Source: Cashmoneys Price: £17.99 Where to Get It: Steam
Ah, SUPERHOT. One hell of an interesting premise, both in terms of mechanics and story. The gist? Time only moves when you do, including looking around… And you’re in some extremely hectic situations in which it’s kill… Or be killed.
But hey, it’s only a pirated in-development game sent by a friend, and you can always restart!
Haha… Hahahaha… Haaaaboy…
It’s kind of amusing, really, how such a simple premise can be stretched out, and, with the story, each area of progression retrospectively makes the levels you’ve already completed something you can feel a vague sense of guilt about. But it’s only vague, because you’re hooked, the enemies are low-poly faceless red people who want you dead, and you want to see more.
Aesthetically, that low poly look, the glittering reds of what you need to kill, the blacks of what you can use to maim and stun and kill, the slow sounds of glass shattering, bullets firing, and the sterile white of the rest of the landscape makes everything nice and visually clear, yet disconcertingly off… And that discomfort rises when… Ah, but you thought I was going to spoil something, didn’t you? Well, as far as this review goes…
You are not in control.
After all, I want people to experience the twists. That slow, dawning “The fuck?” as they happen, as you have to get ever more creative, to not rely on any one thing, be it guns, your fists, or things to throw, to help you survive. Or at least enjoy dying as a means of exploring what you can do, and to find the (really annoying) secrets of the game. After all…
Bodies are disposable.
The Mad Welshman’s reviews are good. Money is disposable. Support is the new… Okay, okay, but you have to admit, it was worth a shot!
Source: Cashmoneys Price: £19.99 (Soundtrack free!) Where to Get It: Steam
SUPERHOT was an interesting, paranoia inducing game about shooting and killing and beating people in a game that… Haha, well, let’s just say “Time only moves when you do”, and leave spoilers out of it. It’s an interesting premise, the story took some cool and dark turns, and I quite enjoyed it.
SUPERHOT is more of the same… Except now in a sort of roguelike form. There are areas, and within those areas you have a pattern of random levels taken from a pool, and random upgrades (the number of each is fixed), and defeating everything in an area is completion, which then lets you access other nodes in this network, nodes that have memories, snippets of dialogue, and hacked in upgrades such as the ability to charge people, or bullet deflections that deflect every bullet back toward the enemies, regardless of whether you deflected those. But in its basic level goals, it remains mostly the same: Use your time stopping/slowing powers to murder red people in a level using whatever you can, be it thrown items, melee weapons, or one of a variety of guns.
And naturally, what SUPERHOT: MCD brings to the table, apart from MORE story, is just… MORE… MORE gun. MORE wrinkles, such as enemies who can only be hurt in certain locations, and are otherwise as white and sterile as your non interactible bits of scenery. MORE levels in which to play. Hell, even the achievements are “MORE [thing]”
And aesthetically and narratively, it’s also similar, in that paranoid, dystopian tone, which I compared to a mix of David Cronenberg and David Lynch (two film directors well known for surreal and dark films), and the way the aesthetics both subtly put you off balance and highlight everything you need to know.
For anyone with a little first person, low poly roguelike-ish need, this one’s a pretty solid pick. And for the people who played Superhot, but somehow haven’t already got MCD… It’s MORE.
The Mad Welshman apologises that he wasn’t able to screencap mid shuriken throw. Those things go at one hell of a clip…
Ah, Subnautica. An oceanic first person survival game, a bit of a rarity as a subgenre, and damn, was it beautiful. Even though the ending had you leaving the planet, I never got there, because I loved the sea too much. Still, Below Zero, its sequel, has changed the planet, or at least the region… New meter, new creatures, new overarching threats… Looking forward to more of it, just as I have before…
But… Below Zero’s new story… There are some beats that are the same from when I last looked at it, and there are certainly some interesting changes, but… I don’t know, it doesn’t grab me as much. Maybe that’s due to the lines not being voiced yet, because, I freely admit, I loved Robin’s voice (and her enthusiasm, in the old story, about the world she was researching.) Maybe it’s that it has a similar start to the previous game, but with a little extra boneheadedness (Okay, going to find out what happened? Good. Flying close to a meteorite on descend? Nooooot so smart.) But… As a starting point, I am going to say that the story hasn’t been grabbing me, so far, as much as it had previously.
ALAN remains interesting, though. And so, funnily enough, does the world of Subnautica, now frostier than its previous incarnation. And the threats, also, have changed. I was surprised by the brinefish my first time, and, holy shit, I almost died from the innocuous little bastards. You see… They freeze you. And naturally, if you’re frozen underwater, and you’re close to running out of oxygen… You’re very… Very dead. Add to this the creatures I’d previously talked about, the Sea Monkeys (who steal shit from your hands), among quite a few others, and you’ve already got some new, interesting wrinkles in the world.
Ohhh, don’t worry, players… Bombfish are still there, and they’ll still do their best to kill you while you try to harvest that sweet, sweet sulfur.
Aesthetically, the game remains as pleasing as its previous incarnation, with the soundscape really immersing you, letting you know there are threats around, and otherwise so calming, the musical stings being relatively rare… And visually, the world is as intriguing as its previous incarnation.
Essentially, if you want to try oceanic survival games in a science fiction world, Subnautica and this sequel remain the top of their field, and, despite my lukewarm reception to the new story, I still heavily recommend this, and look forward to where it’s going.
Still not leaving once I’m mostly done with the plot, Subnautica team. Can’t make me!
Source: Cashmoneys Price: £16.99 (£24.98 for game and soundtrack, soundtrack £7.99) Where To Get It: Steam
The City. We all know The City. It’s a dark place, always raining, always cloudy… Or is that smoggy? Yeah, it’s smoggy… Ramen’s your go to vending food, the lights are neon, and the streets are grimy and filled with refuse, both human and otherwise. Welcome to this version of The City. Welcome to Cloudpunk.
But what is Cloudpunk? Essentially, it’s a narrative delivery service game, set in a dystopian future city with high tech… And low life. You’re a worker for the Cloudpunk service, a service that doesn’t want its drivers to be known as Cloudpunk. You keep hearing the word CORA, and can’t pin down what that means. And within your first hour, you’ve either delivered a highly suspicious package (or haven’t), talked to a variety of people, and met your neighbour, the android Evelin, whose close friend locked away memories in her mind, and is decrypting them (like you, not wanting Corporate Security’s attention) by… Punchcards.
No, the memories aren’t on the punchcards, that’d be silly. But the encryption key to her memories is.
And so, you fly through the world, in your hovercar, walking round places, picking things up, delivering things that you’re meant to deliver after picking things up, and, after a point, just… Exploring. Looking around. This is your first night, and most drivers apparently don’t survive their first night. So why not enjoy yourself, talk to people, get a feel for the city first, eh?
And there’s a fair bit to it. Not only is there the main story, with its sometimes wonky voice acting (mostly pretty good, though), its almost surreal cyberpunk setting (and yes, this counts as cyberpunk, you are Little People, and even living is a rebellion), and its people. An Engineer for the city, the city that’s falling apart, but only he knows what’s up. Red street signs blinking three times is bad. Also blue signs in general. Aaaand orange, yellow, green… Purple’s the worst though. If you see purple, you’re fucked already… Well, according to him, anyway. And he’s just one example.
Aesthetically, this game is pretty good. It uses voxel art (that’s cubes instead of dots) pretty well, the music ambient, synthy, and very fitting, and the soundscape… Police fly by, hovercars and trucks (called HOVAS, collectively) whibbleywhoo over the place, and the rain… Nearly always… The rain.
I don’t really have bad things to say, to be honest, but if a game mostly about exploring in your car and on foot, about keeping the gas going, keeping your HOVA repaired, and exploring the story isn’t for you, then it isn’t for you. If it is, Cloudpunk’s a pretty solid example of an exploration game with narrative, not just story.
Source: Cashmoneys Price: £29.99 (And a whole buttload of DLC, totalling £71.) Where To Get It: Steam
I loved Darius when I was young. It was a great example of the imaginative boss design of shmups, along with Xenon 2’s bosses. An evil empire that has a design theme of fishes, crabs, and cephalopods for its giant boss ships? Oh. Hell. Yes. It helps that the series has had one hell of a soundtrack, and it’s been alright on the difficulty for a shmup.
So, once again, the Belsar have invaded, with their fish-like ships, and it’s up to the elite Silverhawks to scramble to save the day. Go save the day, hero!
Bam. Plot done. Let’s talk about the game. Like earlier titles in the series, it’s split up into various routes, although, unlike previous entries, there’s a single main route, and side routes. What makes this one interesting is that you can unlock ships from throughout the series (and, with DLC, play ships from other properties, including the jetpack cannon funtimes of the Space Harrier protagonist), and play with those… Although you’ll get a chance to try out most of them in any case, some of which have unique tricks, and all of whom have at least one different element. Each mission is split up into at least two stages, often with multiple boss fights against memorable ships (the same models, such as King Fossil or Mirage Castle, have appeared pretty much throughout the series, so returning players know most of what to expect.)
Missions also have mutators from the base of “All types of powerup, your special weapon charges from killing enemies”, such as limited or no drops, or your special weapon automatically charging (You’d think this was a godsend, but no, the challenge usually matches that mutator.) Beating each stage earns you a proportion of the score as points to purchase ships (Ships from later in the series, such as the Murukamo, require a lot of points, so if you really, really want to play those early, expect to grind the earlier missions a lot), and to spend on, if you choose to use a custom ship, powering them up for the mission (just using them is free, but if the mission has a no-powerup mutator, you really want to power them up appropriately, or better, than the preset ship you’re given)
When it comes to soundtrack, it’s great. The music, as mentioned, has been strong through most of the series, and this one is no exception. Visually, it works well, ships with powerups being denoted with strong, saturated colours, and foreground elements you could conceivably smash your ship against more saturated and brighter than the background, as it should be. The UX is clear, the sound is good (although, fair warning, if you’re using one of the older ships, it uses similar sound effects to the games they’re from, and changes the soundtrack in some places. They’re still powerful, so, er… Don’t discount them, even if chiptunes and beepy pew-pews aren’t your thing.)
It does get difficult somewhat early, due to some of the bosses having revenge bullets, a boatload of health, and some nasty attacks, but it plays very smoothly for what it is (a port of a PSP game), it’s a good shmup with a great soundtrack… My only critique is that there’s no english language version of the special guidebook you can get as DLC. I’d love to read that. Ship DLC is pretty cheap individually, and there’s certainly enough playtime that you won’t feel the need to play with those until you’ve finished the main game. Oh, and let’s not forget that it has both Arcade and Story modes (The mission route mode I’ve spent most of this review talking about), remote play, and Chronicle Mode, an interesting mode where there are 3000+ worlds on a “cabinet” that you share with other players online.
So… It comes highly recommended as a shmup which, while it gets bullet helly fairly quickly, is interesting, cool, and with a great soundtrack!
The Mad Welshman loves the inventive shooters, with the interesting boss designs. Don’t give me boring old “Ships, but big.” Give me things that make me say “Omigod, this is a thing I want to share!”