Prior to writing this review, I spent a decent chunk of time playing Mothergunship; nine hours, to be exact. Yet I feel like I spent twice that time contemplating one simple question: why doesn’t this game work for me? I’ve played and loved fast-paced first-person shooters like High Hell. Roguelite FPSs such as Immortal Redneck have brought me countless hours of bliss. So, the mystery of Mothergunship’s mediocrity has plagued me, to the point where I had to go back and replay some Immortal Redneck to attempt to glean some fresh insight.
On paper, Assault Gunners HD seems like the perfect game for me. Featuring a deep customisation system, fast-paced mech combat, and the Dynasty Warriors-esque satisfaction of mowing through hordes of opponents at the drop of a hat, it’s pretty much my personal power fantasy come to life.
Here comes the “but”.
Rogue-lite mechanics have been one of the most popular features in indie games for years now, second only to pixel graphics, it seems. I get the appeal: given the comparatively small budget that many independent games have compared to their AAA counterparts, being able to artificially extend an experience with a near-endless supply of randomly-generated content is an appealing proposition. However, its prevalence has started to wear on me over the years, to the point where “rogue-lite” or “rogue-like” as buzzwords often tarnish my interest in a game. Thankfully, while this did somewhat colour my experience with Everspace, there were enough good ideas under the surface that it was worth a more thorough look.
Sine Mora EX is a veritable melting pot of ideas. It’s a bullet-hell shmup that replaces lives and health bars with a timer. It weaves a grim narrative of war, rebellion, and genocide, all seen through the eyes of anthropomorphic animals. To top it all off, its creators include the Hungarian studio Digital Reality, Grasshopper Manufacture (known to many as Goichi “Suda51” Suda’s development house), and Akira Yamaoka (known for his Silent Hill soundtracks). Somehow, though, all these disparate elements combine to create a shooter that is challenging, beautiful, and consistently entertaining.
The Guardians are back once again with a new chapter of their adventures. After their painfully average first outing, things were starting to look up in episode two. The story began to branch out, the choices were more thought-provoking, and the characters, well, had more character. Sadly, this uphill trend doesn’t seem to have carried over into episode three, which ends up suffering from several of the same issues that plagued the first episode.
Slow, stamina-based combat? Check. Enemies that respawn whenever you rest to heal? Check. Experience points that get dropped every time you die? Check. No, this isn’t some ill-promoted sequel to the Dark Souls series; it’s an isometric action game by the name of Immortal Planet.
To say that Immortal Planet draws heavy inspiration from FromSoftware’s famous series is an understatement. For the first half hour or so of the game, every time I asked, “I wonder if it does this thing that Dark Souls does?” the answer was a resounding, “Of course!” Thus, Immortal Planet takes place in a semi-open world backed by a largely vague narrative. As a mysterious Awakewalker, you are tasked with restoring the Cycles of the planet, the lack of which has caused it to turn to a frozen wasteland. In your way stand countless enemies with varying attack patterns, all of which need to be analysed and circumvented to succeed.
How do I describe Redout?
Then again, perhaps a more accurate question is, “How do I describe Redout without drowning this review in more buzzwords than the average E3 press conference?” The thing is: doing so would require me to pour hours and hours of time and energy into a single paragraph instead of just playing more Redout. Not exactly ideal. With that in mind, allow me to indulge.
Redout is one of the most delightfully high-octane, edge-of-my-seat racing games in recent memory. It’s a thrilling adrenaline rush of an experience that caused more emotional outbursts from me than a House of Cards season finale. It’s a finely-tuned joyride that’s been polished and balanced until it shines in a cornucopia of flashy colours.
What I’m saying is that Redout is really freaking good.
Randomness in games is an excellent method of promoting custom story generation. The fact that nearly everyone will have an experience that is at least marginally unique means that there’s always something new and interesting to talk about that many players may have never seen or heard of. That’s the goal with The Long Journey Home, a rogue-lite space game that channels FTL: Faster Than Light and No Man’s Sky into a challenging, galaxy-trotting, survival experience.
The titular Guardians aren’t the only thing under pressure in the second episode of the ongoing point-and-click adventure series. Following a painfully average first outing, Under Pressure is tasked not only with continuing the established story, but also with giving players a reason to care. Featuring new characters and locales alongside some far more dramatic emotional beats, is there enough here to help the series claw its way out from mediocrity?
Telltale Games cut their point-and-click teeth on comedy, with Sam & Max and Strong Bad’s Cool Game for Attractive People becoming early breakout hits. As time went on, though, they headed in a more drama-focused direction, with the most publicized catalyst being the first season of The Walking Dead. Its focus on life-changing decisions made under tight time constraints created an emotional rollercoaster of an experience, with a plethora of scenarios whose outcomes were a far cry from black and white.
With this pedigree behind it, Guardians of the Galaxy: Tangled Up in Blue feels like a huge step back. That’s not to say that it’s a wholly worthless experience, but it feels like a game that largely ignores the developments made by its predecessors.