#i love the dystopia cyberpunk aesthetic and its so much fun to play around in | Explore Tumblr Posts and Blogs

fuse2dx · 4 years

Text

August ‘20

Ruiner

Ruiner frames its action at an isometric tilt. There’s a lot of red; in the game’s interface, as the prominent colour of the neon lighting that adorns its stages, and in the blood that is frequently spilled. Its cyberpunk setting isn’t anything particularly new, but as a unifying aesthetic, the glitchy effects, and out-there personalities doing their best to cope in a dystopia do well to build a convincing and intriguing world. Stages are action packed and throb with electronic noise and big loud industrial bass hits, with the play being akin to an arena shooter; enemies surging at you in bite size, minute-at-a-time waves, with each of these closing out with a grading screen serving as the pat on the back to keep that dopamine rhythm pulsing. It’s a pretty hypnotic cocktail.

These stages evolve out of a singular hub city, and while it’s not particularly big, there’s just the right level of hubbub, and it has a lovely Hirusawa Susumu track acting as an excellent, melancholic mood-setter. Based on the size of its world and the the quick-fire action being split between a very small number of stages, it’s not surprising to say it’s fairly brief - I mean, how could it get so big? But what is important is that it’s plenty of fun and and has style by the bucketload. I got a good kick out of it.

Carrion

On one hand, a horror game where you play the horror is just the kind of flip on a genre that’s needed to freshen things up a bit. On the other, it’s one straight out of the spoof ‘Peter Molydeux’ playbook. What a carri-on.

... I’m sorry. After your initial escape from a lab, Carrion centres around a hub world, with individual stages then breaking off to allow for more specific themed stages. What you’re trying to do within these is to spread your big, goopy self around, where certain spots will act as save points but also count toward unlocking an alternative path back to the hub and opening up new routes in the process. What’s unique to this particular metroidvania take is that while there are new skills that open up new routes, your movement in general is uniquely freeform - point in a direction and off you go, free of any worries about platforming and the gravity that’d otherwise bind you. While it may not be the most precise movement given the size to which you grow - and boy does this become a point during some forms of combat - it does remain responsive, and quite fun to simply shamble about like a giant congealed blob of bloody, multi-toothed sinew-y mess. Everything scales up nicely on both sides of the fighting, with distraught pistol-equipped humans turning to shielded folks with flamethrowers, all the way up to drones and mechs that are just as mobile and / or deadly as yourself, even in spite of your own upgrades that allow for more ranged, varied, and sharper extremities. It’s not especially long, and is never so taxing as to demand too much expertise of you, but it is fun and importantly, quite unlike anything else out there.

Yoku’s Island Express

Pinball continues to feel like a lost art form to me, with the nuance of skilled play being more like a foreign language than another type of game you can easily pick up. Yoku, newly-appointed postmaster, is but a tiny little bug, and as such is indebted to these skills in his efforts to travel and clamber about an environment much larger than he. Flippers are casually littered about to shoot you from one area to the next, but there’s also plenty of sections you’re led to by the story that are small yet just detailed enough to play like a neatly sectioned off area of a complete table - complete with requirements for precise shots to move forward, and those inevitable moments where you have to sit back and watch as your ball falls with miserable, exacting precision between the flippers. Failure typically sets you back a few pickups, but given these are just as quickly re-earned, you’re never punished too hard - there’s certainly no three strikes and out mentality here. It’s a very friendly interpretation of pinball’s mechanics, and there’s a decent enough story layered on top, with its characters and art demonstrating enough pleasant charm that you can definitely see this being a great way to introduce pinball to a younger audience. That’s not to say it’s not enjoyable from an older player’s point of view - just that you know what’s being presented is a wisely palatable version of a classic hobby, rather than the arse-kicking ordeal you may be used to.

Rime

I am certain that Rime would love me to compare it to a certain Fumito Ueda PS2 game. There’s the ultra-minimal scene that’s set as a boy washes up on an island; a sparse, beautiful, somewhat Mediterranean set of landscapes, and with very few ways to interact with it all that don’t involve clambering over things or shouting out in wordless desperation. But as you’ll have noted, I haven’t found it in myself to justify using that game’s name here.

As much as I wanted to give this a chance, it often felt directionless, uninspired, and at worst, slow and tedious. The puzzles are derivative of any number of games I’ve played before, and the biggest danger is that you might assume as to their difficulty and over-engineer your approach, rather than not be able to tackle them. The platforming is simplistic and regularly drawn out with ledges, ledges, and more ledges to climb across and dangle from; even if you were to find a way to fall to your doom, as is tempting, it is unlikely to take you back much further than a few seconds. Crucially, there’s really very little to sink your teeth into on any front, and even when the game does finally start to weave some plot threads into the game’s canvas, it’s well into the latter half - long after I’d already racked my brains for any hint of an allegory that’d fit, and given up on expecting one. Sadly, to the point that the actual story felt like a cheap afterthought when it did finally start to unravel. This bounced off me much harder than I’d expected - I came away wishing it had forged a bit more of an identity and a purpose rather than just an aesthetic strung together with some weak elements of play.

If Found

As far as interactive elements in visual novel-type games go, If Found has a different approach to most. The story’s primarily told by means of a diary - one that’s full of witty observations, personal reflections and enigmatic sketches - that you actively erase as a means to push events along. The diary belongs to Kasio, a trans girl returning to their small Irish hometown after a stint away at university in the city; a return that’s not met in the warmest or most understanding fashion. As a mechanic, the erasure of this diary is loaded with meaning; peeling back layers of a scene often matches a more poignant set of observations, and the scrubbing of such personal details away offers a painful reflection on an identity being chipped away at. It’s very much a story about finding one’s self, about coming of age, and as it rides these highs and lows it does an excellent job in making you ride along these alongside the characters, and it does one hell of a job to make you think about the compassion that you both see and offer in the world outside. I’ll put my hands up and say that there are some elements of the story running in parallel to this main one that didn’t gel with me quite so well, but this is a minor footnote to an otherwise highly enjoyable play through. In a short space of time, Annapurna have done a great job in winning me over with their publishing choices - particularly in holding up the kinds of voices and ideas that fit these smaller titles so perfectly.

Double Kick Heroes

It’s a rhythm game. I like rhythm games! It’s about a zombie apocalypse. Oh no. It’s... a heavy metal rhythm game? Ok, maybe we can work with this.

After a trailer name dropping a bunch of familiar artists - Jinjer, Carpenter Brut, Gojira - what surprised me straight off was that none of these licensed artists featured in the game’s story mode. They’re all sectioned off in a separate menu, and while on the bright side they’ve each given a unique stage with a visual theming in keeping with the bands in question, it feels like a bit of a missed opportunity. Instead, all tracks throughout the story were composed by just one person, and with only a small handful of featured musicians being included to diversify things. It starts with more (arguably) palatable hard rock numbers, but goes up to and includes grindcore, death metal, black metal and the like, meaning that not only is it going to put a lot of folks off right away, but that it’s asking a heck of a lot for one composer to cover all of these sub-genres with the appropriate care. While it was refreshing to hear some types of music I’d normally not expect to hear in a game, some tracks inevitably grated, and while I enjoyed some others, I wasn’t ever bowled over too strongly either.

The story itself is fairly by the numbers. It sees an on-tour band fighting back against a zombie uprising, and has unsubtle references to any number of heavy artists, albums and songs shoe-horned in at every opportunity. It also bears the hallmarks of its dialogue being written by someone that has a very particular sense of humour which personally all fell very flat. While the team undoubtably do love music, the over-enthusiastic style rubbed me in a similarly uncomfortable fashion as Jack Black does regularly, with his half-comedian, half-musician schtick. The gameplay itself is based around the drum parts of its songs also corresponding to different weaponry on your car that holds the hordes back, and while this on its own can prove tricky, higher difficulties also mounts other expectations - like steering your vehicle, or alternating pedals to shoot different parts of the screen. Some of my frustration with all of this is likely my own fault for having chosen to play on the ‘Hard’ difficulty, but traditional wisdom feels a little bit lost when you can still get damaged when your combo meter is racked up well into triple digits.

In all, Double Kick Heroes presented some pretty unique gaming scenarios; like having to work out the best controller configuration to play blast beats with, or asking out loud “did I just hear the words ‘we are Genital Absolution’ coming from a Nintendo console?”, and it’s clearly a small team working on something they really care about. I respect that. I didn’t enjoy it as much as I was hoping, but I hope they’re proud of what they’ve created.

Manifold Garden

A puzzle game taking significant inspiration from the works of M.C. Escher is a pretty good starting point in my eyes. It being presented in a wonderful manner certainly doesn’t harm either; from the UI all the way into the game, it’s beautifully clean and defined, opting for delicate shading rather than messy textures, and with its intricate, recursive geometric patterns, you’ll likely find cause to stop and take stock on a regular basis.

One button looks after your basic interactions with the world (pushing, picking up, and so on), with your other crucial way of interacting with the world being the ability to approach a surface and then assign it as ‘the new down’ - spinning everything about an axis, planting your feet to it, and changing your perspective on everything. There’s a nice steady introduction of puzzle pieces as you ease your way in, but they all stem gracefully from these simple mechanics. That I - not the world’s greatest puzzle gamer - was able to enjoy this without every getting too stuck may hint at it perhaps not being as complex as some puzzle fiends might desire, however this amounted to me coming out the other side with great waves of satisfaction, and nought but positives to say. I would go so far as to say that it’s the most fun I’ve had playing a puzzle game in a long, long time, and to boot it’s also perhaps the game where I’ve used the screenshot button the most copiously. Wonderful stuff.

#ruiner #carrion #yoku's island express #rime #double kick heroes #manifold garden

1 note · View note

ostrichmonkey-games · 4 years

Text

RPG Highlights: Shadowrun

Ah, Shadowrun. I have a lot of complicated feelings about Shadowrun. This one might be is a bit rambly. Shout out to the anonymous suggestion for this one.

So, first off, I’ve mostly played 5th edition with some slight dabbling in 4th. So those editions are what informs my opinions on Shadowrun.

What Is It: Shadowrun is a d6 dice pool, skill-based, fantasy cyberpunk/corporate dystopia rpg. You can play an ork decker (hacker). Or an elf marital adept. Or a chromed up street sam(urai). Get hired as corporate disposable assets, but a shit ton of gear, and go cause a ruckus.

The Sixth World (the world of SR) is, easily, one of my all time favorite rpg settings. For those not familiar, SR is a fantasy cyberpunk. The long and short of it is that in 2012, magic came back into our world (though the timelines between the real world and that of SR split a bit earlier than that, mostly concerning the rise of megacorporations). It’s very fun to just, get lost in the SR wikis or peruse the more setting focused books (which is all of them really). Everything you’d expect from modern cyberpunk you can find in SR. Now just add fantasy. Magic, orks, elves, overpowered mages, etc, etc. (There’s arguments to be made that, the “punk” part of a lot of current cyberpunk products is kind of lost, and its more of a “corporate dystopia”, but there are better informed people out there who can write a lot better on that than me. Minimum, SR contains at least the aesthetic you’d be looking for in cyberpunk)

At one point, an actual dragon was the president of the “US” (technically UCAS if I’m remembering my lore correctly, but you get the idea). It’s a blast. That being said, there is some, problematic writing. Again, I’m not the expert on this, but you will probably come across some stuff that leaves a sour taste in your mouth One major examples is how the game mechanically deals with cybernetic augments. The more chrome you pick up, the less Essence you have. In-lore, Essence is more or less described as one’s “humanity” or connection to the earth/world. The lower your Essence, the less “magical” you are. If you get too much chrome, you can go full “cyberzombie”. So, from a pure gameplay mechanic, I get it. You need to balance cybernetics with magic otherwise you’d have chromed up mages running around and it would probably be a mess. But it’s, kinda messed up that if you want just a regular not-fancy prosthetic leg you have to mechanically lose some of your humanity.

There’s a few other bits and pieces of lore writing that is also not super great, but I also don’t have any of them on hand, so just kind of a warning. There’s a tone of cool stuff in SR but be prepared to come across some not as cool parts.

Playing The Game: Okay, so moving on to the mechanics as I understand them. And I am by no means an expert.

At it’s core, SR is a pretty simple classless d6 dice pool. You make skill/action rolls which are based off the points you have in an attribute plus the points you have in a skill. It can be remarkably flexible. I honestly like this core.

On top of that, when you build a character you have a massive pool of positive and negative traits to play with. You can make very unique characters, and a lot of them. I mentioned classless but there are some general archetypes you can build toward, like mage, adept, street sam, decker, and others.

Where things can get messy is where the more, “simulationist” begins to come into play. So, your character is just as much defined by the gear they have as the skills they possess. Gear is very important mechanically. And it’s also once you start to get into gear (and to an extent the pos/neg traits) that you begin to run into a lot of the situational modifiers that makes SR difficult to learn. There are rules for, a lot of things. Rules for different bullet types, firing mechanisms, explosive calculations, magical strain, summonings, astral projects, falling, jumping, skydiving, basically an entirely different game for decking (hacking), and more.

This sort of style suits some people! If you love to optimize and get really granular, there’s a ton to work with here! But for me, this is where the game starts to break down. Just personal taste.

All the extra rules and exceptions is also where mechanically, the game can start to feel kind of broken. In my experience, mages are overpowered, with adepts being even more overpowered. I never really look for a perfectly balanced game (if such a thing is even possible), but it can get out of hand in SR, again at least in my experience.

The RAW intended “core loop” of SR (if that idea can be applied to ttrpgs) is basically, get a job, do the job, try not to die, get paid (hopefully), buy knew gear and repeat for as long as you’re having fun. And let me be clear, you can easily have a blast in SR. I had fun, even with all my personal issues with the mechanics. Just keep in mind what kind of game it is if you’re thinking of picking it up. There is also Shadowrun: Anarchy, which is billed as a more rules-lite and narrative focused version of SR, but I’ve only barely skimmed it so I can’t offer much on it.

Production Values: So, the SR books look nice. Plenty of nice art, interesting layouts, packed full of lore and world information. They’re nice to read like a book. Where they utterly fail is a game tool and resource. The books are riddled with errors requiring pages of errata, are horribly, unintuitively organized, and occasionally hide rules and mechanics in little sidebars. You will be flipping through the books a lot when making a character. The whole book. Hope you’ve picked up a character builder too.

Why You Should Play It: The cyberpunk base provides a unique foundation for telling stories. Cyberpunk can be a lot of fun to explore, the addition of fantasy just helps set SR apart from other cyberpunk products. But you can also just put on some mirror shades, straighten up your pink mohawk and have some wild adventures if all you’re looking for is explosions and action. That’s totally cool too.

End of the day, SR is worth checking out. It will require some effort, Catalyst Labs doesn’t make it easy. And it may not be the system for you. But the setting can carry it pretty far. Also, I recommend checking out the podcast Neoscum if you want an actual play example. It’s on the zanier (pink mohawk) side of things, but it is seriously great, and an equally great examples of what you can do with SR.

Where You Can Get It: Various editions of Shadowun, including the most recent sixth edition are available on DriveThruRPG and Catalyst’s website.

#rpg highlights #this has been sitting in drafts for an age now #time to post

8 notes · View notes