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.
Superliminal and I have some interesting history.
5 years ago there was a video of a perspective based game doing the rounds, one that many people regarded as being the next evolution in games after Portal. There were even rumours that the game which gave rise to the demo was actually playable however looking at the developer’s website no one could find a link to it anymore. So, like the good Internet citizen that I am, I started digging around and eventually uncovered the still active link that the developer had hidden. Not wanting to blow up their server (which is what I assumed the reason was for hiding it) I downloaded and rehosted it on this very blog, telling a few people on reddit about it so they could have a crack at it. Little did I know that, from that point on, I’d become the single source of the demo the world over.
Fast forward a couple years and, for reasons I can’t remember, I was looking for that link again and started Googling my own site to find it. Curiously though I started to find references to it everywhere, some even on YouTube videos that had racked up millions of views. Now I never really noticed anything on my end, my hosting is all done elsewhere and the bandwidth consumed was never that large. I did feel a little miffed though, figuring they could’ve at least given me a shoutout. I have however since learned that the devs said that they’d prefer people don’t play that one anymore, given how far their actual game, Superliminal, has come in the interim.
For what it’s worth guys, apologies if I’ve caused you anything untowards for rehosting it. Because honestly they’re right, Superliminal is far and away the better game.
As you fall asleep with the TV on at 3AM, you remember catching a glimpse of the commercial from Dr.Pierce’s Somnasculpt dream therapy program. By the time you open your eyes, you’re already dreaming – beginning the first stages of this experimental program. This is a world where perception is reality, where how you view things is just as important as how you interact with them. The puzzles put before you are meant to reframe how you perceive the world around you, forcing you to think of different perspectives that you might not otherwise consider until you were forced to confront them.
Visually Superliminal has a very standard Unity feel to it with many of the assets looking like they came from store packs. There’s nothing wrong with this, just that everything has this kind of bland feel to them with their unoffensive, basic construction. No doubt part of this is to try and combat some of the rather severe performance issues the game suffers from, most likely due to the intense calculations required for some of the game’s more unique mechanics. The level design is good however with the run of the mill assets turned into visual marvels through the incredibly inventive use of perspective, quite often getting a good chuckle out of me for how they’d managed to twist my own view of their world against me. I guess you could call it more of a cerebral experience than a visual one.
When the team from Pillow Castle Games first demonstrated the idea it was definitely an unique one; the idea that your perspective of objects influenced their size in the real world. Funnily enough this isn’t the first game I’ve played that has this mechanic, the other being the absolute horrorshow of a game that was Elementium. However the perspective mechanic isn’t just limited to objects that you interact with, it extends to numerous parts of the world, often parts that you wouldn’t expect. The devs have gone to great lengths to create visuals that on the surface look one way but are completely different when viewed up close or from a different perspective. For someone who’s played enough of these kinds of games it’s rare for me to be surprised by perspective tricks like this but Superliminal managed to do it often, even right up until its final moments.
The puzzles built around this mechanic are mostly simple endeavours, mostly focused on being in a single room with a few tools at your disposal to find your way out again. They’re made somewhat easier by the fact that objects you interact with, which therefore have some kind of special property associated with them, are very limited in any one space. There’s no puzzles that require you to bring in objects from previous areas or any other kind of non-linear puzzle mechanic that will spin you out. There are a couple where the mechanic isn’t well introduced and can lead to some horrendous confusion if you can’t figure out the logic path but nothing that’s more than a video or two away from realigning your internal logic compass back to the developer’s.
The game does have quite a few rough edges though, most of which I think are due to the novel nature of the mechanics which introduce all sorts of wacky edge cases that are going to be hard to come across in internal playtesting. The performance issues are something I didn’t expect, even on my now older rig, and I’m sure it’s to do with some objects getting their perspective calculated when the player isn’t interacting with them. Indeed the performance issue disappeared completely in sections where there were little or no objects to interact with. The game’s implementation of portals and other teleport mechanics is a little janky, freaking out in the weirdest circumstances and sometimes sending you right through the world. Strangely Superliminal also suffers from the same issue Elementium did, whereby some objects continue to scale themselves when they’re outside your vision. I don’t doubt that this is due in part to the object being flagged as “interactive” when you pick it up and that flag isn’t turned off until it stops moving. You can also completely ruin certain puzzles if you’re not careful, either making objects too small to interact with or just straight up putting them somewhere you will never be able to reach. Most of these problems are just a checkpoint restart away from being fixed but just be warned that there’s still a lot of rough edges to be found here.
MINOR PLOT SPOILERS BELOW
The story spends an awful lot of time in the standard “subject trapped in a mad scientist’s experiment” trope that was made popular by Portal all those years ago. Indeed that’s one of the game’s most distracting features as you feel like you’re playing with a B-grade GLaDOS and the plot reveals itself in a rather predictable way. That changes right in the game’s final stages though when the main narrator begins to talk to you directly about why the experience was crafted that way. In a way it’s a subtle play on the game itself, setting you up with a perception that’s influenced by your biases and then flipping it on it’s head in order to give you a new perspective. Up until that point I was pretty much settled on Superliminal being a “good but not great” kind of game but it really won me over in those final moments.
PLOT SPOILERS OVER
Superliminal brings with it a new breed of game play that’s sure to have its share of imitators from here on out. The perspective mechanics are numerous, each of them playing on how we perceive things in order demonstrate how that can be twisted in fun and interesting ways. Even with it’s rather long development cycle though there’s still a lot of rough edges to be found, although I’m sure that over the coming months many of these issues will be stamped out. The story, in its summation, is a beautiful meta-commentary on itself and it’s final moments round out the game perfectly. I honestly can’t wait to see where Pillow Castle Games goes to from here.
Superliminal is available on the PC right now for $19.99. Total play time was approximately 2.5 hours.
Despite its initial shortcomings I did end up spending quite a bit of time in Black Ops 4, the gun play being good enough to keep me interested for far longer than I had originally anticipated. I was even playing over the christmas break, reveling in the time when all the new players came on board and I could have my fill of lobbies overflowing with people who weren’t running builds as highly optimised as mine. Of course over time it got reduced back to the stable player base, the one that is typically far more skilled and, as a consequence, much more challenging to play against. Honestly though that’s COD and I’m fine with it as by the time that happens there’s usually another title coming along I want to dig into.
I never actually played the original Modern Warfare, only coming into the series when the sequel came out. I figured if it followed the formulas of the latter, mixed in with a little bit of the nostalgia for the characters and the story, then we’d likely have the makings of a solid COD entry. Whilst that’s mostly true for the campaign I can’t say that there’s any aspect of the multi-player that’s really grabbed me and I really don’t have much motivation to find out if I ever will.
In 2019, during a covert operation to recover shipments of dangerous chemical gas headed for Urzikstan, CIA SAC officer “Alex” is intercepted by unknown hostiles who kill the Marine Raiders accompanying him, and escape with the gas. Alex’s handler, Station Chief Kate Laswell , requests the assistance of SAS Captain John Price in recovering the chemicals and de-escalating the situation with Russia. Twenty-four hours later, a group of suicide bombers, affiliated with the terrorist organization Al-Qatala, attack Piccadilly Circus in London. SAS Sergeant Kyle Garrick is dispatched to contain the situation with the assistance of Price and local police forces.Afterwards, Alex is sent to Urzikstan to meet up with rebel leader Farah Karim, who agrees to join forces in tracking down the chemicals, in exchange for his aid in overthrowing Russian forces led by General Roman Barkov.
COD is always this rather odd mix of cinema level visuals in their cut-scenes which is then strongly contrasted by the not-quite-cutting-edge visuals of the game itself. This is a design decision of course, done in order to keep the game running smoothly so that your fast-paced action adventure doesn’t ever turn into a slide show. It’s also interesting to note that this Modern Warfare also brings with it a new engine as the previous one had been powering COD games since 2005. Apart from it being the engine for COD going forwards there’s scant details about what it actually improves, apart from 4K support.
Some of the levels are quite well done, although most of them are unfortunately shown at night so you don’t get a real chance to appreciate them. The game still suffers from the usual visual confusion that goes on with these kinds of games with enemies blurring into the scenery and background objects. Over time you do get used to it somewhat but after getting hit for the thousandth time from something you can’t see it does start to get a little old. Other than that there’s not much to say about Modern Warfare’s visuals, they’re just fine.
Modern Warfare follows the standard corridor shooter tropes pretty closely with only a few little different bits here or there to show off a new mechanic the game has or to have you play through what’s effectively an interactive cutscene. The single player campaign is straightforward, offering you no influence over how the story progresses and continuing at a rapid pace throughout. There’s been a ton of work in the multiplayer with the revamped Ground Warfare mode (which used to be just larger teams for the standard game modes) feeling an awful lot like Battlefield’s conquest mode. Really there’s not much more to it than that and so if you were a fan of the original then it’s a pretty good assumption to make that you’ll like this one too.
Combat is the same as it always was, fast paced with a hail of bullets always coming your way. There are times when the combat just flows and you’ll find yourself stomping your way through a level without much being able to stop you. Then there are the times when you’ll get nailed time after time by something until you figure out the exact sequence of events you need to do in order to get through. It can be a little jarring at times when it feels like the game is pushing you to rush but doing so quickly ends up with you dying. Of course the game is running completely at your pace and does a lot to baby you through sections. Indeed it got so bad that at one point I started seeing just how far the limits were on certain things like walking into trip mines when they ask you to defuse them (protip: that doesn’t work). Still I don’t play COD games to be respected and challenged as a player, I play them so I can shooty shooty hurr durr gooooooooood.
When it comes to COD games I’m a rusher. A dumb, low skill build rusher. I play that way because COD is one of the few multiplayer shooters that enables people like me to play in this way with the tiny maps, near instant respawns and certain guns that just shred people up close. This time around though it seems like they wanted to expand the map sizes a bit more and downplay the rushing angle considerably, making my kind of playstyle not particularly viable. That’s also due to the current meta which is focused on 2 guns, the M4A1 and the 725 shotgun, both of which shut down rushers pretty damn hard. I tried my hand at Ground Warfare and I honestly just found it too frustrating to play, the large maps with numerous sniper nest spots making it a game mode that just held zero interest for me. Now given I never really got into COD multiplayer much back in the day this might be a return to form for the series, I don’t know, but one thing I do know is that this isn’t the kind of COD I like to play.
The story is fine, yet another grab bag of various war stereotypes thrown in together to give you a bit of motivation for killing the bad guy of the day. I won’t comment on the politics of the story as that’s already been done to death by multiple different authors who are far more qualified than I to comment on it. Really it’s par for the course for COD games: pretty predictable with some memorable characters and it sets up for a sequel in the most obvious fashion it could. Suffice to say I’ll be interested in comparing and contrasting COD: MW2 to its decade old predecessor.
Call of Duty: Modern Warfare is exactly what you’d expect from the series today. Everything follows the pattern that’s been well trodden before with the changes coming in the multiplayer, most of which are for the worse in my opinion. However I might not be the kind of COD player that this instalment was catering to as I’m very much a fanboy for Treyarch more than I am for Infinity Ward. So really there’s nothing particular wrong with this instalment in the franchise, it’s just that the changes they’ve made to formula aren’t to my taste this time around. Who knows, maybe next time they will be, and it’s not like I’ll have to wait long to find out.
Call of Duty: Modern Warfare is available now on Xbox One, PlayStation 4 and PC right now for $99.95. Game was played on the PC with a total of 8 hours play time.
Destiny 2 has remained unplayed since I finished my review of the Black Armory DLC, the mini-content drops not being anywhere near enough to tempt me back to the fold. When I started hearing rumours of Shadowkeep though I was hopeful for another injection of content like Forsaken; something to shake up the formula a bit and provide enough incentive for me to invest some solid hours back into Destiny again. The reality isn’t quite like that even though, given that I haven’t played for almost a year at this point, the number of changes to Destiny 2 in the interim are on par with those that Forsaken none of them are really focused on a player like me. Couple that with Shadowkeep being a new breed of expansion that’s not dependent on previous releases, set on a previous location from Destiny 1, you’re left with this weird mix of new and old. To be sure it’s far better than the mini-DLC drops that come with the various season passes but it’s lacking that same X-factor that really sucked me deep in with Forsaken.
Eris Morn has ventured deep into the caverns of the moon, seeking out a strange energy signal that’s been scratching away at the edge of her mind for some time. The Hive have also reawakened on the moon, having been dormant ever since the guardians slew Crota which brought the wrath of Oryx to our solar system. It’s down here that you discover the Pyramid, a relic of the time when the darkness was encroaching on our world, only to be pushed back at the last moment by the Traveler when it forged the guardians. Now horrendous nightmares of all sorts roam freely across the solar system, tormenting everyone with visions of close ones who’ve passed and bringing back shadows of fallen enemies. It is time once again Guardian to venture into the unknown and face the purest form of the darkness you’ve yet encountered.
Shadowkeep doesn’t bring with it any visual upgrades per se, however it does take the old Moon world and revamp it significantly. The same areas that I spent countless hours farming Helium Coils in are now far better rendered than I ever remembered them being before. That’s likely due in no small part to me playing it through a not-so-great capture card from my PS4 but still, the difference is night and day. The game still runs incredibly well, even with the newer encounters that throw insane numbers of enemies at you. After coming off The Surge 2 I had the terrible thought that my rig wasn’t really up to graphics like this anymore but thankfully I was mistaken.
If you’re like me and only just coming back to Destiny after some time then there’s going to be a slew of changes thrown at you, a lot of which are utterly meaningless in the grand scheme of things. The numerous events that have happened between then and now are still around such as Gambit Prime, the Vex Invasions, the Forges and a bunch of other things that I’m probably forgetting. The UI changes are definitely for the better, even if my muscle memory of where things used to be is now useless making some interactions an exercise in frustration. The light cap is now theoretically unlimited due to the introduction of an “artefact” item which everyone gets, adding to your power level as you gain XP. However the main caps are 950 for most gear and then 960 for “pinnacle” level loot which is essentially supposed to be a grind for those players who really need something to do. However given the fact I’ve seen numerous 960+ characters already shows that it’s not really that bad if you’re committed to it but the grind for us single character, not a lot of time to spare guys is going to be a lot tougher unfortunately.
There’s no changes to the underlying combat, that’s as great as it has ever been, but the stat and mod system has been reworked substantially. Now we’re very much into RPG territory as there’s a bunch of stats to min/max, mods to use in varying combinations and encounters that will demand you run certain builds in order to progress. This is something that the hardcore Destiny community has been requesting for sometime and so I don’t really begrudge Bungie for putting it in. For us plebs (and according to Wasted on Destiny at least half of you have played less than me) it does mean that part of the game is locked away from you behind a, thankfully somewhat easier, grind. Now I haven’t been playing since release, I think I’m into about week 3 or so, but I’m only up to light level 920ish with 20 hours in. My gut feel is it’s couple more weeks before I can get capped so I can raid. Whilst that’s not completely out of line with Forsaken what’s missing is that hook to keep me coming back. Forsaken had the ever evolving Dreaming City which was the perfect way to keep on motivating you to come back. Shadowkeep though? There’s really not much there, despite the massive reveal of the Pyramid.
To be sure there’s no end of stuff to do in there, hell I can easily lose a couple hours chasing down a couple powerful pieces of loot, but I’m not the kind of player where Destiny is my only game. If I had my way I’d definitely favour the older style system where getting raid ready didn’t take too long, a couple weeks of dedicate play for a single character solo player like myself, and then the optimisation for the raid would begin as you slowly amassed gear from it and honed your skills on the encounters. I know I’m likely in the minority of wanting something like that but if the grind isn’t going to provide me some level of satisfaction, either through meaningful progress or tidbits of lore and story, then I don’t have much else to drive me through it.
I’d probably be a little less pissy about it if the Pyramid wasn’t such a giant lore cock tease. For the uninitiated there’s been concept art of The Darkness floating around ever since the original Destiny and, you guessed it, it’s all about pyramids. To be sure there’s definitely something bigger brewing that’ll likely be revealed in this season’s DLC but I feel like this was a missed opportunity to use a massive reveal like that to create another Dreaming City like experience. Gargh, maybe I’m overthinking this.
Destiny 2: Shadowkeep is a kind of middle of the road expansion/DLC, not being a small content drop like Black Armory but still being nowhere near as big as Forsaken was. For those players who’ve been with Destiny 2 throughout the last year it’s likely the content injection they’ve been craving, a new set of goals for them to throw themselves against. For player like me though it’s probably too much and not enough all at the same time; the numerous little events that have occurred in the past year thrown at you all at once whilst the new shiny thing sort of blurs into the mix. Personally I’m a little disappointed in myself for setting my expectations so high but also at Destiny for not doing enough to meet them, even halfway. To be sure I’d prefer this kind of expansion over mini-DLCs any day of the week but I’d also rather spend a good chunk of change on a Forsaken like experience every year, if I was able.
Destiny 2: Shadowkeep is available on PC, XboxOne and PlayStation 4 right now for $54.95. Total play time in Shadowkeep was 20 hours putting the total time in Destiny 2 at approximately 191 hours.
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.
Sekiro rattled me a little bit, making me wonder if I was no longer “gud” enough to play these soulslike games anymore. Part of it is definitely time, I have a lot less of that to dedicate to challenging titles ever since I became a dad, but there’s always that lingering thing in the back of my head that’s telling me father time is catching up to me. So when I saw The Surge 2 appear on Steam I was conflicted, knowing that if I didn’t smash this one then it could be the beginning of the end for me with this genre. I’m happy to report that my fears were just that and I quickly found myself thoroughly enjoying the soulslike experience that Deck13 has built with this franchise. It’s still got some very rough edges however but if you can get past them what lies beneath is a pretty great game, one that’s definitely found a comfortable niche for itself.
Taking place right after the events of the original game The Surge 2 puts you on a plane that was enroute to Jericho city at the time of the rocket launch. Unfortunately your plane is struck by the rocket after it launched, sending it careening down on the outskirts of the city. You somehow manage to survive and are evacuated to a nearby medical facility. Months later you awaken to visions of a young girl speaking to you, calling her your warrior. You quickly find out that you’ve been put in a prison medical facility and it’s been thrown into disarray as a nanite infused beast tears through it, killing anyone in its path. With little more than a hospital gown and the remnants of your restraints for weapons you set out to find out why you’ve been imprisoned and what the hell has happened to Jericho city.
Deck13 has mentioned that there has been a lot of improvements made to the FLEDGE engine in order to support the larger, more open world of The Surge 2. For many that’s meant a marked decrease in performance, myself included. Indeed to start off with the game was aggressively down-resing, so much so that it was rendering in what I can only assume was 640 x 480. Fixing that made the game a lot more legible but it quickly became apparent that my rig wasn’t really up to the task. The first performance patch and a driver update addressed it somewhat, but it’s still clear that whatever is going on under the hood is either poorly optimised or requires a ton more grunt than my near 5 year old rig can provide. It’s somewhat of a shame given that The Surge 2 doesn’t look much better than its predecessor and that ran perfectly fine. Perhaps the improvements Deck13 made become more apparent at higher resolutions, something that only a really modern PC is going to be able to provide.
The Surge 2 is an evolution of its predecessor, streamlining the experience considerably whilst leaving the core game loop mostly intact. The same soulslike combat experience is back again, requiring you to learn the movesets of your enemies so you can pummel them down and lop off their limbs. Tech scrap is still the currency and main source of progression, levelling up your core power that will enable you to use better armour and mods. The drone is now more of a standalone mechanic in its own right, no longer using energy and instead having its own ammo and differing mods that provide a whole range of different combat options. What’s really changed however is the inclusion of the online social interactions that the Dark Souls series has become famous for, allowing for a limited set of interaction with other players by leaving messages and playing an interesting version of hide and seek. The world is also much more open than it used to be with a lot more options for exploration and a truckload more sidequests for you to tackle if you want. The improvements are very much welcome, even if the game still has a little ways to go if it’s ever going to be considered to be in the same league as the games that inspired it.
Combat retains the same structure as the original with you focusing on a particular body part to wail on (either for damage or to cut off to get their armour or crafting mats). It didn’t take long for me to get back into the swing of things although there was a good 5+ hours there where things were definitely a bit of a struggle. Part of this is due to the lack of options you have at that early stage of the game, limiting your ability to craft a build specifically designed to counter the challenges you’re facing. However this is a game where certain weapons, armour and mods are simply straight up better than others and as you progress through the game it becomes possible to construct a build that renders you untouchable within certain limits.
The sharp difficulty jumps are still here, although they were a non-issue for about 60% of the game after I settled on a build that seemed to be able to deal with pretty much anything that came my way. My weapon of choice was the double-duty style, specifically the spark disciple one that did added electric damage. It was possible to blow all my stamina on attacks before they had a chance to fight back and, most of the time, would net me a stun so I could then take a beat and begin it all again. To be sure there are some enemies where this was a sub-optimal strategy, especially those that couldn’t be staggered for whatever reason, but with the amount of energy that my build would generate I never had an issue out healing them before I could get a stun off and then finish them. Later on the only mods I made to the build was to swap out the electric weapon for a nano one when enemies were immune to electric damage.
Bosses were, of course, a different beast entirely as most of them would require their own unique build in order to get past them. Mostly that was to make up for whatever weakness I had in my playstyle that the boss was able to exploit, like my penchant for dodging over blocking or the lack of a particular resistance. There were a couple where I could just go ham on them with my default build and, shockingly, was able to one shot a couple of them without too much difficulty. The harder bosses though often challenged me to change up my playstyle a bit in order to be able to get through them, like the Delver which is an absolute nightmare to get past if you don’t know how to counter block correctly. I didn’t try any of the drone focused builds although I can’t say I wasn’t tempted for a few of them as being able to rain down hell ala Remnant: From the Ashes style was quite appealing.
The progression system feeds you a steady stream of upgrades to keep you going and is thankfully well designed enough so you don’t feel completely locked into the one build you’ve optimised everything for. Scrap is easy enough to come by, especially if you’ve got a solid route to run that allows you to execute a number of enemies along the way (which increases your multiplier for tech scrap generation). At the start you’ll most likely want to be dumping your scrap into your core over upgrading your gear as later sets of gear have a large core power requirement that you won’t be able to meet. Later on it’s all about upgrading your preferred set to the maximum whilst keeping an alternate set of gear at a similar level should you find the need to switch. That being said though crafting and upgrading is pretty cheap so if you find yourself needing or wanting another gear set it’s usually not going to take you that long to get it.
The new social system is good although it does seem to take out a massive part of the game’s challenge when everyone and his dog is putting up graffiti that points towards all the secrets that the devs have tried to hide. Sure you could still try to troll with them but given there’s a rating system for them it seems like all the troll ones have long since disappeared and the only ones left are the beneficial ones. I did quite enjoy the hide and seek mini game though as it was always fun to try and find places that players wouldn’t be able to figure out or those that others simply wouldn’t be able to get to. The tech scrap you get from that early on is a real lifesaver to, often netting you a free level.
Most of the issues of the past have been dealt with although a trove of new ones have sailed in to take their place. Alongside the graphics performance issues I also got some strange glitching that would often occur at game start and, every so often, in the game itself. It was obvious the game was running in the background but the game itself didn’t render correctly at all. The UI still worked and changing the resolution seemed to fix it. The game also crashed numerous times, sometimes for no reason and others for specific encounters with certain enemies. Some of the in-game interactive elements can take a few tries to work properly, making you wonder if you’re actually meant to interact with them at all. Pathing is still an issue, something that’s made all the worse by the more complicated environments. Most of the time it’s just funny but there’s certain times where my character inexplicably pathed off something or enemies got stuck on geometry and couldn’t figure out how to get themselves out of it. Suffice to say I think, given the fact that the series has now firmly established itself as an ongoing concern, Deck13 could spend a little extra time on polishing these various elements so that future instalments in the franchise aren’t so janky.
The Surge 2’s story is pretty straightforward, if a little forgettable and simplistic. Characters from the previous game (including the player’s character) make a return and knowing the previous story does help explain some of the more esoteric elements. However if this is your first foray into the world of The Surge then you’re not going to struggle to understand what’s going on as it’s a largely standalone narrative. The story also wraps everything up pretty nicely with some potential avenues for a sequel that were left there subtly rather than being shouted loudly at the end of the main narrative. The Surge 2 definitely isn’t a game you’d play for the story but it’s at least not a massive detractor from the game.
The Surge 2 is a solid step forward for the franchise, keeping quite a lot the same and refining the rest. The game has now carved out its own little niche in the soulslike genre, extending on the formula and defining its own little tropes. One of those is an unfortunate penchant for a lack of overall polish, resulting in some fundamental issues that Deck13 should have addressed before release. Beyond those issues however lies a game with solid mechanics that will challenge your skills as a player and reward them handsomely. I have no doubt that we’ll soon be seeing another instalment in this franchise and if they can make a similar level of improvements in that as they did here I can see them continuing on for a good long time to come.
The Surge 2 is available on PC, PlayStation 4 and Xbox One right now for $69.95. Game was played on the PC with a total of 22 hours play time and 59% of the achievements unlocked.
At this point I don’t think this game really needs any introduction…however…
I, like many innocent children, was the victim of a goose attack. Now the fact that I may have been antagonizing it with a friend of mine is largely beside the point, the fact still remains that a creature almost the same size as me chased me out of its territory with a series of loud honks and small nips at any part of my body in reach. Thus I came to the conclusion that geese are terrible, terrible animals and so when I saw a game that allowed you to be terrible as a goose I was immediately sold on the premise. So began an almost year long wait for it to come out and, whilst I was somewhat disappointed that it came out on the Epic Store first, I wasn’t going to let that stop me from tormenting others in the same way I had.
It is a lovely day in town and you are a horrible goose, set out to ruin everyone’s day. You have a mission, although that won’t be revealed to you until some time later, which in order to complete you have to make your way through the town proper. However it’s clear that this isn’t the first time you’ve been through here and the town is decidedly unfriendly to geese. From wary shopkeepers who watch your every move to barkeeps who won’t even let you in the door it’s clear that you’re going to have to do your geesely worst in order to get what you want.
Untitled Goose Game utilises a low-poly, low texture visual style that’s still all the rage with indie devs these days. The benefits of doing so are numerous: texturing is easier, the game will run on anything built in the last 10 years and you can hide a lot of mistakes and other mischief when you’ve got a bunch of solid colours lavishing everything. The animations, for everything except the goose, are decidedly low fidelity and are most likely hand animated. For a game whose main premise is all about mischief and mayhem the cartoonish art style fits in well.
Every level in Untitled Goose Game has a set of tasks for you to complete, the culmination of which will then allow you to move onto the next one. They start of pretty straight forward, mostly requiring you to get an item from A to B but the later levels require you to trigger certain behaviours which can be done in a variety of ways. This gives the game a kind of Hitman-esque feel to it as there’s always an obvious solution but every so often you’ll complete a puzzle in a really weird way and that will get you thinking about what you possibly get away with. The answer to that question is, surprisingly, quite a lot as the speed runners and glitchers have aptly demonstrated.
None of the puzzles are particularly challenging however, the most difficult of them mostly just amounting to needing to do something several times over or needing to wait for someone to path into the right spot so you can complete it. Unlike Hitman though none of the cycles are particularly long so you’re not going to be waiting around for ages in order to pull something off. For a casual game like this though I think that’s appropriate since anything too difficult would get in the way of the fun of Untitled Goose Game and there’s certainly enough of that to be had.
The game does have a few rough edges though, mostly stemming from the game’s level construction. Invisible walls abound everywhere and some interactions with the NPCs can see you get stuck behind or around them. It’s also possible to lose certain key items thanks to janky physics interactions although, thankfully, they’re all restored quickly upon a restart. The game could also be a little better at indicating when you’ve figured something out correctly but aren’t timing well, like with the old man in the pub with the dart board. I tried honking at what I thought was the right time multiple times over only to have it not work for some unknown reason. It finally worked on the third try though, oddly enough.
Really there’s not much more to say about Untitled Goose Game other than I think it’s just good fun. It’s not often that you come across a game that does so many things well, especially from a small indie studio with only a single other game under their belt. Untitled Goose Game also doesn’t overstay its welcome either, clocking in at a mere 2 hours for a first play through. In all honesty this is a game I’d love to see on Steam with Steamworks integration as I think the community could have an absolute field day with building custom levels for it. Hopefully that comes in the future as I really haven’t had my fill of being a terrible creature in a sleepy Australian town.
Untitled Goose Game is available on PC and Nintendo Switch right now for $19.99. Game was played on the PC with a total of 2 hours play time.
The first 3 instalments in the Borderlands series came (relatively) thick and fast with there only being 3 and 2 years between the respective entries. Here we are now 5 years later and I, like many others I’m sure, have forgotten much about the Borderlands universe. So it was somewhat comforting that after the first hour or so I felt like I was right back where I was when I left the game last, the core game loop gets established early and you quickly figure out how to min/max your character. Considering that this core game play is what attracts and retains Borderlands fans I’m not surprised that Gearbox didn’t want to mess with it, but it does mean that for those looking for something new in the franchise are likely to be left wanting.
It’s 7 years after the events in Borderlands 2 (mirroring exactly the time that’s ticked over in real life since then) and the death of Handsome Jack has left a massive power vacuum on Pandora. In that time the Calypso Twins Troy and Tyreen have risen to power by unifying the various bandit factions under one banner: the Children of the Vault. They’ve done this by creating a massive personality cult, broadcasting their exploits across Pandora to their ravenous fans and inciting them to do their bidding. You play as a budding vault hunter who’s answered a recruiting call from the Crimson Raiders, led by the siren Lilith (one of the previously playable vault hunters). So begins your journey into the world of Pandora and beyond as you fight the Children of the Vault wherever they dare to tread.
There’s a substantial uplift in the graphics of Borderlands 3 compared to its most recent predecessor. A lot of this has to do with the fact that the previous one was still using the Unreal 3 engine and still retained support for previous generation consoles, severely limiting what Gearbox was able to achieve from a graphics perspective. 5 years and a new engine later show massive improvements across all areas although none more apparent than the lighting effects. This comes hand in hand with a completely revamped UI which is leaps and bounds better, both in terms of usability but also in its design. Indeed one of the first things I noticed was the subtle 3D effect applied to the minimap, something that makes a huge difference in navigating Borderlands 3’s large, complex levels. So whilst 5 years might have been a pretty long time between drinks for the series I’m glad to say, at least from a graphics perspective, it seems to have been well spent.
As I mentioned in my opening remarks in terms of how Borderlands 3 plays out you’re not going to see much change here. The same core game loop remains: head out on a quest or to a boss fight, kill everything you can, loot and hope that RNGesus blesses you on this day. There are 4 new character classes which, from what I can recall, are quite different to the previous offerings we got in other Borderlands titles. Probably the biggest difference now is that there’s quite a few different worlds for you to fight on, all of which have their own distinctive visual style. The real changes come in Borderlands’ end game as there’s been a few new mechanics introduced for those who want to up the challenge significantly in the hopes for some better loot.
Combat feels the same, maintaining the same fast paced action that the series has become famous for. It’s all highly dependent on the gun you’re using, of course, as some will absolutely trivialise everything whilst others will make your life a living nightmare to use. There’s still the old problem of the pacing being off slightly, starting off with you being woefully under levelled and needing a good helping of side quests to bring you up to speed. Past a certain point though you’re reliant on getting those guns that have some ludicrous combination of attributes that make them wrecking machines or just work well with your current build. You will get one in short order, no question about that, but then your play style gets centered around it and switching away from it is always a painful affair. It gets a lot easier when you can carry more weapons though as dropping one at least means you still have 3 that should hopefully still be useable.
I chose Moze, the gunner class, and for the first 5 hours or so it felt pretty…well dull. The action skill converts you into a mech which basically just gives you another life to throw away and possibly give you a chance to get some more ammo for your favourite gun. As the upgrades start to pile on though it becomes a much more powerful weapon, culminating in probably one of the most fun parts of the game when you get the nuke as one of its weapons. Whilst it wasn’t exactly great for boss fights it was stupidly good at clearing out rooms full of enemies, especially those that would hide behind cover or other equally annoying places. Other utility skills like having the robot go on autopilot for 15 seconds after you eject or the turret on the back (for co-op) just make it even more useful, ensuring that it’s not just a simple one and done ability. I’m sure the other character classes have a similar experience as the giant skill trees don’t exactly lend themselves to amazing gameplay right off the hop.
Indeed this is true for pretty much every aspect of the game as it’s clear that everything has been built up with a focus on the end game experience. Early game you’ll be struggling for everything: good guns, ammunition, backpack space, you name it. As you’re levelling up your quality of life will start ticking upwards and the game becomes immensely easier to play. Of course this all changes once you complete the campaign and you get the option to play through again on True Vault Hunter mode or go into Mayhem Mode which brings with it some Diablo 3-esque Rift action with randomised enemy and player benefits/challenges. If I’m honest though I’ve never really been into the end game of the Borderlands franchise and this one is no exception.
You see whilst I will admit that it’s always fun when you get an absurdly broken gun what I absolutely detest is the grind for them. You have to spend quite a bit of time grinding a boss and/or a specific area to get the loot you’re looking for and then it’s still at the behest of RNGesus if it comes with a good roll or not. I don’t mind this if there’s mechanics available to turn shitty loot into better loot or some way to fix a bad roll on a good gun. Borderlands 3, as far as I can tell, has none of this available so whatever drops is what you’re stuck with. That may make those god rolls more exhilarating for those who are chasing them but for this old gamer I’d rather not and so once the campaign was done I was pretty much out.
The story is good, leaning heavily on the large backlog of canon that the series has developed over the last decade that the series has been in production. Old characters make an appearance and whilst some are changed in appearance none of them have really changed in style. The light hearted, every line is a joke style writing continues in this instalment too and whilst there are times when you’ll groan at what the characters are saying there are numerous, genuinely funny moments scattered throughout. The writers also did a good job of building in several well developed sub plots that all tie off nicely. Of course they had to set up for yet another sequel, as if the mechanics for that hadn’t been established already, so I’ll have to take a point or two off for that. Still, an overall well constructed story that strikes that balance between the comedic and serious elements.
Borderlands 3 has been made with a specific demographic in mind: long time fans who relish the grind for the best guns. That means there really hasn’t been much innovation from a mechanics perspective but everything surrounding that has been given a solid amount of polish to make the experience just that little bit more enjoyable. Could they have done a little bit more to shake up the formula? Perhaps but I know several die hard Borderlands fans and they’re just fine with the game how it is and they’ll be grinding weapons until there isn’t a single pearlescent left that they don’t own. For those gamers it’s a perfect game. For me though it was a great blast through the campaign that I’m more than happy to put down now.
Borderlands 3 is available on PC, PlayStation 4 and Xbox One right now for $59.99. Game was played on the PC with a total of 22 hours play time.
There’s nothing quite like an inventory puzzler to strike terror into the hearts of long time gamers. The original versions of these, like the classic LucasArts titles, often had you carrying around dozens of different items which you’d end up trying on everything just to see if you could make some progress. Worse still were the ones that allowed you to combine items, opening up a whole other world of problems for you to solve. However modern versions of these games tend to be a little more forgiving in their implementation, most now proclaiming that there are “no dead ends”, hopefully ensuring a smoother game experience. Agent A: A Puzzle in Disguise certainly does a lot of things right in this regard although there’s a few times that the developer and I’s logic diverged on some key game points.
You are Agent A: spy extraordinaire who’s been tasked with hunting down Ruby La Rouge, a dastardly villain who’s been terrorizing the world. Just as you track her down however you see that she’s on the same boat as your chief only to leap from it moments later as the whole ship erupts in a massive explosion. You’re able to track her back to her hideout where you’ll begin your long and puzzle filled journey to capture her and put an end to her villainy.
Agent A has a simple, cartoony art style that blends both 2D and 3D elements together. There’s minimal texturing and no real distinction between elements that you can interact with and those you can not which does add to the game’s challenge. Most of the lighting also appears to be baked into the environments as well with harsh, strong bordered shadows being the norm. There’s also very little animation to speak of, the transitions between rooms usually being a simple zoom in and most rooms not having anything moving in them. All these elements combined together do make for a rather visually pleasing game, even if it’s on the same bandwagon that half of the indie scene seems to be on these days.
The puzzles of Agent A are your standard adventure game affair including the usual tropes such as: finding a bunch of the same item everywhere to unlock something, deciphering a code using a decoder you found somewhere else and a good dose of combining items in your inventory to get something you need. Agent A does demand that you pay more attention to the environment than you might otherwise need to in similar games as there’s often clues as to how to solve a particular puzzle littered around. The only way to navigate between sections those is to go forwards or backwards through a pre-set path, something that becomes quite a chore later in the game when you have to back your way through a dozen or so screens to get where you need to go.
Most of the puzzles aren’t too difficult, lending themselves to what I’d consider to be logical solutions that you’d be able to figure out given a minute or two. There are, of course, a few curly ones that necessitate you being either hyper-observant, lucky or in most cases reading from a walkthrough to figure out. Now none of them are on the level of the rubber ducky puzzle from The Longest Journey but there was at least 3 of them that I didn’t really have a clue how to get past and nowhere in the game indicated towards the eventual solution. I’ve certainly had worse puzzler experiences but it does still annoy me when you get stuck with an empty inventory and no perceivable way forward.
The story is a light-hearted affair, full of silly puns and terrible jokes. It’s really no surprise how the story develops or ends as most of it is foreshadowed in such an obvious way that only children and the incredibly daft won’t notice it. The game does make the cardinal sin of screaming out that a sequel will come right at the end which is something I will never forgive a game for doing. However since this game is obviously meant to be played by anyone, whether it be jaded old game reviewers like myself or your 5 year old cousin who just likes pretty colours I guess I can give it a pass this time around.
Agent A: A Puzzle in Disguise is a simple puzzle game in all senses of the word. The graphics are basic but visually interesting, the puzzles aren’t particularly challenge save for a precious few that require some real outside the box thinking and the overall interaction with it isn’t particularly complicated. Could the developers have done more with it? Sure, but too often we’ve seen developers get in their own way by trying to cram too much in and end up not getting in enough of the core things to make the game coherent enough to play. So for Agent A the basics are all it needs and should you be needing a short distraction from the upcoming tide of AAA releases then it might just be worth a look in.
Agent A: A Puzzle in Disguise is available right now on PC, PlayStation 4, Xbox One and Nintendo Switch for $14.50. Game was played on the PC with a total of 3 hours play time and 46% of the achievements unlocked.