If there’s one genre that can be considered “solved” it would be pixelart adventure games. Originally they were born out of the limitations imposed by the hardware of the time, the low resolutions and meagre processing power only able to generate the simplest of graphics. Their appeal came from the stories and puzzles that laid within them, often relying heavily on logic and critical thinking above all else. The pixelart adventure games of today are not much different with the most innovative features being slightly better inventory management and quality of life improvements. Shardlight fits the mold perfectly in this regard, capturing the essence of what made those original adventure games great.
The world ended on the day the bombs fell. Since then, it’s always been like this: disease, hunger, death. The ruling Aristocrats, a faceless oligarchy that controls all resources, have unchallenged authority. There’s never enough food, water, or vaccine to go around. The rich receive regular doses of vaccinations in exchange for their unconditional government support. The poor live in fear, superstition, and squalor until they die. You play as Amy Wellard, a young woman reluctantly working for the government to qualify for the vaccine lottery, believes there’s a cure — and she’s going to find it. Even if it costs her her life.
Shardlight pays homage to the adventure games of old, replicating their pixelart stylings in loving detail. The pixelart is obviously hand drawn, using every pixel carefully in order to convey the maximum amount of information in the smallest number of pixels. The larger, more detailed works show this off well with the character portraits and backgrounds being on par with many top tier games in the same genre. There’s no modern effects or layering in Shardlight, instead staying true to the pixelart adventure games of old. One thing I’ll also note is how well the voice acting is done being a cut above what I’ve come to expect from games in this genre. Overall it wouldn’t be out of place with games that were made 20 years ago, something which I hope the developer takes as a compliment.
Shardlight is your stock standard adventure game affair, pitting you against puzzles of logic, inventory management and dialogue tree exploration. You’ll be hunting around for items to pick up, figuring out how to use them and working out what the intended way of solving a puzzle was. You’ll also need to make sure you choose the correct dialogue options as many puzzles are reliant on you either setting someone up to do something or having a specific piece of information revealed to you at a certain time. Of course there’s all the usual red herrings, unnecessary items and levels where there’s not much to do at all which will make your journey through Shardlight a lot more difficult than it appears on first glance.
Indeed, just like the adventure games of old, Shardlight makes no attempt to hold your hand or guide you through it. Skip through a dialogue too quickly and you might miss something important for solving a puzzle or do something out of its intended order and you’ll be left wondering what you need to do next. Indeed one puzzle, shooting a statue off a ledge, wasn’t allowed to be done until after a certain event had occurred. I have to admit it was these kinds of things which had me reaching for the walk through guide as I honestly couldn’t be bothered retrying everything in order to figure out what I had missed. Still for the most part I was able to get by and I’m sure more seasoned adventure gamers won’t have any issues at all.
Shardlight’s story isn’t exactly an unique one, exploring the issues of a post-apocalyptic society with a stark class divide between the haves and have nots. It is however developed very well, allowing most characters enough on screen time to allow them to develop and have you empathize with them. All the elements come together quite well with no major loose ends left over leaving you wanting. Overall I’d say it was an aptly told story that didn’t extend beyond its reach, achieving what it set out to do without any fluff to get in the way. It may not have engrossed me as much as it seems to have other reviewers but I do recognise that’s a very well told story.
Shardlight is a true homage to the adventure games of old, both in terms of graphics and style. The pixelart is wonderfully done, eschewing any modern flairs and staying true to its roots. The game plays as you would expect it to with no embellishments or enhancements on the old school formula. The story, whilst not the most captivating for this writer, is expertly told owing to the no-frills attitude that permeates throughout the game. Overall Sharlight is a solid adventure game that’s sure to delight fans of the genre and those who just love post-apocalyptic stories.
Shardlight is available on PC right now for $14.99. Total play time was approximately 5 hours with 47% of the achievements unlocked. A copy of the game was provided to The Refined Geek for the purposes of reviewing.
It’s been a while since I’ve had a good story first pixelart game come my way. It seems the indie scene has begun to move away from them as they seek out more profitable ground in zombies and survival simulators. That has left something of a void behind, leaving only those with a real passion for this particular style of games behind. So whilst I may not be spoilt for choice like I once was I can’t deny that the quality has definitely gone up a notch or two, especially from my favourite publisher in this genre. The latest title from Wadjet Eye Games, Technobabylon created by the developers at Technocrat Games, is no exception to this providing the kind of deep story and fanciful pixelart that has become a signature of all their published games.
In the distant future of 2087 the world has changed dramatically with the wonders of science working their ways into our everyday lives. Genetic engineering is commonplace with children and adults shaped by gengineers, allowing them to sculpt their perfect human form. The story takes place in the City of Newton, the ultimate expression of a science based society that is controlled by a benevolent AI called Central who handles the daily machinations of the city. Many now choose to spend their days in the Trance, a fully simulated reality where ideas flow freely, consciousnesses meld and drift apart and, of course, anything goes. It seems like a picture perfect future but there are many actors that would upset the balance or turn it in their favour.
Technobabylon brings the standard pixelart affair making no use of modern graphics tricks to jazz up the visuals. It was interesting to see so many different rendering options available through the setup program however none of them seemed to make much of a difference to the graphics on screen. I’ll admit I only played with a few of them, mostly to see if I could get it out of the 4:3 aspect ratio it runs in (you can’t) so there’s potentially a setting in there that makes everything look amazing. Still Technobabylon has its moments where I was thoroughly impressed with what they managed to accomplish (the final 3D-ish scenes are a good example of this) with the pixelart medium, something I’ve come to expect from the games Wadjet Eye publishes.
Technobabylon is your typical pixelart adventure game, taking it’s cues from the multitude of titles of yesteryear and those from the renaissance period that pixelart games have recently enjoyed. At it’s core Technobabylon is a puzzler, challenging you to find the right thing to combine with the other thing, which dialogue options to choose to get someone to say the right thing and figuring out what you need to click on to make something happen. Like most modern incarnations of this genre Technobabylon has an improved and simplified inventory system making it a lot less of a bother to try item combinations than it once was. Unlike some previous titles though there’s no combat to speak of and any situation that may result in your untimely demise will simply respawn you right where you left off. So overall no real surprises here in terms of mechanics as is pretty standard for many games in this genre.
The puzzles are pretty well done for the most part, ensuring that you soak up every skerrick of a clue to make sure you can progress to the next stage. Some of them require you to have a little bit of knowledge of how some kinds of systems would work (say for instance what security mechanisms a hand print scanner would employ) but for the most part you should be able to figure them out based on clues in the current room/level. I will admit that I got stuck about a half a dozen times, reaching for the walk through guide (which I honestly wish all review copies would come with) to get me past a section I just couldn’t seem to figure out. The puzzles I figured out on my own though were quite satisfying, especially when I felt I figured something out that the developer obviously thought would stump me for a while.
I can’t remember what the engine was that Technobabylon mentioned it used at the end however it suffers from probably one of the most annoying bugs I have ever come across. Should you use SHIFT + TAB to open up the Steam chat window whilst playing the game all the dialogue boxes from then on flit past, as if you’re holding down the space bar or left mouse button. This issue will persist for as long as you remain in the game and can only be fixed by exiting out and coming back in again. I first noticed this with A Golden Wake (although it was triggered by ALT + TAB) which, I’m guessing, uses the same engine. It’s not so much a critique of the game per se, the developers fixed numerous issues that I saw during my playthrough before release date, more something that budding indie devs might want to be wary of.
As is trademark for nearly all Wadjet Eye games Technobabylon carries with it a fantastic story, one that’s steeped in futurism and radical ideas about what technology can bring us. All the main characters are given plenty of time to develop their back story which are expertly intertwined with each other. Most characters have oodles of non-critical dialogue options which serve to build out the story. Even better still is the fact that the vast majority of content within Technobabylon is voice acted so you’re not going to be stuck reading walls of text for hours on end. The only fault with Technobabylon’s story is that it lacks a really deep emotional hook to draw you in, something like the opening minutes of Ori and the Blind Forest, which would really seal the deal on this otherwise great story.
Technobabylon is a great example of the modern pixelart adventure game, bringing along with it a great story that’s just oozing futuristic tones. It might not be the most revolutionary games, playing it safe by keeping the mechanics simple and the puzzles accessible, however the experience it provides is above many of its competitors. If, like me, you had been left wanting for a good adventure game for some time then you really can’t go past Technobabylon as it’s sure to provide you with many hours of enjoyment.
Technobabylon is available on PC right now for $14.99. Total game time was approximately 7 hours. A copy of Technobabylon was provided to The Refined Geek for the purposes of review.
Ever since we (sort of) won the battle for a R18+ rating for games us adult gamers have been hoping that the games, which are clearly not for children, would make their way to us under that banner. However we’ve quickly run up against the classification definition several times already with many titles receiving the dreaded NC rating, preventing them from being sold within our borders. Whilst there’s healthy debate to be had on a case by case basis any gamer will tell you that they were expecting the NC rating to never be seen again and all titles would be available to us. Hotline Miami 2: Wrong Number is the latest victim to get the dreaded NC rating although I was able to snag a copy anyway, even though the developer had told us Australians to just pirate it.
Hotline Miami 2 follows several different story lines, each of which crisscrosses through one another at various points. You start off as a member of the masked vigilante group who spend their nights finding scumbags and other lowlifes to make examples of. Then you’ll be whirled back to Vietnam, thrown in deep behind enemy lines and left to die, unless you can gun your way out of there. You’ll even spend time as the son of a gang lord, looking to re-establish his father’s reputation and drive those filthy Colombians out of your territory. Holding this all together is an unnamed author trying to piece it all together, searching for the single thread that connects all these events. There is only one thing they share however: the brutality of the violence committed.
This much anticipated sequel retains the original’s Grand Theft Auto style although with a lot more fidelity than its predecessors had. Hotline Miami felt like it was made alongside the game it imitated however Hotline Miami 2 feels more like the modern pixelart titles we’ve come to love, embracing the styling but putting a layer of modern polish on it. This can be most readily seen in the intermission sections, where there’s obviously been a lot more care taken to developing the rolling backgrounds and effects that are layered on top. This also comes hand in hand with an amazing soundtrack, which includes many of my favourite synthwave/retro pop bands like Mitch Murder, that goes along perfectly with the bloody action on screen.
In terms of core game play not much has changed in the sequel retaining the top down, beat ’em up style that made the original so intriguing. Gone is the linear progression system where you’d unlock new masks that you can use with any mission, instead now you unlock masks for certain “fans” and weapons for others. The variety now comes from the different characters you’ll be playing which either have a choice of 3 different things or simply have some abilities natively. Whilst I’m sure this was done to encourage players to branch out a little bit (I have to admit to stick to “lethal doors” for pretty much all of the original game) it does feel a whole bunch more restrictive, especially when some of the characters are a lot more fun to play than others.
The combat is a mix of brutal, twitch based game play that requires you to think and act fast and more methodical, pragmatic approaches that require you to sit back and learn the level before charging in head first. The driving music and incredibly satisfying noises you get when hoeing through a whole level of enemies pushes you towards the reckless end of the spectrum constantly which makes the more slow and methodical sections feel a little out of place. Indeed those levels are by far the most difficult as it typically takes several perfectly placed manurers in order to get to the next section. Then, if you weren’t paying attention, you can make that next section incredibly difficult for yourself, as I managed to do several times over.
Still there’s very much a sense of most (I’ll come back to this in a second) of your mistakes being your fault rather than the game punishing you so there’s a certain sense of satisfaction in figuring out how to best approach something. Over the course of the game you’ll start to figure out how long certain enemies wait before shooting, how far away they’ll hear gunshots and why your bullets don’t seem to hit someone when you first open the door (hint: you’re shooting the door). Unfortunately however there are numerous aspects of the game that simply can’t be overcome by skill and this can lead to some rather frustrating experiences.
To start off with most enemies can shoot you before you can see them, even if you’re using the “look” thing. This goes both ways, allowing you to shoot some enemies before you can see them, however it means that sometimes when you’re walking down a hallway you haven’t been to yet you’ll die to stray gunshots you won’t know were coming. There’s also numerous enemies which either don’t react consistently or are essentially coin tosses as to whether you die to them or not which can make an otherwise perfect run fall completely on its face. Indeed whilst I’m happy to admit that a lot of my failures were due to me simply doing retarded things there were more than a handful where I’d get most of the way through a level before getting rail roaded by something I felt I had no control over.
However the biggest flaw in Hotline Miami’s second coming is by far the level lengths which have increased dramatically in most cases. For most games this would be a good thing, allowing you to really immerse yourself in the game world and soak in all the detail. With a game like Hotline Miami 2 however it just becomes exhausting as you have to slog through stage after stage in order to get to the end. Indeed this style of game which seems to hinge on being frantic, by-the-second style action suffers tremendously when its drawn out over a 30+ minute period, something which will routinely happen to anyone who’s not godlike with twitch based games like this.
The story remains one of Hotline Miami’s strong points and, whilst I enjoyed it, it’s hard for me to say whether or not I fully understood it on my single play through. In fact the most easily understood sections, for me at least, were the psychedelic episodes that a few of the characters endured whilst the broader plot points seemed to have eluded me. There’s ties back to the original (or at least I think there are as some of the faces look awfully familiar) which I would say much the same about. I guess where I’m going with this is Hotline Miami 2 has a story that requires multiple sittings to fully understand but is more than passable on a single play through.
Hotline Miami 2: Wrong Number brings back the brutal top down beat ’em up that became an instant classic 2 years ago and does so with renewed vigour. The art and sound has been ramped up significantly with the pixelart looking oh-so-good and the list of artists on the soundtrack swelling significantly. The combat has remained largely the same with a few tweaks here and there to encourage players to branch out of their comfort zones. However it’s marred by some mechanics that feel unduly fair and significantly increased level length that, rather than feel engrossing, just end up being exhausting slogs. Overall Hotline Miami 2: Wrong Number is still great at what it does and if you were a fan of the original you’ll be right at home with its sequel.
Hotline Miami 2 is available on PC, PlayStation3, PlayStation4 and Vita right now for $14.99 on all platforms. Total play time was 7 hours with 31% of the achievements unlocked.
Trawling through the weekly releases can be something of an eye opener. There’s often a bevy of shovelware titles on there that I’m sure no one is proud of, a few early access titles that are looking to cash in on their promise and, if I’m lucky, a few titles that look like they’re worth playing. However every so often there’s a new concept in there that just stands out because of how out of left field it is and whilst most of them languish in Early Access a few of them have crossed the barrier into full release, allowing me to play them. The Deer God from Crescent Moon Games was one such title as its curious concept plus intriguing art style piqued my curiosity.
You are a hunter, or at least you were not too long ago. The Deer God has punished you for the crimes you have committed against its kind, trapping you inside the body of the young fawn you killed and set you forth on a quest to make reparations. There are many challenges before you and should you ever want to return to your human form you will have to best them all. How you go about this is your decision though: do you retain that callous hunter attitude and kill anything that stands in your way? Or has the transformation changed you, making you want to improve upon yourself and the world you live in? Only you can answer these questions, dear hunter.
The Deer God is a clever mix of pixelart and voxel stylings resulting in an interesting 2.5D landscape. Everything takes place in the one plane, which can be a little hard to discern visually when you first start out, however the landscape flows past you giving you the impression that the world is much larger than what the camera is showing you. All the environments are procedurally generated although it’s clear that there are numerous tiles that are used since the scenery tends to repeat several patterns over and over. There’s also dynamic weather effects for some regions and a day/night cycle, which helps to break up the repetition a little bit. The resulting world is visually impressive however, especially for some scenes like when you’re galloping across an open field while the sun is going down.
Mechanically The Deer God is a side scrolling platformer in which all the levels are procedurally generated. You’ll spend the majority of your time going from the left side to the right side of the screen, jumping over obstacles and head butting enemies into submission. Every so often you’ll be faced with a puzzle which, depending on how far you’ve progressed in the story or power tree, you may or may not be able to complete. However thanks to the procedural nature you’ll eventually come across that puzzle again in the near future, meaning that you’re never really stuck at a point where you can’t progress. There’s also a ton of optional things you can do to get items and powers which can help you later in the game. If that isn’t enough there’s also a whole host of achievements that’s sure to keep most completionists busy long after the initial game runs its course. Suffice to say that The Deer God’s asking price is likely well worth it for the hardcore platformers out there.
For the most part the platforming is pretty basic thanks almost entirely to the procedural generation. Once you’ve been through a biome a couple times you get a feel for which tile you’re currently in and what series of jumps you need to complete to get passed it. Sure, there are variations in the monsters and whatnot, but it’s not enough to make you pause and think about how you need to tackle the jump each time. Indeed most of my deaths resulted from me fat fingering the keys, rather than the challenge being too hard to overcome. This might have been different if the enemies couldn’t all be defeated by jumping over their attack and then hitting them but only the bosses provide any real variety combat wise. The powers do add a bit of fun into the mix, especially the dark ones, but the limited nature of their use means that you can’t go out of control with them.
Whilst The Deer God might be out of Early Access now it’s still shaking off some of its beta nature with a few of the puzzles still glitched as can be seen by a quick jaunt to the game’s Steam discussion page. Most of these have work arounds so it won’t stop you from finishing the game, however sometimes you can find yourself on a bugged puzzle for a frustratingly long time before you remember to check the discussion page to make sure you’re not barking up the wrong tree. There’s also some things I’m not sure are bugs or not, like if you fall into lava you respawn in the lava rather than back at some safe place. Thankfully the devs seem pretty active on the forums so its likely that most of these bugs will get ironed out sooner or later, but I’d still keep the forums open in the background just in case.
The story has some potential however it’s not developed at all. Most of the characters have only a few lines of dialogue and they’re really only there to facilitate the game moving forward rather than building up the world you’re in. It’s somewhat forgivable given the procedural nature of the game, allowing the player to create their own narrative within the world, however you can see there’s aspirations of it being something a little more than that, its just not realised. Considering the relatively short time between The Deer God’s KickStarter and its subsequent full release there was obviously sacrifices that needed to be made and it seems that the story was likely the first on the chopping block.
The Deer God is an interesting concept, taking the nostalgic pixelart styling in a new direction and combining it with procedural platforming resulting in a curious game. The procedural worlds are done brilliantly with all the ambient effects coming together well to produce some visually impressive set pieces. The core gameplay is rather repetitive and predictable after a short time and whilst the puzzles break it up a bit towards the end there’s simply not enough there to break up the monotony. Credit where credit is due though for The Deer God getting out of Early Access as quickly as it did, even if it came with some rough edges. Overall I quite enjoyed my experience with The Deer God and am definitely looking forward to more titles from Crescent Moon Games.
The Deer God is available on PC right now for $14.99. Total play time was 3.7 hours with 37% of the achievements unlocked.
I was never much of a fan of adventure style games as a kid which is why I find it oddly surprising that I’ve grown to love them as an adult. Sure the pixelart style brings with it that warm blanket of nostalgia but I really can’t say I enjoyed these types of games back in their original heyday. The renaissance that these types of games are going through has helped me make up for lost time somewhat, especially considering the number of games I churn through in a year. A Golden Wake, developed by Grundislav Games and published by Wadjet Eye Games, is the latest installment in the pixelart adventure genre, sporting craftsmanship that’s well above it’s 1 man studio station.
Alife Banks had everything going for him, a great job in the best city in the world and the respect and admiration of his peers. At least that’s what he thought as his namesake bred jealousy among his peers and one fateful day he was framed for something he didn’t commit. Undeterred however Alfie set out for the wild lands of Miami where a new real estate development, called Coral Gables, was underway. It was here that he’d restore the family name to the glory that it once had, all while making him rich and famous in the process.
I’ve come to notice that there’s 2 distinct kinds of pixelart games: those that use the medium for it’s minimalistic nature (often imbuing their own artistic style into it) and those who seek to recreate the style that was present during the golden age of gaming. A Golden Wake is very much the latter, lovingly recreating the arts style that was made popular by the numerous titles released under the LucasArts brand. It’s not exactly what you’d call a pretty game but the style is most certainly deliberate, an attempt at capturing the essence of what the 1920s would have been like.
A Golden Wake plays like your traditional adventure game although, like many of its modern brethren, it manages to avoid many of the pitfalls that plagued such titles of decades past. You’ve got a small inventory which holds all the items you’ll find on your adventures (of which you’ll ever only have a handful of) and a number of puzzles that you’ll have to solve before you can move the story forward. Some of these puzzles are pretty rudimentary, like having to speak to certain people, whilst others will force you to look around the environment searching for that clue which will allow you to progress forward. If you’re a long time fan of the adventure genre you’ll definitely feel at home in A Golden Wake but even newcomers to the genre should find it easy enough to pick up.
For the most part the game plays pretty well as the puzzles are logical, sequential and can often be solved within the space you’ll find them in. There are a few puzzles which had me stumped for a good while however, mostly because I was following a line of thinking that didn’t match up with the creator’s. It’s hard for me to fault the game for this as once I found the answers it was obvious that I was overthinking the solution. The game also tries to prod you in the right direction by leaving areas open that you still need to visit in order to do something which can be a huge help when you think you were done with a particular area.
There seem to be a few teething issues with the initial release however, seemingly around the Steam overlay and ALT-TABing the game. If I ever answered a chat message from one of my friends within the game it seemed to think one of the keys was stuck down and any dialogue would rapidly flit by. This would be fine if I could, say, reload from a checkpoint to hear it again but unfortunately that relies on you saving constantly. Whilst I don’t think I missed any super critical dialogue because of it (when it happened I’d immediately save and restart the game) it happened often enough to cause me a non-trivial amount of frustration.
Like I’ve said numerous times before I can often forgive even some of the gravest mistakes a game makes if the story is good however for A Golden Wake there’s not much I can overlook, unfortunately. Whilst I can appreciate the effort put into building Alfie’s character up the eventual turn happens far too suddenly and, if you choose certain dialogue choices, makes absolutely 0 sense. The last half is definitely far more engaging than the first which you could potentially attribute to all the setup that happens however it honestly feels like the story just goes no where for a while before finally making up its mind on where it needs to be. Credit is to be given for creating what feels like a realistic depiction of the 1920s however, and not just the romanticised version that many writers would have otherwise created.
A Golden Wake might not seem like an ambitious project on the surface, being yet another pixelart adventure game, however I can’t think of any other game that I could directly compare it to. Sure the adventure game mechanics are familiar and the art style is straight out of the LucasArt playbook but none have tried to create an experience like that found in A Golden Wake. Whilst it’s far from a perfect execution, including a story that goes no where for half the play time and a client that still harbors a few bugs, I do admire the ambition behind it. Still it’s hard for me to recommend it for anyone but die hard fans of the genre as they’re probably the only ones who’ll appreciate the craftsmanship and ambition behind A Golden Wake.
A Golden Wake is available on PC right now for $14.99. Total play time was 4 hours with 22% of the achievements unlocked. A copy of this game was provided to The Refined Geek by Wadjet Eye Games for the purposes of reviewing.
If there’s one thing that Wadjet Eye Games does well it’s sci-fi point and click adventure games. I can remember seeing the trailers for Gemini Rue and just getting swept up in it, loving the idea of revisiting a genre I hadn’t touched in the better part of a decade. Their next release (although not developed by them) in Resonance managed to continue the trend, invoking that same nostalgic feeling whilst also bringing some solid game play that reinvigorated the genre. When I was approached to preview Primordia (and subsequently given the chance to play it before it came out) I was beyond excited and today I bring you my first day 0 review of Wadjet Eye’s latest game.
Primordia is set in a post-apocalyptic future where you play as Horatio Nullbuilt, a robot who’s found himself stranded in the middle of a vast desert with a ship called the UNNIIC. It doesn’t seem like he’s particularly unhappy with his current situation, having spent his time salvaging the wrecks in the nearby vicinity to build his companion Crispin Horatiobuilt, but that’s all thrown into disarray when a strange robot forces its way into his ship and, after shooting Horatio, steals the central power core dooming Horatio and Crispin to die when their charge runs out. Of course this will not stand and this begins your quest to find your power supply and see the mysterious robot brought to justice.
Like all of Wadjet Eye’s previous titles Primordia is brought to you in brilliant pixel-art form bringing the great level of detail that we’ve come to expect from them. The colour palette is distinctly post-apocalyptic future, favouring muted shades of everything interspersed with bright neon glows every so often. Like Gemini Rue before it this really does convey a certain mood as even when other characters greet you cheerfully you can’t help but shake that feeling that something is still amiss, something fundamental. Coupled with every line being fully voiced acted Primordia is exactly what I had come to expect, a pretty good achievement to say the least.
The core of Primordia is your tired and true point and click adventure. Each screen is essentially a mini exploration game where you’ll spend countless minutes pouring over every detail, hovering your mouse over each section to see if it lights up with text that indicates you can interact with it. Unlike other games which make interactive parts obvious by highlighting them Primordia gives you no such luxury, instead forcing you to use your eyes and mouse in tandem to discover each and every interact-able part. For some this will be an exercise in frustration but for those of us who revel in this genre it’s all part of the fun, at least for the first 10 minutes or so on every screen.
Like all point and click adventures Primordia follows the traditional game sequence whereby you’re given free reign over a particular section, being able to walk/click/interact as much as you like, but in order to progress you must solve some kind of puzzle that’s blocking your way. This usually takes the form of finding out which items work with each other which can then be used on said blockade in order to progress further but there are also challenges that rely on you being able to decipher riddles and logic puzzles. Cleverly such puzzles aren’t brute forcible like they are in many similar titles, giving you a couple tries before you’re sent away in order to find another way to solve it.
What I really love about Primordia, and indeed any of the more modern point and click adventures, is the revamps of the inventory system that take away much of the tedium that was present in their ancestors. Primordia has your typical inventory, which can get rather cluttered towards the end, but it also includes a “datapack” which stores critical information that you glean from the environment and NPCs. Gone are the days when you had to rely on pen and paper or solely on your memory in order to figure out the solution to a puzzle which is an absolute godsend. It can also function as something of a red herring too, providing you with information that’s not relevant at all, which adds some challenge back in.
Another great improvement is the use of side kicks, in Primordia’s case Crispin, as hint machines that can help you get unstuck if you’ve been struggling with a particular puzzle. The clues aren’t always helpful, indeed many times asking Crispin what to do results in snide remarks or things I had already thought of, but there were many points where I found myself simply unable to think of new ideas. It was at this point that Crispin could jump start my brain again which I was really appreciative of given the lack of a walk through guide that would do the same.
I have to admit that the first half of my time spent with Primordia was one of frustration as there were many puzzles that I just simply couldn’t manage to figure out in a decent amount of time. Eventually I figured out that I just needed to take a break from it at this point and upon returning would usually be able to continue on. However towards the end something just clicked and all the challenges started to make sense. It might have been dumb luck, indeed there were some puzzles I solved by simply clicking the right item on the right place at the right time without even thinking about it, but I still feel that there’s a certain mindset you need to be in. Once you get it though Primordia becomes immensely more enjoyable.
Of course the main reason I play games like this is for their stories and Primordia does not disappoint. Things are slow going at the start, mostly because its just focusing on you and your companion, but the lore and back story of each character slowly builds around you until you get to a point where you realise you’re in the depths of something that’s far bigger than yourself. The way it morphs from a simple story of “get my power core back” to a full blown political conspiracy story really engaged me and the last 2 hours I spent with this game just seemed to fly by. I get the feeling there are alternate endings as well, meaning I don’t think I’ve explored every option yet, which means there’s even a bit of agency granted to the player. That’s pretty rare for this kind of game.
Primordia is a fantastic game and it was everything that I had come to expect from Wadjet Eye Games. The art work is great, the characters vibrant and believable and the puzzles, whilst frustrating at times, are incredibly satisfying when you manage to complete them without any outside help. I could really go on but the fact is that you’d be much better off just playing it as the story is what makes this game so enjoyable and I’d rather not spoil it for you here.
Primordia is available on PC right now for $9.99. Total game time was approximately 6 hours.
If there’s one type of game that hasn’t seen much of a revival thanks to the indie development explosion of the last couple years its the top down style of games that was made popular by the Grand Theft Auto series. It should be no surprise really as these kinds of games tend to be quite limiting in what they can do thanks to the fixed perspective, often limiting them to puzzle type games like To The Moon or the aforementioned predecessor of one of today’s most successful third person shooters. Hotline Miami then is the first game in this style that I’ve played in quite a long time and it does not fail to disappoint.
Hotline Miami winds back the clock to 1989, dropping you (funnily enough) in the tropical megalopolis that is Miami. You play as an unnamed man who’s a contract killer, receiving all sorts of weird coded messages on your answering machine that are the location of your next target. At every scene the ritual is the same, you go to your car, don a mask to conceal your identity and then proceed to unleash all sorts of hell upon the people contained within that building. However as the game goes on your world begins to slowly unravel and you start to question what’s real and what isn’t.
As I alluded to earlier Hotline Miami does feel a lot like the original Grand Theft Auto did back in the day with the top down perspective and pixelart graphics being the main factors behind this. However unlike Grand Theft Auto you’re not limited to simple up/down/left/right movement and thus the game plays a hell of a lot more smoothly than it or any other top down game I’ve played in recent times. This is also probably due to the fact that it uses the GameMaker engine underneath which supports DirectX which ensures that no matter how much action is on screen you won’t experience an ounce of slow down.
The developers behind Hotline Miami have described it as a “top-down fuck ’em up” and that description could not be more appropriate. The aim of any level is to clear out all the enemies out of a particular section and there are several ways to go about it. You almost always start off with nothing so your first victim will likely be taken down by the liberal use of your fists applied directly to their face. After that you’ve likely got your hands on some form of weapon which you can then use to dispatch enemies at a much faster rate. Of course there’s also a myriad of guns available should you be able to pry them away from their current owners but the use of them has a price.
Hotline Miami also incorporates stealth as a game mechanic which, depending on the level, you will almost certainly have to make use of from time to time. This also means that the use of guns will attract all enemies within a certain radius to you which can be both a good and a bad thing depending on the situation you’re in. It’s actually quite a neat little mechanic as there are many levels that can be easily breezed through with a knife but will be hell if you try to use any kind of gun, something which I found out after repeating a single section dozens of times.
There’s also a rudimentary levelling system in Hotline Miami which is based off of your score given to you at the end of each level. Now I couldn’t quite figure out how the scoring system worked (as the above screenshot shows I always seemed to score above the total points, unless that isn’t it) but it did appear to be directly related to when I’d unlock something. There are 2 kinds of unlockables in Hotline Miami: masks and weapons. Whilst the latter is somewhat out of your control (weapons are all randomly generated) the former can put quite an interesting twist on how levels play out and can be crucial to certain play styles.
The masks will confer some small benefit to you which is loosely based around the animal/thing they’re based off of. Most of them are simple things like extra ammunition or faster executions but others can be nigh on game breaking in terms of the benefits they bestow. My favourite by far was Don Juan as that one turns doors that you open onto enemies lethal which usually allowed me to fire off a single shot, run behind a door and then proceed to eliminate the entire room with several doors to the face. Playing that way might not be everyone’s cup of tea but it was pretty damn fun racking up massive combos in that fashion.
What really lets Hotline Miami down though is the bugs and crashes. I noticed at the start that it asked me if I wanted to disable SteamWorks as a few people were having trouble with it and at the time I thought I’d keep it on just to see how it played out. After about an hour or so I got a (handled) exception and the background sprite failed to render which wasn’t game breaking as I had just finished the level at that point. However after that I started getting unhanded exceptions on a particular level (I think it was “Clean Hit”) and they persisted even after multiple restarts and disabling SteamWorks.
The only way I was able to progress was opening up the saves.dat file which was thankfully not binary and had a pretty easy to decipher structure. Essentially I unlocked a couple levels ahead of myself so I could skip over the level that was causing it to crash and whilst this let me play the next two levels the crashing started happening again much to my disappointment. I’m not the only one experiencing this either and thankfully it looks like the developers are onto it. If I’m honest it would probably be worth waiting for the update before playing it again as it can be extremely frustrating losing your progress in a level, even if it might not take that long to get back there.
The story of Hotline Miami is a surreal experience with the initial encounters being relatively normal (save for the talking to the masked men section) but they slowly morph into what seems like a fever dream that your character is experiencing. It’s intriguing mostly because of all the little clues scattered throughout the game that seem to hint that your character is coming unhinged and you start to question what’s real and what’s not. I haven’t had the chance to finish the game fully due to the extensive crashing (I’m up to the last level, however) so I can’t comment on whether it concludes well or not but suffice to say the story is much more than something tacked on at the end to keep you playing.
Hotline Miami is a brutal, psychedelic beat ’em up that excels in making over the top violence extremely fun, to the point of you worrying about what kind of person enjoying this game makes you. Whilst it might be plagued with crashes that will frustrate many Hotline Miami really is good enough to make you want to keep playing, something which surprised me as I’m not usually that tolerant. If you’ve been pining for the days of the original Grand Theft Auto then Hotline Miami is right up your alley and I dare say that you’ll probably enjoy it a lot more.
Hotline Miami is available on PC right now for $9.99. Total play time was approximately 2 hours with 9% of the achievements unlocked (probably more due to the lack of SteamWorks and plethora of crashes).
The last few years have seen many independent developers attempt to expand on the traditional platformer style, usually either by re-imagining the concept or by combining it with elements that are common place amongst more modern games. Few however attempt to make a platformer that wouldn’t be out of place with its ancestors, in both regards to game play and graphics. Cave Story+ is one of those rare few, being first released over 7 years ago makes it even rarer as there was nary an indie scene to speak of, and it’s recent re-release on steam (and inclusion in the Humble Bundle) has seen it meet many more eyeballs, including my own.
Without so much as little bit of back story or title sequences explaining things you’re dumped straight into the game. You, although you’ll only find this out as you work your way through the game, are an amnesiac robot who’s managed to find himself in the middle of a plot being hatched by someone simply referred to as the Doctor. His plot seems to revolve around the native inhabitants of the area called the Mimiga, a race of humanoid rabbit looking folk. You then dive into the various sections of the world in order to help out the Mimiga and hopefully foil the plot of the Doctor.
I hate to start off the review with a criticism like this but the absence of some form of a tutorial makes the first hour or so (and some sections later on) with Cave Story+ a little frustrating. Whilst the arrow keys control movement the jump button isn’t up or space (it’s x) and fire is z. This wouldn’t be too much of a problem, I’d just check the options menu I hear you say, well unfortunately that’s not accessible once you start playing the game. You’ll have to quit to the main menu in order to be able to view the key bindings. It’s a shame really as this game has gone through several revisions since it was first released and I can’t be the only one who thought this wasn’t ideal, so my mind boggles as to why it’s still that way.
Cave Story+ does get points though for having art work that would not be out of place in games that were almost a decade its senior. Whilst there’s no real evocative mood along the lines of other recent pixelart games like Gemini Rue and To The Moon the artwork does a good job of paying homage to the games that inspired it. My only complaint about it would be that it’s sometimes hard to tell which things are meant to be interactive and which things aren’t, although to be fair that was true of the games that Cave Story+ seeks to emulate and is probably intentional.
Like it’s ancestors Cave Story+’s story is driven by the good old fashioned wall of scrolling text. There’s a good amount of dialogue in Cave Story+ as well, enough so that the back stories of each character get filled out well enough that you can understand their motivations in the story. This makes up somewhat for the beginning’s complete lack of information and confusing switching between you and another character.
One annoying part though was the limited way in which to skip dialogue. You can hold down the enter key to make it scroll faster but you’ll have to hit it again every time they reach the end of their section of dialogue. This wouldn’t be too bad but there are some sections where you’re required to make a choice, and with the default always being “Yes” this means that it’s quite easy to make a wrong choice at a point (as I did a few times). You can reload to do it again, but there’s also the issue with that as should you fail at a section and restart at your last save point you’ll have to go through all the dialogue again, even if there are no choices to be made.
Combat in Cave Story+ though is surprisingly inventive, varied and above all fun. Whilst you start out with only a single gun, what appears to be a Revolver named the Polar Star, your arsenal quickly expands to multiple weapons. Each of the weapons has their own unique ability, like bouncing balls of fire or a gun that blows protecting bubbles around you, and depending on your situation there will be a weapon that’s ideal for that particular engagement. This is what makes Cave Story+ so appealing, but it doesn’t stop there.
As you defeat enemies they drop little glowing triangles and collecting these will level up the weapon you currently have equipped. Each weapon changes significantly as it progresses through the levels and at the final level they usually have some kind of added bonus that makes them really worth while. My weapon of choice was the Machine Gun as it’s level 3 ability is to be able to push you upwards if you fire it downwards, making the platforming sections much easier and a lot of fights trivial. This is followed in close second by the sword which functions as an area of effect weapon at its highest level and is particularly devastating against bosses.
The weapon system also plays a heavy part in the strategies that you’ll form as you go through Cave Story+. You see when you get hit both your life and current weapon level will go down and depending on the weapon this can mean an instance de-level (like with the sword). For some boss fights then, when its impossible to not get hit, switching between the appropriate weapon and another one you don’t care about can mean the difference between beating the boss easily or stumbling your way through with the wrong weapon for the job. It’s immensely satisfying and is undoubtedly why Cave Story+ has a following like it does.
As for the overall story itself I could take it or leave it as there’s nothing particularly memorable about any of the characters which I’d say is due to the limited amount of dialogue in it. Sure there’s enough to keep the story going but after being spoiled with great stories recently, even ones without dialogue, I can’t help but feel that Cave Story+ doesn’t deliver in the story department. I’m putting myself at odds here with the greater community who commend Cave Story+’s err story but I stand by my comments.
Despite all these difficulties though Cave Story+ is still at its heart very fun to play. I didn’t catch myself wondering why I was playing this game, questioning whether or not I was doing it just for the review, which speaks volumes to Cave Story+’s game play. If you’re a fan of the old school style platformers then Cave Story+ is right up your alley and even if you’re not it still stands on its own as a really enjoyable game, even if it suffers from some solvable problems.
Cave Story+ (or some form of it) is available right now on PC, OSX, WiiWare and DSiWare right now for $9.99, $9.99 and some amount of Nintendo points. Game was played entirely on the PC on the Easy difficult setting with around 5 hours played and 45% of the achievements unlocked.