There was not one but two announcements from publisher Devolver Digital this week, with one of them being a new game in one of point-and-click adventure gaming’s most famous franchises.
The announcement of Return to Monkey Island, the long-awaited follow-up to the legendary Secret of Monkey Island and Monkey Island 2: LeChuck’s Revenge by Ron Gilbert’s Terrible Toybox in collaboration with Devolver Digital and Lucasfilm Games, was somewhat of a surprise to most of us, especially those of us of thrived on Lucasfilm’s excellent point-and-click adventure games. Here’s hoping there’s a return to insult sword fighting! “You fight like a dairy farmer!”
Details are light on the ground for Return to Monkey Island and the trailer doesn’t reveal any game play but Gilbert, who was behind the Kickstartered point-and-click game Thimbleweed Park, tweeted about it on April 5:
Anywho, here’s a link to the short announcement trailer
The second announcement from Devolver this week was another game play trailer for Trek to Yomi, the Japanese samurai inspired game that I previewed on this site a couple of weeks ago.
The trailer is long – it’s 15 minutes – but gives you a good taste of what to expect from the game when it’s available from May 5.
Publisher Devolver Digital is always full of surprises and Trek to Yomi, a game set during feudal Japan is another surprise that has come out of nowhere, at least as far as I’m concerned.
I knew nothing about the game until the Australian-based PR team for the game got in touch asking if I was keen to preview the first opening hour or so. I watched a couple of trailers and was intrigued. Insomniac’s Ghost of Tsushima has left an itch for more games based on Japanese culture and samurai lore so could Trek to Yomi scratch that itch for me? Let’s find out.
Coming from developer Flying Wild Hog and Leonard Menchari, Trek to Yomi starts with a flashback of young samurai trainee Hiroki training with his sensei and it’s a good training sequence that introduces the sword-play that will become crucial as the game progresses. Hiroki’s arsenal includes fast upward slashes and slower paced but more deadly downward strikes.
Suddenly, Hiroki’s sensei grabs a spear, tells his ward to stay where he is and runs off to fight the villagers who have invaded the village. Hiroki, of course, doesn’t listen and runs off in search of his master only to see him slaughtered before his eyes. Hiroki vows to avenge his death.
Trek to Yomi is a 2.5D game with a striking visual style: It has an old black and white film grain that is reminiscent of the samurai films of old. At times the camera will pull back, revealing rice fields, waterfalls and mountain backdrops, and a few times I just sat back and took in the view, Hiroki often silhouetted in the foreground with the sun shining through trees with falling leaves.
As you can see from these captures, which I took from the game, it really does have an amazing visual presence.
Adding to the immersion is the dialogue is in full Japanese. It really adds to the atmosphere of being drawn into a Japanese samurai movie of the 1950s. So far, so good.
When Hiroki explores the game world it’s in 2.5D, meaning he can move left and right, forward and backwards, exploring, but when combat is activated the perspective shifts to a flat 2D plane with Hiroki having to fight foes coming from the left and right.
Most of the time you can dispatch foes with simple slashing moves and as he progresses he unlocks more complex moves but, to be honest, I found it a struggle at times to have enough time to chain together some of the more complex combinations, instead tending to thrust and slash when confronted with a handful of enemies at once. It’ll have three difficulty modes: Kabuki (Story), Bushido (Normal) and Ronin (Hard).
The preview build only allowed for about an hour of game play – essentially the first two missions – and ended with Hiroki fighting one of the game’s bosses so it’s really hard to say how the game will be as it progresses and how the story develops.
My interest is definitely piqued by Trek to Yomi’s visuals and the Japanese narrative and location but with such a short preview build, it’s too early to say whether the game is style over substance.
I guess I’ll find out when the full game is released later this year, right?
Every once in a while a game comes along that completely engages you with its game play and atmosphere: Death’s Door is one of those games.
Played from a slightly top down perspective, Death’s Door has you control a black crown who collects the souls from vanquished foes for a living (he’s a reaper at the Reaper Commission), but when an unknown creature steals a much needed soul you are assigned to collect, he must hunt down the assailant through a world untouched by death and inhabited by weird and bizarre creatures.
I first played Death’s Door on PC earlier this year and I was just struck with its beautiful art style, the soundtrack and the whimsical charm of the lead character.The world of Death’s Door is full of secrets and hidden passageways, too, and Our hero can uses melee weapons, arrows and magic to dispatch foes as he explores deeper into this strange land.
Bosses are brutal until you learn the attack patterns and if you’re anything like me you will fail at the first attempt, not generally because the foe was too tough (although as you progress they get progressively harder and harder) but for the simple reason that you missed a crucial telltale before it delivered a fatal blow. In Death’s Door, timing your attacks and memorising enemy attack patterns are the difference between life and death.
Death’s Door is challenging, make no mistake, and you will get punished hard for your mistakes, but it’s not as frustrating as, say, Demons Souls or Sekiro and it’s now available on the Nintendo Switch – and it’s bloody good.
If I had any complaints with the Nintendo Switch version of Death’s Door it’s that the text is too small – something I increasingly find annoying on Switch games – and, like the PC version, there is no in-game map to help in your exploration. I’d like to see an in-game map, please.
There’s not much more to say about Death’s Door: It’s was a delight to play on PC and it’s a delight to play on Nintendo Switch (despite the hard-to-read text) – and that’s testament to the skills of developer Acid Nerve.
If you want a game bursting with charm and weird characters and a lead hero who’s a soul-collecting crow, Death’s Door is the game for you. Highly recommended.
Thanks to Devolver Digital for the Nintendo Switch code
The opening credits to Stories Untold, an interactive horror game from developer No Code (one of the team worked on Alien Isolation and No Code was behind the very excellent space thriller Observation), screams old school adventure games and Netflix’s Stranger Things.
Even the intro music has hints of Stranger Things (not surprisingly, the artist behind the game poster and logo was an artist on Stranger Things) and the opening adventure in the four-part series, The House Abandon, took me back to the days of my Sinclair ZX Spectrum, right down to recreating the classic Spectrum loading screen – with the modem squeals and the data lines slowly revealing a picture.
Set in the 1980s and made up of four short episodes – The aforementioned House Abandon, The Lab Conduct, The Station Process and The Last Session – all appear separate but it soon becomes clear the further you progress that they’re very much interconnected. Stories Untold is unsettling at times but not in your face jump scares.
The House Abandon opens innocently enough: “You pull up to the driveway of the family holiday home & park the car …” but the deeper you go, you soon realise that all is not what it seems in this once happy family home and something very wrong is going on here.
Played out in the style of an old school text adventure, the first episode has you using commands like look, use, read and open to perform actions: Open door, use gun, look at book, read note, flick switch. It’s incredibly atmospheric.
The Lab Conduct has you perform scientific experiments on a strange artifact known only as “23”, The Station Process takes place in an Arctic monitoring station and The Last Session reveals that all is not what it seems.
All four episodes do a fantastic job of creating unease and tension without relying on in-your-face scares. I played the game on Nintendo Switch – it’s also available on PlayStation 4 and Xbox One – and the only gripe I had was although you can zoom into the text field using ZL, I still had to squint a bit to read some of the text (something that is a common problem on the Nintendo Switch).
Bottom line is, fans of text adventures, shows like Stranger Things and No Code’s Observation will be in for a real treat with Stories Untold. It shows how good writing can create tension and atmosphere without the need for graphic horror.
Big thanks to Devolver Digital’s Australian PR team Doug & Jayden for the game code – and for suggesting I give it a crack.
Fall Guys Ultimate Knockout – a game show-style Battle Royale featuring 60 colourful jellybeans that are systematically eliminated as each round unfolds – is taking the world by storm.
It seems Fall Guys is the gaming darling at the moment – I’m told it sold 2 million copies on Steam since August 4 – and from the outset, it’s not hard to see why: It’s got an undeniable charm about it with its bright colours, cute characters and bouncy music as players navigate a variety of mini-games designed to slowly eliminate players until only one remains. It’s also nice to see an Battle Royale game where there isn’t an assault rifle, rocket launcher or frying pan to be seen.
Fall Guys is an assault on the senses, too, and can be chaotic and frantic one moment then frustrating and confusing the next as you avoid rotating paddles, disappearing tiles and other players.
Sadly, my experiences with it swings more towards the frustrating, with my constant inability to progress much further than the first round, which means I can either watch the remaining rounds as a spectator or quit the game and find another one [and inevitably go through the same process].
Luckily, each round is no more than a few minutes long so it means each game is probably over within 10 minutes so you won’t need to wait that long for the next one, but for me, the frustration of constantly missing the cut just outweighed any fun I was having with it. I can see Fall Guys perfectly suited to someone who maybe just wants to play for 30 minutes or so then leave it until the next day. It’s also perfectly suited to young players as there is no violence or bad language [unless its from mum or dad cursing at being eliminated – again.]
I love that a cutesy, colourful game like this is taking the online world by storm and that so many of my online friends love it, but – and I feel kind of bad for saying this – I’ve decided it’s not for me, I’m afraid, and that’s OK.
Carrion is a horror game with a twist: You are the monster in the dark, hunting the humans – not the other way around.
In what has been described by its creators as a “reverse horror”, you control a red amorphous tentacled blob that escapes confinement in a secret research facility and must escape.
The publisher behind Carrion is Devolver Digital, a breath of fresh air in the games industry that is, to be honest, groaning under the weight of companies like EA and Ubisoft who trot out the same formulaic games time and time again.
Devolver champions the indie [independent] developer, like Phobia Game Studios the team behind Carrion, allowing them to release their games to an audience that they might not otherwise have had access to – it’s smart business practice and Devolver’s actions have paid dividends for both gamers and it alike.
Carrion is Metroidvania in style, with the monster having to unlock doors to progress to the next location and that often involves backtracking to locations you’ve visited before and pulling levers that will unlock chambers in another area.
Sometimes the monster will have to deposit some of its biomass into watery pools so that it reduces in size, allowing it to squeeze ever so slightly through panels that are too tight for a large mass of gelatinous goo to fit through so it can fire sticky webs to hard-to-reach switches and levers.
Throughout the research facility are terrified scientists and armed soldiers that the monster can taunt with its roar – then devour, with some of them helping him grow in size. It’s not all beer and skittles, though, with later locations having tougher foes that require a bit of tactical nouse to outwit [here’s a tip: doors ripped off from their hinges are a great help in taking our unsuspecting enemies.] The monster also has echolocation that helps locate other deposits of biomass, which acts as save points.
Carrion loses a little momentum sometimes, especially in flashback sequences where the monster has visions of the scientists that originally found it, but overall, I enjoyed my time immensely – with one caveat: It frustrated me more than once that there wasn’t some form of in-game map [albeit an optional small one.]
I get that the developers were wanting you to feel like you were an evolving blob, not sure where you are, so having a map to find your next goal would break that immersion, but I found myself getting lost numerous times, unsure where to go.
I eventually had to resort to watching a YouTube play through just so I could see what I had to do to solve the section I was stuck on. It also required some serious back tracking to previous locations to find a switch that I should have flicked or a containment area I should have breached to gain the ability to become invisible and pass through security lasers\.
Bottom line is I had a great time with Carrion – the no-map frustrations aside. It’s also perfectly suited for the Switch and was a nice antidote to a busy day in the office.
For gamers always wanting to be the ‘bad monster”, Carrion is your chance to be that monster. Go forth and chomp, blobs.