One of the most critical factors in a game’s success is the ambition driving its creators. It’s not a simple case of more is better however, instead ambition needs to be tempered with the ability to realise it. I’ve often chided developers for reaching beyond their grasp, attempting to emulate others with far better means and ending up harming their game in the process. There have been many great examples, even recently, where a focused vision results in a much better experience. Omensight is one such game where the concise focus on what makes this game unique has produced a well rounded experience.
You are the Harbinger, a mythical warrior who only appears in times of crisis. The land of Urralia is torn by war, and as night falls, you witness its destruction at the hands of a dark God. As the eyes and the sword of Urralia, it is up to you to reverse this fate. All you know is that it started with a mysterious murder of the Godless-Priestess, a deity whose soul is destined to return upon her passing. This time however her soul has failed to return and it is up to you Harbinger to find out why.
Omensight presents a highly stylized cell shaded aesthetic, lavished with bright colours, numerous glow effects and particle systems galore. It may not be a particularly unique art style but it’s certainly one of the better crafted examples I can think of in recent times. The environments are absolutely swimming in detail from the large vistas that show wide cityscapes to the closed in dungeons littered with various miscellania. This is undoubtedly helped by the fixed camera angles, allowing the artists to focus more time on what the player will see and leaving out detail where they won’t. My internal bias initially made me think that it was built on Unity but it is in fact running on the Unreal 4 engine, something which the developer Spearhead Games has some experience with. This, coupled with the low-poly art style, ensures that this will run pretty well on nearly anything you care to throw it at.
Billed as an action-rpg murder mystery Omensight could have easily made the mistake of trying to include far too much but, thankfully, the developers instead chose to focus on a few key mechanics. The combat is reminiscent of the Arkham series, a kind of tempo based beat ’em up style that rewards combos and utilising your environment to pull off flashy fighting moves. Gaining levels is done in the usual way and each of them either grants you a new ability or improves one you already have. The upgrade system allows you to further refine those abilities as well as base things like health, stamina and damage. Whilst there are a few simple puzzles in each of the level the main one is the overarching murder mystery. This takes the form of deciding which one of the main character’s day you want to relive in order to gain more information about the death of the Godless-Priestess. There is, of course, an optimum route but it seems no matter which path you choose you will get closer to your end goal. Overall Omensight might not be the most complex or comprehensive game I’ve played but for the things it does it executes them well.
Combat is a largely enjoyable experience although rarely is it a challenge. Even in the beginning (and on the hard setting no less) most of the enemies can be dispatched pretty easily and since there’s not a lot of them most encounters are over pretty quickly. As you level the difficulty does increase but so do your abilities with some trivialising some encounters. For instance the time warp ability coupled with the speed up from one of your NPC friends can make quick work of basically any group of enemies and even bosses. Considering the amount of replay you have to go through this probably isn’t the worst thing though as there’s nothing less fun than repeating the same encounter a dozen times over, especially if it takes forever to do. One thing that I was never quite clear on though was what counted as being a “flashy fighter” to get the XP bonus at the day end. I had many encounters where I pulled off multiple combos and got nothing, whereas there were other days when I did nothing but left click all day and got it. I’m sure the exact requirements are out there somewhere, but the game never explains it to you.
The platforming in Omensight, whilst not the weakest point of the game, is certainly one of the less great parts of it. Like all 3D platformers there’s a bit of awkwardness when it comes to jumping around which is helped a little bit by the dim shadow showing where your character will land. The real issue though is the fixed camera angles and how they interact with your movement on screen. You see it’s hard to tell just which direction you’ll move in when the camera starts to move on you and sometimes this happens just after you’ve jumped. This leads to some frustrating moments when you’ll try to course correct mid air and end up dying because of it. Similarly it can be hard to control your character along narrow ledges and other obstacles because the camera reoriented (and thus your controls did too), leading you to walk off a ledge when you thought you’d walk along it. Once you know the level layout, and by extension the camera changes, it becomes less of an issue but I’d be lying if it didn’t make the first couple hours of the game a real chore of trial and error.
Progression comes with a nice cadance, ensuring that you’ll either level up or be able to buy an upgrade or two at the end of each day. This also means that if you find yourself struggling for whatever reason you’re never too far off being able to remedy it. Indeed there was one point where I noticed I was taking a ton of damage from certain enemies and all it took to counteract that was a few choice defense upgrades I got after finishing the level. Omensight rewards those who explore the levels, hiding a lot of upgrade currency and XP in chests strewn throughout hidden pathways and passages. It starts to get a little ludicrous towards the end once you have all the seals, giving you enough upgrade points for 3~4 upgrades per run. I didn’t bother trying to max out my character as past a certain point the upgrades are just for convenience sake more than anything else.
Omensight’s greatest weakness however is the repetition of each of the levels. There’s about 5 or so main levels you’ll visit in your travels and you’ll visit each of them multiple times throughout your playthrough. Not much changes between visits: maybe an additional path is unlocked, different dialogue since you’re there with a different NPC or the environment changes slightly, but by and large they’re much the same each time. The game does grant you some small mercies if you’re replaying a day by allowing you to skip to the critical moment but for most of them you’ll have to trudge through the same areas time and time again. I’m all for focusing effort where it will be best utilised, and indeed the environments they have crafted are fantastic, but asset reuse on this scale is something that’s pretty hard to ignore.
The story does make up for this somewhat though with the additional bits of narrative revealed to you on multiple level completions aiding in your understanding of the overarching plot. There are some holes that appear due to the game’s non-linear nature and depending on which paths you choose when some elements will make sense whilst others won’t. It’s slow going at the start where you seem to be treading already well worn ground but it does start to pick up as you’re allowed to change the flow of each days using your Omensight. I could do without the trite revelations (Oh that thing you saw happen, that wasn’t exactly what it was! groan) though, especially considering the major ones are all basically exactly the same. Overall whilst it might not be the most emotionally engaging narrative it’s still enjoyable, even with its flaws.
Omensight executes well on its vision, focusing in on the things that matter to the core game experience. The graphics, level design and combat are all well executed making Omensight a game that’s easy to play for hours on end. It falls down in a few key areas though, namely the extreme reuse of each of the levels and the platforming, both of which significantly hamper the otherwise enjoyable experience. Still for those who, like me, are struggling to find titles worth playing in the yearly AAA draught that plagues us Omensight is a great game to fill the gaps until your next big title fix.
Omensight is available on PC, PlayStation 4 and Xbox One right now for $19.99. Game was played on the PC with a total of 6 hours play time and 74% of the achievements unlocked.
Dontnod almost didn’t make it to where it is today. Whilst I quite enjoyed their first game, Remember me, the wider gaming community wasn’t as enthused. To be sure it sold well enough, some 2 million copies or so, but it was Life is Strange that brought them the commercial and critical success they needed to survive. Not one to rest on the laurels it seems they quickly got to work on Vampyr with many of the Life is Strange team moving across to work on their next major title. It’s most certainly an aspirational title for them, yearning to be included alongside other RPG greats like the titles from BioWare, Bethesda and CD Projekt Red. However much like other developers with such aspirations (I’m looking at you Spiders) Vampyr falls short, including too much of some things and not enough of others.
The Spanish Flu grips London, striking down even the strongest in mere days and forcing much of the city into quarantine. You are Dr. Jonathan Reid, recently returned from the front lines of the war to help London overcome this gripping epidemic. However before you can make it all the way home you’re murdered by an unforeseen foe, only to rise once again stricken with an insatiable lust for blood. You are so blind with bloodlust that you don’t notice you first victim is your sister who came looking for you after you didn’t return home on time. After being chased through the streets of London by vampire hunters who saw your first feed you stumble into a local bar and try to make sense of what has happened to you.
Vampyr’s development began just after the release of current generation consoles so it surprises me that it looks as dated as it does. The Unreal 4 engine that powers it is capable of some quite impressive visuals (Hellblade: Senua’s Sacrifice and LawBreakers are two recent examples) so it’s most certainly not a failing of the platform. My best guess is that it was a deliberate choice due to budget constraints with much of their resources spent on other aspects of the game. Honestly if it was from some small time indie studio or a Kickstarted game I’d understand but Dontnod has 10 years of experience in the industry. Heck even Remember Me looks better than this and that game is 5 years old at this point. The upside of this is that it’ll likely run like it was a game from that long ago, giving some reprieve to those who’ve put off buying a new graphics card for the last few years.
Mechanically Vampyr is an action-RPG with a heavy focus on dialogue, both in terms of narrative as well as a core part of the game play. There’s all the usual trappings you’d expect in a modern action-RPG: levels, talent trees, crafting, items and a combat system that took some inspiration from the Dark Souls games. The levelling system isn’t a straightforward kill things/get XP/get levels deal however (although that is part of it) as to make any meaningful progress you’ll have to feed on people, all of which play a part in the story. This ties into the game’s larger emphasis on player choice, giving you a lot of control in how the larger story plays out. Indeed this appears to be where Dontnod spent the vast majority of their resources in building Vampyr as the game can play out vastly differently depending on what you do and what you don’t.
Combat is a little unpolished, suffering from many of the same issues that other games have when trying to replicate a Dark Souls-lite type experience. It’s set up much how you’d expect, with your main combat resources being stamina and blood (to power your abilities). Enemies telegraph their moves pretty openly although their movesets are much more random than I’d ever encountered in a Souls game. The hitboxes act a bit weird at times, with hits that shouldn’t have connected managing to land and vice versa. Locking onto enemies is a bit of a mixed bag too as it seems to limit your movement options somewhat, making dodging a lot harder than it should be. The jumps in difficulty are also area dependent and not at all smooth so you’ll likely find yourself going from competent to struggling at the drop of a hat.
All of this is a bit of a shame as when you’re extremely overpowered the game actually becomes quite fun, allowing you to run through areas without a care to who might be in your way. Whilst I understand that the game wants to make the choice of levelling up impactful (I.E. you can only be that powerful at the cost of others) if you, like me, didn’t enjoy the large amount of dialogue that the game throws at you then it’ll be hard to find a lot of enjoyment in Vampyr. Indeed this is one of the few games where I felt like the heavy amount of dialogue was getting in the way of the larger game; bogging me down in meaningless interactions that didn’t add much to the overall story.
This is probably my biggest gripe with the game as it takes quite a long time to churn through all the dialogue options with all the characters. Indeed past the first 2 chapters I simply stopped bothering with the majority of it. Sure, I probably missed out on some quests and some other bits and pieces, but honestly finding all the clues to unlock all the dialogue options just didn’t feel worth it. I mean it’s great that they endeavoured to give nearly everyone in the game a backstory but most of them only exist within the confines of the area you find them in. Only the campaign missions seem to build the story in any meaningful way, the others are just there as flavour text. I’m sure there’s probably 40 or 50 hours worth of game in here but honestly I would’ve preferred a solid 15 with better mechanics, tighter story and maybe a little more time spent on the visuals.
The other parts of Vampyr are similar to the combat in their implementations: rudimentary implementations of otherwise good ideas. None of the choices in the talent tree will impact the game in a major way (I.E. no abilities will unlock otherwise hidden parts of the map, say) but there are some cool things in there. I ended up with a simple build relying on the blood spear and the shadow ultimate as Vampyr tended to only throw a few enemies at me at any one time. My weapons were focused similarly, using a hacksaw for my main and alternating between the blood knife and stun focused gun for my offhand. Given the steep cost for levelling abilities there wasn’t much room for experimentation unfortunately. That is unless you decided to go on a mass murdering spree.
Which I did once, after I was able to clean out the hospital when my mesmerise level was high enough. That bumped me up around 12 levels in one sitting and was enough to ensure that I didn’t need to do it again for the rest of the game. However whilst there weren’t any direct consequences in the game doing so meant I was locked out of all but one of the endings, something I wasn’t aware would happen until right at the end of the game. Now the game does mention that it’s up to you to choose how difficult the game will be, indicating that feeding on London’s residents will lead to very bad things, however in the grand scheme of things I didn’t chow down on that many people. To be sure I devastated the hospital but the rest of London was untouched and that gave me the absolute worst ending in the game (although, to be honest, I liked it). Reading more into it you have to be very strict with your feedings to get the other 2 endings and the “best” one can only be obtained without feeding at all. The latter is especially devious given the game essentially guides you into feeding on the first one, making it look like a tutorial rather than an actual choice.
Credits where credit is due though the amount of effort put into crafting the story elements is quite phenomenal. Should you want to dive deep into this world and its inhabitants you can, even going as far to have some modicum of influence over it should you want. Although it’s not always exactly clear what your decision will lead to and often you won’t find out that until it’s far too late to undo it. I didn’t mind that so much as it meant that some of the throwaway choices I made did come back to bite me in some of the most interesting ways. It’s reminiscent of older BioWare games in that way with dialogue being the main mechanic by which the game revealed itself to you.
Unfortunately I found it quite hard to engage with the overall story for a number of reasons. The greater story moves far too slow at the beginning with the major questions getting basically no air time until the final couple hours. I couldn’t really empathise with the main character at all and the fact that all the NPCs would spew forth their life story at the drop of the hat just didn’t feel that believable. Towards the end I simply ignored all the ancillary dialogue and quests and, honestly, the game started to feel a lot better. Perhaps my completionist tendencies worked against me in this instance, my want to min max everything I could being at odds with my actual enjoyment of this game. I will never know but if you, dear reader, find yourself in much the same position hopefully that may help you.
Vampyr is an aspirational title from Dontnod and, unfortunately, it didn’t pay of well for this time around. Released some years ago it may have found itself among good company but in today’s market it feels two steps behind the norm. The graphics, combat and other mechanics are all simplistic in their implementation with the vast amount of effort spent on the dialogue and interaction with NPCs. It strives to be among games from the RPG greats but fails to do so, maybe not as badly as others have, but still fails nonetheless. I honestly had zero expectations going into Vampyr (only finding out it was made by Dontnod after I bought it) and have come away from it wanting more. I applaud Dontnod for experimenting as much as they have but, perhaps, in future they could limit their vision a little bit in order to make a stronger overall game.
Vampyr is available on PC, PlayStation 4 and Xbox One right now for $49.99. Game was played on the PC with 17 hours of total play time and 71% of the achievements unlocked.