I’ve found myself stumbling across a lot more work from game developer students of late and I have to say I’m continually impressed at the work they’re putting out. To be sure part of it is because of my own history in trying to make games with mixed results although I do contend that they were crafted over a decade ago, long before Unity and its community were in existence. Still the fact that students make games is only part of it as it’s more about the quality of what they’re putting out which bears mention. Undefeated is a fantastic example of this as it manages to do what a lot of other, bigger budget titles fail to do: make being a superhero just plain fun.
Undefeated’s premise is simple: there’s a city in trouble and it’s up to you to save it. Initially this takes the form of beating down the hordes of rank and file bad guys who are getting in your way, stopping to help citizens in trouble as you do so for good measure. From there it turns into a kind of superhero anime where you’ll have to level yourself up through the ranks so you can take on the ever increasing threats to the city (mostly in the form of boss fights). In all honesty I went into this thinking I’d have yet another trash heap to review but, to its credit, Undefeated managed to get me hooked no less than 5 minutes into the game.
Visually Undefeated is quite simple, retaining that default “Unreal engine” feel that many games built on the platform have when they use assets from the store. The UI does appear to have been given some love though, mostly to give it that very distinct Japanese UI design that lovers of JRPGs and other such titles seem to favour heavily. This simplicity means that the game runs buttery smooth and will quite likely do so on pretty much any platform you care to throw it at. However it’s not the visuals that makes this game, it’s the rapid pace and careful selection of mechanics that makes it so gosh darn fun.
You’re immediately greeted with a game that looks a lot like the Earth Defense Force series of games but plays a lot more like Prototype. The basic premise is you’re a superhero that can fly, has super strength and is lightning fast. This means that you’ll be zipping from point to point, beating the living heck out of something before moving on. It sounds simple but the execution is spot on, giving you this feeling of being completely unrivalled as you tear your way through streams of enemies. The two mission types follow the same trope, either having you blow up a bunch of stuff or flying through rings. There’s also minor events which will spawn every so often, usually just another bunch of bad guys which you can take out in a couple hits.
Then there’s the boss fights which are where the game’s challenge really starts to kick in. Instead of you having a health bar it’s actually the city and the challenge comes from stopping the boss from doing damage to the city whilst you try to pummel them down. Each one of the bosses is another big step up in difficulty from the last one, with every one bar the first requiring at least some kind of strategy to take them out. It’s at that point where the game starts to struggle a bit as the shine wears off and the game’s more egregious errors start to come through.
Of course they’re the kind of things you’d expect from a small group of students working on their very first title. The controls can feel a bit janky at times, your character not responding exactly how you’d expect him to. Hit detection could also use a bit of work as it doesn’t seem to be 100%, especially with the boss fights (like trying to put out fires). The camera also routinely loses your character when he’s zipping around certain things which can make some challenges far more difficult than they were intended to be. The control scheme is also somewhat unintuitive, although I’ll admit to not having played a great deal of Eastern titles so it could feel a lot more natural to those who do. Overall these are all fixable things and they’re easy enough to ignore to enjoy a good chunk of the game.
Undefeated is a fantastic example of the results you can get when you focus on the fundamentals of what makes your game fun. Sure the graphics aren’t the greatest and there’s a bunch of rough edges that need polishing but the core game play is just, well fun. The fact that a handful of students from Japan were able to recreate the fundamental game loop of some bigger AAA titles is honestly quite astounding and I hope the team that put this one together has a serious look at building out a fully fledged title.
Undefeated is available on Steam now for free. Total play time was 33 minutes.
Games that play with colour, whether it be from the basic idea of restoring it to your world (ala Gris) or the more advanced mechanical based ones like Antichamber, have held some significant fascination for me. I’m not quite sure what it is though as it’s not like I’m obsessed with colour in other aspects of my life. So you can likely see why Discolored caught my attention when I was trolling the Steam discovery engine looking for a game to review this week. Whilst the concept was enough to draw me in the execution however is sub-par, it’s simplistic mechanics, lack of any story and general lack of polish made for a rather unsatisfying 75 minutes of game time.
The game’s plot is extremely simplistic; telling you that there’s a diner somewhere that’s lost all its colour and you’ve been sent to investigate. The game doesn’t have any further dialogue or items in the game that’d point as to why that might have been the case, nor does completing any of the puzzles reveal any further insight about that. Now I’ve played my fair share of games that tell stories through unconventional means but Discolored seemingly wants you to believe it has one without actually putting any effort in to develop it. This only makes the game’s ultimate conclusion even more confusing as it offers up no explanation nor real conclusion to your time spent there.
The game’s graphics are…ok, something which usually is neither here nor there but looking at the developer’s webpage it’s clear that he’s capable of producing far better art and assets than what has been included in the game. I can likely hazard a guess as to why: simplicity on the graphics end belies the complexity he likely encountered when trying to code for enabling/disabling the different colours. That’d explain why most of the surfaces are completely flat and untextured and why most of the assets themselves are very basic. Still given the fact that the colour mechanic itself is basic and not particularly interesting I’d honestly say he would’ve been better served toning down the mechanic and focusing on the visuals and story a little more.
Discolored’s mechanics focus somewhat around the idea of restoring colour to the world but for the most part it’s your run of the mill puzzler. None of them are particularly difficult but you’ll likely hit a few walls where you and the developer’s chain of logic part ways. This isn’t helped by the fact that the hit detection is a bit wonky and 90% of the time when I was stuck on something it was when I had clicked on a particular object and it did nothing, necessitating me finding the right angle to actually get it to work. You’d also think that switching or combining different colours would be a major mechanic that the game focuses on but it isn’t, only coming into play a couple of times before the game runs its course.
There’s just nothing really about Discolored that stands out as a reason for you to play it. The mechanics aren’t inventive or novel, the graphics are below average, there’s not a skerrick of a story to be had and the soundtrack is so forgettable that I can’t even really remember if there is one. I was kind of hoping for a new take on the “restore colour to the world” trope but found a very basic puzzler that does little to make you want to keep playing.
I went into Discolored without any expectations really, just looking for a game to tide over the blog between the larger reviews. What I found was a below par game that, given the credentials of the developer, could have been a lot better. The only standout feature is that it’s short so you’re unlikely to waste a great deal of time stumbling through the ham fisted puzzles, gawking at boring graphics or trying to remember if there was a soundtrack or not. To the developer I have this to say: build a game around your strengths. It’s obvious you’ve got skills in 3D artwork, start from that basis and work up.
Discolored is available on PC right now for $11.50. Total play time was 75 minutes with 84% of the achievements unlocked.
It’s that time of year again when the big name publishers start dumping title after title on us in an unrelenting wave until the end of the year. In the past this just meant I had a good amount of review fodder available, able to dump a good number of hours into each game as they came out. Now though? Not so much and so I still find myself on the hunt for short, typically indie titles to bridge the one game per week routine whilst I whittle away at 1 or 2 of the big name titles. This week’s title is A Short Hike, a title that came to me via the new discovery engine and is an interesting blend of exploration mechanics with light story elements that make for a wonderful casual experience.
You’ve gone to visit your aunt at Hawk Peak Provincial Park and, like any good remote location, there’s no cell reception at her hut. You’ve been expecting a call from someone though and so, on the advice of your aunt, you start the trek up to Hawk’s Peak summit. Along the way though you’ll meet a lot of interesting characters, all of whom have come to the park for varying reasons. Of course you can’t simply just climb to the top, no in order to make it to the very top you’ll need to complete a series challenges, often with the help of others. You also don’t need to rush to the top either as there’s plenty more to the park than just it’s summit.
A Short Hike has a unique visual style that’s reminiscent of isometric games of yesteryear. It’s deliberately down-res’d with the number of pixels on screen being artificially capped at around 640 x 480 and then upscaled to your screen’s resolution. This means that on the surface it very much has this retro feel to it but there’s also this undercurrent of other things that give away it’s modern underpinnings. Initially I was a little annoyed with it, the low resolution initially making it a little confusing visually, but it didn’t take long before I got used to it and then it’s really quite enjoyable. The visuals are also backed up by a great soundtrack which is only let down a little by the stock foley work. Still in terms of general craftsmanship A Short Hike is definitely up there in terms of quality.
Whilst the main goal of A Short Hike is to reach the summit really the main aim of the game is to just explore the park. The main mechanic is the golden feathers, a mechanic inspired by the stamina wheel in Breath of the Wild. Each feather allows you to do a mid air jump, run longer distances and climb any surface for a limited period of time. The game is designed in such a way that most places are accessible with a minimal amount of feathers and so the additional ones usually open up shortcuts that weren’t available to you before. Once you’ve got 6 or so you’ve basically got access to the entire island, including the summit, although I admit that having a few more does make it a lot easier to reach the summit as that final stretch doesn’t leave much wiggle room for mistakes. As you climb up you’ll encounter a bunch of NPCs, most of whom will have a quest for you or a small amount of flavour dialogue. This simplicity makes it easy to get into and enjoy the act of exploration.
Your view of the park is constrained a little bit more than what I’d like but this does make the world feel a lot larger than it really is. Initially this does make it a little hard to figure out exactly where you are in the world, especially considering that the camera is on rails and can sometimes whip around in an ungodly fashion that’s sure to disorient anyone. Still despite these two shortcomings it’s still very enjoyable to make your way around the park, getting familiar with all the locations and figuring out how best to make your way around. Once you’ve got a few feathers under your belt the island really starts to open up and it doesn’t take much to get anywhere. It’s at that point you’ll likely make for the summit which then gives you a really good opportunity to see more of the world.
The story is very light on, told through little scraps of dialogue between you and other characters in the game. There’s no real depth to many of the interactions, with them either being setups for quests or just commenting on the park itself, but there’s enough in there to give you the feeling that this is a well loved place. The small parts of the main storyline are pretty heartwarming too which just adds to the overall nice feeling that A Short Hike has.
A Short Hike is a wholesome exploration adventure, one that doesn’t ask much of the player but delivers a lot in return. The crudely rendered but artfully developed world is a lot of fun to explore and with the narrative kept light and brief there’s not much to distract you from doing just that. There’s a few small drawbacks, namely the constrained view and camera that could be a little better done, but overall the game and the world within it is realised well. If you’re suffering from epicness fatigue from all the AAA titles coming out of late then maybe it’s worth taking the time for A Short Hike.
A Short Hike is available on PC right now for $11.50. Total play time was 76 minutes with 37% of the achievements unlocked.
Portal is mostly remembered for its mechanics, and rightly so given how revolutionary they were at the time, but its storytelling was just as influential. Nearly all of the games that seek to capture some of Portal’s mechanical magic will also attempt to put their own spin on the omniscient AI who’s running you through experiment after experiment, with or without the added sarticial element. Gravitas, whilst not really innovating or providing anything particularly new from a mechanical perspective, did manage to make its story lighthearted and universally appealing. In this age of endless soulless clones of every popular title it’s somewhat refreshing to see one that’s given some good thought to the kind of experience they wanted to player to have beyond just the simple mechanical level.
Gravitas puts you in control of a mute protagonist who finds themselves on their way to a space station that’s home to the Gallery of Refined Gravity. There you meet the Curator, a small floating robot who’s spent an unknown amount of time building all sorts of puzzles that involve manipulating gravity and he very much wants you to experience them. So begins your journey into the weird and wonderful world of an AI who’s been left to their own devices for far too long.
Developed on the Unreal 4 engine Gravitas’ visual style is pretty basic favouring simple textures, basic lighting elements and uncomplicated level design. It’s certainly not a bad looking game but it does feel like the majority of the assets have come from the Unreal store, which isn’t a bad thing per se, it just makes the game feel somewhat generic. Still I don’t think the main focus was on the mechanics however, with the story elements being much more fleshed out. Overall Gravitas’ graphics aren’t terrible and don’t distract from the experience.
Mechanically Gravitas is your typical platform puzzler that relies on a certain trick mechanic, in this case being the use of a “gravity glove” that allows you put down columns of manipulate gravity that pull things, including yourself, towards them. Puzzles consist of most of the standard tropes for this genre: getting blocks from A to B, moving things around so you can get to the next room or blocking off deadly obstacles so you can pass through. If you’ve played any of the multitude of games in this genre then none of the mechanics will be much of a surprise, or challenge, to you and you’ll likely be able to complete most on the first pass.
However it’s the story and its performance by the voice actors is what makes Gravitas worth playing. Whilst the narrative isn’t anything new it’s still thoroughly enjoyable, striking the right balance between its satirical and sinister parts. It’s also well paced with the only real breaks in the story coming when you’re working your way through the puzzles. Given that most of them can be solved pretty quickly this means the story keeps going on at a steady pace throughout the game’s short play time.
Gravitas is one of those rare short indie games that gets the storytelling right, ensuring that the core gameplay loop doesn’t get in the way unnecessarily. The mechanics are simple and unchallenging, ensuring that you’ll maintain a good pace through the game. It’s short play time works to its advantage too as much longer would see a lot of the comedic elements wear thin and the basic game play would then become more of a chore than anything else. Hopefully the success that Galaxy Shark Studios has found here with its first title will give them the confidence to try something more ambitious next time around.
Gravitas is available on PC right now for free. Total play time was 51 minutes with 50% of the achievements unlocked.
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.
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.
Games built by students are, for the most part, completely terrible. Many of my friends went into game development courses and the games they developed as part of them were clunky, god awful messes that never made it onto their resumes. That’s part of the learning experience though as it’s one thing to play games and think you understand how they’re crafted and a completely different thing to actually sit down and do it yourself. With the democratisation of game development and distribution tools however we’re starting to see more games from students that will likely become the foundation upon which their creators look to build their future careers. Burning Daylight, made by a team of 12 students from The Animation Workshop, is likely to be one of those games as, whilst far from perfect, it does showcase just what that team is capable of producing.
Waking up naked in a grotesque slaughterhouse, you have no recollection of who you are or where you come from. Your only clue is a mysterious tattoo on your chest. You must now escape and travel through a dystopian society in order to uncover the mysteries of your origin. The story is set in the future where life cannot sustain outside, what remains of human society, now lives in megastructures waiting for the day, when they once again can live outside.
Burning Daylight’s artwork is quite an interesting array of barren dystopian corridors, oversaturated neon futurscapes and minimalistic nature scenes. Given that the game is really just a walking simulator these different landscapes are mostly just there for you to get a sense of the world you’re in, giving you different views of what life in the the giant megastructure is like. The artwork simplistic but still above par for what I’d expect from an all student team. The animation could do with some work though as all the interactions feel incredibly stiff and unnatural. Strangely the team did a good job of making the Unreal engine feel like Unity, something about the modelling style and lack of overused specular maps. All things considered though Burning Daylight does a good job of communicating story elements through its visuals, a key concept in walking simulators like this.
There’s really no mechanics to speak of, save for a few extremely rudimentary puzzles that you’ll have to solve. That’s likely for the best too as the ones that are implemented are a little janky, both in their implementation but also in their logic. Indeed whilst I’d consider the visuals above par the rest of the game’s implementation is very mediocre. The game crashed on me once and for some reason didn’t record that I’d actually gone past a checkpoint, forcing me to replay an entire section for no reason at all. In a 45 minute game this is no real drama of course but it’s not like checkpointing is a NP hard problem.
The story is an interesting one, told mostly though the activities of those milling around in the background as you run past. It’s nothing original but thanks to its short duration it gets right to the point. There’s some overemphasis on things that don’t mean anything to the overall story, like your character being naked from the waste down for half of it, but thankfully you can ignore them. The story in the game is self contained however the Steam page paints a picture of a bigger world that I think the developers want to explore. Given the game’s success I think there’s a real possibility of that happening.
As a standalone game Burning Daylight isn’t much: a 45 minute walking simulator experience with good artwork that’s marred by its janky animations and rudimentary mechanics. However what it represents is something much more: students can now go from concept to public release, giving them real world experience that they can then leverage into something more. Whilst Burning Daylight isn’t exactly game of the year material it is a solid first try from those who’d never attempted the craft before.
Burning Daylight is available on PC right now for free. Total play time was 47 minutes.
The one thing I’ve always hated about most Metroidvania games is when they show you something that you’re not able to access with your current abilities. Often this manifests extremely early on as you explore the level only to find there’s a part you can’t get to with no indication of when you’ll get the requisite ability to explore there. Quite often those areas aren’t even necessary for you to explore, just a bonus or something, so their inclusion is merely to draw you back to earlier levels. To be fair there are some examples where this is done well, the revisiting of the level being driven by story or other mechanical elements, and for those I have far more leniency. I tell you this mostly preface my thoughts on Supraland as it’s this particular mechanic, as well as a handful of other issues, that made this a game I didn’t want to play past a couple hours.
The Steam store page for Supraland proclaims, among many other things, that the story is “minimal” and that’s absolutely true. Whilst the premise is quite cool, all the characters are toys in a kid’s sandpit, the plot itself is ridiculously basic: you’re the red guys and the blue guys have shut off your water supply and it’s up to you to turn it back on. However to actually get to the blue guys you have to make your way through numerous different challenges, many of which will require you to upgrade your equipment and skills in order to do. I’ve read elsewhere that there’s a little more too the story later on in the game but it does nothing to expand upon it at all, save for having little dialogue instances between NPCs which have nothing to do with the plot at all.
The graphics of Supraland are heavily stylized and simplified, giving it a very cartoony feel. The developers have managed to avoid the typical Unreal engine game feel, keeping the use of specularity to a minimum. There’s a heavy use of depth of field which is supposed to give you the feeling that you’re a very small being in a large world. To some extent this works however it can have the effect of simply making everything disorienting like in the screenshot below. The issue here is, of course, perspective as whilst the game touts that it only has a tiny map of 9m2 that’s somewhat meaningless if you’re scaled down in size. So try as you might to make it feel like a small world with tiny people it’s going to end up feeling just like normal anyway, no matter how much you try to use depth of field or tilt shifting to change that.
Supraland bills itself as a combination of games like Portal, Zelda and Metroid which is horrendously disingenuous as it’s much more akin to the run of the mill indie puzzle platformers we’ve seen many of over the past decade. To be sure there are elements that you could say are borrowed from each game: the platforming from Portal (although that’s a stretch), the semi-open worldedness of Zelda games and the reexploration mechanic from Metroid. Realistically it’s just a bog standard first person puzzler with a tacked on RPG progression system. There’s really nothing wrong with that but the appeal to authority of titles with much greater pedigrees is what’s getting me. Honestly I was going to write this off as just your average indie puzzler until I reread the Steam page but now I feel compelled to point out all the faults given that it thinks it’s a combination between 3 of arguably the most influential titles in the puzzler space.
The combat is simple and implemented poorly. There’s really no nuance to it at all with enemies just running directly at you or standing dead still whilst they shoot from you at a distance. There’s also no way to block so you’ll likely end up dying to the first enemies since their melee range is the same as yours and there’s nothing you can do to stop them from hitting you. Once you get the gun you can basically just kite everything around but in its default form it’s annoyingly slow. Not that you’ll be wanting for upgrades for long though, even with rudimentary exploration you’ll be unlocking the upgrades in no time flat, even with the requisite barrel running task that serves no other purpose but to burn more of your time. But let’s not judge the game based on the one attribute which it doesn’t trumpet the most, let’s take a look at its puzzles and exploration.
The puzzles are incredibly simple, most of which you’ll solve pretty much straight away without too much of a thought. Others are easily solvable with emergent behaviours that the developer hasn’t taken into account, like being able to bypass entire sections of the game by walking on terrain that hasn’t been properly walled off. This only gets more ludicrous the more mechanics you have access to, giving you all sorts of means to break the game and bypass core game mechanics. This would be fun if it weren’t for the fact that it also means that there’s a certain level of gank to puzzles you can’t bypass, necessitating replaying certain puzzles over a few times in order to get them to complete properly.
Exploration is rewarded, although most of the time it’s just a few coins hidden around a corner or somewhere else rather obvious. The other parts are, of course, hidden behind mechanics you don’t yet have access to, something which will necessitate you trudging all the way back through the levels in order to get back to it. There is a rudimentary fast travel system however you can’t access it from a map (I don’t believe there is a map, actually) and it takes a good 20 seconds for it to travel you somewhere. This makes retreading ground a pretty annoying experience and, given that most of those hidden rewards are just basic upgrades, there’s no real compelling reason to do so.
It’s for these reasons that I didn’t find myself drawn back to playing Supraland after the first night I sat down with it. The fact that most of the work was done by a single developer is commendable but the marketing of it could not be further off the mark. The game is simplistic in all the wrong places, making combat a chore, puzzles easily waltzed through and the prospect of going back to retread old ground something I don’t think any sane player would want to do. Of course the reviews on Steam paint a much different picture and so it’s quite possible I’m on the wrong side of the fence for this, but in all honesty I simply cannot see what others find enjoyable in this game.
Supraland is available on PC right now for $28.95. Total play time was 2 hours with 27% of the achievements unlocked.