cannot make his way past it alone. It is now up to you to make your way deep into the base to find out what happened to the crew and, hopefully, bring them back under the watchful eye of Tom.
The Turing Test does quite a lot with very little, the graphics erring towards visual simplicity more than anything else. It’s very reminiscent of Portal with all of the set pieces feeling like they were born out of the same design team. In puzzle based games like this such simplicity is definitely a plus, drawing your focus to the challenge at hand. The game definitely has that Unreal engine feel to it with its trademark visual flairs like its specularity mapping. It should come as no surprise then that The Turing Test ran flawlessly on my current rig and I’d suspect it’d run just fine on run of the mill hardware.
Mechanically The Turing Test is just your typical first person, physics based puzzler. Each room contains within it all the tools for you to progress through to the next challenge which is always just getting to the next room. The puzzles start off simple, requiring you to just find the right combination of what goes where, but quickly ramps up after that. In the end you’ll be facing timing puzzles, non-linear progressions and various other challenges that all seem impossible at first until you look at them from the right angle. The simple mechanics means it’s very quick to pick up and, honestly, not too hard to master either.
Now for some this might be seen as a downside as the satisfaction in puzzlers comes from the challenge in solving them. However in The Turing Test’s case the simple puzzles are part of the game’s overall rhythm. They’re designed to be solved at a certain rate, one that allows the story to progress at a steady rate. Indeed even with perfect knowledge of how to solve them I believe you’d still only just get through one puzzle before the dialogue dried up. Too often developers would include other time-wasting mechanics to extend the game’s play time but The Turing Test doesn’t. This means that both the story and game progress together, ensuring that the neither one gets in the way of the other.
This is then all brilliantly amplified by the sound track which ebbs and flows in sync with the game. Too often game soundtracks are overlooked, left as just something that needs to be there rather than an integral part of the game. Indeed for many of the recent games I’ve played I couldn’t really tell you if I enjoyed the sound track or not, it simply left no impression on me. The Turing Test however does a wonderful job of integrating the background music into the events happening in the game, amplifying all of the game’s pivotal moments.
The story itself, whilst not original nor inventive by any stretch of the imagination, is aptly paced and perfectly in sync with all of The Turing Test’s other elements. That is on the proviso though that you only play through the main areas and don’t go to the sides however. If you do unlock the secret rooms (which aren’t hard to find nor solve) the story has a very weird disconnection between what your character should know and what they appear to know. Whilst I’m sure there are some great theories as to why that could be due to the way the game’s world is set up that’s a conversation for another day.
Each of these elements, simple and concise in their own right, would only make for an average game if simply thrown together. The real beauty of The Turing Test is how well these are all worked together, the various elements integrated so well that they are much more than they are separately. Had this game been released in a world that was bereft of Portal or The Talos Principle it would be a shining star of inventive, thought provoking game play. Even in the shadow of those titles The Turing Test still stands out as an excellent piece of craftsmanship, one that should be lauded for aspiring for greatness that it easily achieves.
The only real niggle I’ll have at this otherwise exceptional game is that, due to the nature of its physically based puzzles, emergent game play can sometimes lead you astray. I’m quite sure there were several puzzles I solved in ways that wasn’t intended, mostly because I ended up at the exit door with more puzzle pieces than were required to solve it. Depending on how you swing though this might be part of the charm as I’m sure there’s numerous ways to break the puzzles. It should say a lot that that’s my only complaint about this otherwise fantastic game.
The Turing Test is a brilliant, well crafted example of what games can accomplish when all of their elements work with each other. Each element on its own is simple, from the visuals to the mechanics to the sound track, however together they form a cohesive whole that’s very much greater than the sum of its parts. The total game time doesn’t run long, maybe 3~5 hours depending on how much of a puzzle nut you are, but that entire time could be easily done in a single sitting. The Turing Test is one of those games that I will wholeheartedly recommend to any gamer as it really is worth the time.
The Turing Test is available on PC and Xbox One right now for $19.99 on both platforms. Game was played on the PC with 3 hours of total playtime and 93% of the achievements unlocked.
There’s almost no need to introduce No Man’s Sky, the game that was catapulted to stardom the second its concept trailers hit the Internet. The fervour surrounding it is easy to understand as it taps into that oh-so-popular survival genre that Early Access games are known for whilst upping the stakes significantly, giving you an entire universe to explore and play in. I had long been wanting a game that did full, proper space exploration for some time and so was sold on the concept early on. Then I do what I usually do, ignore any news of the game until it finally gets released and then play it with no expectations.
It seems that I might be the only person on the Internet who’s done that.
The game that No Man’s Sky teases you with is one of infinite adventure. There are quintillions (literally) of worlds to explore, each with their own unique flora and fauna. You are The Traveller, an explorer who finds themselves wrecked on a planet far from the galactic core. For some reason you’re drawn there, wanting to make your way to the centre to see what awaits you there. However it doesn’t take long for that plan to go off the rails with various threats, distractions and curiosities getting in your way. How you journey through the galaxy is up to you though and the stories you create will be yours and yours alone.
No Man’s Sky isn’t exactly the most high fidelity game out there but that’s likely due to its procedural origins. Initially my system appeared to struggle with it, the not-so-great graphics seemingly able to bring my beast to its knees. As it turns out No Man’s Sky, for some inexplicable reason, caps your FPS at 30 on PC by default. Changing that and maxing out the settings made for a much better looking and running game. The visuals themselves are passable, better than what I’ve come to expect from most games in the genre but falling short of some of the stunning masterpieces I’ve played of late. No Man’s Sky does manage to produce some screenshot worthy moments but most of the time you’ll be in an endless expanse of more of the same. This is par for the course with procedural generation as sure, you get a lot of variations, but those variations are often not that far away from each other.
No Man’s Sky is a survival exploration game on a galactic scale. Initially you’ll travel around your spaceship, looking for the parts you need to fix it. Then you’ll travel between planets, searching out different kinds of wildlife, plants and resources. Finally you’ll be able to travel between systems, each of which has its own set of unique features. When you’re planet side you’ll spend most of your time exploring the landscape, mining for minerals and cataloguing the various plants and animals you come across. When you launch into space you can trade with alien races, mine asteroids and engage in space based combat. You’ll also be presented with a few story related choices along the way: either you journey to the centre of the galaxy or you’ll follow the Atlas path. I couldn’t tell you how either of them pan out however as I gave up long before I reached the end but if you’re a die hard survival exploration fan there’s more than enough to keep you going here for quite some time.
Exploration typically takes the form of landing somewhere on a planet, checking out what minerals are common and then cataloguing the various bits of wildlife if you’re so inclined. Initially it’s amazing to see the variety in this game, from the different wildlife, planets and alien races that you come across. However it quickly starts to become repetitive after you’ve visited a dozen planets or so as many of the basic things are the same (like the habitats the aliens use) and the procedural components start to become obvious. Still for a long time I was still motivated to follow the Atlas path as that seemed genuinely interesting. However there are, of course, barriers to your progression and that’s when you’ll start looking around for upgrades.
Like many I began farming resources in order to earn the cash required to upgrade my ship, something that takes quite a bit of time if you do it the “legit” way. After getting frustrated with my progress I took to the Internet and found there was numerous ways to get ship upgrades without paying for them. Indeed this way was also one of the best ways to get rare materials for crafting so I spent a couple hours churning through ships. I tried to do the same with my multitool but, for one reason or another, RNGjesus simply didn’t smile on me and I maxed out at a 10 slot tool after numerous hours. This is eventually what ended up killing No Man’s Sky for me as I just couldn’t be bothered trying to farm the required upgrades to get to the next point. At least with the ships I felt like I was making some slow progress.
The combat, both ground and space based, is barely worth talking about. Your multi-tool is more than capable of taking out most foes with just the mining laser with the combat upgrades just making the process slightly faster. Space combat is janky at best as the flight model just doesn’t feel right. Even with a bunch of upgrades my weaponry didn’t feel anymore effective, probably because I seemed to get matched up against more foes to compensate for it. Since there’s really no penalty for death (if you can get your grave back, which you always can) it’s usually better to just die instead of trying to fight anymore than a couple foes. It’s a shame really as that would’ve been a great progression mechanic, one that I might’ve stuck around for if it was any good.
No Man’s Sky is riddled with the issues that comes with procedural generation, namely all the edge cases which you simply can’t account for until people start encountering them. I’ve come across buildings that were embedded in mountains, inaccessible unless you had a good supply of grenades handy to blast your way in. Falling through the world is quite possible and easily doable if you land in a semi-awkward position. Similarly the physics engine sometimes freaks out if you clip terrain in a certain way, flinging you away with enough speed for the game to think you’ve engaged the pulse engines. There was also a couple times my frame rate dropped to slideshow levels which I could only attribute to some poorly optimised particle effects which were thankfully gone when I reloaded my last save. I’m sure some of the more egregious issues have been fixed in the weeks since I finished playing No Man’s Sky but they certainly did nothing to endear it to me.
No Man’s Sky strives to inspire a feeling of awe in you through the act of exploration. The base game does a good job of that however the ancillary plot, where The Traveller tells you that its feeling awe, is less convincing. Since there’s not a lot of build up as to why you’re trying to get to the centre (or follow the Atlas path) it’s hard to empathise with The Traveller’s varying emotions. I honestly wasn’t expecting much though, this is a procedurally generated game after all, but the disjoint between the potential of the emergent stories versus the curated plot was somewhat jarring.
Now whilst I may have avoided the hype I’m not ignorant to the controversy that’s surrounded the release of No Man’s Sky and I do believe it merits addressing. As a standalone game No Man’s Sky is a good, but not great, title that I’m sure would appeal to certain niche. Not knowing of potential features I felt no loss at them not being there and so harbour no ill will for Hello Games. Indeed I feel like we, the gaming community, need to temper our expectations for any game lest we set ourselves up for Molyneux levels of disappointment. Sure Sony and Hello Games are partly to blame for this, whipping the community into a frenzy with teasers and interviews and whatnot, but we gamers are better than that. We’ve all been here before, with promises of games that would redefine genres or push them to new heights, only to be disappointed when the reality did not meet our expectations. If No Man’s Sky was released on Steam Greenlight for $30 and spent the next 2 years in Early Access no one would be shouting “BROKEN PROMISES” as loudly, yet because it had a full release it seems everyone feels entitled to voicing just how angry they are.
TL:DR, stop getting so hyped. It never works out how you’d expect it to.
Good but not great is the tagline I’d go with to sum up my experience with No Man’s Sky. I know of a few friends who’d love it as they’ve sunk many hours into similar games like Terraria or The Forest. For others, like me, it was an interesting aside but quickly became repetitive and so I left it behind. This isn’t unusual, indeed there have been many higher budget games which I’ve done the same with, and shouldn’t count against it if the concept interests you. Even looking back, after getting burned by the grind/upgrade cycle, I still think it’s worth playing, even if it’s just to see a few different planets and systems before it gets shelved. That might not be worth the asking price for you but that’s not a judgement I’ll make for everyone. For me, someone who got 15 hours of game time out of it, No Man’s Sky was worth it, even if I may never go back to it again.
No Man’s Sky is available on PC and PlayStation 4 right now for $59.99 and $99.95 respectively. Game was played on the PC with 15 hours of total play time and 45% of the achievements unlocked.
The current torrent of AAA releases makes for an overwhelming selection for a reviewer like myself. There are titles that we’re simply expected to play, like one I shall not mention until this time next week, and others which only appeal to a very certain demographic. Indeed that’s exactly why all these games can all launch at the same time and still find the financial success they were looking for. However most of these games are incredible time sinks and my one review a week schedule simply can’t accomodate them. Thus I look to the poor indies who found themselves in the mix with the giants of the industry to fill the gap with their shorter, more concise experiences. Refunct certainly fills the first requirement aptly clocking in as probably the quickest game I’ve ever fully completed.
Refunct is a first person platforming game, something which I’m sure strikes fear into the hearts of all gamers. You see platforming in first person has always been somewhat of a hit and miss affair, both in the literal and figurative sense. Judging distances in first person mode is a flawed endeavour as there’s no real way (apart from trial and error) to figure out how far your character can move or whether or not you jumped too early. Refunct however has billed itself as a game that everyone can play, meaning that the developer must think they’ve addressed the first person platforming problems. To an extent they have, but not because of any new or clever mechanics.
Instead Refunct is incredibly generous with its hit detection when it comes to near misses on ledges and the height that you character can jump. For the first few jumps I was expecting the normal platforming behaviour, you don’t make it you fall flat on your face, however if you’re within a certain tolerance your character will pull themselves up. Later on, when its revealed that you can push yourself off walls, you can exploit this somewhat as even full misses can result in a successful jump if you bounce yourself off the wall. For new players this means that jumping puzzles, which typically rely on pinpoint precision, are much more forgiving. For power players like myself though it’s an easily exploitable system that significantly reduces the play time of Refunct.
Refunct uses the Unreal engine and, judging by the world effects it makes generous use of, must be running on the latest version of said engine. Whilst it’s one of the most basic games you’re ever likely to come across, pretty much everything is a block or cylinder, it does look incredibly nice. The subtle day/night cycles, clouds gently passing by in the background and the accompanying soundtrack do make for a rather pleasant experience. That being said in terms of graphics it’s not much more than a demonstration of Unreal’s inbuilt capabilities. I guess where I’m going this is: I like the way Refunct looks but it feels like a low amount of effort went into making it look that way.
From a game play perspective Refunct is pretty seamless with the generous platforming mechanic smoothing over what could have been many frustrating moments. At the same time however this means that for any kind of regular gamer Refunct is likely to be little more than a curious distraction as I was able to complete the whole thing, to 100%, in no less than 22 minutes. For some this might be a problem, especially in the age of numerous other $2 games that give many more hours of play time, so it’s something to bear in mind if a simplistic first person platformer is sounding like something you’d like to play.
Refunct is a succinct first person platformer that is far more forgiving than its genre would lead you to believe. The generous platforming mechanics means that a wide variety of players would be able to play it start to finish without the frustration that accompanies nearly every other title that incorporates such mechanics. It simple and clean aesthetic does make for a kind of zen experience which is only heightened by it’s great soundtrack. However it is a brutally short experience, almost shorter than the time it will take many to download it. Overall I’d recommend it but only if you’re looking for an after-AAA mint to clean your pallet before you set yourself up for your next meal.
Refunct is available on PC right now for $2.99. Total play time was 22 minutes with 100% of the achievements unlocked.
It’s an unfortunate fact that creating a new IP is always fraught with danger. The wider gaming community is incredibly hard to judge and seemingly minor decisions on certain mechanics can have a huge reaching impact on how they perceive your game. There is a good chunk of this community that hungers for new and innovative content however and should you touch a nerve with them a new IP can quickly turn itself into a dynasty of its own. Dying Light is Techland’s most recent new IP, taking the lessons learned from Dead Island and using them to craft a better experience in a new world. For the most part they pull this off although the key differentiating mechanic is both its greatest and worst asset.
The city of Harran is in chaos. Months ago a mysterious outbreak occurred that turned people in ravenous monsters, feasting upon the flesh of others and spreading the contagion at a rapid pace. The city was quickly walled off however, containing the spread ensuring it wouldn’t cause a worldwide apocalypse. An organization called the Global Relief Effort has been instrumental in ensuring that some semblance of order remains, appointing a man called Kadir Sulaiman to keep the peace. However a tragedy involving his brother has sent him rogue and he is threatening to release a file that could put thousands of lives at risk. It’s up to you, Kyle Crane, to stop him and save not only the people of Harran, but the world at large.
Dying Light is built on Techland’s own Chrome Engine 6 which is exclusively for PC and next gen platforms. There’s a notable step up in graphics, in everything from textures to lighting to the detail of the models, which predictably sent my rig into slideshow mode in the more action heavy sequences. It’s definitely an evolutionary step rather than a revolutionary one as it still retains the same feel that Dead Island had in terms of graphics and effects, something which I noted early on before I found out that it was the same developer. That being said the environments are much bigger and broader in scope with a lot more attention to detail given the exploration heavy nature that the game has now taken on. In a nutshell it’s a solid amount of progress for Techland and it will be very interesting to compare and contrast it against Dead Island 2 when it debuts.
Dying Light is an open world, first person survival horror game that blends in a lot of RPG elements including talent trees and crafting. Those of you who’ve played Dead Island will find many of the mechanics to be very similar however many of them have been streamlined so you spend a lot less time diving through menus. Unlike its predecessor however Dying Light includes a heavy exploration aspect, allowing you to clamber all over everything in the world in good old fashioned parkour styling. This radically changes how the game plays out, giving you a vast array of options in how you tackle each situation. Finally you’ll engage in good old fashioned melee combat using crude tools like pipes and wrenches all the way up to fully automatic weaponry. All in all it’s best summed up as an improved version of Dead Island although some of the improvements aren’t without their drawbacks.
The combat in Dying Light will likely be an unique experience for everyone as there’s a huge number of combinations of weapons, modifications and talent builds that all affect how you hack and slash your way through the game. The melee aspect is the most polished although it still suffers from the trials and tribulations that is first person melee combat. Quite often you’ll find weapons (especially big 2 handed ones) not connecting like you think they should, requiring almost frame perfect timing to get them to land properly. The guns are by far the weakest aspect of the combat as they just don’t feel polished enough, especially when compared to the melee weapons. The parkour aspect allows you to alter the dynamic quite a lot, often allowing you to use the environment to gain a significant advantage.
Indeed, as I alluded to earlier, the parkour/exploration aspect of Dying Light is simultaneously the best and worst aspect of the game. The good of it is that it adds a whole new layer onto the trope that Techland set up in Dead Island, significantly opening up the map to an incredible amount of exploration that is quite rewarding. There’s still a fair chunk of jumping puzzles which only have one proper solution to them but other than that you’re free to find the best angle of attack for your current challenge, something which can make the difference between a mission being a complete breeze and a total nightmare. Once you get the grappling hook upgrade it gets even better, enabling you to travel across the map at inhuman speed and get you out of jams that would’ve otherwise resulted in your death. Suffice to say the good of the parkour is really good but it’s marred by its less than stellar aspects.
There are numerous points in the game where the parkour simply doesn’t flow like you’d expect to. The visual cues to what you can and can’t climb on aren’t terribly consistent and judging whether or not you can make a particular jump is more of an art than a science. Worst of all the hit detection for your character to latch onto things fails way more often than it should, often sending you plummeting to the ground with no indication of why that failed. Worse still when you do get the grappling hook it will likely be disabled with the cop out message “You’re too exhausted to use your grappling hook right now” making the upgrade worthless. These are fixable issues, and undoubtedly something that will get patched in later versions, however it doesn’t detract from the fact that some of the parkour heavy sections can be seriously frustrating.
The talent system is well thought out, splitting out your character’s progression into 3 main categories: survivor, agility and power. The survivor tree is levelled up by completing objectives and gives you access to ancillary skills that will help you survive in Harran. Agility is progressed by simply moving around the world and enables you to move easier around the world. Finally the power tree is all about zombie killing, turning you from a schmuck wielding a pipe to a whirling death machine. With 3 different things to level up progression is consistent and constant, ensuring you’re never too far away from unlocking something to make you just that little bit better. Honestly though apart from the grappling hook most of the upgrades aren’t hugely impactful but after a while the sum of their parts starts to add up to something greater.
The crafting system is very rewarding and retains many of the characteristics from Dead Island. All crafting reagents, bar the base weapons, can be held on your character in unlimited quantities, ensuring that you always have all your materials on you to craft things. Gone is the requirement for using a bench or other things enabling you to craft whatever you need whenever you need it. The only issue I have with the system is that weapon upgrades (not modifications) cannot be crafted and so most of your weapons will likely have their upgrade slots unused. I’m pretty sure this isn’t me missing a key mechanic in the game either as my numerous Google searches on the issue came up blank. Suffice to say whilst I think the crafting system is strong in Dying Light it seems like one aspect was overlooked.
Dying Light was a relatively smooth experience for me, free of any major issues like crashing or game breaking bugs. However there were numerous quirks where things happened that shouldn’t have like the picture above where my safe zone was somehow infested with zombies despite me having just cleared it out. There was also the rather unsettling thing of my character screaming, yelling or saying something random every time I loaded in which often made me think I had been dropped into the middle of combat before realising it was just him making noise for no reason. It kind of feels like a Bethesda release if I’m honest, where the core game is solid but stuff around the periphery is a little wonky and will likely take a couple patch cycles to sort out.
The story feels, at best, mediocre due mostly to its predictability and pacing issues that a present throughout most of the campaign missions. Now I’m willing to admit part of this is likely due to my campaign-first playstyle for these kinds of games (putting me at least than half of total completion by the end) however I’ve played several other games that have managed to get that right without relying on side missions to flesh things out. Combine that with the obvious plot twists and highly predictable emotional climaxes and you end up with a story that’s enough to drive you along but not enough to make you empathize with the characters. Indeed it’s one of the few aspects that doesn’t improve on Dead Island at all, a right shame considering that it was one of the more heavily criticised aspects.
Dying Light is a solid new IP for Techland, taking the essence of what made Dead Island great and translating that into a whole new game which stands well on its own. There’s a lot to love in Dying Light, from the parkour to the visceral combat to the crafting system that allows you to create weapons of untold destructive power. However much of the experience is marred in varying issues ranging from the fixable game play variety to the mediocre story which doesn’t add much overall. Suffice to say I still think it’s worth playing just maybe not by yourself, instead with a bunch of mates and a few beers to take the edge of the more frustating aspects.
Dying Light is available on PC, PlayStation4 and XboxOne right now for $71.99, $78 and $78 respectively. Game was played on the PC with a total of 15 hours played with 46% of the achievements unlocked.
Indie games are typically a tradeoff between several different aspects that were once considered to be critical for a game to be successful. The typical approach is to tone down graphics, mechanics and even interactivity in favour of better storytelling. This is what attracted me to the indie scene in the first place as I find it easy to write off larger faults in the game should it be able to tell an engaging narrative. However sometimes there are little gems of indie titles that manage to do well in more than just one area, executing more than just a good story. Mind: Path to Thalamus is one such indie game, being able to deliver an experience that’s above many higher budget titles yet still retains the same aspects that make indie titles so charming.
You are stuck in a surreal and desolate world, one devoid of any other humans and that seems to react to your very presence. Some of the places are familiar, reminding you of places that you used to visit as a child, whilst others seem to have risen up from your deepest nightmares, shaking you to your very core. There’s only one thing that keeps pushing you forward: you must reach the Thalamus, no matter how painful the journey to it is. Can you suffer through the mistakes you made in order to find redemption? Are you even worthy of it? These are the questions you’ll answer as you journey towards the ever elusive Thalamus.
For an indie game Mind: Path to Thalamus is incredibly beautiful with the wide variety of different environments providing a great array of eye candy. Part of this is due to it using the Unreal under the hood, an engine that’s renowned for being able to produce great visuals, however the artwork is above that of many other indie games of similar calibre. This goes hand in hand with the soundtrack that accompanies the visuals, swelling at all the right points in concert with your character’s emotions and dropping to deathly silence, reminding you that you’re alone in this world. The screenshots I’ve taken really don’t do it justice, it’s an exceptionally well crafted experience.
The core game of Mind: Path to Thalamus is that of a puzzler, done in the now traditional indie style of not telling you exactly how everything works but giving you enough visual clues in order to be able to figure it out. The various mechanics change throughout the game however they’re introduced individually so you can get a feel for what their triggers are, how they combine and what bits and pieces of the environment you should be on the lookout for in order to be able to progress to the next section. Overall the puzzles are pretty simple, if you’re struggling it’s typically because you’re doing something the wrong way, however there’s enough challenge that they feel like an organic part of the game rather than a brick wall designed to pad out the play time.
This is probably why Mind: Path to Thalamus has such great visuals as they really are key to the overall game experience. Pretty much every time I found myself stuck on something was due to me not noticing or forgetting about a particular game mechanic, usually one that was just introduced to me not 1 puzzle ago. The last few puzzle stages kept me busy for a good couple hours as they use every mechanic to their fullest, forcing you to figure out what sequence of events you have to go through in order to unlock the next piece. It was well timed however as the final dialogue sections, which are scripted to repeat after a certain time, only did so right before the final scene showing that the developer has paced Mind: Path to Thalamus out extremely well.
For the most part Mind: Path to Thalamus runs well with no graphics glitches or broken gameplay elements to speak of. It does however seem to crash randomly on occasion, something that didn’t seem to have any one particular cause. Some sections that would crash at one point would inexplicably play through fine afterwards. They didn’t happen often however the checkpointing system seems to get confused when it happens and will send you back to the start of the chapter and not the current respawn point you’re at. It’s not a big deal, especially if you’ve already worked out all the puzzles, but it was a slight frustration when I was elbows deep in the story.
What sold me on Mind: Path to Thalamus originally was one of the trailers that showed some of the opening scenes of the game which had some extremely gripping voice acting. Whilst that same level of passion isn’t carried throughout the game the story is delivered well by the sole voice actor. Usually out of order narratives annoy me but Mind: Path to Thalamus does in it such a way that several story threads are built around you and only towards the end is the relationship between the two revealed. It wasn’t exactly an emotional rollercoaster however it was a solid story on regret, redemption and the highly illogical process we all go through when we’re grieving. Suffice to say I’d rate it above many other story-first games that I’ve played in recent memory although I wasn’t exactly in tears at the end of it.
Mind: Path to Thalamus is a fantastic example of what the indie development scene is capable of producing, from the gorgeous visuals right down to the engaging story. Whilst a story-driven indie puzzler might not be everyone’s cup of tea I feel Mind: Path to Thalamus would stand well just on its mechanics alone, with the inventive mechanics requiring more than passing glance to understand fully. It might not be a perfectly polished gem however Mind: Path to Thalamus expertly delivers on the goals it set out to accomplish and is definitely worth checking out if you’re a fan of the genre.
Mind: Path to Thalamus is available on PC right now for $12.99. Total play time was 3 hours with 48% of the achievements unlocked.