Kickstarter opened the gates to underserved gaming niches, allowing us gamers to vote directly with our wallets and see incredible games come to fruition. Not every game was a hit of course and even looking at my backing history there’s several titles in there that, had I known what they’d become, I would have put my cash somewhere else. Kingdom Come: Deliverance falls somewhere in the middle for me; on the one hand I can remember wanting to back this game as even at the concept stage it looked fantastic. However 4 years after I pledged to the Kickstarter campaign (at the Duke level) much of that hype had disappeared, lost in the some 100+ games I played in the interim. That’s possibly what has led to my lukewarm impressions of the game, even though I can definitely appreciate the amount of effort that Warhorse Studios put into it.
Kingdom Come: Deliverance starts off in the silver mining town of Skalitz with young Henry, a simple peasant, living under his mother and blacksmith father, Martin. After finishing some errands for his father, Henry joins him in completing a commissioned sword for King Wenceslaus’ hetman, Sir Radzig Kobyla. While Henry wishes to explore and see life outside of the village, Martin insists that a quieter life is much safer. Immediately after an army of Cuman and Czech soldiers under Sigismund of Luxembourg’s control attack and raid Skalitz, killing all who do not flee. Henry holds on to the sword and runs but later comes back for his mother and father, and witnesses their murder under Sigismund’s crony, Sir Markvart von Aulitz. Henry flees to the safety of the castle, but is too late, and is forced to ride out to the nearest castle of Talmberg.
Depending on what kind of rig you’re running it might not be immediately obvious that Kingdom Come is running on CryEngine. The reason is that, at least on the PC, the game wasn’t exactly optimised at launch. Now my PC is no slouch although it is just over 3 years old at this point but even it struggled to get things running properly with its default configuration (as the below screenshot will attest). Searching around the forums revealed that the game really, really struggles if it’s running on a traditional hard drive, even if that hard drive is say a RAID 10 array capable of 400MB/s throughput (like mine). Using a custom user.cfg file fixed most of the issues but moving it onto my main SSD fixed the rest. Even with all those fixed Kingdom Come is a game that, strangely, looks a lot better up close than it does from afar. Usually most games are the opposite. These issues run deeper than just the graphics though, something I’ll dive into a bit more later.
Kingdom Come: Deliverance is a true to its roots RPG, taking its inspiration more from the pen and paper variety rather than its more action oriented brethren. There’s a bevy of different stats for you to build up, each of which will require you to do certain things (like say, running to increase vitality) to level them up. Similarly there’s a lot of skills, many of which will require you to be trained in them first before you can start improving them. There’s the usual array of loot along with the requisite inventory management to go along with it. Combat also takes the form of more “traditional” medieval fights which typically means that taking on more than 1 or 2 enemies at a time is a recipe for disaster. There’s also a bunch of status mechanics like hunger, sleep and injuries, all of which will need to be addressed if you’re to stay in top fighting condition. I’m sure I’ve missed quite a few features in here too as the game is quite massive in scope and I’ve only seen a small fraction of it (for reasons I shall explain). All of this is presented in a period correct medieval setting, meaning there’s no magical powers or fantastical elements.
FPS games that deal in melee combat have always been somewhat awkward and Kingdom Come is no exception to this. The mechanics of it are pretty simple, you have an amount of stamina (tied to your current health, which is an interesting mechanic) which you use to throw punches, swing your sword and dodge/counter/block enemy attacks. With a sword or other weapon equipped you choose the direction of your strike which has a direct impact on your enemy’s ability to block it. What this results in is a game of cat and mouse with the NPCs, trying to figure out which angle to hit them from. I do get that they were going for a more realistic feel to what medieval combat would be like but it just wasn’t particularly enjoyable.
One feature that’s notably missing, and I think one that sucked a lot of the fun out of it for me, was an unlimited, on demand save. Whilst that’s changed in a recent patch (now with a save and exit function) it did mean that the game was a lot more laborious than it would otherwise be. There were a few times where I lost quite a bit of progress, whether due to my own fault or the numerous technical glitches, because the save point was quite a while back. This also meant that one of my more favourite things, quicksaving and then being a total jerk for no good reason, was stripped away. Say what you will about save scumming and what have you but things like that really do help to keep me engaged in games like this. With such a restrictive save system I no longer feel like experimenting or just having fun for 10 minutes before I break for the night. The save and exit feature somewhat addresses that but, honestly, without a quick save/load it’s really only a halfway solution.
This isn’t even mentioning the larger game design issues which made what was supposed to be the games opening hours more frustrating than they could be. You see an early mission requires you to pick a lock in order to get an item. No worries, you’re given some lock picks and a practice lock to work with to get going. So I spent a few minutes honing my skill until, unfortunately, I broke my lockpick. Alright, I thought, I’ll go into town and buy a new one. Not a single vendor in the town I was in had any and, looking up places to buy them showed that I’d probably have to spend another 30 minutes travelling (I didn’t have a horse) to get more. Great, that mission is now dead to me until I figure out a way around it. Sure it’s not like I couldn’t do other missions but these small issues are numerous and they all make Kingdom Come less enjoyable than it would otherwise be.
This isn’t to mention the numerous issues it has with performance, optimisation and game breaking glitches. In addition to the texture pop in issues the game will lag horrendously in cut scenes if you have G-Sync enabled, yet again requiring a custom config to fix. Lock picking, for some unknown reason, enables mouse acceleration meaning that you’ll need a custom mouse profile or something similar to counteract the effects (making that particular mini game incredibly frustrating). Timed events for NPCs will sometimes simply not work, like when I was told to go to the training ground to meet the captain. I waited next to it for 2 days and he never showed up, requiring me to restart the game to my last checkpoint and try again until it worked. I’m not the only one to experience weird behaviour like this either as many of the Let’s Play videos on YouTube will attest. I know that, as gamers, we’ve come to expect this kind of jank from large RPGs but that doesn’t excuse it. For some I can imagine these things are actually a source of fun but, for me, they just soured me even further on the whole experience.
Which is a right shame as the story seemed quite good. Sure it was relatively predictable how things were going to start but it was truly refreshing to play a game from the perspective of a nobody from nowhere with no prophecy or powers behind him. Careful attention was paid to fleshing out the world with bits of story, interesting conversation between NPCs and a range of dialogue options that were all dependant on how you built your character. Indeed I feel that I should probably wait another 6 months or so until the major issues have been patched out and the mods start rolling in, allowing me to mold the core game of Kingdom Come into something I’d enjoy. That way I could experience the story without having to worry about all the other elements I’m not so keen on.
To be sure Kingdom Come: Deliverance is a great game for a certain subset of gamers: those who’ve been lusting after a true to form RPG in a medieval setting. 4 years ago I thought I was one of them, my pledge on Kickstarter a testament to that, but since then it seems things have changed. I’ve become less tolerant of the jank that these large scale RPGs seem to bring with them, no longer wanting to have to deal with troubleshooting performance issues just so I can play the damn thing. I do recognise the amount of effort that goes into producing something like this though as there are many aspects of this game that I can appreciate for their objective quality. The attention to detail in the world and the story are two such elements, ones that I might be able to enjoy at a later date. If this is the first you’re hearing of Kingdom Come: Deliverance then the game might not be for you but for those Kickstarter faithful I’m sure they’ve got their moneys worth.
Kingdom Come: Deliverance is available on PC, PlayStation 4 and Xbox One right now for $59.99. Game was played on the PC with a total of 5 hours play time and 8% of the achievements unlocked.
These games reviews serve a couple different purposes for me. The first is to push me to try things out of my comfort zone as there’s so much more to the world of gaming than just the AAA releases. The second, and one I’m finding increasingly useful as my back catalogue of reviews grows, is to serve as a secondary memory; a kind of online copy of my impressions of the game to augment my own. So when I saw The Fall Part 2: Unbound I had this feeling that I’d played something like it before which, of course, I had. So I felt compelled to give the sequel a shot as, after reading through my previous review, I remember liking the concept even if the implementation fell a little short. It seems that the developers have stayed true to their roots in that regard as Part 2: Unbound keeps the same intriguing story whilst retaining many of the issues that I grated up against before.
SPOILERS FOR THE FALL BELOW
Part 2: Unbound begins where the previous story left off with ARID being dragged away for repurposing. During this process she’s infected with a virus which, interestingly, allows her to redefine her core rule. No longer bound by the need to save her pilot, nor anyone else, she defines her new rule as: I must save myself. However a user on the network is attacking her body, seeking to destroy what is left of her. In order to save herself she must find out who this user is, reaching beyond the confines of her body into the vast network beyond. It is there where she meets others who will help her fulfil her rule, whether they want to or not.
The visuals of Part 2 don’t appear to have changed appreciably in the 3 years since the original’s release. There’s certainly a lot more detail in most of the scenes, especially those that deviate from the original’s corridor-only design. The visuals have the trademark “Unity Engine” feel to them which is especially noticeable when the camera zooms in for close ups. 3 years ago this was a refreshing change from the current trends but now? It feels a bit dated. This is somewhat understandable as the focus appears to have been spent more on the puzzles and level design, given the sequel is almost 3 times as long as the original.
Mechanically Part 2: Unbound is the same game as the original, requiring you to explore your environment to find the solution to the current puzzle. This time around however you’ll be doing the majority of that through others, taking control of other AIs to help you complete your task. Each of these different entities have their own set of capabilities and limitations, both of which you’ll need to exploit fully in order to progress.The game also introduces several new mechanics along the way which ramp up the puzzle difficulty substantially towards the end (although I’ll abstain from describing them as it’s most certainly spoiler territory). Combat makes a return with a couple additional mechanics thrown but it’s mostly a distraction from the core puzzle solving game. It’s clear that the developer has focused more heavily on the parts that were received well (puzzle design and story) whilst defocusing others. The result is a game that I’m sure will delight fans of the first but, for people like me, it does highlight a lack of growth in the developer.
I mentioned in my review of The Fall that it was clear that the developer and I weren’t completely in-sync when it came to puzzle design. That hasn’t changed in Part 2: Unbound as there were numerous puzzles that just simply didn’t make any sense to me. Sometimes it was something simple, like missing an interaction point, but other times the logical leaps required would never come to me. Sure I could try clicking everything in sight in order to find out but that gets tiresome really quick. The worse ones were problems that had an obvious solution that was locked behind some mechanic I simply didn’t understand, preventing me from solving the puzzle until I’d completed some other, seemingly unrelated, task. I’d estimate that about 65% of the puzzles made sense (even if they were challenging), 15% were faults of mine and the remaining 20% were just nonsensical. I’ve played worse, to be sure, but I’ve also played better.
I’d forgive the game for that, as I did for the original, if it wasn’t for the fact that the developer made many of the same mistakes again. The control scheme is still the awkward mess it was before with the game often failing to capture the mouse pointer. For dual monitor users this will result in the game minimizing itself every so often when you click outside of the game’s window. There’s also a few puzzles which you can get stuck in, requiring you to exit to the main menu in order to be able to reset. There’s even a few places where you can fall through the world, like when One is on the train (simply walk to the left, there’s no barrier to stop you plummeting off the edge). That will also require a restart to get you back again. For first games from an indie studio I’m usually quite lenient, it is after all not easy to create a game, but for further titles I expect to see some level of polish. It’s just not there unfortunately which is a real shame. Hopefully I don’t see the same mistakes in Part 3 (this is supposed to be a trilogy, after all).
The story is still great with the addition of 3 extra characters giving you a much broader perspective on the world that you find yourself in. Each of the new characters are given enough backstory to get you invested which helps immensely in driving you through the game’s more obvious flaws. It certainly had its share of climatic moments, the Josephs scene comes to mind, and the little bits of levity sprinkled throughout are a welcome distraction from the dark overtones. The game proudly announces “To Be Concluded” at the end, signalling that the next instalment is coming and will be the finale to the story, something which I’ll always take points off for. It definitely feels like the story I’d be much more into if it wasn’t for the awkward controls and illogical puzzles. It’s a shame really as I always hope to see indie developers grow beyond the confines of their original success.
The Fall Part 2: Unbound, doubles down on what made the original popular whilst retaining many of the things which I’d had hoped they’d change. The story and puzzles were definitely the developer’s main focus as the game is much longer and more in depth than its predecessor was. However things that marred the original, like the awkward control scheme, lack of polish in some aspects as well as puzzle design that simply didn’t gel with this writer, felt like I was playing almost the same game from 3 years ago. For those who loved the original these issues aren’t likely to pose a problem but for me, someone who loves to see indie developers grow over time, it feels like they’re stagnant. In my mind Over The Moon Games has one last chance to prove that they, and their IP, can innovate beyond what they’ve achieved so far. All this being said The Fall Part 2: Unbound is still probably worth playing for those who love a good puzzle and story, I just wish it wasn’t almost the same game as it was 3 years ago.
The Fall Part 2: Unbound is available on PC, Xbox One, PlayStation 4 and Nintendo Switch right now for $16.99. Game was played on the PC with 6 hours of total playtime and 43% of the achievements unlocked.
Years ago I used to troll through the new releases section of Steam, looking for anything that piqued my interest. I played a lot of things out of my comfort zone and grew to enjoy the wide and varied experiences that the Indie scene brought to bear. Back then the signal to noise ratio was quite a lot higher, mostly because there were far fewer games released per week (it’s something like 200+ on average now). Those days were mostly gone however as I could usually find something on the first page of “Popular New Releases” section but last week I came up empty. Enter Elementium, the game that managed to catch my eye with its Talos Principle like visuals. It isn’t anything like that though, more akin to an alpha release of a Kickstarter game than a full release on Steam that the developer is charging $15 for.
Elementium is a physics based puzzle game where the main mechanic is where you can change the size of objects through the use of perspective. That’s pretty novel, indeed the tech demo of the Museum of Simulation Technology is the only other “game” I can think of that uses it, however that’s where the interesting part of the game ends. What follows is a series of 40 levels, most of which can be beaten on first try in under a couple of minutes. The others? Well they’re fiddly messes, either requiring precise timing (something you’ll struggle to get done due to the ham fisted nature of the controls) or doing things that have a high chance of failing which will require you to restart the level (which takes approximately 30 seconds to load every, damn, time). Honestly I was going to be kind to this game at the start but after 40 levels I’ve simply run out of patience.
It does manage to look good however I think that’s more a function of the Unreal Engine’s asset store more than anything else. The sound design is god awful with each sound always sounding exactly the same including very noticeable things like your character’s footsteps. Indeed anything without a smattering of glowy lights looks like something that was developed over 5 years ago with that telltale Unreal engine feel about them. Suffice to say the audio-visual experience isn’t going to save this game and, unfortunately, the overall game doesn’t do itself any favours either.
Most of the puzzles are so blindingly simple that you’ll often wonder if there’s some kind of hidden switch or alternate solving method to unlock a secret. There are none and it’s hard to see why the developer built most of the puzzles the way they did. For example there’s one puzzle with 3 boxes in a room and a laser stopping a door from opening. To solve it all you have to do is put one box in front of it, that’s it. What were the other 2 boxes for? Just fun decoration? When that first happened I thought, maybe, that was just an early test puzzle or something but unfortunately that wasn’t the case. Instead there are numerous puzzles with extraneous items strewn about, never to be used for anything.
Crappy puzzle design would be one thing but the real irritation comes from interacting with those items. Picking up items can be a bit of a guessing game, often requiring you to get just the right angle on it to be able to pick it up. This because quite a chore when you’re working with big items as quite often you’ll be unable to put them down. The game says that the middle mouse button is the “drop item” button but it rarely works. What this often leads to is furious clicking as you try to figure out how to pick up and move stuff about often to no avail. Worse still the perspective/size mechanic works on items even after you’ve finished interacting with them. This is especially clear when you’re say dropping big boxes into holes as they’ll magically shrink as they fall down, even if you’re not looking at them.
The same feeling of extremely low effort applies to the other aspects of the game like the UI. Every element is simple text boxes, all of which will require at least 2 mouse clicks to register properly and even after you’ve done that it can be hard to tell if the game is actually doing anything. The final scene of the game is a simple portal that has 2 switches which, when pressed with the boxes, display the simple text shown in the screenshot below. This makes me think that at one point the game did have some kind of story, which might explain why there’s a pointless corridor walk at the start of each puzzle, but the developer simply didn’t have enough time to get it done before he shoveled this pile of crapware into the public eye.
This isn’t even a game where a few simple tweaks here or there would result in a game that I’d deem worthy of playing. Pretty much every aspect has to be torn down and rebuilt from scratch as there’s not one part of this game that doesn’t have some kind of issue associated with it. Visuals? Repetitive asset-reuse that makes every single level feel pretty much identical. Sound? That would require using more than a dozen sounds at a time. Mechanics? Every single one is implemented in a rudimentary, unoptimized way. Story? Don’t make me laugh.
Elementium is the kind of game I expect to see on /r/Indie where the developer doesn’t seem to understand why it isn’t selling. The fact of the matter is that this game barely qualifies as such, playing like an early alpha rather than a game you’re paying full price for. These are the kinds of titles that Early Access is designed to help, the ones where the developer has an idea they want to explore but hasn’t got a clue about how to make it fun. Further the extreme lack of polish on nearly all elements makes me think that this game didn’t see any external play testing at all as there’s no way any of these issues made it past even the most forgiving of family members. I tried to keep an open mind when I was playing Elementium, figuring that there had to be a point somewhere along the lines where it started to really come into its own. That time never came and here I am, 4 hours in the hole without much to show for it. Honestly Ignite Studios, if you’re reading this, email me: [email protected], you sound like you need the help.
Elementium is available on PC right now for $14.99. Total play time was 4 hours with 100% of the achievements unlocked.
Ever since I gave myself new, unknown forms of RSI playing games like Super Meat Boy I’ve had an aversion to twitch based platformers. The challenge can certainly be rewarding but the games can be exhausting to play, needing to be put down after an hour or so. Trouble is when I feel forced to put a game down, rather than feeling like I’ve come to a good place to stop, they tend to not get picked up again. That is the unfortunate tale of Celeste for this old reviewer as whilst it’s a very competent platformer I simply haven’t had the drive to go back to it after I last decided to give it a rest.
You play as Madeline, a young woman out on a quest to conquer the mighty Celeste mountain and, in the process, confront her own inner demons. The journey to the summit is fraught with all sorts of fantastical dangers that will push you to your limits. There will be those who belittle you for daring to take on such a challenge, some who support you and those whose intentions aren’t particularly clear. The reason as to why you’re climbing the mountain isn’t particularly clear but one thing is for sure: Madeline will make it to the top no matter what.
Celeste takes its artistic inspiration from fellow low detail pixel art platformers, emulating the style of games of yesteryear that weren’t capable of pushing more than a handful of pixels at a time. The attention to detail is impressive though, using each pixel to convey much more information than would otherwise be from say larger images that had been downscaled. The higher resolution images have that old Flash game feel about them which isn’t surprising given the developer’s heritage in making games on that platform. Overall it’s a pretty stock standard pixel art affair.
As I alluded to in the opening paragraph Celeste is a platformer, one that takes much of its inspiration from the bevy of similar games that have been released over the past decade. Its signature mechanics are simple: a dash and the ability to hold/climb on walls for a limited amount of time. Each level will have its own unique additional mechanic which it will make use of to provide additional challenge, leaving your in-built abilities unchanged. Each of the levels ends with what you could call a boss which typically takes the form of something either chasing you or making your platforming journey just that extra bit more difficult. Scattered throughout the levels are dozens of collectibles, all of which are trapped behind harder than usual platforming puzzles. All in all, from a base game perspective, there’s not much I haven’t seen before and this doesn’t feel like a case where the sum of the parts is greater than the whole.
The platforming mechanics are crafted well enough, rarely did I find myself in a position where the journey from beginning to end of a particular puzzle wasn’t clear at the outset. Indeed Celeste does a pretty good job of demonstrating the mechanics to you, ensuring you have all the tools at your disposal. Of course using them correctly is where the challenge comes in as, if you’re anything like me, it’s easy to forget which finger does what when you’re in the middle of a complex puzzle. Thankfully all the harder challenge puzzles are completely optional so I never really felt like I was being put up against an unfair challenge. No, instead where I started to lose interest in Celeste was in how it ramped up the challenge.
You see there’s really only so much you can do with a simple bag of mechanics that are augmented with a single additional one per level. So instead the challenge typically comes from extending the puzzles length, meaning the distance between checkpoints progressively gets longer and longer. This means that the later puzzles are more difficult not because they’re more complex but because it takes longer to get to the point to retry that particular section. This is especially true for the boss sections which are the longest by far and include another additional irritating mechanic that makes completing those puzzles just that little bit harder. Sure the sense of accomplishment is very real when you finally complete a level but I could never really push myself to attempt more than one level in a sitting.
For those who enjoy platformers though these things are likely to be what makes a game like Celeste worth playing in the first place. There’s certainly a lot of content packed into Celeste with the strawberries, b-sides and what have you scattered around. I simply don’t enjoy chasing those kinds of rewards and so, when I put down Celeste on Sunday for the final time, the compulsion to go back simply vanished.
STORY SPOILERS BELOW
Had the story found its legs earlier I may have played it through to completion however. In the beginning the game doesn’t do much to build out the greater narrative except for hammering home the fact that Madeline is flawed. There is one incredibly touching moment when Madeline has a panic attack in the cable car, something I think anyone who’s dealt with anxiety before can relate to, but that comes over halfway through the game. Perhaps the story develops at a much faster rate in the sections which I haven’t played yet but unfortunately there just wasn’t enough to keep me engaged to want to see if that was the case. Perhaps I’ll watch a run through on YouTube or something one day but, sadly, I don’t think I’ll ever see it of my own volition.
STORY SPOILERS OVER
Celeste is a competent platformer that is sure to delight fans of the genre. Whilst none of its features stands out as the main reason you’d play it what they have done does fit together well. For me though this is probably one game where my biases against this type of game are showing through as I simply didn’t find enough reward in its challenge. To be sure it’s a well designed platformer, carefully guiding you through each of the level’s signature mechanics before hitting you hard with more challenging puzzles. Good design does not guarantee a fun game, however. Perhaps if I sunk another hour or two into Celeste I may sing a different tune, especially if the story manages to find its feet beyond that point, but for now it shall join the rest of the platformers I’ve laid to rest.
Celeste is available on PC, Xbox One, PlayStation 4 and Nintendo Switch right now for $19.99. Game was played on the PC with 3.5 hours of total play time and 20% of the achievements unlocked.
I’ve been staring at this page for far too long trying to figure out how to open up this review of The Red Strings Club. Sure I could take the easy route and direct you my review of Gods Will Be Watching, the previous game from Deconstructeam, but that feels disingenuous given how different this title is. I could mention that this is the first 2018 game I’ve played although that really means little in the grand scheme of things (except that I should probably do my Game of the Year post sometime soon). Even the fact that I was drawn to this game just on the mention of “cyberpunk bartending” doesn’t seem like good opening fodder. So instead you get an opening ramble of all of those things combined with my one line summary for this game: it may not do anything new but it is one of the more interesting adventure games I’ve played of late.
You’ll take control of several different characters throughout the game however you’ll mainly be playing as Donovan, the proprietor of The Red Strings Club. On the surface it’s simply a bar with amazing drinks, ones that are said to be tailored to your emotions. Under the surface however Donovan is a powerful information broker, holding secrets on anything and everything that goes on in the city. When a broken down android stumbles into his bar one night he becomes privy to some information that no one outside of an elite group of people inside Supercontinent megacorporation had seen before. This sets off a chain of events which will see Donovan pulling all the little red strings he has tied around his clientele in order to advert the subjugation of all mankind.
The Red Strings Club’s visuals are a blend of more traditional pixel art styles and the more modern high resolution versions of the same. It’s definitely a step up from the art style of Gods Will Be Watching which used the very low resolution style which I think was born more out of the game’s Ludum Dare roots. Under the hood it’s powered by GameMaker which honestly surprised me as games made using that platform typically have a very distinctive look and feel to them. Given that it’s been nearly 3 years since their last release I’d hazard a guess a good chunk of time has was dedicated to getting the artwork right and I’m glad to say it was time well spent.
Unlike its predecessor (which I’m very grateful for as I didn’t want to pray to RNGesus again) The Red Strings Club is more of a traditional adventure game affair. The game is primarily dialogue focused with most of the puzzles based around getting information from someone or influencing them to act in a particular way. The two interesting mechanics that the game brings with it are the bartending and what could be best described as bionic pottery. The former is the main mechanic of the game, allowing you to influence the mood of a person in order to pump them for the right kinds of information. The second is only done right at the start but cements some of the core aspects of the game, changing what options will be available to you. There are a few other mini-games but none that are different from your usual adventure game affair. Overall it’s a pretty stock standard experience which means most of the value comes from how well these things interact with the story.
Initially the bartending mechanics are simple, making it rather easy to figure out which emotion is the “best” one to use (it was usually the one that was hardest to mix up). However as more and more options are added it starts to become a lot more involved and it gets quite a bit harder to both make the drinks and judge which one you need to serve. There’s really no way to utterly fail, it seems there are certain pieces of information you’ll get regardless, but the better you do in these things the easier time you’ll have towards the end. There’s also a couple achievements dedicated to unlocking some special things through this mechanic but I couldn’t figure them out in my playthrough. It’s quite possible that some of my early choices precluded them happening however.
There are a few little annoyances in the 1.0 release of The Red Strings Club that I hope are addressed in future patches. Sometimes bottles won’t pour their contents for you, even if they’re tipped upside down. This appears to be related to how close the bottle is to other bottles, the shaker or the glass and if more than 2 of those kinds of objects are in the way it will refuse to pour. Additionally there seems to be something finicky with the “no spill” mechanic as I completed at least one drink without spilling a drop but did not get the achievement for it. The shaker will also sometimes mix drinks into a single one of their components, forcing you to redo it. None of these are game breaking but they can be a little frustrating. I’m sure these can be easily fixed in the next few updates.
All of these things are simply an aid to the overall narrative which, whilst thoroughly thought provoking, didn’t elicit much of an emotional reaction from me. The game does a great job of revealing information to you in a slow and respectful way, giving you just enough information to figure some things out whilst you have to guess at others. However whilst Donovan is given enough of a build up the rest of the characters don’t receive similar treatment, making it hard to empathise with them when certain events take place. Thinking about it more though the characters might be secondary to the overarching narrative itself which is why they don’t receive as much attention as you’d otherwise expect they would. It feels weird to say that the story is a great thought provoking narrative that has little to no emotional impact as that’s typically the basis upon which such stories will cement themselves in your mind.
Perhaps I just need a little more time to digest it.
The Red Strings club was a great game to open up my 2018 list to. Deconstructeam has evidently gone through a lot of growth over the last couple years, bringing everything that was good from Gods Will Be Watching and leaving everything else behind. At a technical level the game isn’t anything to write home about, feeling like a very traditional pixel art adventure game, but the overall experience feels well above par. This is most likely due to the strong narrative, one that manages to intrigue and provoke a lot of thought whilst, strangely, failing to drive a heavy emotional impact. If you had asked me after I played Gods Will Be Watching would I look forward to the next game from this developer I would’ve told you no but now, having played The Red Strings Club, I’m very keen to see where Deconstructeam goes from here.
The Red Strings Club is available on PC right now for $14.99. Total play time was approximately 3 hours with 37% of the achievements unlocked.