DISCLAIMER: This review was originally written for The Xbox Gamers at xboxgamers.com.au as a member of their review team, and the digital code was provided by them for the purpose of this review. The review as originally published can be found on their website HERE.

More often than not spirituality and the supernatural find themselves hand in hand, a yin and yang of themes that compliments as easily as it contradicts. Within the opening moments of The Chant it is made clear that the Brass Token developed third person horror action-adventure is continuing the trope. 

Players assume the role of Jess, invited to a spiritual retreat on an isolated island by lifelong friend Kim. Still haunted by a tragedy that defines their past, the girls have little time to reminisce or dwell as the supernatural and spiritual worlds collide, dividing the group and pitting them against the warped realities of their own minds and desires.

Packed with exploration, puzzles to solve and demons to overcome, inside and out, Jess and co are in for the fight of their lives both spiritually and literally. As weird, ominous, and wild as things get in The Chant, it’s honestly surprising that it ultimately feels like it could have gone much further.

The Chant opens with a cinematic and gameplay sequence in 1972 before players take on the role of Jess in the present day on the very same island. A creepy ritual is interrupted, leading into a brief tutorial of movement and traversal mechanics. The tone is immediately set, dark, gritty, and colourfully supernatural. Tragedy, loss, and the cultist pursuit of spirituality that is infused with dark and sinister energy are ever present themes that influence the narrative as much as it informs the gameplay.

Fittingly, the three core elements of one’s energy; mind, body and spirit heavily factor into the gameplay, not just in the actual mechanics but also in terms of progression. Each of these are represented on screen as small circular meters that are consumed through various actions and replenished by certain plants.

Mind energy dictates Jess’s focus and control, if this depletes entirely, she will experience a panic attack that turns the screen to black and white while the sound of her heartbeat dominates the audio. Mind energy can be replenished by consuming lavender, only three of which can be carried at any time, with the same limitations on the other energy types. A secondary means of restoring Mind is by meditation, holding a specific button that transfers Spirit energy into Mind energy.

Body energy simply represents Jess’s health and can only be restored by eating ginger. Once the Body meter is fully deployed, Jess will die, and players will return to the nearest checkpoint. Surprisingly, the checkpoint system is extremely generous and frequent. Considering my playthrough was on the hardest difficulty, this was a very welcome gesture.

Finally, Spirit energy is what allows Jess to use special abilities gained by the story-related prisms she obtains. With progression, the player unlocks a different coloured prism which in turn offers a single unique ability such as slowing enemies for a brief period, repelling foes and inflicting knock-back damage, and even summoning ghoulish hands from the ground to ensnare unsuspecting enemies to name a few. These each consume varying amounts of bars from the Spirit energy meter and can only be regained by consuming spirit caps.

The three energy types each have a handful of upgrades available via a shallow skill tree. Upgrades can be performed by spending Prismic Crystals which can be found within the environment. Each upgrade path has three levels, costing slightly more each time but offers an evengreater perk such as decreased damage, slowing time with perfect dodges or increasing the effects of meditation for instance.

Mind, body, and energy experience is also gained and attributed to specific dialogue choices, though the option to contribute to conversations between Jess and the other characters are very few and far between, rendering this system almost redundant. Consuming plants to restore energy will increase the experience of the respective type while performing certain actions such as killing enemies increases either Body or Spirit, dependant on the enemy type. 

There are three endings to The Chant and each one is tied to Jess having higher experience in each of the three energy types. It is admittedly impressive how energy is woven narratively and mechanically as effectively as it is, and it adds a sense of immersion to the spiritualistic experience that Jess embarks on. It also makes for a more interesting dynamic than a traditional health and stamina system.

As the story unfolds new areas open that are full of lore to collect in the form of documents, a bestiary and projector reels, with the latter being watchable by inserting them into projectors scattered throughout the environment. The documents offer genuinely fascinating insight into the five characters Jess is introduced to Kim, Maya, Sonny, Hannah and their leader, Tyler. The bestiary offers insights into the various monstrous creatures that occupy pockets of energy on the island called Gloom. 

The Gloom appears as a crystallised, prismatic barrier that is coloured, coincidentally matching the prisms worn around the neck of the six core characters and can only be entered by someone who just so happens to have that coloured prism. These areas constantly drain Mind energy and host an array of Gloom creatures that will attempt to kill anyone who enters their realm. In some instances,the enemies are required to be defeated to remove the Gloom and reveal new pathways forward for the story while also opening areas that house lore, consumables and crafting material.

There are three melee and throwable items that can be crafted, each with their own strengths and abilities. One melee item act as a general all-rounder while the other two favour combat inside the gloom or outside of it. The throwables can also be planted as traps that will act differently when thrown, offering just enough variety to justify a six-weapon wheel. Their respective crafting materials appear equally frequently, resulting in a balancedcombat experience that is essentially only swinging or throwing.

While the Gloom monsters only appear in the Gloom, an assortment of cultists roam outside of them that can be either fought or avoided by running away, dodging, or shoving. For those in favour of a pacifist playstyle it is possible to complete The Chant without killing a single cultist, as I did in my playthrough and even an Achievement for doing so. Killing them is admittedly much easier and quicker but the stealth approach makes for a nice challenge. There are a handful of boss encounters which are little more than ‘get a few hits in, retreat and repeat’ ordeals that feel uninspired and underwhelming.

Throughout Jess’s ordeal the island is constantly in darkness, both thematically and in the literal sense of playing out in the dead of night. The lack of vibrance is balanced out by moody dark tones, effective lighting, and the trippy visuals of the elements within the Gloom occupied areas. At all times the island feels creepy and tense, instilling a dread and fear of what may be lurking in some of the tighter environmental pathways in particular. Whether running through the forest, navigating the spooky abandoned housing quarters, or trekking through dark caverns, The Chant constantly feels menacing and ominous, wonderfully complimented by the ominous score with its sinister overtures. The overall audio-visual presentation is unsettling and effective.

The character models leave a lot to be desired, especially when compared to Jess. Whether it’s a cutscene or gameplay, Jess is far more detailed than her on-screen counterparts to the point where it’s impossible to not notice how much more she stands out. It’s a shame, as Jess looks great and the details in her face in particular feel livelier and more animated. Enemy design is delightfully creative and embraces the weird and wonderful nature of its supernatural themes.

In terms of voice acting, Jess again feels far more believable when compared to the rest of the cast. Tyler especially is presented visually and verbally as a stereotypical cult leader in a manner that breaks the immersion of the white clad cast of characters fighting for their life under the guise of a spiritual experience.

The Chant is a different type of experience than I expected. For better or worse, the freedom to explore and dive deeper into the lore encourages exploration but the constant backtracking becomes stale, despite the introduction of a somewhat confusing fast travel system later in the game, and the island feels as though it has little to offer outside of the lore. The tale it tells is interesting and appropriately weird and supernatural. I completed The Chant in just over five hours on the hardest difficulty, without killing a single cultist, and discovering over ninety percent of the collectibles with reasonable exploration. I worry a playthrough on easy while showing no mercy to the cultists could cut that time in half, leaving little more than an interesting story with a unique energy driven approach to the gameplay.

For those that yearn for a supernatural adventure with unique gameplay mechanics, The Chant packs just enough in to leave the player feeling satisfied. Aside from seeking out the alternate endings, which would require an entire run focused on a particular playstyle, adding another pair of three-to-four hour runs, there is little to return for. The Chant doesn’t go quite as far as it could in embracing the weirdness of the supernatural, but it does enough to leave the experience feeling positive and unique. The infusion of energy into every layer of the game works very well and overall feels unique and worth experiencing.

+ Energy interweaved into the gameplay and story

+ Interesting story

+ Cool enemy design

+ Simple, effective gameplay

– Backtracking dominates later sections

– Little replay value

– Underdeveloped characters with the exception of Jess

– Supernatural themes played a little too safe

Developed by: Brass Token

The post REVIEW – The Chant first appeared on Games of DAYNE.

Taking place in a distant future Scarlet Nexus is a third person RPG that puts the player in the middle of an epic conflict as either Yuito Sumeragi or Kasane Randall as they join their fellow members of the Other Suppression Force (OSF) to defend the city of New Himuka from monstrous creatures known as the Others.

Using the power of psychokinesis, players can string together combos and utilise the unique variant abilities of their ally party members in fast paced action as they explore together, grow stronger together and ultimately suppress the Others together.

Players assume the role of either Yuito or Kasane before the story kicks off, a decision that cannot be changed within the entire playthrough. Regardless of the character chosen the story essentially plays out the same way with the other character adopting a supporting role. Encouraging replayability, playing a future playthrough with the opposite character will show the story from the other character’s perspective, just subtle enough to be intriguing and worth exploring throughout the approximate 25-hour experience. Yuito favours a close-range combat style with Kasane is more appropriately used at mid-range. Aside from a perspective shift narratively, this is the only difference between either character.

The story is interesting and unique, the world it takes place in is embroiled in conflict just as humanity entered the dawn of a new era and one where a psionic hormone in the human brain allows people to tap into extrasensory abilities. This historical evolutionary feat would have little time to be celebrated before mutant creatures known as Others descended from the sky with an insatiable hunger for human brains. The arrival and chaos unleashed by the Others led to the formation of the Others Suppression Force to repel these monsters and prevent the fall of mankind.

New recruits Yuito and Kasane barely have time to come to terms with their new positions before being thrust into combat with the Others, learning on the fly with the more experienced members of their squad. With the fate of humanity resting on the shoulders of the duo and the OSF, the story constantly feels epic and tense, delivering a satisfying conclusion when all is said and done. An impressively fleshed out cast of characters, and the bonds they grow to share with Yuito and Kasane, give the ensemble troupe of saviours’ emotional depth and reasons to care for the various relationships that develop.

A fairly comprehensive tutorial takes place almost immediately as the story starts an introduces players to a somewhat overwhelming amount to process. Luckily, any tutorial information can be revisited at will in the menu screen, a feature I certainly resorted to on many occasions. With a little time, it becomes more familiar though as Scarlet Nexus is constantly introducing new mechanics along the way, demanding the player’s attention in order to keep up with the arsenal of attacks and manoeuvres at their disposal.

This constant evolution of the gameplay keeps things interesting. At its core, the combat is focused on stringing together the largest combos possible by utilising the equipped weapon, the environment, psionic abilities and the abilities of party members. Mastering perfect dodges, follow-up attacks and some very cool execution moves known as a Brain Crush. This Brain Crush has a different animation depending on the enemy it is used on which keeps it varied and satisfying as new ones are discovered. Using telekinesis to launch cars, rocks and anything in between at the enemy is a novelty that soon wears thin and becomes less interesting than the combos that can be formed with simple melee attacks and other psionic abilities.

Some truly epic and larger than life boss battles introduce a variety of elemental effects that require careful consideration in order to exploit enemy weakness and deliver maximum damage. The deep level of party member control can make these, and any enemy encounter for that matter, dynamic and enjoyable to experiment with. Effective team management can make or break these battles against the gigantic bosses in particular.

There are a variety of options that can be chosen from that determine how the party members will react in combat situations. They can be left to default to behaving however they please but they can also be set to react offensively or defensively, to attack the same enemy as the player or only enemies not currently engaging the player. Each party member can have different allocations to their combat response which allows for very flexible control and tailoring it to the player’s preferred playstyle.

In between enemy encounters players can access what are known as Brain Messages, typically aligned with story progression and the relationships between the characters as per the strength of their bonds. These messages are relatively pointless in the grand scheme of things while some can be replied to, albeit in a predetermined manner that does not even offer a choice.

Areas of exploration are fairly linear, though there are a few hub type areas that are more open and have items scattered around such as cosmetics, weapons, consumables that replenish health or temporarily increase stats in combat for instance. Perhaps the most useful type of item to find are plug-ins. These function like mods and can be allocated to provide stat boosts during combat.

This level of customisation really lets the player take control of how they want to play, and the best part is that every type of customisation the player can control for their character can also be applied to their party members. Their appearance, their weapons and their plug-ins can all be customised. This level of depth is such a highlight, offering the flexibility to genuinely feel like this is YOUR team in every sense.

With experience from combat and story progression the player can access the Brain Map, a skill tree that branches out and offers offensive and defensive stat boosts, increased combo lengths, additional use of certain abilities and so much more. As experience is rather generously earned it doesn’t take long before the player has access to a variety of combat bonuses that increase the joy and satisfaction from each enemy encounter.

As the story progresses and new characters are introduced, the player can tap into the unique abilities of more members that join their party such as pyrokinesis, electrokinesis, clairvoyance and teleportation to name just a few. These actions are only available for a short duration before a brief cooldown is required for repeated use. Increasing the effectiveness of party members abilities comes down to the bond the player has with that particular character.

This bond is strengthened by side missions and special interactions that take place between the story chapters, known as Phases, in the form of Bond Episodes. Between Phases the player is transported to a hideout, which can also be accessed at any point when not in active combat. These hideout sequences, known as Standby Phases, are where these Bond Episodes occur. Little more than a dialogue interaction, these can be missed if characters are not engaged. It is worth talking to all team members that are scattered around the hideout to ensure no opportunity to strengthen the bond, and therefore combat performance, is missed.

The visual style of Scarlet Nexus is a striking take of anime in a three-dimensional format, with the characters adopting a noticeably different style the environments they inhabit. It feels slick and stylish, an appropriate companion for the elegant combat animations. The enemy design and variety are impressive, varying from monstrous and a little outlandish with the latter working in the favour of the unique world this adventure takes place in.

The sound design is fun with an upbeat electro-pop type score that is a little familiar for fans of anime or JRPGs. Satisfying sound effects during combat match the energy and pace of the chaos and ultimately rounds out a solid presentation on the audio-visual front.

+ Constantly evolving gameplay

+ Excellent customisation options

+ Combat grows increasingly fun

+ Unique and interesting story

+ Fun enemy design

– Story feels a little too long

– Bond Episodes not as fleshed out or exciting as they could be

– A lot to digest at the start

Developed by: Bandai Namco Studios

Published by: Bandai Namco Entertainment

Release Date: June 25 2021

Platforms: Xbox One/Series X|S, PlayStation 4/5 and PC

 * A digital code was kindly provided by One More Game/Xbox Gamer Dad via the Publisher for the purpose of this review. This review was written as a member of their team *

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The post Scarlet Nexus Review first appeared on Games of DAYNE.

*Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

It’s hard to believe that it has been 15 long years since the original Destroy All Humans! first graced our PlayStation 2 and original Xbox consoles. This 2020 instalment blurs the lines between remake and remaster but delivers Furon clone Crypto 137’s first adventure in all of his over the top glory. By putting the player in the shoes of an alien with an arsenal of high tech weaponry and flying saucer, it has never been more fun to destroy all humans! 

This third person action-adventure takes place in 1950’s America and events kick off with player character Crypto being sent to find out what happened to his fellow clone Crypto-136 after he crash landed on Earth. Having to protect his alien identity from not just the public, Crypto must deal with the military and a secret organisation knows as Majestic, similar to what we know as the Men in Black. The premise is kind of silly and so too is the gameplay but that’s what makes Destroy All Humans! so much fun to play if the player is looking for a casual experience that definitely does not take itself too seriously. 

Crypto has an array of abilities at his his disposal, such as the Cortex Scan, which is needed to read civilians minds for humorous dialogues or clues to progress one of the 22 missions. Command, that can be used in specific scenarios to implant an idea in an unsuspecting humans mind to lead Crypto towards an objective. Telekinesis used to lift and throw humans and objects. And the ability to explode peoples brains, which grants DNA to spend on upgrades for Crypto or his saucer in between missions. These are only a few of the ways the player can inflict mayhem upon the “monkey” humans as he calls them. His weaponry is just as diverse and fun to experiment with, including the Zap-O-Matic laser that zaps enemies and can explode objects and also the Disintegration Ray, which vaporises anything in its path in a fiery blaze. Speaking of experimenting, and aliens for that matter, one of the most amusing weapons is the infamously feared Anal Probe. Shooting this will send a green probe from the gun straight up the rear end of an enemy and killing them after they run around in a panic with both hands clenching their violated butt. This silly strand of mayhem certainly lacks complexity but more than makes up for it with some cheap laughs and entertainment. 

Equipped with a jet-pack and the ability to slider around with propulsion energy that simulates skating, manoeuvrability as Crypto is fun, simple and adds a layer of verticality to the combat to provide tactical advantages from above. The jet-pack requires a brief cool down after it overheats but the player is able to get just over five seconds of airtime before this occurs. It may seem brief but in the heat of battle Crypto needs to be constantly on the move and a brief boost up to rooftop may be all that is needed to regather composure before diving back into the fray. The boost function on the ground allows Crypto to slide around quickly when not in the air, serving to move to cover in combat or circle enemies or to get from A to B quicker than running. 

The gameplay does not solely rely on over the top action but in some parts in also requires stealth and this largely occurs via the HOLOBOB system. Crypto is able to scan any human and assume their form. In order to sustain this façade, Crypto must regularly scan the minds of the humans to restore the amount of time he can maintain his human appearance. While in disguise, Crypto is unable to use any of his abilities or attacks. Doing so will break the HOLOBOB and expose Crypto as the Furon war–bringer that he truly is. Majestic have also set up scanners around each of the six explorable locations in the game that will rapidly deplete the HOLOBOB when within close proximity. 

Sprinkled throughout the story are sections where player get to take the helm of Crypto’s saucer which is appropriately armed with a Death Ray, Pulse shots and the ability to abduct people, vehicles and even cows. While abducting something it can be harvested for health or ammo which is nice to see, a practical reason for doing something that is otherwise just mindless fun. 

Each mission has between one and three optional objectives, such as completing a section undetected or to drown X amount of enemies. Taking the extra time to complete these will contribute to unlocking a small handful of alternate costumes for Crypto to use. Once a mission has been completed, its location can be returned to for completionists to hunt out the hidden droids or to complete a series of challenges as Crypto as well as some saucer exclusive ones. For instance, Armageddon requires X amount of dollars in damage to be caused while Abduction asks the player to launch as many of the specified target, such as cows, into the saucers abduction beam within a time limit. Each challenge has three stars to achieve and the more stars earned equals a higher DNA reward to be spent on customisation. 

Visually, Destroy All Humans! looks great with this updated coat of paint however it is still a little outdated and shows its age. The character designs are fun and the environments look authentically 50’s inspired. The sound design is on point and the satisfying alien noises that come from Crypto’s arsenal and saucer are a case of smaller details that increase the overall presentation. 

Destroy All Humans! can be paused at any time and a generous auto save system eases the decision to put it down for a while or to take care off some parental missions. It can be enjoyed by adults and teenagers alike though it is in every parents best interests to avoid younger children playing it and having to explain what an anal probe is. 

The gameplay and overall presentation isn’t raising any bars but rather does what Destroy All Humans! does best. It entertains. Black Forest Games have delivered a faithful experience for those of us who grew up with the original and one that is sure to captivate new players to the franchise. It’s fun, it’s humorous, and its 8-10 hour run time prevents Crypto from overstaying his welcome. 

Final Verdict: 

+ Simple and accessible gameplay 

+ Entertaining dialogue and cinematics 

+ Doesn’t take itself too seriously 

– Saucer isn’t quite as fun to play as it should be 

– Little replay value for new players 

Games of DAYNE Rating

Developed by: Black Forest Games

Published by: THQ Nordic

Release Date: July 28 2020

Platforms: Xbox One, PlayStation 4 and PC

The post Destroy All Humans! Review first appeared on Games of DAYNE.

*Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

Boasted as a horror game in reverse, Carrion puts the player in the role of a crimson red monster with menacing tendrils in side-scrolling 2D glory. By putting the perspective of the monster front and centre, the player is not in fear or the prey for once, instead the enemy is terrified of YOU. This role reversal is fun, less stressful and interesting and engaging enough to not tire of playing as an overpowered monster that is all but unstoppable. 

The monster’s abilities are fairly limited at the beginning, limited to screaming to intimidate human enemies and grabbing them with the tendrils to pull in and consume, replenishing some lost health in the process. As the player explores the labyrinthian dungeon-like map areas, new abilities can be found, with some being related to story progression. New abilities such as a charge attack and web blast that stops enemies in their tracks are also used for puzzle solving. Using abilities to activate levers, switches and rip doors off their hinges add depth to the otherwise eat everything in sight gameplay. The environmental puzzles are never difficult and any metal door or flooring encountered should be ripped off as seen to ease the large amount of backtracking that is required. 

Throughout the story, the monster increases in size by obtaining bio-mass. With an increased bio-mass comes new abilities that the monster can only use while this size. Sustaining too much damage and the bio-mass will be lost, regressing to its previous size and ability set. Consuming enemies replenishes the bio-mass, thus restoring the next tier of abilities. Managing bio-mass is essential for puzzle solving and can be manipulated by depositing it in murky red water, allowing access to the previous states ability set. Once the puzzles requiring the different abilities have been solved, in most cases the bio-mass can be consumed to revert the monster to its maximum state. Bio-mass can also be replenished at save points that are regularly encountered that appear as a crack in the wall. When activated the monsters tendrils occupy the crack and spread throughout the immediate area. Activating these save points is required to activate one of up to six panels of a breaching point that allows access to the next area of the game. 

To begin with, enemy variety is limited to unarmed scientists and pistol wielding enemies, but later includes flamethrowers and electric shield wielding enemies as well as armed drones, turrets and even mechs. These enemies each require more care when engaging and some can only be attacked from behind or below. Managing the ability set by dropping or increasing bio-mass is critical for effectively tackling some of the later sequences in the game. 

Three flashback sequences establish the three acts of the main story that are played from the perspective of a human character requiring interaction with the environment and basic puzzle solving to complete. These serve as the main narrative and explore the origins of the monster. Outside of these flashbacks, the core gameplay excludes narrative progression other than the monsters literal progression through the explorable areas. 

Backtracking is required later in the game once new abilities have been unlocked to fully discover all of the hidden abilities and final progression through to the end of the game’s story. Some areas are completely inaccessible without certain abilities. What I would personally consider to be the only disappointment in Carrion is the complete lack of a map or any sense of where to go or where has already been explored. It is easy to get lost or forget where you were going if side-tracked or looking for new abilities. As the game contains dozens of explorable areas and dungeon like environments, a map would have been a complete game changer. Upon completion of the story, every area can be re-explored to allow for completionists to backtrack with ease and grab the last few upgrades they may be missing. 

Visually, a style similar to pixel art brings the monstrosity to life in a metroidvania-like environment that feels different enough in each area without becoming familiar. The sound design is great and the cowering humans screams are delightful as the lunging tendrils satisfyingly swish through their stomachs. The music is appropriately ominous and wraps up the presentation neatly. The game can be paused at anytime and a generous save system makes it easy to come back to if it has to be put down. 

Phobia Game Studio has developed a fun alternative take on the monster genre and this action-platformer formula oddly compliments the overall experience. Coming in at 4-5 hours long, this bite sized reverse horror is worth a play. 

Final Verdict: 

+ Fun gameplay and abilities 

+ Great sound design 

+ Playing as a monster 

– Constant backtracking 

– Lack of map can frustrate 

– No difficulty options and predominantly easy 

Games of DAYNE Rating

Developed by: Phobia Game Studio

Published by: Devolver Digital

Release Date: July 23 2020

Platforms: Xbox One, PlayStation 4, Nintendo Switch and PC

* Carrion is available on Xbox Game Pass *

The post Carrion Review first appeared on Games of DAYNE.

  *Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

Distraint 2 begins with a brief cinematic recap, bringing players up to speed as it picks up almost immediately from where the first entry left off. As with most series, playing those titles that came before offers more insight and attachment to the story and characters but thus recap explains enough to let this sequel stand on its own. !!! Distraint 1 spoiler warning !!! – the closing moments saw player character Price put a shotgun in his mouth in remorse of his actions as a property reclaimer racked with guilt and emotional instability. This 2D psychological horror adventure again follows Price in his attempt to restore hope and find his purpose within the confines of a deceivingly playful art style that is layered in devilish charm. 

The gameplay is simplistic, limited to nothing more than walking around interacting with the environment, obtaining items to be stored in the inventory to be used for light puzzle solving situations and progression of the text driven conversations with the interesting and unusual cast of characters littered throughout the approximately two hour experience. The simplicity here is not a flaw; instead it helps the player push forward with ease and eliminates any complication with accessibility.       

Saving occurs manually by interaction with glowing green orbs that are generously scattered throughout and this feature is encouraged to be done regularly to avoid having to retrace steps upon death. Price is not alone on his road to redemption and creepy monsters stalk the halls, devouring the player if they are unable to enter a hiding place in time. Adding to the tension of monster encounters are disturbing visual effects that range from glitchy, distortion like animations and the screen turning darker with blood dripping from the top until the monster has passed. Menacing sound effects accompany these creatures that also act as an audio cue for safety, disappearing when the monster is no longer in the area. 

The environment is typically dark and gritty, spread out across creepy building interiors, creaky hallways and rooms while occasionally veering into the light in flashback sequences. The flashbacks serve to remind Price of significant moments from his past that will aide him in solving puzzles and interacting with items more important than they may appear. The puzzles present are not difficult and generally rely on a nearby item to solve or a board of tiles that needs rearranged to form a picture. They are simple enough to not be troublesome and varied to prevent repetition.  

Emotions such as Hope, Greed, Reason and Agony to name a few are represented as characters that act according to their name towards Price. The bigger picture of these emotions and characters is cleverly paid off in the final act that leave the player possibly only realising in retrospect the significance of their roles. It’s well executed and adds a dimension to the title that may not be expected. 

The art style is unique and quirky, particularly with character design and accompanied by appropriately eerie music, this grim experience oozes a surprising amount of charm considering the dark and bloody themes, animations and environments. 

Explicit language and graphic sequences appropriately land this title a mature rating and a younger audience will likely not understand the themes and messages the story tells. 

Developer Jesse Makkonen delivers a surprisingly powerful message in this unexpected follow up and capitalises on what made the first such a great experience in the first place. The simplistic nature of the gameplay is made up for in its gritty narrative, proving that bite sized experiences such as Distraint 2 have the ability to tell stories that matter and incorporate mental health themes in a way that players may relate to. Price is a man that has made mistakes and seeks redemption to find meaning for his existence. That statement is not something I would have expected a small independent venture like this to explore but Distraint 2 is a competent sequel that delivers a compelling story and a resonating conclusion. 

Final Verdict: 

+ Fun art style 

+ Simplistic gameplay allows the story to breathe 

+ Powerful message and themes 

– Text based dialogue holds back emotion 

– Plot is a little complicated 

Games of DAYNE Rating

Developed by: Jesse Makkonen

Published by: Ratalaika Games

Release Date: July 10 2020

Platforms: Xbox One, PlayStation 4, Nintendo Switch and PC

The post Distraint 2 Review first appeared on Games of DAYNE.

 *Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

What makes video game experiences different for each player outside of the core gameplay mechanics is their interpretation of the narrative, their connection to the characters and themes they may relate to. Waking excels in setting itself apart from a typical story driven experience by offering unrivalled personalisation in that the player makes every choice, every consequence and every trait of their character. Waking asks the player to truthfully explore their understanding of their own mental health and to reflect on their personal experiences from childhood to adulthood. By making choices not true to the player’s actual life would provide a game that lacks meaning and emotional resonance that would otherwise come from this adventure of self–reflection. 

It is hard to believe that Waking has been brought to life by one-man developer Jason Oda, capturing the essence of personal self–reflection and presenting emotional impact that I would personally argue is second to none in the video game realm. By essentially allowing the player the opportunity to honestly explore themselves emotionally and reflect on their own past, Waking sees the player character in a coma with the gameplay unfolding in their dreams from the third person perspective of a faceless hooded “you”. Voices whisper and call the player to enter the light but the journey of self–discovery that takes place asks the player intimate details of their own lives and this shapes the narrative and personalises the gameplay. 

Taking place inside a labyrinth of dungeon like areas within the player character’s mind, the player’s choices shape their individual experience in a way that can just easily put a smile on their face as bring a tear to their eye. These choices typically follow a scene of an angel standing over the character in their coma, providing a meditative trance-like monologue that is incredibly relaxing, referred to as guided meditation.

Questions of what country the player was born in, what town they grew up in and intricate details of what type of house was it may seem like inconsequential decisions but the answers are reflected in further dialogue and even incorporated into the name of attacks and abilities that can be used. The Dirt of Lumsden was the name of one of my abilities, encompassing my description of my childhood home and town in Lumsden, New Zealand. This ability was a constant reminder of what “home” meant to me personally. Questions of my childhood pet, such as its name and what type of animal it was seemed innocent and lacking in purpose but upon answering and even selecting which avatar this pet looked like, my Siberian husky Lex was brought to life as a companion that could be summoned to attack the twisted threats within my in-game mind. The opportunity to identify a person close to me, either a best friend or partner, significant memories shared with this person and what they looked like resulted in that companion to be summoned to fight by my side. These personal memories, feelings and relationships being brought to life and surrounding me as I played served to constantly feel like not just character but that even I was not alone. 

The presentation of choices to make with every question was varied enough to afford the opportunity to provide honest answers in every instance. The player’s biggest fears and regrets for instance allow the player to look within themselves and identify these painful truths, that too would be incorporated into the emotions that served as attacks. Throughout the explorable and procedurally generated Mindscape as the realm is known, there are an assortment of enemies named after emotions or feelings that can be attacked by levitating, charging and shooting objects to deplete their health bars or using objects to reflect projectiles. Some enemies would require melee attacks, also named after emotions or memories, particularly boss encounters. Using things such as emotions and memories as attacks and companions adds an emotional weight to the combat that feels lacking in terms of the actual gameplay mechanics. All of the abilities with the exception of launching objects require Neurons to use, collected from defeated enemies. The combat itself does not feel particularly engaging without these personalised details. 

The movement of the character is also distracting with animations that feel unrealistic and lacking in authenticity, but as with the gameplay in general, it is the emotions and journey of acceptance and self-discovery that carry Waking, providing an overall experience that is able to masterfully overshadow these technical shortcomings. 

In addition to Neurons, Hope can also be gained by defeating enemies though unlike Neurons, an enemy must be defeated without being hit to gain it and it can be used to unlock various intractable objects within the environment. Although, if the player is hit in combat all accumulated Hope is lost, where as only a small amount of Neurons are lost. Fear is another mechanic that increases when damage is sustained, subsequently causing the health bar to reduce in maximum capacity. 

There are main missions to complete as well as a large offering of side missions that provide stat rewards and boss debuffs for upcoming encounters, both types of missions typically require the player to explore and find something to interact with, occasionally putting a boss between the player and its completion. The boss encounters are surprisingly enjoyable, keeping the player busy enough while throwing in minions to distract or a wheel of fortune like randomised mini-objectives in between rounds with the bosses. The variety in the boss encounters certainly helps redeem the overall gameplay. 

The music and sound design is impeccably enchanting and mesmerising, providing a wholly meditative experience that relaxes while also challenging the player to pursue an honest and open journey, exploring the deepest darkest corners of their minds for better or worse. The visual aesthetic may lack the finer details, a player would expect to see but excellent character, and enemy and world design playfully bring the explorable mind to life. 

While no foul language or detailed depictions of violence are present this experience is recommended for mature audiences. Younger players may still enjoy the game but without world or life experience the personalised narrative may fail to feel meaningful or as poignant. 

Waking is likely to be a divisive experience. While the core gameplay may not necessarily connect or engage the player, by being truthful to yourself, embracing the past and acknowledging who you are and where you came from, this is a truly powerful and emotional experience that will appease those interested in their life being laid bare on a playable platform over the course of 18-20 hours. Waking reminded me who I am and what I’ve been through and I highly encourage the investment in this journey. 

 Final Verdict: 

+ Incredibly powerful journey of self discovery 

+ Enchanting guided meditation 

+ Flawless score and sound design 

+ Thought provoking concept 

– Gameplay doesn’t quite click 

Games of DAYNE Rating

Developed by: Jason Oda

Published by: tinyBuild

Release Date: June 18 2020

Platforms: Xbox One and PC

The post Waking Review first appeared on Games of DAYNE.

*Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

A striking cel-shaded inspired art style sets the tone for this western twin stick shooter which features a poncho toting, flaming skulled undead bandit powerfully voiced by Ron Perlman, perhaps most known for his role as Hellboy or Clay from Sons of Anarchy. Perlman narrates as the opening cinematic establishes his characters experience with death and beyond in the grim and gritty Purgatory, Wyoming. Stuck in a loop of returning to this moment of his (after)life with every death, West of Dead sees the player attempt to complete 9 missions in a single deathless run in a procedurally generated world.

A simple tutorial walks the player through the basics of gameplay and cleverly introduces all mechanics in short bursts so it does not overwhelm the player. The accessibility of the gameplay is one of West of Dead’s strongest assets, as it’s simple, fun and dynamic enough to add variety to most enemy encounters. Allocating a gun to each trigger, melee weapons including axes and a throwable item such as dynamite to the bumpers allows for simple combinations of assaults to be unleashed on the undead enemies that lurk in the shadows. Enemies hidden in the dark can not be targeted unless a lantern is activated and any enemy within a small radius will be stunned upon illumination, leaving them susceptible to taking greater damage. 

Evading enemy attacks is simple by using a dive roll to move between cover, which is destructible. Crouching occurs automatically when next to any form of cover and moving between it is as simple as vaulting over and sliding to the next. It feels fluent and seamless, making combat fun and less dangerous by allowing for such control of the battlefield. Reloading of weapons occurs automatically, as does the recharge of any throwables, all ammo is infinite and relies only on a cool down, eliminating the need to dash frantically across the combat zone to refill.

Different weapons such as revolvers, flintlock, rifles and shotguns can be found and are levelled, meaning the higher the level, the higher the damage output. Some weapons also have effects like bleed that causes damage over time even after the initial blow. With progression comes more difficult enemies, including mini-bosses with large health bars making them very bullet spongey. The standard enemy variety ranges from melee only, armed and supernatural beasts with combinations of health and stun meters. When enough damage is received the enemy will be stunned and as with their exposure to a lantern being ignited, they will take more damage than usual.

Their designs are fun and unique enough to prevent feeling too familiar and their attack patterns are varied to keep the player aware of their surroundings at all times. Careful observance of the battlefield must be given when facing Outlaws, powerful enemies that can very quickly dispose of the player if going in without a strategy.

Each level is broken into multiple parts and each of them are labrynthian and dungeon like in design. Unlit areas are dark, illuminated by a small radius that surrounds the player and only by igniting lanterns do they fully reveal themselves. Exploring every possible route will reward the player with new weapons, chests containing loot or shrines where the player can upgrade their personal attributes such as health and melee damage.

Occasional loot drops, such as a charm remnant that recovers small portion of recent health-loss when striking with a melee weapon add depth to the genius but simplistic gameplay. Remnants are lost memories and ideas, and when taken to “The Witch”, an antler-wearing woman at the end of missions, they can be further upgraded at the cost of Sin, one of two in-game currencies dropped by enemies along with Iron. Iron can be spent at Traders to purchase weapons, items and abilities.

A touch of supernatural elements help West of Dead stand apart from a typical western inspired affair from the design of the player character through to enemy design, shrines and portals that populate the dark halls of this action packed afterlife experience. Teleportation was not a feature one would expect to see here but in the world that has been established, it works.

The looming threat of permadeath is daunting and can be frustrating. Upon defeat the player loses all progress and possessions, having to start all over again. Coupled with the procedural level generation, no two runs will be the same. Some areas can be breezed through and fully explored in as little as five minutes while others can take more than ten for example.

The randomness and lack of familiarity puts an interesting spin on the challenge and the further the player progresses, the harder it gets and the more the fear of dying settles in. With health pick ups very few and far between, the player must be consistently aware of their enemies positions and make excellent use of cover and timing of their dive roll.

Tonally, West of Dead is cleverly uses a dull colour palette that is accentuated by reds and excellent use of lighting. Accompanied by an appropriately western themed soundtrack, the entire experiences feels legitimately like a gun slinging twin stick shooter should.

This title is recommended for mature audiences and can be paused at any time which is especially useful for studying the uncovered parts of the map to see which unexplored path should be ventured to next.

Upstream Arcade have developed a fun, unique and visually striking twin stick shooter set amidst a supernatural western backdrop that is a joy to experience. The challenge and frustration will test some players patience but the satisfaction that comes with getting at least one step further than last time can be addictive and rewarding. Being returned to the main menu after death to see “New Run” instead of a more appealing option such as “Continue” is not as bothersome as may be expected.

Final Verdict:

+ Striking art style, use of lighting and colour

+ Ron Perlman’s gruff narration

+ Fun and simple gameplay

– Permadeath can be frustrating

– Healing items very scarce

Games of DAYNE Rating

Developed by: Upstream Arcade

Published by: Raw Fury

Release Date: June 18 2020

Platforms: Xbox One, PlayStation 4, Nintendo Switch and PC

* West of Dead is available on Xbox Game Pass *

The post West of Dead Review first appeared on Games of DAYNE.

 *Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

Outbuddies DX is a pixel art metroidvania game that thrusts the player into the role of marine archaeologist Nikolay Bernstein after he encounters an epic storm that drags him 36,000 feet below the surface. He wakes amidst ancient ruins of the forgotten city of Bahlam, home to a lost civilisation known as Wozan that have unwillingingly served the Old Gods for the last 5 000 years. With the premise established, exploration of this labyrinth relies on platforming and discovery of weapons to activate gates to travel further into the mysterious sub-oceanic dungeons. 

Developed by a single man in Julian Laufer, Outbuddies DX pairs the player with a drone named Buddy to play through and uncover the mysteries surrounding the Old Gods and the Wozan enslaved by them. The player’s character wears a suit that is powered by steam with evasion techniques such as a dive roll that uses steam similar to energy, requiring a brief cool down before re-use. This dive roll can be used to evade enemy attacks that when used correctly will negate damage. Armed with a single gun at the beginning, the player’s arsenal expands with exploration, discovering new weapons and alternative fire upgrades that can be used on enemies to varying levels of effect. 

There are an assortment of enemies that inhabit this lost world; they range from piranha like fish that will swarm the player, flying fanged oddities that swoop if the player gets to close and a mixture of other ground based and wall climbing threats. The enemy designs are unique yet so abstract that is difficult to identify what they actually are. 

Enemies are just as deadly to the player as environmental hazards that decorate the labyrinthine ancient city. Strategically placed spikes regularly present themselves underneath platforming situations such as raised platforms and rocks. The platforming itself can require precision execution and traps like spikes as a consequence for a mistimed jump become frustrating fast. Leaping to a wall and spring-boarding off of it is a mechanic that sounds so simple yet it wastes no time in becoming just of one of several trial and error mechanics that can aid a players to descent to madness. 

The drone that accompanies the player, Buddy, can be switched to control in order to assist with platforming and navigation. Buddy can be used in typical drone fashion to survey the area ahead, be it above, below or to the side and allow the player to see what threats may lay ahead. Alternatively, Buddy can move rocks with a telekinesis like ability to position it for the player to jump on and further progress through the room. This is a simple mechanic that feels like a missed opportunity as moving a rock seems very limited compared to the potential Buddy could otherwise serve such as further puzzle elements or even distracting or engaging nearby enemies. 

Exploration will reward the player with new weapons and equipment such as the very useful Steam boots, allowing the player to jump higher, similar to a jet pack until the steam gauge depletes. The steam gauge is recharged quickly by maintaining contact with the ground. The player has access to a map that is more daunting than helpful. Areas that have been explored are illuminated and decorated with various symbols to identify things that can be found or interacted with, some of which can only be done by backtracking with new equipment.

This game is massive in terms of these dungeon-like areas to explore; they themselves are not overly large or open though their verticality adds depth and frustrating platforming. It’s the sheer number of these that are overwhelming as there would easily be over 100 areas to explore and a good number of which unlockable only when specific weapons have been unlocked, which are needed to open the gates that react to the specific ammo. Luckily there are a handful of teleportation portals that can be activated to allow the player to transport to a corresponding portal across the map, that at least somewhat eases the tedium of backtracking. 

Hidden among the lost city are a handful of pretty epic boss encounters. These pit the player against large monsters that are almost Lovecraftian in their aesthetic. They look exciting and their assault is dynamic enough and varied from each encounter to present the player with a genuine challenge. Some of these are crushingly difficult and one in particular kept me trying for over an hour to work out how to defeat them before dying myself. 

The pixel art design is always something that catches my attention, there is something playful about this design approach that manages to remind me of titles from older console generations dating back to the Sega Mega Drive for instance. The wealth of dungeons all feel very similar though with the exception of some key locations where the mythology shines such as statue laden areas and those that Wozan populate, these feel grand and provide a sense of marvel that the otherwise safe and repetitive cave-like areas fail to capture. A modern take in the genre that remains faithful to those that came before it, Outbuddies DX feels like its controls are as dated as its visuals which inescapably frustrates but feels very rewarding when difficult obstacles are overcome. The sound design is playful and appropriately retro inspired with the weapons and enemies providing nostalgic sounds that feel familiar. 

The text-based dialogue contains profanity from the opening line so this alone shifts the intended audience to a mature age bracket. The game can be paused at any time and due to the difficulty of a number of sections, the player will likely take a breather and reassess their plan for tackling the situation at hand will likely use this feature often. 

Outbuddies DX is fun though frustrating and tedious but also rewarding with success. The retro approach provides a false sense of security in that given that it has released in 2020, its finicky controls and precision platforming feels like a title 20 years old. For metroidvania fans that enjoy a challenge and are perhaps more experienced with this type of gameplay and timing, Outbuddies DX will appeal and provide a unique and interesting story to boot. For more casual gamers and platforming fans, the difficulty thtat causes frustration may strip away some of the enjoyment. I personally enjoy being challenged by a video game and have enjoyed metroidvania games for nearly two decades and the often brutal experience over the 20 odd hours it takes to complete pushed me to my limits. This is not a casual experience but for veterans if the genre there is a lot to love. 

Final Verdict: 

+ Weird and wonderful character and enemy designs 

+ Interesting story and world building 

– Punishing precision platforming 

– Constant backtracking when upgrades acquired 

– Too many areas feeling similar 

Games of DAYNE Rating

Developed by: Julian Laufer

Published by: Headup Games

Release Date: June 5 2020

Platforms: Xbox One, PlayStation 4, Nintendo Switch and PC

The post Outbuddies DX Review first appeared on Games of DAYNE.

  *Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

Fear of sharks is not unreasonable and many share it. The thought of swimming peacefully at a beach and being ripped away by a vicious shark does not seem like a lot of fun. However, from the shark’s point of view it sounds like a great source of amusement and this is where Maneater comes into the picture, placing the player in the role of a bullshark to rip, tear and eat everything that crosses its path, while also destroying boats and hunter patrols in this third person shaRkPG. If you have ever wondered what it would be like to swim fearlessly through the ocean, Maneater is for you. 

The prologue sees the player put through a brief but efficient tutorial, teaching the essentials of lunging, evading, knifing (which refers to swimming near the surface with only the fin protruding), using the tail–whip attack to knock back threats and of course, how to bite and mercilessly thrash some of the larger predators to deal significantly more damage. Following this, the player’s shark is captured and killed by shark hunter Scaly Pete. Realising his latest conquest had a pup ready to emerge, he marks the pup’s back with a cut and releases it into the wild, with his reasoning being that he knows he will come across this pup in the future and it won’t be so lucky. Scaly Pete’s cut-scenes are presented as a reality TV show, complete with comical narration from Chris Parnell, known from TV series such as Saturday Night Live, 30 Rock and Rick and Morty. These sequences are littered throughout the roughly 8 to 10 hour experience and serve as the only cinematic narrative. The narration humorously appears throughout the general gameplay and for the most part positively impacts the experience but repetition of lines soon becomes stale. 

As the player assumes the role of the pup destined to meet Scaly Pete again, they are placed into the first of 7 sizeable regions, with each of these regions introducing new types of aquatic wildlife to eat and predators to be eaten by, which include alligators, hammerhead sharks, orca whales and swordfish. These regions are diverse, ranging from a gritty bayou to posh beach resorts and offer a string of primary and secondary objectives to complete, such as killing certain amounts of a type of fish or humans, slaying stronger threats and defeating the regions apex predator, a powerful variant of the common threats found in the region. The mission variety is soon revealed to be shallow, offering up essentially the same combination in each new region. Completing a certain amount of region activities will activate a Scaly Pete cut-scene and open up a new region for exploration. Scattered throughout these regions are an assortment of collectibles to find, such as licence plates and landmark signs to destroy, many of which serve as clever easter eggs or references to pop culture that I will not spoil. 

Perhaps the most prized possessions of the sea are nutrient chests to be found and destroyed, rewarding the player with nutrients used to upgrade the shark’s evolutions. These evolutions are similar to mods that can be equipped such as bone armour or bio-electric enhancements for the shark’s head, fins, jaw, body and tail. These have their own passive and/or action specific stat increases that can provide an edge for each scenario, whether it’s destroying boats or dealing area of effect damage upon contact. These can be mixed and matched, with each additional body part equipped with the same type the shark receives a small and unique stat buff and increases with more parts of the set equipped. Organs can also have an assortment of abilities applied that can also be upgraded, such as the ability to spend greater lengths of time out of the water before dehydration sets in, the amount of health and nutrients gained from eating prey and wider range of detection when using the sonar ability. The sonar is helpful for identifying collectibles, predators and prey to hunt. 

The shark can only be upgraded or kitted out with evolutions inside each regions sole grotto, serving as a safe haven from danger. With each new grotto discovered, as long as the player is in no immediate danger they are able to fast travel between them, making it easier to backtrack to complete any outstanding objectives or collectibles. 

As a pup, the player is both the hunter and the hunted but as the player gains experience, the pup grows into a teen, adult, elder and ultimately mega shark. Each growth increases core stats and makes the shark physically larger but also stronger and more resilient, able to easily conquer those that proved difficult as a pup. Alligators for instance are best avoided as a pup but as a teen shark they soon become just another meal. Innocent humans can be attacked while they are swimming or snatched from land in hit and run style attacks, the shark has an oxygen meter that slowly depletes while it is outside of the water and can only afford brief windows to jump on land and lay waste to any unsuspecting bystander in sight.

As the human body count builds, a threat level increases and upon filling it waves of hunters will arrive to kill the shark. Destroying the hunter’s boats raises the sharks infamy level, a circular meter on the top right of the screen that when filled will trigger the arrival of a bounty hunter boss to defeat. Doing so will reward the player with a new evolutionary enhancement to equip. These bounty hunters will only relent if line of sight is broken for long enough, and as the player’s infamy level rises and the more bounty hunter bosses are defeated, the difficulty and damage they dish out increases. When the player has reached the later levels of the shark’s growth these begin to become less dangerous. 

Progression in the early part of the game is rewarding, as with each growth a predator becomes a prey and a new threat takes its place as the difficult enemy to be avoided. By the time the shark has become a mega, there is no mistaking who assumes the role of the apex predator. If the player has been exploring diligently, completing optional missions and conquering all those who dare attack it, the player will find themselves overpowered with little fear of defeat or difficulty that includes the final boss battle against an enraged Scaly Pete. 

The character models are impressive, with the shark, Scaly Pete and the bounty hunter bosses receiving the largest attention to detail when compared to the likes of the regular bounty hunters or human entrees. The aquatic wildlife is equally impressive and adds to the immersion of the menacing aquatic biomes. The animations are all smooth and believable; the attacks are violently satisfying and gloriously paint the sea red with blood and guts. 

The sound design is excellent, while submerged there is that distinct underwater sound which provides wonderful contrast when swimming on the surface. The sound effects of the various wildlife are accurate and fearsome, while the satisfying crunch of their lifeless bodies rarely disappoints. 

As this game has players ripping everything above and below sea level apart this is not one to be played or witnessed by younger players. The game can be paused at any time if the guilt of tearing through an entire beach full of people gets too much. 

Tripwire Interactive have created a world that is fun to explore and full of both predators and prey to rip apart that ultimately leans towards repetitive and lacking in variety as the game pushes on. The simplified gameplay featuring single button prompts is easy and accessible to become familiar with, but unfortunately as the shark grows and becomes more powerful, the threat and challenge of the game diminishes which puts the player in a position of power that is not likely to be overcome. The joy and satisfaction of mindlessly wreaking havoc on innocent swimmers is one that holds on through until the end and at the reasonable launch price of $59.95, Maneater is worth sinking your teeth into. 

Final Verdict:

+ Simple, accessible and satisfying gameplay 

+ Shark evolutions and upgrades are fun to experiment with 

+ Fun Landmark easter eggs 

– Mission lacking in variety 

– Challenge diminishes with player progression 

Games of DAYNE Rating

Developed by: Tripwire Interactive and Blindside Interactive

Published by: Tripwire Interactive and Deep Silver

Release date: May 22 2020

Platforms: Xbox One, PlayStation 4 and PC

The post Maneater Review first appeared on Games of DAYNE.

  *Disclaimer: This review was originally written as a member for One More Game and Xbox Gamer Dad, edited by co-founder Adam Potts and/or founder Matt Brook. A review code for this title was provided by OMG/XBGD. This review was written from my perspective with editor input. Click HERE to read this review as originally published on onemoregame.com.au*

Moving Out takes the monotony of moving house and turns it into a fun, wild and entertaining exercise with a variety of accessibility options to make this an experience for players of all ages. Playable solo or with up to three other players in local co-op, the 30 levels of the story mode can comfortably be completed within 5 to 10 minutes each, making this an easy one to jump in and out of for short gameplay sessions if preferred. 

Developers SMG Studio and DEVM Games have included some very notable accessibility options such as toggle for carrying objects instead of having to hold the right trigger to do so, a scalable user interface to make the on screen displays larger or smaller and dyslexic friendly text options to make the text less playful with its fonts and instead be more standard and readable. The greatest feature though is arguably the Assisted Mode which can have the following options toggled on or off; longer time limits to complete the jobs, reduced difficulty, skip level on fail, objects disappear on delivery instead and lighter two player items for a single player to move such as those pesky L shape couches and refrigerators. This mode makes the game a lot easier and is highly recommended for younger players. 

Starting a new game allows the players to choose to play by themselves or have up to three others play locally. A roster of six characters is available to choose from which can be lightly customised to alter the colour of their appearance and add accessories such as hats. An introductory training video reminiscent of the likes from the 80s, complete with a VHS look, leads into a brief tutorial covering the basics of picking things up, throwing items, carrying larger two person objects and of course, slapping things. Upon completion the player will receive a certificate stating “Smooth Moves Furniture Removalists hereby recognises you as a certified F.A.R.T (Furniture Arrangement & Relocation Technician)”. This playful and light-hearted introduction to Moving Out sets the pace for the remainder of the experience, offering a lighter and casual tone the whole family can appreciate. 

The player is then introduced to the town of Packmore, displayed in a top-down format where jobs are accessed by driving the delivery truck around the map where upon completion of a job, the next one will become available but so too will optional Arcade and Memory Jobs at the Arcade and VHS Store locations respectively. Arcade Jobs are short and whacky scenarios with old school retro arcade style. Memory Jobs are very short and based on the history of the players supporting truck driver character such as the legendary “Luggage Rescue of ‘84” where all the luggage had to be thrown from the wing of a plane onto a moving truck below as the plane presumably prepared for a crash landing.  

When a job is selected, the job name, number of items to move, best time (if level played previously) and time requirements for Gold, Silver and Bronze medals are displayed. What isn’t displayed until the end of a mission are three hidden objectives to be completed, such as putting an animal in the moving truck, not touching snow, smashing windows and not smashing windows for example, the latter two encouraging replayability. Any Job that has already been completed can be replayed by simply driving to it on the map. 

The jobs themselves have a very simple premise. Moving the highlighted items into the moving truck within the time limit. That requires moving different pieces of furniture and appliances, which varies when locations include business offices compared to homes for instance, onto the moving truck. They can be carried on or even thrown on. Things are much quicker with multiple players and objects can be thrown by one player and caught by another and delivered to avoid constant back and forth to the truck alone. Once the last object has been loaded the job is over and a results screen will reveal how well the player has done.

The jobs have varying locations ranging from single story houses, two story houses, office blocks, farms, snowside lodges and even a spooky mansion with roaming ghosts! These ghosts, as with any item, can be slapped for no particular reason other than a giggle. Some obstacles such as the roaming ghosts, fire and crushers so as the game progresses, so too does the difficulty of the job, although none are particularly difficult. While accessibility is obviously important, a little more variety in the obstacles would be nice for those looking for a little more of a challenge, a hard or experienced mode for example for older players. 

Sporting a playful visual style and simplistic designs, the art direction works well in establishing this as a family oriented experience suitable for all ages. With fun music in the background and humorous  text dialogue before and after the bite–sized jobs, Moving Out is a great little experience for young and older players alike.  

While the hidden objectives of each job and the desire to have a gold medal in each one offer replayability, as well as the Arcade and Memory Jobs, it would be nice if after the story was complete that there was a little more variety in things to do. That doesn’t take away from the fact that Moving Out is fun and well worth a replay, just that it feels a little more to do would go a long way in extending the playtime. If you are looking for a game that can be enjoyed alone or with the kids, siblings or friends, Moving Out is an entertaining way to go. 

Final Verdict: 

+ Fun and simplistic gameplay 

+ Excellent accessibility options 

+ The “Dread Manor” (spooky mansion) Job 

– Little to do after story is complete 

– Lacking a harder mode for experienced players 

Games of DAYNE Rating

Developed by: SMG Studio and DEVM Games

Published by: Team 17

Release Date: April 28 2020

Platforms: Xbox One, PlayStation 4, Nintendo Switch and PC

Moving Out is also available on Xbox Game Pass.

The post Moving Out Review first appeared on Games of DAYNE.